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Search Results for: Gran Combo of Puerto Rico

De Tierra Caliente founder Bronson Tennis talks about his career and band

There have been many American musicians who have fallen to the charms of Latin music, which is a practically inexhaustible source of genres allowing them to experiment with in many ways. One of them is Bronson Tennis, with whom we have been fortunate to talk about his interesting career and current musical group, De Tierra Caliente.

Bronson playing
De Tierra Caliente founder Bronson Tennis playing the guitar

Bronson’s beginnings in music

Bronson Tennis began to put his eyes on music when he was just a child, when he was very attracted to the 1990s alternative rock movement in the United States. When he was only 11 years old, his parents bought him his first bass guitar and later he also wanted to learn to play the guitar and sing.

In family matters, Bronson and his three brothers are musicians and several of his cousins and uncles have also been musicians. In addition, his mother was a fine artist and his grandmother was an art teacher.

Both in school and church, the boy always chased opportunities to sing and show his vocal skills to anyone who wanted to hear. He also took advantage of all these spaces to learn as much as he could about music until he was old enough to exercise it professionally. 

Today, his main instrument is the guitar, although he also plays the cavaquinho (an instrument of Portuguese origin which is widely used in samba) and the roncoco, which is an adaptation of the Andean charango that he uses to play salsa and Cuban son.

Bronson posing for the camera
Bronson Tennis playing the guitar while posing for the camera

Professional debut in music

Bronson also told us that he began his career path as a bassist and chorister in several musical groups in the city of San Diego between 2006 and 2009. He then spent some time in Philadelphia, where he also played with other bands from a variety of genres.

It is interesting that he lived in Buenos Aires, Argentina, where he also worked as a bassist and singer in some bands. In fact, in that same country, he helped form a Caribbean funk band in which he learned a lot about these genres so foreign to what he played in his childhood and youth. He stayed about four years in Argentina, specifically between 2009 and 2012, until he moved to Brazil for about six months to continue learning more and more about Latin music, but it was not his last stop in South America, as he was also in Colombia for a while more.

Following this, he returned to Philadelphia and decided to form his own orchestra which he named De Tierra Caliente.

Prior to De Tierra Caliente

When Bronson returned to Philadelphia, he had the chance to meet some musicians from the Puerto Rican music scene in that city and saw that they had similar outlooks on music, so they got back in the saddle to prepare a formal project amongst themselves.

The artist assures that it was in Argentina where he learned what it takes to move forward with his band. ”Argentines are people who do everything with strength and confidence, whether in music or in soccer. No matter who or what they have to face, as they take on all the challenges with confidence and that is something we could all learn from Argentina.” Bronson said of his stay in that country.

Bronson and his band
(L to R) Papo Buda, Bronson Tennis, Eubie Nieves, Andy Meyer and Steve Cochran

In Brazil, he studied percussion and learned Portuguese, while Colombia taught him to play salsa, champeta, vallenato and many other genres. In short, each country he has visited gave him tools to facilitate his learning in everything about Latin music in various areas.

Precisely thanks to all this acquired knowledge is that Bronson finally felt able to form his own band in 2014 in union with fellow musicians who understood what he wanted to carry out.

How De Tierra Caliente started

Upon his return to the United States, Bronson was very clear that he wanted to incorporate all those elements learned in South America and the Caribbean, but giving them his own touch. It was then that he met conguero Papo Buda, with whom he agreed on much and began the recruiting process for the rest of the musicians.

After that, Bronson and Papo could add more artists to the group, resulting in a fairly consistent group over time. Since its founding, very few musicians have left the band and Bronson and those who remain have an excellent relationship with all of them despite no longer being band mates.

Among his greatest inspirations, Bronson mentioned many artists and groups of various nationalities and genres such as El Gran Combo de Puerto Rico, the Brazilian composer and singer Paulinho da Viola, the group Caribe Funk and many others.

De Tierra Caliente playing
De Tierra Caliente playing live in Yardley

Read also: Latin jazz and mambo trumpeter Jonathan Powell and his great collaborations

His name is: Elio Osácar Douguet, and artistically we know him as: Sonny Bravo

Interview conducted by journalist and music researcher Robert Téllez M., on February 4, 2017 and originally published later on the SONFONÍA portal. Interview provided by the author for International Salsa Magazine (ISM).

His name is Elio Osácar Douguet, and artistically we know him as Sonny Bravo.
His name is Elio Osácar Douguet, and artistically we know him as Sonny Bravo.

Robert: His name is: Elio Osácar Douguet, and artistically we know him as: Sonny Bravo When and where were you born?

Sonny: I was born on October 7, 1936 in West Harlem, New York City.

Robert: Are you of Cuban descent?

Sonny: Yes, my grandparents were born in Havana, three in Santiago de las Vegas and one (maternal grandfather) in Bejucal. My parents were born in Key West, FL, and raised in Tampa, FL.

Robert: Tell me about your father Santiago “Elio” Osacar.

Sonny: Obviously, my first mentor! Santiago Osácar Colomá, born October 12, 1911 in Key West, FL, raised in Tampa, FL. He and his two older brothers, Juan and Tomás, founded the Sexteto Tampeño in 1928. He married my mother, Elisa Douguet Bravo in February 1932 and they settled in New York around 1933. Shortly thereafter he joined the Caney Quartet as bassist and second voice. At that time he also formed and recorded with his own group, the Conjunto Moderno. Later he was also a member of Monchito y su Orquesta. But he always returned to Caney! Until his death in the summer of 1957, from a pancreatitis attack he suffered on the stage of the Chateau Madrid in NY.

Robert: Maestro Sonny, is it true that you played baseball, but due to an injury you turned to music?

Sonny: Yes, it was in an amateur league in Miami where I was raised, my father was the manager! I was a pitcher and after pitching a complete game, while it was drizzling; the shoulder pains started the next day and that’s as far as my brief career went.

Robert: Did you write arrangements for Conjunto Caney?

Sonny: I only wrote one, “Añorado Encuentro” (Piloto y Vera), but it was never recorded.

Robert: What groups did you work with in Miami?

Sonny: My first job was with the Conjunto Casino de Miami. I also worked with several orchestras (Juanito Sanabria) and several combos (Cheo Venero, Gonzalo Barr). From 1959 to 1961 I was with Conjunto Caney. Then (1961-1963) with Mandy Campo, with whom I made my first tour outside the U.S., it was to Aruba and San Juan, Puerto Rico. Between 1963 and 1964 I worked with José Fajardo. He played dances in Miami on Saturdays and in New York clubs the rest of the week. When he decided to stay in New York, he convinced me to return with him.

Elio Osácar Douguet
Elio Osácar Douguet

Robert: Is the Típico Charanga format your favorite?

Sonny: Yes! I would like to have the same format we used on Alfredo de la Fé’s LP (Toca, Alfredo Toca) with the modern harmonies that can be heard in my arrangement of “El casabe,” my adaptation of Humberto Perera’s arrangement of “Que rico bailo yo,” and my arrangement of my own song, “Toca, Alfredo toca.”

Robert: What pianists influenced your playing?

Sonny: Charanga genre: Jesús López. Ensemble genre: Lilí Martínez. Big band and combo genre: Pedro “Peruchín” Jústiz. Variety of genres: Rubén González.

Robert: How did you become involved with the José Fajardo Orchestra?

Sonny: In 1963, bassist Nilo Sierra took me to the Palladium to meet Fajardo. After I married my first wife, I returned to Miami, and was able to contact him. During 1963 I played with him the dances I mentioned above and also toured with him to Venezuela, Mexico, Santo Domingo, and Puerto Rico. Fajardo stayed to fulfill his contract at the San Juan Hotel, but Orestes Vilató and I returned to New York. Orestes because of melancholy, and I, because I found out that my wife was going to give birth in January 1965.

Robert: As I understand it, when you settle in New York, you start playing with: Willie Bobo, Bobby Valentin and Ray Barretto What would you highlight about your work with Barretto?

Sonny: Between 1965 and 1966 I was Raul Marrero’s musical director. Besides what you mentioned, I also played with Vicentico Valdés, Mauricio Smith, Cortijo, Maelo and La orquesta Broadway, at that time. With Ray Barretto (and his charanga format) I only worked for two weeks, that was in October 1966, until the return of his pianist, Edy Martínez, who had stayed in Colombia after a tour. I felt very comfortable with Barretto’s group and I would have liked to continue playing with him.

Sonny was born on October 7, 1936 in West Harlem, New York City.
Sonny was born on October 7, 1936 in West Harlem, New York City.

Robert: How did your integration with La Tipica 73 come about?

Sonny: I was there from the beginning. The group (unnamed) started in the summer of 1972 with musicians from various orchestras in a “jam session” (descarga) format, with the purpose of filling out the week with stews on Mondays, Tuesdays and Thursdays, that is, the laziest days in clubs and dance halls. Alfredo de la Fe was one of the original musicians. He and I played with Fajardo at that time.

There was also Bobby Nelson (flute) from Charlie Palmieri’s orchestra. Instigated by Johnny “Dandy” Rodriguez and with the support of several promoters and club managers, we decided to strengthen the group, create an ensemble and take the risk of competing with the already established groups.

Robert: Where did the idea of making the record production “Intercambio Cultural” come from?

Sonny: Johnny Rodriguez made the connection when he went to Havana on vacation. When he returned, he convinced Jerry Masucci to initiate the arrangements so that he could record at EGREM’s studios.

Robert: Was Típica 73 blocked because they had performed and recorded in Cuba and that’s why the group disbanded? Or were there other reasons…

Sonny: That’s the only reason!

Robert: What do you remember about your experience with Conjunto Clasico?

Sonny:

Side A: A lot of work, good music, good musicians.

Side B: Out of 20 songs, there were 19 solos of three and only one piano solo!

Robert: Maestro Sonny, you were present in several stages of Tito Puente’s orchestra, did you replace Jorge Dalto?

Sonny: Yes, in the Latin Jazz Ensemble. Jorge had his own group called “InterAmerican Band”. In the salsa band, I replaced Ruben Rivera. Eventually, the two formats came together to form a super-combo.

Robert: Of all the arrangements you have done in your career, which is your favorite?

Sonny: I have several, by format.

COMBO:

Typical ’73:

  1. Chachagüere
  2. Tula
  3. Rumba caliente
Típica 73
Típica 73

BIG BAND:

Latin Giants of Jazz:

  1. Gua Cha Rumba
  2. I have to conform
  3. I don’t bother
Latin Giants of Jazz
Latin Giants of Jazz

Mambo Legends Orchestra:

  1. Conmigo, candela brava 2.
Mambo Legends Orchestra
Mambo Legends Orchestra

CHARANGA:

Alfredo de la Fé:

  1. Toca, Alfredo Toca
  2. El Casabe
Toca, Alfredo Toca
Toca, Alfredo Toca

Robert: And your favorite piano solo?

Sonny: I have two. El casabe (Alfredo de la Fe LP), because of the relaxed son montuno tempo and because of my favorite format: ¡Charanga moderna! And ¿Adónde vas? (Tito Puente’s LP) because it was recorded live and I could extend the solo, and because it’s the King’s orchestra!

Robert: On January 28, 2003 there was a historic reunion in Puerto Rico, which culminated with the release of the album TIPICA 73 LIVE. How did you live that experience?

Sonny: The audience enjoyed it, but not me. There was flavor and swing, but the piano had a damaged key and I was almost completely out of tune and the choruses were pretty weak. The record was bootlegged before it was released.

Robert: Of today’s pianists, who would you single out?

Sonny: In the Afro-Caribbean Jazz genre (Latin Jazz) there are a ton of Cubans like Chucho Valdés, Gonzalo Rubalcaba, Hilario Durán, Ernán López-Nussa, Harold López-Nussa, Aldo López-Gavilán, Iván “Melón” Lewis, Alexis Bosch, Yan Carlos Artime, Rolando Luna, Ramón Valle, Manuel Valera, Daniel Amat, the Venezuelan Luis Perdomo, the Colombian Edy Martínez, etc. In the genre they call salsa, my favorite: Papo Lucca, the poet of the piano, impeccable flavor and swing. Eddie Palmieri is Eddie Palmieri! Oscar Hernandez, Ricky Gonzalez, Edwin Sanchez and Yeissonn Villamar.

Robert: What future do you see for salsa?

Sonny: Unfortunately, I think it is diminishing with the disappearance of the old guard. We need to remember and respect tradition, but we also need to move forward, developing genres and sub-genres. For example, in Cuba, dance is developed and danzonete and danzón emerge. They develop the son and the son montuno, the guaracha, the mozambique, the mambo, the ritmo pilón, the ritmo pa’ cá, etc., emerge. Then came the songo and the timba, all based on the son. Where is the development of the New York, Puerto Rican, Caribbean or South American “salsa”? It is still more or less the same since the day it was discovered. If it were not for the innovations in Cuba, there would be no groups such as: Los Van Van, NG La Banda, La Ritmo Oriental, Klimax, etc. And please don’t talk to me about “salsa monga” or “bachata” or “reggaeton”, which, in my humble opinion, are not innovations, but aberrations!

Exclusive interview with Sonny Bravo

Interview by music journalist and researcher Robert Tellez M.

Robert Téllez M.
Robert Téllez M.

Also Read: Robert Tellez is undoubtedly “El más que sabe de salsa” (The one who knows the most about Salsa)

Renzo Padilla “El Borincaico”

Latin America / Peru / Lima

Renzo Padilla (Renzo Antonio Padilla Reyes) was born in Barrios Altos in Lima, Peru, on July 12, 1979. In search of a better future, in 1993 his parents decided to travel to the city of Buenos Aires.

Renzo Padilla. At the age of 15, Renzo began his career as a backing singer with the “New Band Salsa” Orchestra. His time with this group was brief, because later he would join the Orquesta La Original, made up of Peruvian musicians based in Buenos Aires.

Renzo Padilla
Renzo Padilla
Photo of Renzo Padilla in concert
Photo of Renzo Padilla in concert

In the year 2000 he moved to New York City, fulfilling a dream that he thought was impossible. That same year he signed a contract with the Grupo Fuerza Juvenil, he participated for two years in this group that was nominated for the Billboard awards in 2002.

He meets the timbalero Jimmy Delgado and he offered him a project to record, so Renzo resigns from Fuerza Juvenil and decides to record with Delgado, his first single titled Salsa con Dulzura. After this recording he was invited to accompany the most renowned artists in the world of salsa, such as: Frankie Hernández, Cheo Feliciano, Ismael Miranda, Cano Estremera, Ismael Quintana, David Pabón, Roberto Roena, Marvin Santiago, Meñique, Ray Barreto. , Adalberto Santiago, Cuco Valoy, Junior González, Paquito Guzmán, Yolanda Rivera, Luigi Texidor, José Bello, Pedro Conga, Cheo Andujar, Anthony Cruz, Luisito Carrion, Maelo Ruiz, Tito Nieves.

Renzo Padilla in concert
Renzo Padilla in concert
Renzo Padilla
Renzo Padilla

Another of his dreams came true when he met the master Willie Colon, he was invited by him to perform a song by Hector Lavoe, in a New York nightclub. He was also invited by El Gran Combo de Puerto Rico on several occasions.

In 2003, Ray Barreto and Adalberto Santiago met again, in which he participated as a chorister at the prestigious Carnegie Hall in New York.

Renzo Padilla in concert 2
Renzo Padilla in concert 2
Renzo Padilla on stage
Renzo Padilla on stage

In 2006 with bassist Ray Martínez he recorded his second album Alto Nivel, and recorded two songs with the Narváez Orchestra. In 2008 he sang with Jimmy Delgado at the Leyendas de la Salsa Concert, along with a lineup of artists such as Luis Perico Ortiz, Richie Ray, Bobby Cruz, Lalo Rodríguez and Adalberto Santiago.

Renzo also sang in the second part of the Legends of Salsa Concert in tribute to Ismael Quintana, where Tony Vega, Luis Perico Ortiz, Lalo Rodríguez, Héctor Tricoche performed, among others.

In 2009 he was a soloist with the Lavoe All Stars Orchestra, made up of musicians from Willie Colon and Hector Lavoe, such as Professor Joe Torre, José Mangual, Jimmy Delgado, Eddie Montalvo, Reynaldo Jorge, Milton Cardona.

Renzo Padilla and the orchestra
Renzo Padilla and the orchestra

In 2010 he was called by the New York group “Our Latin Thing”, to share the stage with Victor Manuel.

On the other hand, Renzo began to develop his talent as a composer. One of his compositions Donde Esta Tu Amor was recorded by Puerto Rican singer Maelo Ruiz.

In 2014 he got together with Jacob Plasse to form the Melaza Group, in which all the songs are his. In that same year, he participated in the largest salsa group, the “Fania All Stars”, and also sang for the recording of the Narváez Orchestra’s album 65 Infantería.

In 2015 he participated as a backing vocalist and as a singer in the concerts of the piano emperor Eddie Palmieri.

Renzo Padilla singing in concert
Renzo Padilla singing in concert

In October 2016 he was part of the Eddie Palmieri Orchestra that traveled to Lima to perform a concert at the National Stadium. He has been a vocalist for Los Hermanos Lebrón.

In 2017 he had a successful tour of different cities in Japan. Currently he continues to sing in Lima and on tour around the world.

Renzo Padilla singing
Renzo Padilla singing

This talented Peruvian singer is considered one of the promises of salsa. He will continue in his rising career of success and international recognition.

Elizabeth and her Timbales

Latinoamerica / Colombia / Cali

Elizabeth

Latin percussionist born in Cali, Colombia. Since she was little she felt passion for music, singing, dancing and playing percussion. At the age of 17, she was invited by her cousin to a rehearsal and since she saw the Timbal she knew she had to undertake ‘the conquest for him’.

Elizabeth and her Timbale
Elizabeth and her Timbale

The first orchestra with which he worked was called Tumbadora, made up of women. Three years later she joined the Canela Orchestra, made up of 13 women and internationally recognized. Thanks to the tutelage and trust of percussionists from the most important groups in Colombia, such as Grupo Niche, Orquesta Guayacán, la Identidad and others, she was able to move forward and thus demonstrate that women, with effort, passion and dedication can conquer any instrument of percussion.

Photo by Elizabeth
Photo by Elizabeth

Elizabeth has had the opportunity to travel the world and share the stage with renowned artists such as Gilberto Santarosa, Andy Montañez, la Sonora Ponceña and the Gran Combo de Puerto Rico. With the latter two, he had the opportunity to share Timbal solos at the Bacardi Salsa Congress in Puerto Rico.

Elizabeth
Elizabeth

She recorded on the first album of Grupo Kemade Colombia directed by one of the most important musical producers in Colombia, José Aguirre, former director of Grupo Niche, Son de Cali and Yuri Buenaventura. In the educational field, Elizabeth founded the Percussion Academy in Cali which she directed for four years. In it children and adults received instruction.

Elizabeth at the concert
Elizabeth at the concert

Elizabeth has been based in Tampa, Florida for four years, where she develops as an independent musician. There he has shared the Timbal with renowned musicians such as Chago Martínez (timbalero and musical director of Víctor Manuelle), La India, Isidro Infante, Ramón Sánchez, Jerry Rivera and Michael Stuart. He is currently part of the Sol Caribe Orchestra.

Photo 2 of Elizabeth
Photo 2 of Elizabeth
Photo 2 of Elizabeth with her timpani
Photo 2 of Elizabeth with her timpani

Elizabeth has always proudly played the Timbale LP ‘Stainless Steel’, model Tito Puente. In her own words “I’m happy with my Timbale! I feel safe, calm and I love its sound”.

Elizabeth practicing with her Timbale
Elizabeth practicing with her Timbale
Elizabeth on stage
Elizabeth on stage

Facebook: https://www.facebook.com/pg/elisabethtimbal/posts/?ref=page_internal

 

Great Christmas salsa songs and their stories

Christmas is a time of joy where one of the most important elements is music, so we believe this is the best opportunity to feature some of the best Christmas salsa songs that we can remember. Here are the most cheerful songs in Latin music to listen to during the most beautiful time of the year.

Aires de Navidad by Héctor Lavoe and Willie Colón

”Aires de Navidad” is a great song which is part of the Christmas album ”Asalto Navideño Vol. I” from 1971. In the same year, Lavoe and Colón were already making preparations to record an album entirely dedicated to the festivities, indeed, they already had some songs recorded, but they knew that there were still details to finish. 

Then, Héctor asked musician Roberto García to join the project that was underway, as they needed a guitarist to accompany them. Garcia accepted the proposal almost immediately and got excited about the project that he even proposed Yomo Toro to join them, to which Hector and Willie agreed with no problems.

The day they agreed to record the material, Toro came in first and began playing a Puerto Rican cuatro when he was scheduled to play the electric guitar. However, Johnny Pacheco, upon hearing the sounds, liked the arrangement and approved it without question. 

That is how the four artists set out and recorded what would soon become one of the greatest Christmas hymns in recent times, and it will surely be in thousands of homes around the world this month.

Aires de Navidad
One of the photos taken during the recording of ”Aires de Navidad”

La Fiesta de Pilito by El Gran Combo de Puerto Rico

”La Fiesta de Pilito” is included in the album ”Nuestra Música” by El Gran Combo de Puerto Rico, which was recorded in 1985 as a tribute to the most beautiful and endearing of the Island of Enchantment during the Christmas holidays. Back then, any musical work created by El Gran Combo always became a resounding success once it was released and its members were sure that this would be no exception.  

It is then when the composer of one of the main songs of ”Nuestra Música” came on the scene, and we are talking about Luis ”Pilito” Cruz, who would become part of the internationally acclaimed salsa group that same year.

What is known in the first instance about the song is that it did not have a specific name, so it was baptized as ”La Fiesta de Pilito” honoring the composer of its first two verses. Subsequently, the piece was completed with pregones and soneos created by the rest of the orchestra members.

Additionally, they received the support and collaboration from ‘‘El Caballero de La Salsa” Gilberto Santa Rosa, who served as a guest artist for the legendary recording.

Nuestra música at Christmas
Cover of the Christmas album ”Nuestra Música”

Bembé en Casa de Pinki by Richie Ray and Bobby Cruz

”Bembé En Casa de Pinki” is a Christmas song written by the famous duo Richie Ray and Bobby Cruz, which was released in 1971 and is the first single from the Christmas album ”Felices Pascuas”.

The song’s title comes from someone who would be very important in the career of the two aforementioned artists and that was the Panamanian-born diplomat named José Rogelio ”Pinki” Arias. The gentleman was a close friend of Richie and Bobby and, at the same time, director of the Panamanian Institute of Tourism. He used his friendship with the vocalists to invite them to various events in his country, knowing that they would be a complete success with the presence of the duo.

Such was the affection both exponents had for ”Pinki” that they dedicated to him two songs from their extensive repertoire, which were ”Bembé en Casa de Pinki” and one belonging to the album ”El Diferente”. 

Among other songs, ”Felices Pascuas” also includes tracks such as ”Bomba en Navidad”, ”Mi Niñez”, ”San José”, and ”Aguinaldo Navideño”.

Felices fiestas at Christmas
Cover of the Christmas album ”Felices Fiestas”

Estelita by La Sonora Ponceña

Another group that never misses a chance to offer their talent to please their fans and make them enter the Christmas atmosphere during the holiday season, leaving great classics that can not be missing every year in our homes and one of them is ”Estelita”.

Something that can never be missed in a Christmas album is that colorful character who always brings playfulness and good humor to the atmosphere. In this case, it is Estelita, who is a party neighbor who always sneaks into the Christmas parrandas in her neighborhood, something that many people will surely feel identified with in various parts of Latin America.

The song was written by the late maestro Joe Torres and was part of the album ”Otra Navidad Criolla!” along with ”Opera Gandinga”, ”Vamonos Pa’l Campo”, ”La Vengo Siguiendo”. 

Read also: Luis Guillermo Rangel the great friend of everyone

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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.