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The Piano That Schooled the World the Eternal Legacy of “Professor” Joe Torres

The history of salsa is not only written by the voices of its idols or the thunder of its brass; it is written, fundamentally, on the black and white keys of those who knew how to sustain the pulse of an era.

On April 13, 2020, in the quiet of a Bronx hospital, the “backbone” of Salsa Dura passed away at the age of 76: José Manuel Torres, known universally as “Professor Joe.”

Jose Manuel Torres Professor Joe Torres passed away on this day, April 13, 2020, in the Bronx, New York City, at the age of 76

Born in Manhattan on November 29, 1943, a son of the Puerto Rican diaspora from Guayama and Ponce, Torres embodied the pure essence of the Nuyorican.

Raised on Fox Street, his destiny was sealed in the hallways of P.S. 52 an elementary school that would eventually become the academic sanctuary of Latin music in the South Bronx.

Excellence as the Standard: From Neighborhood Sound to Musical Glory

His nickname, “The Professor,” was no mere poetic license. In a musical ecosystem where many relied on intuition, Joe possessed an almost mathematical skill: sight-reading.

Un pianista maravilloso, que no se parece a nadie

His technical precision allowed him to navigate elegantly between formal discipline and “street” flavor (sabor).

After debuting in the 1960s with the “King of the Bass,” Bobby Valentín, on seminal albums like Bad Breath, his career took a definitive turn when he joined the orchestra of a young, rebellious Willie Colón.

Replacing the virtuoso Mark Dimond, Torres didn’t just fill a void; he defined an aesthetic. For a quarter-century, he was the harmonic architect behind the two greatest giants of the genre: Willie Colón and Héctor Lavoe.

“As the pianist for the band, Professor Joe Torres was excellent,” Colón would recall years later.

It is his piano that resonates in the urban chronicles of Cosa Nuestra; the piano that provides the festive nostalgia in both volumes of Asalto Navideño a cornerstone of Puerto Rican identity and the piano that sustains the rhythmic tension in classics like The Big Break (La Gran Fuga) and Lo Mato.

There was no Fania milestone where Joe did not leave his mark, from the social lyricism of Siembra and Maestra Vida with Rubén Blades, to the raw power of Lavoe’s solo career.

Joe acompañó a Willie Colón y Héctor Lavoe en gran parte de sus grabaciones

Humility in the Shadows: The Man and the Legend

Despite participating in more than thirty productions that are now considered world cultural heritage, Joe Torres never felt the urge to claim the spotlight of a frontman.

As his colleague José Mangual Jr. noted, his humility was as vast as his talent. He preferred the rigor of the studio and the camaraderie of the stage, balancing his musical genius with his work as a computer technician a duality that spoke to his sharp intelligence and adaptability.

El Piano que Dictó Cátedra el Legado Eterno del “Profesor Joe” Torres

His legacy was celebrated in the year 2000 during the historic reunion concert of the “P.S. 52 Alums,” immortalized in the documentary From Mambo to Hip Hop. There, surrounded by titans like Ray Barretto and Manny Oquendo, Joe remained the same: a man with a kind smile and a sharp mind who, according to Blades, represented the true “gentlemanliness” of salsa.

Today, years after his passing, the void at the piano bench remains felt. The “Professor” didn’t just teach people how to read music; he taught that true greatness does not require noise.

His music lives on in every descarga, reminding us that as long as there is a piano playing in the Bronx, the echo of José Manuel Torres will never stop schooling the world.

Also Read: International Salsa Magazine presents essential trivia and facts about Héctor Lavoe.

‘‘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’ 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

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.

José Mangual Sr. “Buyú”: The Architect of Bongo Sound Defining the Rules of How it Should Sound

In the history of Afro-Latin music, there are names that didn’t just play an instrument they defined the rules of how it should sound. José Mangual Sr., known universally as “Buyú,” is one of those pillars.

José Mangual Sr., known universally as Buyú, is one of those pillars

An extraordinary and legendary percussionist, José Mangual Sr. was the founder of the prestigious percussive lineage that carries his surname.

Since his childhood in Juana Díaz, he professed a deep love for music; by age ten, he was already playing professionally, and during his youth, he even enjoyed crafting his own bongos.

Over time, he became the musician who endowed the instrument with an extraordinary sonority. He was the father of the equally prominent percussionists José Mangual Jr. and Luis Mangual.

The Architect of Sound on the Bongos defining the rules of how it should sound

Considered by experts as one of the greatest bongo players of all time, his legacy remains the gold standard for meter and tuning in Latin Jazz and Salsa.

From Juana Díaz to the Heart of Spanish Harlem

Born on March 18, 1924, in Juana Díaz, Puerto Rico, Mangual discovered his vocation at age 10. However, his musical destiny was sealed in 1938 when he migrated to New York at the age of 14.

Settling in Spanish Harlem (“El Barrio”), he found himself at the epicenter of a cultural explosion that was about to change world music forever.

The Consecration: Machito and his Afro-Cubans

Although he began by filling the timbales position, it was with the Machito and his Afro-Cubans orchestra where “Buyú” made history. Under the direction of Mario Bauzá (who is said to have given him his nickname), Mangual remained with the group for nearly 17 years.

The Legacy and the Patriarch of a Dynasty

Rhythmic Innovation: He was part of the “perfect percussion trio” alongside Carlos Vidal (congas) and Machito (maracas).
Historic Fusion: His performance was key to blending the complexity of Afro-Cuban rhythms with the harmonies of New York Jazz in the 1940s and 50s.

An Unrivaled Session Musician

His technique was so clean and his sound so bright that he became the preferred collaborator for the biggest stars. Throughout his career, he contributed his mastery to projects led by:

Tito Puente: The “King of the Timbales.”
Israel López “Cachao”: Participating in historic Afro-Cuban Jazz “descargas” (jam sessions).
Jazz Greats: His versatility allowed him to navigate fluidly between the world of Big Bands and traditional Salsa ensembles.

Pedagogical Legacy and Solo Career

In the 70s and 80s, Mangual recorded music not only for enjoyment but also for instruction:

Album “Buyú” (1977): A Latin Jazz gem on the Turnstyle label, featuring tracks like “Black & Brown Boogie.”
Musical Education: Alongside conguero Carlos “Patato” Valdés, he recorded the volumes of Understanding Latin Rhythms. These LPs became the auditory manual for thousands of percussionists around the globe.
The Mangual Dynasty: In 1986, he consolidated his family heritage with the album Los Mangual: Una Dinastía, recording alongside his talented sons.

“The sound of his cowbell and his bongo didn’t just mark time; they cemented the foundations of the music we dance to today.”

The Patriarch of a Dynasty

The impact of José Mangual Sr. extends through his sons, who inherited his musical excellence:

José Mangual Jr. (“El Milamores”): Famous bongo player and singer, a key figure in the orchestras of Willie Colón and Héctor Lavoe.
Luis Mangual: Renowned percussionist and musical director.

Passing and Recognition: Buyú passed away in 1998, leaving an irreplaceable void. In 2001, he was posthumously inducted into the International Latin Music Hall of Fame a fitting tribute to the man who gave the bongo unprecedented brilliance and elegance.

Also Read: Israel “Cachao” López, a Cuban musician and composer, has been hailed as “the Inventor of Mambo”

Bandleader and bongosero Ray Degaldo is here to talk about his life and career

The talented percussionist Ray Delgado has made room in his schedule to share some time with us and talk about some of the most curious details of his artistic career, which fills us with pride and gratitude in equal measure. The founder of the Ray Delgado Project has many interesting things to say, and we are more than willing to listen.

Ray playing the bongo — Ray Delgado playing the bongo live

Ray’s inspirations to become an artist

Ray grew up in a family with deep Puerto Rican roots and was raised between Puerto Rico and New York because his parents constantly moved from one place to another, which made him feel very fortunate because he was being formed between two cultures that allowed him to listen to all kinds of music. In his time, radio remained extremely popular, so this was his vehicle to travel just by listening to certain songs.

Music in English came from the United States and Europe, while music in Spanish came from Cuba, Venezuela, Puerto Rico, the Dominican Republic, Jamaica, and many other countries. Delgado was exposed to all genres, but as a New Yorker, the one that resonated the most with him was salsa and the atmosphere that it brings with it. In fact, he remembers having the joy of seeing the Machito Orchestra, Johnny Pacheco, Héctor Lavoe, Willie Colón, Pete Conde, and many others live.

These great exponents were the ones who sparked off the young man’s desire to pursue music at some point, but his father did not like the idea at all, as he saw the men in this business as womanizers, drunks, and irresponsible. Obviously, no father wants his son to end up like that, so Ray had to wait to become a responsible adult with a steady job to finally realize his aspirations as a kid.

Ray and his father — Ramón Delgado Castro holding his son Ray Delgado and his brother when they were babies

It all started when some older men invited him to play with them, so he found an old bongo drum he kept in his closet and accepted the offer without a second thought.

That was the point of departure for him to play with many other bands in New York, and his consistent work led him to want to be better, to study hard and prepare himself much more.

Ray’s music education

Ray studied at the East Harlem Music School founded by legendary musician Johnny Colón in Manhattan, and focused on timbales with teacher Ray Cruz, but he left the instrument aside for a while when he moved back to Puerto Rico. When returning from the Island of Enchantment, he enrolled at the Harbor Conservatory for the Performing Arts. He also studied with Professor George Delgado, who is the current conguero for the Spanish Harlem Orchestra. He describes him as an excellent teacher and musician from whom he learned so much.

Additionally, he had the support of many musician friends who also helped him and taught him many things that are not learned in an educational institution, including Luis Rivera, Radamés Rojas, Eric Rivera, and many others. Close contact with other artists and groups made him see that many sounded exactly the same and there was little variety, so he decided to form his own orchestra.

In this way, he also learned percussion, which is the area by which he is best known today.

Joe and Ray — Joe Bataan and Ray Delgado

Ray Delgado Project’s birth

Driven by the lack of musical variety in his environment, he wanted to create his own musical project that included vibraphone, percussion, piano, bass, and vocalist. It all started with a workshop for musicians offered by Ray himself in a community room in the building where he lived and he was allowed to use it. After having played and experimented with different styles, the group was getting smaller until all the musicians who signed up ended up leaving.

From there, at every show and opportunity he had to meet new musicians, he would ask for their numbers to recruit them and achieve a chemistry and combination, resulting in the sound he wanted. Ray was in that process from 2009 until now. About three years ago, in 2023, he finally got what he was looking for.

This group was called Ray Delgado Project, which takes up a huge amount of time and effort. However, the musician says that the New York where his youth was spent, which offered lots of places to go dancing, no longer exists, so there is not much work as back then.

Today, they play many covers of great hits from the 1970s, but they add their own touch to stand out with completely new arrangements. Not so long ago, they released their new version of “Lo Que Traigo es Sabroso,” a hit by Eddie Palmieri, and adapted it to their own style and arrangements. It can be found on Spotify and the main digital platforms.

Ray and his orchestra — Ray Fuentes (piano), Abraham Saenz (bass), Danny Sieber (vibraphone), Ray Delgado (director and bongo), Rhadames ”Randy” Rojas (lead vocals) Izzy Diaz (congas), and José ”Cheo” Colón (timbales)

Ray is so happy with what he has achieved so far with their orchestra that ensures that when God calls him, he will be calm and happy to have been able to play and make audiences dance during his lifetime. God willing, we wish him many more years playing with the Ray Delgado Project, enjoying life and bringing joy to those who have the pleasure of listening to him.

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

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

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.

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

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