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Willie Rosario, El Rey del ritmo by journalist and music researcher Robert Téllez M.

Puerto Rico Date Be more by Bella Martínez writes announces the release in Puerto Rico of the second edition of the authorized biography of Míster Afinque, Willie Rosario, El Rey del ritmo by music journalist and researcher Robert Téllez M.

This second edition, which has been revised, expanded and updated, has 62 more pages, every time master Willie Rosario has remained active since the publication of the first edition in 2019 to date. It also contains photographs that were not included in the first edition, images from Willie Rosario’s own archive and from the archive of the most important salsa collector, Robert Padilla.

The book, which has a preface signed by musician “Bobby” Valentín and a foreword by researcher José Arteaga, also compiles significant accounts from composers, musicians, instrumentalists, arrangers and vocalists who have been part of Rosario’s orchestra throughout different periods.

The new cover photo is by photojournalist Conrado Pastrano, the cover design is by graphic artist Felix Disla and the illustrations are by artist Frank Rosado.

The content of the back cover of the first edition, which includes the praises of Edwin Clemente, Edwin Morales, Elmer González, Hiram Guadalupe Pérez and Néstor Galán, was moved to the inside of the text, adding the recently captured praise in the voice of Ricardo Padilla, programming director of Salsoul radio station.

The back cover text is by the prodigious arranger, composer and music producer, who was exalted to the Hall of Fame of the U.S. East Coast and who, like Willie Rosario, is a timbalero and orchestra leader: Tito Rodríguez, Jr. Tito tells us about “El Inolvidable’s” friendship with Willie Rosario, as well as the way in which Mister Afinque received from Tito Rodríguez the first songs that Rosario would record with his orchestra, including the classic ‘Changó ta vení’ (composition by “Justi” Barreto), arranged by René Hernández. He also shares with us the closeness between Willie Rosario and Tito Rodríguez since they were neighbors in the Bronx, NY until they became colleagues and developed a friendship based on companionship and mutual admiration. In a nostalgic way, he highlights the golden years of El Palladium. As if all this were not enough, Tito candidly offers his opinion on Willie’s contribution to the salsa sound, which he reinvented by adding the baritone saxophone to his orchestral format, which at the time was thought to be an experiment, and on the permanence of that contribution within Latin music.

The publication of this second edition of Willie Rosario, El Rey del Ritmo comes just in time to add to the centennial celebration of the musical leader, who has managed to keep his orchestra active and alive for more than six decades. The book is now available in physical format and can be purchased through Amazon.

Book cover Willie Rosario Second Edition

About the author:

The author, Robert Téllez M, is a music journalist, broadcaster and audiovisual media producer. He is a member of the Círculo de Periodistas de Bogotá (CPB) and since 1998 he has worked as a programmer for different music radio stations. For nine years he directed and hosted the program Conversando La Salsa on Radio Nacional de Colombia. He was also founder and general director of Revista Sonfonía. Robert Téllez M stands out as a researcher dedicated to Afro-Antillean music. His in-depth research has led him to serve as a consultant and lecturer, specializing in the appreciation of salsa music.

Published books:

* Ray Barretto, Fuerza Gigante (2016).

* Willie Rosario, el Rey del ritmo [Authorized Biography] (2019, 2024).

* Ray Barretto, Giant Force (2021), the translation by Ronald Vazquez of Ray Barretto, Fuerza Gigante, is the silver medal winning literary work for best Spanish to English translation at the International Latino Book Awards, 2021 edition.

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A party of dancers at the concert to celebrate Willie Rosario’s 100th birthday

The now Doctor of Music Willie Rosario managed to fill a Puerto Rico Coliseum, with a capacity of 18,000 people, for the celebration of his 100th birthday. The production of the concert ensured that the musical proposal kept the audience dancing and singing along. It was no surprise that the “Choliseo” turned into a gigantic dance floor.

Fiesta de bailadores el concierto para celebrar los 100 años de Willie Rosario

Vocalist “Chamaco” Rivera was in charge of the performance of Willie Rosario’s orchestra’s first hit. Chamaco”‘s announcements alluded to the parallel of the Barrio Obrero, between our “santurcino” neighborhood of Borinquen and its namesake, located in Cali, Colombia.

Then came the current front of “the band that delights” to perform a selection of the group’s countless hits. The first turn went to José Luis De Jesús “Papa Chú” with the impeccable interpretation of ‘Ojalá que te vaya bonito’. At one point, when the song called for a duet performance, José “Machete” Díaz was the accompanist.

Smiling and with his voice cracking with emotion, Rosario greeted the audience, shortly before saying: “Thank you very much for coming this far” and giving entrance to “Manolito” Rodriguez, handing him the timbal. “Manolito” took the helm of Willie Rosario’s orchestra during several songs to which the young timbalero and musical director imparted his own tempo.

‘Anuncio Clasificado’ and ‘Cha-cha-ri-chá’ were heard in the voice of “Machete”, ‘Échame la culpa a mí’ and ‘El callejero’ in Erick Robles’ interpretation, and ‘Preparen candela’ with “Papa Chú” leading on vocals. Juventud del presente’ was heard in the voice of Rodriguez himself, who showed off his skills as a timbalero, director and singer, while dancing in choreography with the members of the vocal front.

During the segment in which “Manolito” led, the child Gerardo Gabriel Rivas entered into an explosive duel of timbales, corresponding with who, at the time, was acting as director. Humberto Ramírez interpreted the song ‘Míster Afinque’, which he composed and arranged in 2023 in honor of Rosario and which is part of the production Better Days.

At about ten o’clock at night, the birthday boy took over the orchestra to “continue in afinque”. With the “afinque”, came the main course of the concert, for which “El Rey del ritmo” arrived on stage this time accompanied by the duo composed by Gilberto Santa Rosa and Tony Vega.

Gilberto looked impeccable both in his vocal role and in his staging as he performed ‘Babarabatiri’, ‘Obra sellada’, ‘La mitad’, ‘Me tendrán que aceptar’, ‘Botaron la pelota’ and ‘Changó ta’ bení’. During the delivery of this last song, Santa Rosa was accompanied by a corps of veteran dancers, among them the always remembered “Mike” Ramos, known within the Palladium Mambo Legends and within the Mambo Aces as “Mambo Mike”.

Tony Vega was in charge of the interpretation of ‘Mi amigo el payaso’, ‘Busca el ritmo’, ‘A toda Cuba le gusta’, ‘Arrepentíos pecadores’, ‘El flamboyán’ and ‘El timbal de Carlitos’. Gilberto and Tony were able to transport the audience back to the days when they shared the hits of maestro Rosario’s orchestra, singing ‘Gracias mundo’ and ‘Lluvia’ as a duet. The team that shaped the centennial celebration of the successful bandleader paid attention to every detail of the presentation to make it a historic, unforgettable and unrepeatable one.

Willie Rosario, Tony Vega y Gilberto Santarosa

The detail that “El Caballero de la salsa” imparts to each of his concerts, highlighting each of the artists in the audience also took place in this event. The list of colleagues invited to the concert included Choco Orta, Luisito Carrión, Domingo Quiñones, Moncho Rivera, Ismael Miranda, Bobby Valentín, Jerry Rivas and Chucho Avellanet.

Although it is known that it is impossible to include all the hits of such a great career in three hours of concert, the selection of the repertoire was accurate and forceful. At almost 100 years old, bandleader Willie Rosario proved once again that, with his usual affinque, he continues to lead the salsa dancer’s favorite orchestra.

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Pedro ”Pocholo” Segundo supports the Spaha Harlem Salsa Museum

At the Spanish Harlem Spaha Museum we always welcome the best of Latin music and, on this occasion, we could not stay behind, so we are glad to have had the opportunity to share with one of the best percussionists of the moment, Pedro Pocholo, who has a very interesting career that we will review below.

Pocholo signing his album — Pedro ”Pocholo” Segundo signing a copy of his album ”A Guapetear” in 2022

Who is Pedro ”Pocholo” Segundo? How were his beginnings in music like?

Pedro ”Pocholo” Segundo is an important producer and percussionist who has made a recognizable name in the Latin music industry thanks to his participation in some of the most critically acclaimed salsa and jazz orchestras.

In music, it all started for him at the young age of 13, which is when he began playing with Ismael Miranda, representing the formal beginning of his professional career as a teenager. His efforts fortunately paid off, since a few years later, he was playing with Andy Montañez.

In 1988, he joined Johnny and Ray’s group, causing him move to New York City, a place that gave him the greatest opportunities he would ever have in the artistic area. He became so well known for his skills as a percussionist that he was sought after by many artists to play with them such as Celia Cruz, Héctor Lavoe, Andy Montañez, Tito Rojas, Tito Nieves, José Alberto ”El Canario”, David Pabón, among many others.

Pocholo playing the cowbell — Pedro ”Pocholo” Segundo playing the cowbell in his studio

Important things Pedro ”Pocholo” Segundo has done in his career

Pedro ”Pocholo” lived many peak moments in the musical aspect, but without a doubt, the possibility to play to former presidents Bill Clinton and Al Gore with Celia Cruz and ”El Rey de Los Timbales” Tito Puente has been extremely important to his prestige as an artist, so he just went for more and more.

This performance would not be the only collaboration he would have with Puente, as he also joined his talent to that of the timbalero in the DVD entitled ”Live at Manhattan Center” and traveled with him, The Big 3 Orchestra and Jimmy Bosch’s group to several countries in South America, Central America and Europe.

Sometime later, in partnership with vocalists Carlos Santos and José Peña, Pocholo formed the group Madera Fina, with which he and his two fellow musicians managed to place some hits such as ”Guarimbo”, ”Palo de Son”, ”Desde Que Te Casaste”in very good places on the charts. They also went to Puerto Rico to promote the group and seek the support of local media such as La Mega 97.9 FM, being this radio station very important in the dissemination of these musicians’ work.

Thanks to the experience gained from belonging to Madera Fina, Pocholo was more than ready to face bigger musical challenges, which led him to take on the creation, production and percussion of Boricua Legends, which has become one of the most popular New York orchestras of the moment.

One of the best years of Boricua Legends was undoubtedly 2015, which was when it released its own version of ”Si Por Mi Llueve”, a song that was part of the world-renowned Cheo Feliciano’s repertory. He also took second place in the GenGenSalsa Top 70 chart and eighth in the LatinosUnidosOnline chart.

Pocholo performing live — Pedro ”Pocholo” Segundo during a live performance

Pocholo supports the Salsa Museum

As many other Latin artists, Pocholo also supported the Spaha Harlem Salsa Museum and was a special guest on The Johnny Cruz Show to talk with the host and director of the museum, who was very pleased to welcome him on his show.

In a video uploaded to Johnny Cruz’s social networks, the host can be seen introducing his guest and saying that they would talk about a number of very interesting topics, such as the beginning of his career, the founding of Boricua Legends and much more. Then, Cruz asks Pocholo to greet the audience and the musician, who was decked in a grayish suit and pink shirt, invites people to tune in to the show and assures them that they will talk about important things such as Latin music in New York and Puerto Rico.

Finally, Johnny closes by saying that viewers can enjoy the show from 3:30pm to 4:30 every Saturday on channel 67 and says goodbye with the song ”La Fama” by Héctor Lavoe playing in the background.

José Antonio “Maceo” Rodríguez was a faithful cultivator of Son Cubano and participated in the Afro Cuban All Stars project

José Antonio “Maceo” Rodríguez was born on April 17, 1950 in Holguín, Cuba.

Famous sonero voice leader of the group Sierra Maestra, he began his career at the beginning of the eighties of the last century with the group Sierra Maestra, integrated by former students of the Polytechnic University José Antonio Echeverría, of Havana, with which he won a televised contest of new musicians.

José Antonio Maceo Rodríguez was a faithful cultivator of Son Cubano and participated in the Afro Cuban All Stars project.

He died at the age of 55 on November 6, 2005 in Copenhagen, Denmark, of a heart attack, after giving a concert with his group at the end of a tour of Europe.

He was born on April 17, 1950 in a modest country house in the vicinity of the Antonio Maceo Sugar Mill, in Cacocun, in the eastern province of Holguin.

Relatives and neighbors say that since he was a child he loved art, music, pirouettes and attracting attention.

October 20, 1976 in Havana, together with his classmates at the José Antonio Echevarría University Center, he founded the musical group Sierra Maestra, called at that time Grupo de Sones de la Facultad de Ingeniería Eléctrica.

Those young dreamers performed in the popular contest “Todo el Mundo Canta”, where they took off on a spiral of success in Cuba and the world.

They traveled to many countries promoting Cuban music. They participated in Festivals of international relevance in Australia, Bosnia, Canada, Croatia, Cyprus, United Kingdom, Greece, Ireland, Israel, Italy, Macedonia, Mexico, Portugal, Puerto Rico, Singapore, Slovenia, Turkey, Yugoslavia and the United States.

A faithful cultivator of Son, Rodríguez participated in the Afro Cuban All Stars project, nominated for a Grammy in 1998 and parallel to the Buena Vista Social Club.

His excellent voice, comparable according to critics to that of the great cultivators of the genre, was one of the emblematic of the current Cuban dance music scene.

She began recording in 1981 her first album, “Sierra Maestra Llegó con El Guanajo Relleno”, was a silver disc and received excellent reviews. He participated in the Afro Cuban All Stars project, and parallel to the Buena Vista Social Club.

The trumpet player José Alemañy, Cubanisimo, and Juan de Marcos González, founder of the Buena Vista Social Club, were his partners in the group for years, and together they undertook the task of recovering the tradition of famous sones and soneros, revitalizing the genre at a time when other musicians were opting for salsa and more commercial rhythms.

According to the Cuban composer, José Antonio Rodríguez not only possessed a very special voice, “he also had the courage and human qualities to remain faithful to that style, the son style, which is the mother of Cuban music”.

The repertoire of Rodriguez, known as Maceo among his friends and admirers, included, in addition to the great classics of traditional son, pieces that became very popular in his voice, such as Dame un traguito ahora or Esa mujer lo que quiere es que la miren.

Maceo, although small in stature, was an immense man, someone who could not conceive where to keep the torrent of voice he displayed without ostentation, so much musicality, intonation and love for Cuban music.

José Antonio was not only a great musician, he was a great person, very loved by his closest friends and in general by the people whose affection and admiration he won since the participation of Sierra Maestra in the Adolfo Guzmán contest and that thanks to his special way of interpreting the Cuban son, great musicians such as Ignacio Piñeiro’s Septeto were born again in the popular taste.

The singer died on November 6, 2005, just a few hours after finishing the European tour of Sierra Maestra with a concert at the Amager concert hall in Copenhagen.

With this presentation, the popular band put an end to the performance of all the Cuban artists who participated in the First International Latin Music Festival of that capital. The sonero’s remains were repatriated to Cuba, where he was buried.

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Virginia Ramirez is the artist of the XXI century, the Princess of Piano and Voice, the hope that will save the new generations of anti-music

Virginia Ramirez, the talented concert pianist, pianist and singer-songwriter, has been making an impact for her contributions to the music of her country and the world. She was born in the city of San Cristobal, Venezuela and grew up in a family where art, poetry and music were the language of every day.

Virginia Ramírez es la artista del siglo XXI

His mother was a poet (Etha, the Lady of Love), Dr. Enriqueta Martinez, his father Asdrubal Ramirez, a self-taught harpist, guitarist and singer of Venezuelan popular music.

Since she was 7 years old she plays the piano and from a very young age she began to develop her musical skills, she started her training at the Miguel Angel Espinel School with the well-known teachers Edgar Vasquez (Piano) and Heliodoro Contreras (Theory and Solfeo).

She graduated as a pianist, concert pianist and piano teacher at the National School of Music in Havana (Cuba) where she graduated with the highest qualifications and studied at the José Lorenzo Llamozas School and the Simon Bolivar Conservatory of Music.

He has taken courses in harmony and improvisation with professors Gerry Weil, Andres Alen Rodriguez and Mike Orta at the “FIU of Miami” in the jazz department.

Ramirez studied classical piano with Professor Igor Lavrov, recorded her jazz projects with drummer Willy Díaz and bassist José Velázquez in the “Jazz” program of the Venezuelan TV channel “Venezolana de Televisión” in Venezuela on several occasions, and her first album “Espiral de Fuego”.

She participated as a special guest of other groups such as Alberto Borregales and Fredy Roldán and El grupo la Calle.

She participated with a new proposal as a composer and pianist in important Jazz festivals in Venezuela as the “Latin Festival” of the Teatro de la Opera de Maracay (June 2003) and the “Prehot” of the 5th.

Festival de Jazz del Hatillo (October 2003), where he alternated and shared the stage with the American bands of Aaron Thurston (drummer) and Jaime Baum (flutist), receiving excellent reviews from the radio and television press.

She alternates her activity as a jazz concert performer with teaching, as a piano and singing teacher.

In her music school Vicky’s harpsichord.

Her formidable work in music and composition is very beautiful and colorful, because in her proposal she has fused jazz and Afro-Venezuelan elements highlighting the values of Venezuelan and Latin American music and using a variety of drums such as the Culo’e Puya, Quitiplas, Clarines, Cumaco and Chimbangles combining them with the songs of the peoples of the coast of Venezuela making excellent personal harmonic contributions.

He has achieved a high musical concept that has been recognized in the continent and the world, for that incredible capacity to unite the idea of the concert with the characteristics of the Show and for that reason he contributes much more of the pure musical element in each one of his performances.

With a rich repertoire and an unparalleled originality in the world of Venezuelan Female Jazz, this excellent artist is a source of joy and an excellent contribution to the new generations of Jazz.

She has won countless national and international awards and recognitions, among which stand out: World Prize “César Vallejo” for Artistic Excellence, World Prize “El Águila de Oro” for Artistic Excellence 2022, 2023, almo Chispeante prize 2024, awarded by the UHE, world Hispanic writers union, thousand minds for Mexico, and world academy of literature, history, art and culture First Mention in the Juan Sebastián Bach Competition in Havana Cuba.

1993 as a teacher, pianist, concert pianist has participated in various festivals and concerts such as the Fitztrovia Festival in London, in Mexico, Madrid, the south of France, in Colombia with his salsa group tabaco latino, where he performed in different cities, Cali, Bogota and Medellin.

Within the salsa accompanied artists such as: Cheo Feliciano, Hernán Olivera, Meñique Lena Burke the singer Alfredy Bogado of the Venezuelan group “La Calle” and precisely with this group La Calle in the Juan Sebastian Bar when she worked there in 2000 was where they began their activities with salsa in several cycles of pianists, composers and arrangers.

In the Keyboard Museum of Caracas, in a jazz trio with Nene Quintero and William Velázquez on bass, in the Festival a toda Música Caracas, in the opera theater of Maracay and the Simón Bolívar University, among others.

Excellent comments in the national and international critics, have generated the presentation of his CD “Espiral de Fuego” presented by Otmaro Ruiz Jaquest Braunstein and Gerry Weil in his album “Manos y Alma” recorded, outstanding musicians such as: Nene Quintero, Aquiles Baez, Roberto Koch, Gonzalo Teppa.

Special guests: Vasallos del Sol, Aquiles Baez and C4 trio. This album “Manos y Alma” was presented by Aquiles Baez, Luis Perdomo and Pablo Aguirre from the BBC in London, received excellent reviews from the press in the south of France.

Her performance in the church La Canourgue in the south of France accompanied by the musicians Didier Hennot and Tonny Margalejo and her tour of successive concerts, carried out in France in different cities Mende, Saint Privat Des Vieux, Lozere, Ispagnac presenting her albums mentioned above.

She participated in the assembly and production of the play Cabaret with important theater artists such as Francis Rueda, Cayito Aponte, Natalia Martinez, Adrian Delgado, Karl Hoffman, Luis Fernandez performing in the Rios Reyna hall of the Teresa Carreño in different cities of Venezuela.

Virginia had the luxury of playing keyboards in the Kit Kat Club Band directed by Armando Lovera.

Great impact had her album “jazzguinaldos” produced as a trio with musicians Gonzalo Teppa and Nene Quintero, including as special guests Enio Escuariza, composer of all the lyrics of the album.

Her project “Acro Jazz” opens the horizon towards the world of circus arts, performing in different cultural centers of Venezuela musicalizing with the piano circus works and participating herself as a circus artist with the artist Jesús Piña in a pulsating work in the museum of the keyboard, Trujillo, Valencia among other cities with a new band integrated by Rubén Rebolledo Guitar, Willy Díaz Drums, David Rubio Bass and as special guests Jesús Piña and Kerlly Garcia.

He performed in the city of Morelia and Mexico, founded in 2015 a trio with musicians Fernando Mendoza Drums and Flavio Meneses bass, presenting the music of his albums in different nightclubs like Amati, Café de las Rosas, Casa de la cultura de Uruapan, and other cities of Morelia.

Virginia Ramírez, la talentosa concertista, pianista y cantautora

She accompanied drummer Antonio Sanchez in the house of music in Morelia.

Virginia Ramirez has collaborated with different artists of the Venezuelan music scene such as the group Facundo Project a Venezuelan Rock group, the singer Cheo Linares in his album “llegó la Navidad”, the singer Amarilis Bolaño in her album singing Henry Martinez, the singer Alejandra Gonzales in her album “Joyas de mi País” in the album “Tierra Liberada” and in the project “Venezuela demo”.

Ramirez has made music a matter of life and in her habitat of pianist and concert pianist, prepares for this year a vast plan to musicalize the poetry of the greatest poets of the world and a program entitled “La Totalidad de Virginia Ramirez”, by Cabina 11, Canal Global de Queretaro, Mexico, a country that has already known of her beauty and great talent.

I see in Virginia Ramirez, the complete artist with infinite talents as a pianist, singer, composer, songwriter and circus artist, who intentionally projects herself, illuminating the artistic firmament of the world with daring and magical projects that will always surprise the audience and make them feel the desire to ask for more.

Undoubtedly Virginia Ramirez is the artist of the XXI century, the princess of the piano and voice, the hope that will save the new generations of anti-music.

Dr. Carlos Hugo Garrido Chalem president of mil mentes por México and of the UHE Hispanic World Writers Union. President of the world academy of literature, history, art and culture.

Alterna su actividad de concertista de Jazz con la docencia, como profesora de piano y canto en su escuela de música la clave de Vicky.

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