Search Results for: La Sonora Ponceña

Willito and Japhet from La Sonora Ponceña

The stories of two great musicians

The island of enchantment, Puerto Rico, has been one of the places with the most talented musicians in Latin America, so it is always worth mentioning some of the most important names in the music scene in this beautiful land. Today it is the turn of talented musicians Willito López Vázquez and Japhet O. Rodríguez from the world-famous orchestra La Sonora Ponceña.

Next, we will talk a little about both salsa exponents’ stories separately so that our readers can get to know these great personalities of the entertainment world who are not so famous for some.

Willito López

Wilfredo López Vázquez, artistically known as Willito López, is a famous percussionist whose career over time has been brilliant and has countless great collaborations with other exponents of the genre such as Tito Puente, Eddie Palmieri, Tito Nieves, Jerry Rivera, Luis Perico Ortiz, Lalo Rodríguez, Bobby Valentín, among many others.

One of the instruments that makes this musician excel more than another is the conga and it is present in several of the greatest records of La Sonora Ponceña, the orchestra to which the artist currently belongs.

Willito playing the conga — Willito López playing the conga during a performance

In one of his last interviews, he talked a bit about maestro Ángel ”Maldonado” Maldonado, of whom he cherishes fond memories after his unfortunate death a few years ago. He mentioned that the sonero lent his support to him when he needed it most and was very grateful for that, while regretting that he was already no more in this world.

Undoubtedly, he is a pride to his family and the artists who have had the opportunity to feature his talents for any project in the past. He has always left everything on stage with each of his works and we have no doubt that he will continue to do so as long as his arms allow him to delight the audience with his talent.

Japhet Rodriguez

Japhet Rodríguez is also a talented Puerto Rican-born percussionist who has a very interesting career behind him.

The artist was initially invited by La Sonora Ponceña to participate in some projects in 1998, but after having shown what he was really made of, he continued working with the orchestra for years to come.

Japhet with his timbales — Japhet Rodríguez with his timbales

It was in 2007 that he became an official member of the group and thanks to which he became popular all over the world while serving as the timbalero of La Sonora Ponceña.

While it is true that he has reached a huge popularity worldwide thanks to the aforementioned Puerto Rican orchestra, Japhet has been part of many other important names in Latin music such as Sabor Ponceño, La Terrífica de Ponce, Costa Brava, Moncho Santana, Los Hermanos Moreno, Willie Crespo, Camilo Azuquita, Impacto CREA, Raphy Leavitt Y La Selecta, Manix Martínez, Rafy Class, Conjunto La Perla, La Tropicana de P.R., and Homenaje Matancero.

Something very interesting about the musical career of this great artist is that all these groups to which he has belonged have not only been from Puerto Rico, but also from countries such as the United States, Panama and Colombia. This shows that his talent has not only shone in his native country, but also in other latitudes.

In next editions, we will be talking a little more about other salsa exponents who have left our music in high, so you can not miss the section of Johnny Cruz in coming months.

La Sonora Ponceña Returns To Salsa County

The only performance with Yolanda Rivera & Mario “Mayito” Rivera will be at the Lehman Center

The name “La Sonora Ponceña” is in honor of the Cuban band La Sonora Matancera and its hometown (Ponce – Puerto Rico)

La Sonora Ponceña “National Treasure of Puerto Rico” together with its leader Enrique Arsenio “Papo” Lucca returns to Salsa County (The Bronx) with the special guests Yolanda Rivera and the Cuban singer Mario “Mayito” Rivera (former member of Los Van Van) onstage at one of New York’s leading non-profit performing arts centers, Lehman Center.

This unique presentation, long-awaited by its fans, will be on Saturday, May 14^th at 8 PM at the Lehman Center for the Performing Arts located at 250 Bedford Park Blvd West, Bronx, New York 10468 and the online price per ticket ranges from between $45 – $100. https://www.lehmancenter.org/sonora-poncena

La Sonora Ponceña gained popularity in 1960 during its trip to New York City to give a series of presentations and established itself as one of the most demanded orchestras among Hispanics.

The legendary band, for more than 65 years, has made uninterrupted performances and has been recognized as one of the best Salsa orchestras for its fusion of traditional Cuban sounds with the modern style of Latin Jazz.

In 1967, under the direction of Papo Lucca, they released the first LP Hachero Pa’ Un Palo with the Inca label (a subsidiary of Fania). This album was an overwhelming success in New York as well as its second record production Fuego en el 23 (1969). The famous band from Puerto Rico recorded 29 more albums for this record label, including eight with the singer Yolanda Rivera, La Ceiba with Cuban singer Celia Cruz (1979), and in 1980 New Heights from which they began to establish the internationalization of the orchestra.

Musical Hegemony consists of 8 tracks including Caminando Con Mi Padre, Nadie Toca Como Yo, and Borrachera

This last year (2021), during the pandemic period, La Sonora Ponceña launched two new record productions: Hegemonía Musical (June 2021) and Christmas Star (November 2021).

The last one is the fourth Christmas-themed album in his career. “Thirteen years after our last Christmas production, we seek to present a record work that is a true reflection of the sound and musical quality that we always want to offer our audience”, Papo Lucca told digital media.

While “Salsa Que Cura To” is the first single taken from their most recent album Hegemonía Musical and whose authorship and interpretation is by Jorge Nicolai Avilés (vocalist of the band) with musical arrangements by Papo. Musical Hegemony, nominated in the Tropical Album of the Year category at the Billboard 2021 awards, was made with great dedication and professionalism as indicated on its official social media. “…We thank the public for the support they have been giving to this latest album that was worked with much love and dedication to the memory of our always remembered Enrique “Quique” Lucca Caraballo (RIP) and all our dear followers… And we will continue working as we have been doing for 67 years to place in your consideration what best of our music, soul, perseverance, and professionalism that seek to bring joy and enjoyment to all our dancers… Thank you very much!”

The song “Borinquen” (1980) with Sonora Ponceña becomes her a famous Salsa star

Yolanda Rivera will also perform at this event. She was born in Ponce (Puerto Rico) and moved to New York City with her family during her childhood. Her first opportunity as a singer was in 1969 in Willie Rosario’s band. In 1975 she returned to Puerto Rico and performed in several orchestras, including Joe Rodríguez’s La Terrifica. Her career reached its peak when she joined La Sonora Ponceña in 1977. The song “Borinquen” from the album Unchained Forcede (1980), a musical tribute to her native country (Puerto Rico), made her a Salsa star. Yolanda Rivera is considered one of the main and most famous singers of La Sonora Ponceña with songs like “Rumba en el Patio” and “Madrugador”. Her repertoire includes Salsa, Plena, Bolero, Guaguancó, Son Montuno, and Guaracha.

Mario “Mayito” Rivera (El Poeta de La Rumba)

The second special guest tonight will be Mario “Mayito” Rivera. His vocal skill and masterful interpretation of Cuban music in modern and traditional styles earned him the nickname “El Poeta de La Rumba”. Mayito was born in Pinar del Río (Cuba) and has training degrees from the National School of Art and the Higher Institute of Art. After his educational training in Cuba, he joined the band of the Cuban singer Albita Rodríguez and played bass in the Moncada group. From 1992 to 2011, Mayito was the lead voice and face of the successful Cuban band, Los Van Van, earning a Latin GRAMMY® and two nominations with them.

Timbalero Manolito Rodríguez Debuts a Fresh Sound as Musical Director of La Zónica

On Friday, March 27, 2026, Manolito Rodríguez and La Zónica performed at La Respuesta, a unique venue a hall where diverse musical genres blend, creating an atmosphere where a dance concert serves as the artists’ formal introduction to the public. The ensemble has been working together since August 2025, when the new orchestra was formed under the leadership of the virtuoso timbalero.

Timbalero Manolito Rodríguez arrives with a renewed energy as musical director of La Zónica

When Manolito began assembling the group, he sought out songs that resonated with him, such as “Gente Luminosa” and “A Mi Medida.” He has also been working with unreleased compositions by Anthony García and Leni Prieto. La Zónica marks a new chapter for the timbalero as the director of his own orchestra. Nevertheless, they continue to perform hits from Manolito’s previous era, now brought to life by the vocal front: Ángel Pomales, Joelis Crespo, and Gabriel Cotto. Manolito has promised to step back from singing to focus entirely on his instrument and musical direction.

The director of La Zónica hopes the dance concert at La Respuesta on March 27 marked a turning point for the band. “It’s an event we’ve been working on with great intensity,” Manolito says with enthusiasm. With energy and conviction, the timbalero adds: “I want to leave a legacy like El Gran Combo de Puerto Rico, like Sonora Ponceña, like Roberto Roena’s Apollo Sound, or Willie Rosario’s band. I want people to say in 25 years, ‘Look, that’s Manolito’s La Zónica.’ It’s a long road, but it’s possible.”

As if that weren’t enough, a new line of Meinl Percussion instruments, inspired by the young Puerto Rican timbalero, is now available.

The new line of instruments - from Meinl Percussion - inspired by Manolito — The new line of instruments – from Meinl Percussion – inspired by Manolito

A Prodigy’s Journey

The career of this salsa virtuoso began early. Manolito Rodríguez is a percussionist, musical director, singer, and dancer. While he was still in middle school, piano genius Papo Lucca invited him to record on the 45th-anniversary album, Homenaje a Tres Grandes del Teclado. “At that time, I was just entering the Escuela Libre de Música; I was in ninth grade,” the timbalero recalls. Four years later, upon graduating from the Ernesto Ramos Antonini ELM in San Juan, Manolito earned the timbalero chair with Sonora Ponceña on Papo Lucca’s recommendation. “Don Quique” accepted him, and the young musician remained with the group for four years.

Puerto Rico’s salsa stages watched Manolito Rodríguez grow up, flanked by musical institutions such as Sonora Ponceña, his now-colleague Willie Rosario, and Roberto Roena’s Apollo Sound.

His skill as a percussionist grew by leaps and bounds, and his versatility was tested on multiple fronts. In fact, his vocals were featured with the orchestra Del Sur al Norte, led by the renowned director, arranger, and producer, trumpet master Julito Alvarado. “Julito was the first one who gave me the opportunity to record as a singer,” Manolito acknowledged in an interview.

Manolito Rodríguez and La Zónica performed at La Respuesta, a different venue.

Thanks to his interactions with salsa veterans since childhood, Manolito served as musical director for various youth projects along the way. This included Revolución Juvenil in high school and Manolito y su Trabuco, an orchestra that performed every Wednesday at El Doble Seis in Caguas.

Legacy and Discipline

According to Manolito himself now a music professor—he owes much of his career to the support of his mother and grandmother, who nurtured his musical interests and encouraged him to pursue formal training. Today, the instrumentalist considers himself a “music worker” who approaches his craft with respect and maturity.

His new orchestra, La Zónica, finds him with a different mindset: he wants to concentrate on the timbales and direction. He considers Master Willie Rosario—who treats him as a protégé one of his greatest influences as a timbalero-bandleader. Rodríguez shares that when he read the authorized biography of “Mr. Afinque” (Willie Rosario, El Rey del Ritmo by researcher Robert Téllez) and saw himself mentioned, he was overcome with emotion. “My eyes welled up. I didn’t expect it,” he says. “Since I started taking things seriously, Willie has always mentored me.”

Despite his vast experience, the young musician felt deeply blessed to be chosen to fill in for the leader of “the band that delights” (la banda que deleita) on several occasions, and to perform at the Willie Rosario Centenary concert at the Coliseo de Puerto Rico. “I feel very fortunate because Willie is a very serious person, someone highly respected in the world of salsa with an impeccable career. He is a true role model.”

Following the passing of Roberto Roena, Rodríguez was also entrusted with the legacy of the Apollo Sound—a testament to the confidence and solidity he projects despite his youth. “Wow, yes. It was an honor,” he recalls nostalgically. “Roberto was the first person to give me a big break in Puerto Rico,” referring to his participation in the 1998 Día Nacional de la Zalsa at the Juan Ramón Loubriel Stadium in Bayamón.

On Sunday, March 22, 2026, Manolito Rodríguez returned to the Día Nacional de la Zalsa as the timbalero and director of La Zónica, a project that debuted last November during Sonora Ponceña’s 70th-anniversary concert. The current lineup includes: Airemyelisse Díaz (bass), Reinaldo Burgos (piano), Savier Díaz (congas), Manolito Rodríguez (timbales/director), Carlos Arroyo (bongo), Víctor “Yuca” Maldonado (baritone sax), Efraín Martínez (tenor sax), Rubén Díaz (trumpet), and Jan Santana (flugelhorn).

Manolito is well aware that “people pay to be entertained,” as he mentioned in a Zoom interview, and he views himself as a craftsman of music. He feels fortunate to be a full-time musician. “That’s what keeps me grounded. I get paid to make music. I am a music worker with great aspirations who trusts his talent and knows he must stay focused.”

Also Read: Sessions from La Loma brings together salsa fans from all over the world in Puerto Rico

Don Perignon Y La Puertorriqueña releases his new album ‘‘Classique et Savoureux’’

Today we welcome a friend of the house we have not spoken to in a long time, but who has a lot to tell. We are talking about bandleader and timbalero Pedro Luis Morales Cortijos, artistically known as Don Perignon, whom we have had the pleasure of interviewing after many years.

The artist and his orchestra La Puertorriqueña have released their latest album, ‘‘Classique et Savoureux,’’ which the Puerto Rican musician talks about in this conversation, among many other interesting topics regarding his personal life and career.

Don Perignon with a recognition — Don Perignon receiving recognition by the City of Los Angeles

A long-awaited reunion

When we were last in touch with Don Perignon, he was promoting his latest album, Demostrando A Tiempo, and, of course, much water has flowed under the bridge since then. After having released that album, the artist had many performances and quite emblematic events, such as the previous edition of El Crucero de La Salsa, which welcomed big names including El Gran Combo de Puerto Rico, La Sonora Ponceña, and many more.

There were also some performances in Puerto Rico and travel to certain parts of the United States, such as Connecticut and New York. At the same time, they were already working on “Classique et Savoureux” and another production. With Christmas approaching, he and his team preferred to shove these projects aside for a while to leave center stage to Christmas music.

Arriving January, they finally got down to work to start the production without further delay. The premiere on digital platforms was held on January 23, and the physical release will be on February 13, but it does not end there, as they are also planning a second release on March 21, on the eve of Puerto Rico’s Día Nacional de La Zalsa. For the same date, vinyls are expected to be ready for collectors who want to buy them.

For the time of this interview, the music had already been recorded, and it was now the singers, including Alex D’Castro, Hermán Olivera, Josué Rosado, and Marcial Istúriz, who were in the studio recording their voices for the album.

Gilberto and Don Perignon — Gilberto Santa Rosa and Don Perignon

Why is the album called “Classique et Savoureux”?

With regard to the curious name he chose for his album, it was a whim of Don Perignon himself, who wanted to recognize and give thanks to the public of France and the French language, from which he adopted the name Don Perignon. The artist has been calling himself that for the last 40 years and has built his career on it. Although the name comes from a famous French champagne, he has never received any claims or lawsuits demanding that he stops using it, which is much appreciated.

In fact, he got to talk to the person responsible for introducing that champagne in a beverage company in Puerto Rico and understood that Don Perignon’s career and fame in no way damages the brand’s name and reputation.

Authorized biography

In addition to releasing his album, Don Perignon has also committed part of his time to engage in his authorized biography written by Puerto Rican author and International Salsa Magazine correspondent Bella Martínez. The book tells his story from his childhood to this day and includes the participation of the artist’s great friends and collaborators, including Andy Montañéz, Víctor Manuelle, and Gilberto Santa Rosa.

Some members of his family and other important people in his life also took part in the biography.

In each and every stage of his life described in the book, music plays a fundamental role given that, in his own words, it is an enjoyment that he has never been able to see as work.

It is titled “La Salsa No Puede Morir, así dice Perignon”, and is now available through platforms such as Amazon. In addition, the cover was designed by Félix Disla, the image is by Alina De Lourdes Luciano, the introduction is by Jaime Torres Torres, and the editorial care is by Robert Tellez M.

Activities outside of music

Let us remember that Don Perignon was working as a bailiff at the Puerto Rico Department of Justice until April 2023, when he finally retired and was able to dedicate himself in full to music because he finally had time for it. He also pointed out that, should his health permit him, he will be involved in many other collaborations and projects with other singers who want to enter the Puerto Rican market, and he is happy to be able help them.

Similarly, he assures us that he leaves it all in Our Lord Jesus Christ’s hands, who will let him know that he can achieve all this.

Cover of the book — Cover of ”La Salsa No Puede Morir, así dice Don Perignon”

70th Anniversary of the Sonora Ponceña at the Roberto Clemente Coliseum

Major guests joined the historic Sonora Ponceña concert, which was held on Saturday, November 1, 2025, at the Roberto Clemente Coliseum in San Juan, Puerto Rico, to mark the 70th anniversary of the musical career of one of the most important orchestras in the salsa scene.

The concert kicked off with a performance by the virtuoso timbalero, singer, and orchestra director Manolito Rodríguez. His orchestra, La Zónika, set the venue on fire with refreshing versions of ‘Encántigo’, ‘Sin tu cariño’ (Without Your Love), ‘Nina’, ‘Antillana’, ‘Maestro de rumberos’ (Master of Rumba Dancers), and ‘Piano man’. It’s worth noting that Manolito was part of “La Ponceña” from 2004 until the end of 2007.

Once La Zónica had warmed up the coliseum stage, the Sonora Ponceña began to deliver its repertoire, which included ‘Prende el fogón’ (Light the Stove), ‘Ñáñara cai’, ‘Ramona’, ‘Boranda’, ‘El rincón caliente’ (The Hot Corner), ‘Tumba Mabó’, and ‘Las mujeres son de azúcar’ (Women Are Made of Sugar) sung by Daniel Dávila; ‘Como amantes’ (Like Lovers), ‘Como te quise yo’ (How I Loved You), ‘Sigo pensando en ti’ (I Keep Thinking of You), ‘Timbalero’—which allowed the timbal player to dedicate himself to the instrument with a spectacular solo, ‘Fuego en el 23’ (Fire in ‘23), and ‘Luz negra’ (Black Light) performed by Darvel García. In fact, shortly after Darvel performed ‘Como amantes’, he was in charge of welcoming the pianist, composer, arranger, and director of the Sonora Ponceña, Papo Lucca, who enjoyed the concert from the stage in a wheelchair.

Omar Ledée, uno de los invitados de la Sonora Ponceña Foto By Conrado Pastrano

The rotation of the repertoire allowed for a dynamic interspersing of performances by the guests whom the concert production granted access to the celebration.

With 90 years of sabor (flavor/soul) and salsa, Luigui Texidor, who left the Sonora Ponceña in 1973, returned smiling and grateful. Texidor, who recently received the welcomed honor of seeing his name mark the street leading to Colonia Las Flores in Santa Isabel, his hometown, sang ‘El pío pío’, ‘Bomba carambomba’, and ‘Noche como boca de lobo’ (Night Like a Wolf’s Mouth / Pitch-Black Night).

Sharing that same celebratory vibe, one of the most remembered voices of “Los gigantes del sur” (The Giants of the South), Yolanda Rivera, who was part of “La Ponceña” until 1982, was heard. Rivera proudly recalled her seven years as a member of the orchestra while thanking the invitation to the historic concert, where she performed ‘Hasta que se rompa el cuero’ (Until the Skin Breaks), a track that featured a powerful bongo solo.

Omar Ledée performed ‘Remembranzas’ (Remembrances), originally recorded in the voice of his father, the late and ever-remembered Toñito Ledée, whom Omar represented in a heartfelt posthumous tribute.

Another fan favorite of the Sonora Ponceña followers is Pichie Pérez, who joined the group in 1983 “in substitution of Miguelito and Yolanda.” The singer performed ‘Te vas de mí’ (You Leave Me) and the updated version of an emblematic track, which for the celebration was titled ‘Jubileo ‘70’ (Jubilee ‘70), and which Pichie himself describes as “one of ‘La Ponceña’s’ iconic tracks and the first unreleased track I recorded.” The vocalist was associated with the orchestra for three decades, from 1983 to 2013. Since his departure, he has been promoting his solo career, making this the first time in 12 years he was heard live with his “alma mater” orchestra.

Orquesta La Zónika de Manolito Rodríguez, abriendo el espectáculo Foto By Conrado Pastrano

Wito Colón, who left the Sonora Ponceña 15 years ago, arrived ready to sing ‘Hachero pa’ un palo’, ‘Vas por ahí’ (You Go Around), ‘Yaré’, ‘Yambeque’which interspersed a powerful tumbadora (conga) solo, and ‘Sola Vaya’ (Go Alone), the latter song performed with Daniel Dávila and Darvel García. The vocalist was hailed by concertgoers as “the champion of the night” for his vocal power, as well as his charisma before the ardent audience.

Undoubtedly, it was an unforgettable night.

Also Read: Bella Martinez, the irreverent Salsa writer