• Skip to primary navigation
  • Skip to main content

International Salsa Magazine

  • HOME
  • Previous editions
    • 2026
      • ISM / April 2026
      • ISM / March 2026
      • ISM / February 2026
      • ISM / January 2026
    • 2025
      • ISM / December 2025
      • ISM / November 2025
      • ISM / October 2025
      • ISM / September 2025
      • ISM / August 2025
      • ISM / July 2025
      • ISM / June 2025
      • ISM / May2025
      • ISM / April 2025
      • ISM / March 2025
      • ISM / February 2025
      • ISM / January 2025
    • 2024
      • ISM / December 2024
      • ISM / November 2024
      • ISM / October 2024
      • ISM / September 2024
      • ISM / August 2024
      • ISM / July 2024
      • ISM / June 2024
      • ISM / May 2024
      • ISM / April 2024
      • ISM / March 2024
      • ISM / February 2024
      • ISM / January 2024
    • 2023
      • ISM / December 2023
      • ISM / November 2023
      • ISM / October 2023
      • ISM – September 2023
      • ISM – August 2023
      • ISM July 2023
      • ISM Edition June 2023
      • ISM – May 2023
      • ISM April 2023
      • ISM March 2023
      • ISM February 2023
      • ISM January 2023
    • 2022
      • ISM December 2022
      • ISM November 2022
      • ISM October 2022
      • ISM September 2022
      • ISM August 2022
      • ISM July 2022
      • ISM June 2022
      • ISM May 2022
      • ISM February 2022
      • ISM January 2022
    • 2021
      • ISM December 2021
      • ISM November 2021
      • ISM October – 2021
      • ISM September 2021
      • ISM August 2021
      • ISM July 2021
      • ISM May 2021
      • ISM April 2021
      • ISM June 2021
      • ISM March 2021
      • ISM February 2021
      • ISM January 2021
    • 2020
      • ISM December 2020
      • ISM November 2020
      • ISM October 2020
      • ISM September 2020
      • ISM August 2020
      • ISM July 2020
      • ISM June 2020
      • ISM May 2020
      • ISM April 2020
      • ISM March 2020
      • ISM February 2020
      • ISM January 2020
    • 2019
      • ISM December 2019
      • ISM November 2019
      • ISM October 2019
      • ISM Septembre 2019
      • ISM August 2019
      • ISM July 2019
      • ISM June 2019
  • Spanish
  • Download Salsa App
    • Android
    • Apple

Search Results for: Latin Tribute

David Frankel pursued music and created Avenida B Band to reconnect with the memory of his father

After coupling on our schedules, we were able to speak with bandleader and pianist David Frankel, whose story of how he became interested in music and eventually dedicated himself to it is truly fascinating. It also shows that not only Latinos and their descendants can fall in love with these rhythms, but also people outside our culture. This is because David has Russian and Polish heritage, which did not prevent him from falling in love with Latin music so intensely.

David and Ricky playing
David Frankel and Ricky Rosa playing live some years ago

What inspired David to pursue music

David was born in Lower Manhattan, New York, where there were many Latin families at the time. The neighborhood housed many Puerto Ricans and Dominicans. To this we must add that his father, Daniel “El Mago del Órgano” Franklin, was a musician and moved to that very place where Papote Jiménez, Ismael Miranda, Markolino, Freddy Lugo, Henry Fiol, Luis Ayala, and many others lived. Besides being a neighborhood full of artists, it was much cheaper living there, so he thought it was the ideal place for him.

It is worth noting that Daniel knew how to write music and read scores, but he had never played Latin music before in his life. He began to know it when several musicians he worked with asked for his help to read their scores, which led him to fall in love with Afro-Cuban music and develop an interest in salsa and merengue.

When David was born in 1979, Daniel had already been making music for about 15 years and had earned the nickname “The Organ Wizard” thanks to some band competitions held at a club in the Bronx. From a very young age, the boy watched bands rehearsing on the first floor of his house, so this salsa scene was natural for him. However, David had nothing to do with music until the death of his father in 2003.

David never had any interest in entering the art world, but the void left by Daniel’s death in his life drove him to study music, looking to connect with his father in some way. From there, he began taking piano and percussion classes, but he did not stop there. He also started to go out social dancing in the New York nightclubs and to know a bit more the nightlife of the city. On one occasion, a woman left him alone on the dance floor, and he was so ashamed in that moment that he decided to take classes and learn to dance.

David and the rest of Avenida B
The Avenida B Crew:
Juan Bowers – piano
Alvin Céspedes – bass
Ricky Rosa – congas/coro
Brian Pozo – bongos/coro/stage direction
Jhohan Hernandez – timbales
Demetrios Kehagias – trombone
Dan Lehner – trombone
David Frankel – lead vocals

That was when he realized that all the local bands played almost the same genres and songs, but there was no need for that because there was a world of possibilities in the Latin music he had discovered during his classes. There is a world beyond La Fania, and he learned that thanks to dance schools. All this thinking led him to create his own band with different music, to the old-school style he had always loved. 

His father had always told him salsa is for dancing, and if you are not playing dance music, you are doing it wrong.

Which teachers taught David?

After thanking us for the question, David then proceeded to explain that there was a school in New York called the Harbor Conservatory for the Performing Arts, located at 104th Street and Fifth Avenue in Manhattan. The heads of the education programmes there were Ramón Rodríguez and Louis Bauzó, who were excellent musicians and great people whom he met thanks to his father, who was a piano teacher at that institution. David used to accompany Daniel to the school and met both teachers through him.

Following his father’s death, David returned to that same conservatory to study singing with Ramón, while also studying percussion with Georgie Delgado and piano with Louis. In short, this institution was of vital importance for his career, and the many things he learned there were momentous both personally and professionally. 

As for the dance, he enrolled at the Baila Society school in New York through some friends, but later studied at others such as Santo Rico Dance and Dance On 2.

Jimmy and David
Jimmy Bosch and David Frankel

Avenida B Band

David began his career as a musician by playing boogaloo with a group called Spanglish Fly and a few other small bands. After everything he had studied and learned, already for the year 2011, the idea of creating his own group started percolating in his mind, so he posted an ad online looking for musicians and called some former classmates who might be interested in the proposal. That was how he managed to gather a decent number of people with whom he could finally put the Avenida B project together.

He chose salsa dura as his main genre because it is the kind of music that makes him want to dance, and given his background, this was very important to him.

He is also about to release an album in tribute to his father, which he has named “El Mago,” and it will feature some of his own songs; it is scheduled to be released in July 2026. 

David's father
Daniel ”El Mago del Órgano” Franklin, David’s father

Read also: Puerto Rican bandleader and musician Diana Sosa talks about her many projects in Nashville, Tennessee

Alfredo “Chocolate” Armenteros: The Golden Legacy of the Cuban Trumpet

The history of Latin music cannot be written without mentioning the metallic brilliance and elegant phrasing of Alfredo “Chocolate” Armenteros.

Regarded by musicologists and peers as the “Latin Louis Armstrong,” Armenteros was more than just a trumpet virtuoso; he was a sonic architect who bridged the gap between traditional Cuban son, New York jazz, and the high-energy explosion of salsa.

Chocolate Armenteros🇨🇺fue una leyenda excelsa de la música cubana
Chocolate Armenteros🇨🇺fue una leyenda excelsa de la música cubana

Born on April 4, 1928, in Las Villas, Cuba, Armenteros carried the soul of his homeland to the world’s most prestigious stages.

His nickname, which became a hallmark of artistic quality, originated from a curious anecdote the musician shared in 2013: a young woman had mistaken him for the famous boxer “Kid Chocolate.”

What began as a case of mistaken identity ultimately became the name of a legend who would deliver his “knockouts” not with fists, but with perfect notes.

The Forging of a Master: From Arsenio Rodríguez to the “Bárbaro del Ritmo”

The career of Chocolate Armenteros serves as a detailed roadmap of the Golden Age of Cuban music. In 1950, he joined the ensemble of the “Blind Marvel,” Arsenio Rodríguez.

Alfredo Chocolate Armenteros el Legado de Oro de la Trompeta Cubana
Alfredo Chocolate Armenteros el Legado de Oro de la Trompeta Cubana

Under Rodríguez’s tutelage, he recorded essential pieces of the Caribbean songbook such as “Deuda,” “Tengo que olvidarte,” and the iconic “La vida es un sueño.”

This period was vital in defining his style: a fusion of technical discipline and a gift for organic improvisation.

His rise was meteoric. By 1953, he was already a member of Sonora Matancera, the island’s most influential musical institution. That same year, he participated in a historic milestone: the founding of the band led by his cousin, the great Benny Moré.

Alfredo Chocolate Armenteros, Lino Frias, Carlos Patato Valdez y el Negro Vivar 1973
Alfredo Chocolate Armenteros, Lino Frias, Carlos Patato Valdez y el Negro Vivar 1973

The sound of Chocolate’s trumpet was a key gear in the machinery of Moré’s “Tribu,” cementing his status as the most sought-after instrumentalist of his generation.

Conquering New York and the Global Stage

In November 1958, Armenteros’ destiny changed forever. He traveled to New York with the Fajardo y sus Estrellas orchestra for a private performance at the Waldorf Astoria Hotel.

The event carried high-level political weight: it was a gala for the presidential campaign of then-candidate John F. Kennedy. Following this encounter with the Big Apple, the trumpeter decided to settle permanently in the city, becoming an ambassador for Caribbean rhythms at the epicenter of jazz.

In New York, his talent flowed through the most influential groups of the era:

  • The Machito Orchestra (1963): Where he fused Cubop with Afro-Cuban jazz.
  • Eddie Palmieri (70s): Contributing his power to the experimental sound of salsa brava.
  • Tico-Alegre All Stars (1975): Sharing the stage with giants like Celia Cruz, Tito Puente, Ismael Rivera, and Cachao.

An Endless and Eternal Style

In the late 70s and early 80s, Armenteros not only returned to collaborate with Sonora Matancera but also took the definitive step as a bandleader.

Under his own direction, he left behind memorable productions such as Chocolate Dice (1982) and Estrellas de Chocolate (1987), proving that his creative well never ran dry.The most admirable aspect of Armenteros was his artistic longevity. He remained active in festivals and concerts well into his 80s, preserving a privileged embouchure and a sense of timing that seemed to defy the laws of physics.

Alfredo Chocolate Armenteros y Eddie Moltalvo
Alfredo Chocolate Armenteros y Eddie Moltalvo

Today, nearly a century after his birth, Alfredo “Chocolate” Armenteros remains the gold standard for trumpeters. His life was a testament to elegance, his music a bridge between nations, and his trumpet an eternal echo of Cuban identity that continues to resonate in every jazz descarga and every salsa step around the world.

Also Read: Larry Harlow and Ismael Miranda: The birth of “Arsenian Salsa,” a tribute to the music of Arsenio Rodríguez the creator of Son Montuno and the “King of Guaguancó.”

John and Liz reveal details of the 16th annual SF Salsa Festival

As is tradition every year, we went back in touch with the organizers of the San Francisco Salsa Festival, John Narváez and Elizabeth Rojas, who treated us with the kindness and affection of always. The dancers and dance instructors once again spoke about the details of the festival’s organization and one or another incident that did not become public, so fans of salsa and such events cannot miss it.

They also talked about how they have done since the 2025 edition and what they will do from now until next year’s edition.

John and Liz dancing
John and Liz dancing at the San Francisco Salsa Festival

What John and Liz have done since the 2025 San Francisco Salsa Festival

After the 2025 edition, John described the rest of the year as sensational because his dance studio has maintained the expected success and his company enjoys the work of of new members who have contributed with their talent to help it grow. In addition to that, their classes are full of people eager to learn to dance, take care of their bodies, keep their minds healthy, and have a more active social life. 

He also recognizes that the Bad Bunny phenomenon helped them a lot, as they’ve welcomed many people who want to learn to dance salsa after the the boom caused by a Super Bowl full of latinidad everywhere. This has also made the celebrated ones at weddings and other family events to celebrate with salsa, so guests do not want to be left behind and seek to dance it as well as possible.

When an event has been organized for 16 years in a row, those involved already have a system by which they are ruled, so there are few surprises that John and Liz could find thanks to so much experience under their belt. However, there may be things that catch them off guard and ,in this case, it was the economy. This time, they found that everything was much more expensive.

After reviewing expenses, they noticed that the flights of the artists and hotel costs were much higher than in previous years, so they were forced to take certain actions, such as hiring fewer dance artists. They were careful to bring only the best they could find to do a tremendous show, which fortunately occurred.

John and Aura dancing
John Narvaez and dancer Aura Moreno dancing at the San Francisco Salsa Festival

They also noticed that many people could not attend the festival, so they offered numerous discounts, press passes, and the opportunity to volunteer for the organization.

Visa problems

The main disadvantage faced by John and Liz last year was the delay in the approval of visas for the members of La Máxima 79, so we wanted to know how it had gone this year. Well, as it turns out, it did happen again and two couples of dancers were unable to attend because their visas were denied, so they had no choice but to invite residents of the United States to prevent that headache. 

Of course, it must be added that bringing people from other places implies additional costs that do not do any good to them right now. For the same reasons, other festival organizers are doing the same thing.

Principal guest artists

The main attractions at this festival were Charlie Aponte, Edgardo Cambón, and Cabanijazz, who of course, did a magnificent job. The big surprise of the festival was definitely Charlie Aponte, with whom they managed to have contact through a well-known Mexican promoter who acted as a link between the dancers and the artist. 

The agreement was made as recently only in January, that is, a couple of months before the event. That is when John contacted Jeannette Santiago, Charlie’s manager and wife, told her who he was, and mentioned the mutual friend they had in common. He then managed to close the deal with her and have the Puerto Rican singer at the event, which came as a very pleasant surprise to those who had been planning to attend for months.

Edgardo Cambón playing
Edgardo Cambón playing at the San Francisco Salsa Festival

Preparations for next year

As every year, after an edition is completed, John and Liz are already thinking about what they will do for the next one. In fact, just the day before this interview, they had a work meeting to start planning everything and thinking about who they will invite for 2027.

They are thinking about inviting La Máxima 79 again. In fact, they have already talked to their lawyer responsible these matters and agreed to carry out the relevant procedures to finally have them at the festival, as they have wanted for a long time. In case the invitation is not given effect, they also have their eyes on Jimmy Bosch and Hermán Olivera. Both have performed in previous editions prior to the pandemic and were sensational, so they are held in good esteem by the organization.

They also mentioned that the venue for the next two editions will continue to be the Marriott Hotel Waterfront, as the location is beautiful and very suitable for an event of this magnitude.

Cabanijazz playing
Cabanijazz Project playing at the San Francisco Salsa Festival

Read also: Uruguayan composer and multiinstrumentalist Sebastián Natal and his band Grupo Sensación

Jairo Varela Music, Identity, and Social Narrative

The BE MORE publishing house is proud to announce the release of the new book by journalist and music researcher Robert Téllez M.

The work offers a deep dive into the social and narrative dimensions of the compositions of Jairo Varela, founder of the world-renowned Grupo Niche. It illustrates how his lyrics transcend music to become chronicles that interpret Latin American reality.

More than just a repertoire of songs, Jairo Varela’s legacy serves as a testament to memory and identity, born from his profound Afro-descendant roots. From this perspective, the book develops a discourse analysis that explores the symbols and meanings structuring his lyrics within a historical and social context.

Categorized within the field of ethnomusicology, the literary work proposes a rare perspective in Salsa studies: understanding Jairo Varela as a narrator of social reality.

“Through his lyrics, Jairo Varela challenged indifference, exposing what many preferred to keep silent,” states author Robert Téllez M.

To develop this research, the author brought together an interdisciplinary team of specialists in anthropology, communication, law, education, history, linguistics, music, journalism, and poetry from across Latin America. This diversity shapes a study organized into seven chapters, where symbols, metaphors, and narrative structures within Varela’s songwriting are analyzed and deconstructed.

“With an honesty that never yielded to artifice, Jairo Varela mapped the social landscape of everyday life; he narrated the intimate without betraying the collective, all in an effort to better understand the world,” Téllez notes.

As an innovative feature, the book Jairo Varela: Music, Identity, and Social Narrative incorporates QR codes that lead directly to Maestro Varela’s compositions. Each code allows the reader to use their mobile device to access the songs analyzed via Grupo Niche’s profile on Spotify, enhancing the connection between the written word and musical creation.

The publication also includes a prologue by writer Bella Martínez, illustrations by Frank Rosado, and photographs from the Varela family archive—elements that provide essential context to the composer’s creative universe.

Jairo Varela: Music, Identity, and Social Narrative is now available to the public on Amazon, with worldwide shipping.

The Book: Jairo Varela. Music, Identity, and Social Narrative

Jairo Varela (1949–2012)

Varela was the creator and founder of the iconic Grupo Niche and one of the most influential figures in Colombian Salsa. It was Jairo Varela who built the prestige of this orchestra through his artistic vision and his talent as a composer and director. With those five letters Niche Varela changed the course of Salsa made in Colombia, elevating it to a level of international respect.

Jairo Varela. Música, Identidad y Narrativa Social
Jairo Varela. Música, Identidad y Narrativa Social

Throughout his musical career, Jairo Varela wrote hundreds of songs and produced dozens of albums for his group. His compositions including “Cali Pachanguero” (recognized by Billboard magazine as one of the 50 most important songs in the history of Latin music), “Buenaventura y Caney,” “Mi pueblo natal,” “Ana Milé,” “Un caso social,” and “Han cogido la cosa” have traveled the world and become classics. In his lyrics, Varela portrayed everyday Latin American stories and the identity of Afro-descendant communities.

When Grupo Niche’s music plays, there is something for every listener. Behind that diversity lies the creative intuition of Jairo Varela, a composer who knew how to turn local stories into universal emotions. For this reason, from its beginnings in the late seventies to its international acclaim, the group has brought the rhythmic power, joy, and character of its culture to stages worldwide.

About the Author

Robert Téllez M. is a social communicator, radio and TV broadcaster, and producer with over 20 years of experience. He is an accomplished interviewer, journalist, and music researcher.

His analyses and reflections have been published in outlets such as Revista Semana, El Espectador, El Tiempo, El País, La República, and Agencia EFE, among others. He has also contributed to the scientific journal Nómadas of the Universidad Central de Colombia.

Robert Téllez is also the author of Ray Barretto: Giant Force (2016), whose English translation won a silver medal for Best Translation (Spanish to English) at the 2021 International Latino Book Awards.

In 2019, he presented the authorized biography Willie Rosario: The King of Rhythm, with a second edition released in 2024. He served as a judge for the annual international minimalist poetry contest for the anthology titled Siglema 575: Say What You Want to Say (2024).

As a result of his extensive research, Robert Téllez serves as a consultant and lecturer on topics related to the appreciation of Salsa music.

Press Contact: [email protected]

 

Roberto Tellez

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

Puerto Rican bandleader and musician Diana Sosa talks about her many projects in Nashville, Tennessee

We had a wonderful and very nice conversation with Puerto Rican percussionist, timbalera, conga player, and cuatro player Diana Sosa, who kindly told us about all the projects she has in the pipeline. Her husband and bandmate, guitarist and vocalist Chuck Nelson, put us in touch with her so we could learn more about both the project they share and the one she has undertaken on her own.

Then these are the things the talented Puerto Rican shared with us on this warm Sunday before Easter.

Diana Sosa is playing
Diana Sosa is posing for the camera while playing the timbales

How Diana got into the world of music

Diana was born and raised in Puerto Rico, where she began to love music and play, but not professionally yet. She was just experimenting with some traditional instruments of her homeland, such as the Puerto Rican cuatro, which she even studied with a private teacher. 

At the age of 39, she moved to Nashville, Tennessee, where she finally got her first big opportunities in music, and the background she brought for years helped her a lot. It all started with a short rehearsal she was invited to, and from there, she has done nothing but prove what she is really made of. 

Of course, she keeps studying and preparing to improve every day. When she is not learning to play with fellow musicians like John Santos, she is taking online courses to solve any doubts she may have.

Diana’s first opportunity with The Bicho Brothers

The first serious group that gave Diana the opportunity to develop professionally—and with which she keeps to playing to this day is The Bicho Brothers, a classic rock band whose members really appreciated the contribution provided by Diana. For this reason, it is she who brings that Latin flavor, the product of her heritage and years of training in these genres.

Something that really attracted the audience was that she was the only woman in the group and, incidentally, she played the timbales, which was uncommon back then. In addition, she added atypical sounds to certain well-known songs, which was also remarkable.

Diana Sosa and the rest of the Bicho Brothers
The Bicho Brothers from left to right: Jeff Krinks (guitar and vocals), Ron Krasinski (drums), Diana Sosa (timbales, congas, percussion, and Puerto Rican cuatro), Chuck Nelson (guitar and vocals), and Kenny Zarider (keyboards and vocals)

Another important personality who encouraged her to follow this route was the great producer Bill Cuomo, who told her she was very good at playing but needed to improve her technique. Twenty years later, it can be said that she took him at his Word seeing all she has achieved since then. From that point on, there have been many other projects and opportunities that make her very happy and keep her fulfilled.

Soul Sacrifice

Soul Sacrifice is a Santana tribute band founded in 1969 that has won a high reputation in Nashville by becoming one of the best tributes to Santana to date. The mix of familiar melodies and infectious rhythms they play at every show transports audiences to the biggest classics of the legendary Latin rock group created by Carlos Santana.

The band also includes some of the same members of The Bicho Brothers, such as the cases of Diana and Chuck due to all the years they have spent playing together, but including Cuban musician John Santos. He plays a fundamental role in making people feel they are listening to the original Santana rather than an imitation, which is why both he and Diana are key to the band’s performance.

Diana Sosa with Diana's Mambo Maniacs
Diana Sosa playing with Diana’s Mambo Maniacs

Diana’s Mambo Maniacs

Diana also has her own project, which she decided to call Diana’s Mambo Manics. This Latin music group was founded in the early summer of 2025 as part of Hispanic Heritage Month. In that time of year, there are always many festivals dedicated to Hispanic and Latin music in the United States and around the world, so Diana and a group of musicians she had been in contact with for some time took the opportunity to play wherever they were able to make themselves known.

Among some of the musicians in the band we can mention John Santos as singer and timbalero, whose presence is essential at every show. The group also includes conga player Josvany Cordero, bassist Isoel Villareal, pianist Kenny Zarider, trumpeter Joe Mercado, and trombonist Huge Lindsay.

The main difference between this band, The Bicho Brothers and Soul Sacrifice is that it plays exclusively Latin music, but of the great artists in the 1950s and 1960s who performed at the Palladium Ballroom, the Copacabana, El Corso, Chez José & 3 and 1, among many others. Diana feels that, to a certain extent, she pays tribute to her parents, who used to go dancing and enjoying these rhythms to some of these places in their youth.

However, not all are covers. She is about to release an original song featuring Puerto Rican cuatro player Prodigio Claudio, but she did not have the details to share with us yet.

Diana and Tito Puente Jr.
Diana Sosa Playing with Tito Puente Jr.

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

  • « Go to Previous Page
  • Page 1
  • Interim pages omitted …
  • Page 8
  • Page 9
  • Page 10
  • Page 11
  • Page 12
  • Interim pages omitted …
  • Page 64
  • Go to Next Page »

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.