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Search Results for: All Stars

‘‘El Griego Rumbero’’ visited the Salsa Museum and donated some objects

The artist we will talk about today is a very particular case, since he comes from a country which is not usually related to salsa or Latin music in general. However, the passion for these rhythms has captivated people from all over the world, so it is not surprising that our guest has experienced the same thing.

We’re talking about the Greek-born trombonist and composer Demetrios Kastaris, whom El Rubio Boris and I were fortunate to welcome at the Salsa Museum. Here’s a little of his fascinating story.

Demetrios Kastaris playing
Demetrios Kastaris playing the trombone

Demetrios’ early years

Demetrios was born in Thessaloniki, Greece, but moved with his family to the United States when he was just two years old. After living in Ohio for a few years, the family moved again, but this time to St. Louis, Missouri, a place that would be critical to the training of the Young man in the times to come.

The first contact of the boy with music was in elementary school during a live performance by a classical music quintet, but what really captivated him was a demonstration of a slide trombone by a member of the St. Louis Symphony Orchestra. It was at that instant the aforementioned instrument inspired Demetrios to take trombone lessons and join the school concert band.

More importantly, as Demetrios grew older, he spent countless hours practicing the trombone, especially in summer when he was free from school work. Finally, On reaching the age of 17, his perseverance began to bear fruit, and he got the opportunity to rehearse with the Stan Keaton Jazz Orchestra, which was the first great experience for the teenager. Just one year later, he sang as a soloist at the Classical Rimsky-Korsakov Concerto. 

Other than that, Demetrios received the John Philip Sousa Band Award just before graduating from high school. He then studied music education at the University of Missouri-St. Louis, when he played in the jazz band and won several awards with the group.

Cover of the album ''El Griego Rumbero''
Cover of the album ”El Griego Rumbero” by demetrios Kastaris

Moving to New York

Two years after having studied in Missouri, Demetrios moved to New York, where he received a scholarship that allowed him to attend New York University and take more steps in his musical career. While completing his studies, he met a bandleader on the subway and was invited to a rehearsal where he was given the opportunity to arrange Afro-Cuban jazz pieces for the first time in his life.

Latin music and its rhythmic features made such an impression on Demetrios that he began attending concerts by many of its great exponents, such as Willie Colón, Eddie Palmieri, Ray Barretto, Tito Puente, Mongo Santamaría, and many others. This led him to transcribe and conscientiously analyze these artists’ songs to satisfy his curiosity and learn more about these rhythms.

After graduating with honors, he earned a masters degree in jazz from the Manhattan School of Music. Soon after, he was already teaching in public schools while performing with one of the bands of the Concord Resort Hotel.

Other important details of his career

For over 50 years of artistic career, Demetrios has had the opportunity to perform with big Latin stars such as Tito Puente, Luisito Quintero, Alfredo De La Fé, Ray Barretto, Charlie Palmieri, Herencia Latina, Oscar Hernández from The Spanish Harlem Orchestra, and many others. 

Already in the decade of 1980, the artist founded the Latin-Jazz Coalition and recorded several of his original compositions in genres such as Brazilian and Afro-Cuban jazz. In certain Circles, his work has earned him the nickname of “El Griego Rumbero”, a moniker by which he is still known today.

Johnny Cruz, Demetrios Kastaris and El Rubio Boris
Johnny Cruz, Demetrios Kastaris and El Rubio Boris

Much more recently, Demetrios was invited to play with Los Leales de Cuba at the Buena Vista Curry Club and also to rehearse with Los Muñequitos de Matanza, which was a very learning afternoon and a memorable experience for him. Thereafter, he traveled to Cuba on several occasions to learn much more about this music.

Visit to the Salsa Museum

Just two years ago, Demetrios visited the Spanish Harlem Salsa Museum directed by yours truly and spent an enjoyable time with our entire team but he did not come alone. He brought us his photograph and a poster of the Latin Jazz Coalition, which were mounted on a wall alongside many other photographs of stars such as The Fania All Stars, Hector Lavoe, Tito Puente, Celia Cruz, El Gran Combo de Puerto Rico, Larry Harlow, and many others. 

His childhood trombone was also added to our extensive display of objects donated by artists and their families. This took place on March 20, 2024, and the instrument remains at our institution to this day as a reminder of a Greek man’s love for our music and a thank you to his dedication over the years.

Johnny Cruz ISM

Read also: Rey Ruíz visits the Salsa Museum and talks about his prolific career

Willie Colón The “Architect of Salsa” Enters Immortality

February 21, 2026, will be etched into the history of Latin music as the day the “street trombone” fell silent to become an eternal echo.

A Sorrowful Farewell: February 2026

After several days of uncertainty and reports regarding his delicate health, the passing of William Anthony Colón Román was confirmed in New York City at the age of 75.

Willie Colón, the Architect of Salsa, Passes into Immortality
Willie Colón, the Architect of Salsa, Passes into Immortality

Producer, trombonist, visionary. He was the architect of a sound that broke the mold and redefined salsa from New York for the entire world.

With his aggressive trombone, his innovative musical concepts, and his leadership within the historic Fania All-Stars, he marked an era that can never be repeated.

The musician, who had already shown signs of physical frailty following his retirement from the stage in 2023, suffered severe respiratory complications that kept him hospitalized during his final days.

Iconic figures like Rubén Blades and the entire Fania family have expressed their grief, noting that we haven’t just lost a musician, but the “Malo” (The Bad Boy) who revolutionized the visual and sonic identity of Latinos in New York.

A Legacy of Rebellion and Sophistication

Unlike other bandleaders, Willie Colón didn’t just make music; he told cinematic stories. From his early days with Héctor Lavoe to his era of social consciousness with Rubén Blades, Colón transformed salsa into a vehicle for urban narrative.

With his aggressive trombone playing, innovative musical concept, and leadership within the historic Fania All-Stars
With his aggressive trombone playing, innovative musical concept, and leadership within the historic Fania All-Stars
  • Innovation: He was responsible for putting the trombone at center stage, creating that “heavy,” raw sound that defined the Bronx.
  • Identity: Through his iconic album covers (emulating FBI “Wanted” posters), he constructed the mystique of the Latin anti-hero.

His Eternal Anthems

Willie Colón’s catalog is the backbone of every party and social reflection in Latin America. Among his most remembered tracks, more relevant today than ever, are:

Song Significance
El Gran Varón A milestone in social lyrics regarding identity and redemption.
Idilio The most romantic and melodic facet of his mature era.
Pedro Navaja The ultimate expression of narrative salsa produced alongside Blades.
Gitana A classic of sentiment and rhythmic fusion.

Beyond the Trombone: Activism and Service

In his later years, Willie Colón’s life was also defined by his work offstage. He served as an activist, a community leader in New York, and held positions in organizations advocating for Hispanic rights. His life was a testament to the fact that art and social commitment can walk hand-in-hand.

Producer, trombonist, visionary. Architect of a sound that broke molds and redefined salsa from New York to the world.

Producer, trombonist, visionary. Architect of a sound that broke molds and redefined salsa from New York to the world.

The Centennial on the Horizon

Though the Maestro has physically departed in 2026, his office and family have made it clear that his music will live on. Releases of unedited material and tribute concerts are expected as we pave the road toward the centennial of his birth in 2050.

“Time passes, and I am left unable to speak to you”  Willie Colón.

His music will continue to speak for him on every corner where a trombone sounds and in every heart that feels the pulse of urban salsa.

His talent was more than rhythm: it was identity, the barrio, resistance, and living history. Today, we don’t just say goodbye to a musician; we say goodbye to a pillar, a North Star, and an entire chapter of our Latin culture.

Anecdote:

Willie Colón had a notorious incident in Medellín in 1985 when he refused to perform at the Iván de Bedout Coliseum because the promoters of “Rumba Producciones” failed to pay the agreed amount. Police arrested him along with 13 of his musicians, and they were detained for two days at the Belén neighborhood police station.

The audience, who had waited for hours, grew unruly, leading to riots that resulted in six injuries and significant property damage. This episode inspired the song “Especial No. 5,” which narrates Colón’s experience inside cell number five of that station.

Willie Colón had an incident in Medellín in 1985
Willie Colón had an incident in Medellín in 1985

Special Contribution by Julio Cesar Galindo Alarcón (Lima, Peru)

A posthumous tribute to the great Willie Colón (1950-2026): The greatest disciple of Mon Rivera by his own admission and today a legend of our passionate salsa.

Willie Colón: From “Classic Urban Salsa” to “Symphonic Salsa”

His musical production clarifies and proves that “salsa” does not only originate from Cuban and Puerto Rican rhythms, but also from American, Brazilian, and other Latin influences.

When Willie produced and recorded his 1977 instrumental-only album, El Baquiné de Angelitos Negros, he expanded the orchestral lineup to include violins, saxophone, flute, cello, and trumpet. While the work had little commercial success and went largely unnoticed during his triumphant career, it served as more than just a platform for his “salsa” fusions with Jazz, Funk, Soul, and R&B. It was the starting point for producing grander orchestral arrangements with a larger number of musicians, thus becoming the precursor to what is now known as “Symphonic Salsa.”

Four years after this beginning, in 1981, this “Symphonic Salsa” reached its peak when Willie released his second solo album, Fantasmas dedicated to and motivated by the loss of his younger sister, Cindy. The album included a track he composed, with musical arrangements by Luis Cruz, titled “Toma Mis Manos” (Take My Hands).

This piece, dealing with the somber theme of death, is considered by this author (due to the quality of the composition and the fabulous “Symphonic” orchestration) to be an authentic and grand masterpiece of “Classic Salsa.” It blends Funk, Soul, R&B, and Bossa Nova with Willie’s excellent vocals, serving as a spectacular prelude to that other legendary, yet often overlooked, symphonic track recorded in 1991 by the “Canary of Carolina,” the great Lalo Rodríguez: “El niño, el hombre, el soñador y el loco.”

To conclude, with the immense pain that his departure brings, I accompany this tribute with the aforementioned song: “Toma Mis Manos,” an unforgettable composition by the recent legend of our “salsa” the great Willie Colón, famously known as “The Bad Boy of the Bronx.”

The legendary musician and his wife Julia Colón were married for decades and share three children (

The legendary musician and his wife Julia Colón were married for decades and share three children

Also Read: The legacy of Leopoldo Pineda, the ambassador of the trombone in La Maquinaria Fania All Stars

Europe / February 2026

Cafe Berlin 2025Radio Gladys Palmera 2025

Karina Bernales present February 2026 FESTIVALS

France circle flag
FRANCE
Romantic Festival 2026

Freedom Romantic Festival

Feb 20 / 22, 2026

Espace Christian Le Maoût
67 Rue de Montfort
L’Hermitage 35590, France

€ 170

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GERMANY
Cologne Salsa 2026

Cologne Salsa Marathon

Feb 27 / Mar 01, 12026

Tanzschule tanzraum Köln Zentrum
Salierring 33, 50677 Köln, Germany

€ 120

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HUNGARY
Arrebatate 2026

Arrebatate Cuban Salsa Festival

Feb 20 / 23, 2026

Lurdy Haz
Könyves Kálmán krt. 12-14
Budapest 1097, Hungary

€ 149

All Stars 2026

All Stars Budapest
Bachata Fest

Feb 20 / 22, 2026

Verdi Aquincum Hotel
Árpád fejedelem útja 94
Budapest 1036, Hungary

€ 150

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IRELAND
Latin Queen 01 2026

Latin Queen Weekend

Feb 21 / 22, 2026

St. Vincent’s GAA Club
Malahide Road DO3YXO8
Dublin 3, Ireland

€ 99

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NETHERLANDS
AISF 01 2026

Amsterdam International Salsa Festival

Feb 19 / 22, 2026

De Koning
Isolatorweg 29, 1014 AS
Amsterdam, Netherlands

€ 215

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PORTUGAL
Sway 02 2026

Sway Dance Festival

Feb 20 / 21, 2026

GALP GAIA
Avenida Vasco da Gama
Oliveira do Douro
Vila Nova de Gaia
Porto 4430-247, Portugal

€ 129

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SPAIN
Dame 02 2026

Dame Festival

Feb 6 / 8, 2026

Avinguda de Pérez Galdós
8, Extramurs
Valencia 46007, Spain

€ 99

Love Dance 02 2026

Love Dance Festival XIII

Feb 13/15, 2006

Carrer del Pla de la Torre
14 08398 Santa Susanna
Barcelona 08398, Spain

€ 109

Mallorca 02 2026

Mallorca Latin Paradise

Feb 13/15, 2026

Hotel Occidental
Playa de Palma
Avinguda de Fra Joan Llabrés, 16
Platja de Palma, 07600
Illes Balears, Spain

€ 130

SoulDance 02 2026

SoulDance Bachata & Salsa Festival

Feb 20 / 21. 2026

Hotel Olympic Resort
Camí de l’Àngel, Lloret de Mar
la Selva
Catalonia, 17310, Spain

€ 130

Dominican Flow 02 2026

Dominican Flow Festival

Feb 20 / 23, 2026

Hotel Cullera Holiday
Av. el Racó, 27, 46400 Cullera
Valencia, Spain

€ 125

Mas que Cubano 02 2026

Más que Cubano Festival BILBAO

Feb 20 / 22, 2026

Hotel Seminario Aeropuerto
Bilbao. Larrauri Kalea,1C
Bilbo
Bizkaia, España

€ 100

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Directory of European nightclubs

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CZECHIA

La Macumba 2024
La Macumba
Štefánikova 230/7 150 00
Prague, Czech Republic

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FRANCE

Canela
Canela Club Latino Paris
77 Rue du Faubourg du temple 75010
Paris, France

Cuba Compagnie
Cuba Compagnie Café
48 BD Beaumarchais 75011
Paris, France

Cubana
Cubana Café
47 rue Vavin 75006
Paris, France

La Pachanga
La Pachanga Officiel
8, rue vandamme 75014
Paris, France

La Peña
La Peña Saint Germain
3 passage de la Petite Boucherie 75006
Paris, France

Balajo
Le Balajo
9 rue de Lappe 75011
Paris, France

Pachamama
Pachamama PARIS
46 rue du Faubourg Saint Antoine 75012
Paris, France

Selsero
Salseroparis
9 Rue du Petit Pont, 75005
Paris, France

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GERMANY

Cascadas
Cascadas
Ferdinandstr. 12
20095 Hamburg-Mitte, Germany

Havanna
Havanna Berlin
Hauptstr. 30
10827 Berlin-Schöneberg, Germany
La Macumba - The Real Latin Club in Hamburgs
La Macumba – The Real Latin Club in Hamburgs
Adenauerallee 3 20097
Hamburg, Germany

Latin Palace Changó
Latin Palace Changó
Münchener Strasse 57
60329 Frankfurt, Germany

SODA
Soda Club Berlin
Schönhauser Allee 36
10435 Berlin, Germany

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MALTA

Bario Latino Malta venue
Barrio Latino Malta
Ghar il Lembi Street SLM1562 Sliema
Central Region, Malta

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POLAND

Teatro Cubano
Teatro Cubano Warsaw
ul. Aleksandra Fredry 6 00-097 /> Warsaw, Poland

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SPAIN

ACM City
ACM CitY
Carrer Can Pallarès 2, Cerdanyola del Vallès
08290 Barcelona, Spain

Antilla
Antilla Barcelona
C/ d’Aragó, 141
08015 Barcelona, Spain

Azucar
Azúcar SalsaDisco
Calle de Atocha, 107
28012 Madrid, Spain

Disco Bar Cuba Live
Cuba Live
Ramón y cajal número 2
07011 Palma de Mallorca, Spain

El Son
Discoteca El Son
C. de la Victoria, 6
28012 Madrid, Spain

Prisma Discoteca
Discoteca Prisma
C. de Alcalá, 192
28028 Madrid, Spain

Discoteca El Edén Boliviano
El Edén Boliviano
Carrer Gremi de Tintorers, 49A
07009 Palma, Illes Balears, Spain

Mojito
Mojito Club
Rosselló, 217
08008 Barcelona, Spain

Morena
Morena Barcelona
calle 11 num.29
08860 Castelldefels, Spain
Que Chimba
Qué Chimba
Av. del Vallès, 117
08223 Terrassa, Barcelona, Spain
Sala Olvido Madrid
Sala Olvido
C/ Olvido 15
28026 Madrid, Spain
Seven Dance
Seven Dance (Dio Club)
Carrer del Perill 10
08012 Barcelona, Spain

The Host Madrid
The Host
C/ Ferraz nº 38
28008 Madrid, Spain
+34 918 05 36 48

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UNITED KINGDOM

Salsa Soho
Bar Salsa Soho
96 Charing Cross Rd
WC2H 0JG London, UK

Salsa Temple
Bar Salsa Temple
Victoria Embankment, Temple
WC2R 2PH London, UK

Juju's
JUJU’s Bar & Stage
Ely’s Yard 15 Hanbury Street
E1 6QR London, UK

Revolucion de Cuba
Revolucion de Cuba Leeds
64-68 Call Lane
LS1 6DT Leeds, UK

LightHouse
The LightHouse Bar & Club
62 Rivington Street
EC2A 3AY London, UK
 

 

 

 

 

 

Cristobal Verdecia and his quartet Son Qba in Miami

As we all know, Cuba is an endless source of talent and never tires of proving it. Today, we are really honored to be able to talk to one of its greatest exponents in the city of Miami and it is arranger, producer, bandleader, and bassist Cristóbal Verdecia, who very kindly agreed to talk to us for a few minutes about his life and career both in Cuba and in the United States, his home for more than 10 years.

Cristobal with his basses
Cristobal Verdecia with his two basses

Cristóbal’s beginnings and inspirations for entering the world of music

The first reference that Cristobal had at a musical level was his uncle Israel “Kantor” Sardiñas, who was the vocalist, bassist, and pianist for the legendary band Los Van Van. The artist always wanted his nephew to learn to play instruments, more specifically the piano, but Cristóbal had other hobbies at the time and did not pay much attention to him. Then, in 1982, Sardiñas packed suitcases and left Cuba in search of better opportunities, but not before leaving his piano, bass, and guitar to the young Cristóbal to use them in his place.

It was then that he finally became truly interested in music, and the instrument that most caught his attention at the time was the bass. Seeing this sudden love for the instrument, Cristóbal’s father decided to enroll him in the Guillermo Tomás Music Conservatory when he was about 10 years old. He greatly improved his skills with the bass and began playing with local jazz bands, but his academic training was not yet complete. 

Some time later, he enrolled at the Ignacio Cervantes Conservatory, where his teachers, in his own words, were two of the best bassists to come from Cuba: Silvio Vergara, now deceased, and Carlos Del Puerto. At this institution, he studied electric bass and double bass.

From there, Cristóbal began playing with increasingly prestigious bands such as Pachito Alonso y Su Kini Kini, Paulo FG y Su Élite, Adalberto Álvarez y Su Son, Havana D’Primera, among many others. Being with Pachito, he had the opportunity to share with artists of the stature of Roberto Hernández “Robertón” (current Los Van Van singer), “El Lele,” the Mengual twins, among others. It was Robertón who gave him some advice about how to improve the quality and raise the level of his work.

Cristobal and his uncle
Cristobal Verdecia and his uncle Israel “Kantor” Sardiñas

In the case of Paulo G Y Su Élite, he had the opportunity to serve as musical director for about five years in the band, which provided great learning for the future. 

Subsequently, Alexander Abreu, director of Havana D’Primera, had the idea of forming his own band with the best musicians in Cuba and that each musician had a substitute. That was where Cristóbal joined and became part of the first album, “Haciendo Historias.”

Move to the United States

When Cristóbal made the decision to leave Cuba, the first country he visited was Mexico, where he spent about four years and also played with many other bands. However, the idea of forming his own project was already on his mind for some time.

When he finally turned this idea into reality, the artist and his band accompanied singers who arrived alone, which provided him the expertise to face the future professional challenges that awaited him.

Julio Cesar, Cristobal, Marciano, and Franklin
Guitarist Julio Cesar rodriguez, bassist Cristobal Verdecia, percussionist Marciano Hernandez and tresero Franklin Reytor

Once his cycle in Mexico concluded, he moved to Miami in 2012 to continue growing in music, as he believed that the city offered him an opportunity that his previous country of residence did not. One of the first things he wanted to do was to revive his quartet Son Qba, which he had started in Mexico, but he was advised to take the time to learn how everything worked there first and then follow the path he wished.

This is how Cristóbal also managed to play with several local artists and bands to understand the dynamics of the place, such as Tony Succar, Issac Delgado, Timbalive, Aymée Nuviola, Grupo Niche, Gonzalo Rubalcaba, Albita Rodríguez, Buena Vista All Stars, among others. All this path traveled finally led him to be able to resume Son Qba with the full works in 2019.

Today, Son Qba consists of our guest Cristóbal Verdecia, tresero Franklin Reytor, percussionist Marciano Hernández, singer and guitarist Julio César Rodríguez, and singer José “Pepito” Gómez.

Read also: Gabrielito Y La Verdad giving everything in Los Angeles and beyond

Roberto “Bobby” Rodríguez was a master of the Baby Bass and was instrumental in its popularization within Latin music

Roberto “Bobby” Rodríguez “Big Daddy” (1927-2002) was a renowned bassist and a key figure in Latin jazz and salsa. He was known for playing both the upright bass and electric bass.

Roberto Bobby Rodriguez was a master of Baby Bass and played a decisive role in its popularization within Latin music
Roberto Bobby Rodriguez was a master of Baby Bass and played a decisive role in its popularization within Latin music

He worked with legendary artists and bands such as Charlie Parker, Dizzy Gillespie, Machito, Tito Puente, and The Alegre All Stars. Born in Tampa, Florida, to Cuban parents, he is often associated with the Baby Bass, a type of electric upright bass.

The Baby Bass is a specific type of electric upright bass developed by the Ampeg company. It has a distinctive sound and is very popular in Latin music, especially salsa.

Many famous bassists in the genre, including Roberto “Bobby” Rodríguez “Big Daddy,” are known for playing this instrument. With its deep, percussive tone, the Baby Bass helped define the sound of salsa music.

In summary, the connection between Roberto “Bobby” Rodríguez and the Baby Bass is that the famous bassist, Roberto “Bobby” Rodríguez “Big Daddy,” was a master of the instrument and was instrumental in its popularization within Latin music.

“Big Daddy’s” Career and Legacy.

The son of Cuban and Puerto Rican parents, Roberto “Bobby” Rodríguez “Big Daddy” was born in Tampa, Florida, on May 2, 1927. His talent left a lasting mark on the performance of both the upright bass and the electric bass.

He began his career in New York at the age of 17 with Machito and His Afro-Cubans, where he replaced Julio Andino. He participated in recordings with Chico O’Farrill, Dizzy Gillespie, Cal Tjader, Eddie Palmieri, Willie Bobo, Mongo Santamaría, Joe Cuba, Eric Dolphy, the Alegre All Stars, and Tito Rodríguez. His most important and enduring collaboration, however, was with Tito Puente.

Rodríguez’s involvement with Puente’s band resulted in a catalog of countless tumbao basslines. He occasionally had the opportunity to lead the band with a solo, loaded with highly creative melodic improvisations.

On the 1990 album, Goza mi Timbal, the track “Ode to Cachao” features a large number of Bobby Rodríguez’s solos. In addition to being a tribute to Israel López, this track is a showcase of “Big Daddy’s” immense virtues and is considered one of the most unforgettable solos in Latin jazz. This partnership remained active from the 1950s to the 1990s.

Roberto Bobby Rodriguez Big Daddy was born in Tampa, Florida, on May 2, 1927
Roberto Bobby Rodriguez Big Daddy was born in Tampa, Florida, on May 2, 1927

The nickname “Dedo Gordo” (Fat Finger) was given to him for his way of playing the electric bass, with a thick sound—something that in American musical circles is called a “groove.” According to experts, his technique was meant to emulate the sound of the Ampeg Baby Bass.

One characteristic he was always recognized for was his unique ability to play the clave rhythm with his foot while performing on the bass. His musical experience always made him seem like a contributor with a jazzy style.

On July 29, 2002, after a life full of resounding successes and an impressive legacy, Bobby Rodríguez passed away in New York.

Ambiguities with the Name Roberto “Bobby” Rodríguez.

The name “Bobby Rodríguez” has been used by several artists within the universe of Caribbean music.

One common source of confusion is the flutist, clarinetist, and saxophonist from Manhattan, Robert “Bobby” Rodríguez, who founded the group “La Compañía.” His date of birth has not been confirmed.

Another point of confusion is the common misconception that “Big Daddy” began his career with the Marcano Quartet. The truth is that the quartet featured Félix Manuel Rodríguez, who, in the early stages of his career at age 17, also went by the name “Bobby Rodríguez.” He would later adopt his famous stage name, Bobby Capó.

A third artistic namesake is Dr. Bobby Rodríguez, a trumpet player born in Los Angeles, California, who is also a teacher and author of the book, ABC’s of Brass Warm-Up. He has been nominated for a Grammy and has received awards as an educator.

Roberto Bobby Rodríguez Big Daddy (1927-2002)
Roberto Bobby Rodríguez Big Daddy (1927-2002)

The list of names similar to Roberto “Bobby” Rodríguez becomes much longer if you search for homonyms of his given name. For example, there is Roberto (Reimundo) Rodríguez, a trumpet player from Cienfuegos, Cuba. He co-founded the orchestra Los Jóvenes Estrellas de Cuba and became a member of the Fania All Stars. He also appears in the documentary Nuestra Cosa Latina. In 1982, he founded the group Los Rodríguez with his sons, Roberto Jr. and Willie.

His son, Roberto Rodríguez Jr., is another homonym we encounter in these musical paths.

Continuing with more homonyms, there’s the Cuban trumpet player Roberto Luis Rodríguez, who is the father of the currently famous trumpet player Roberto Juan Rodríguez, also Cuban, but who moved with his Jewish family to Miami at the age of nine. He has played with top artists such as Joe Jackson, Julio Iglesias, and Paul Simon.

 By: Diego Aranda (Audiokat)

Dj. Augusto Felibertt

Los Mejores Salseros del Mundo

Also Read: Bobby Valentín, the King of the Bass in the Fania All-Stars Machine – The Mind of a Master

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.