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Mel Martinez I come from Puerto Rico and Puerto Rico is Salsero

Totally agree with the premise that Mel Martínez establishes in this song of his authorship. Yes, Puerto Rico is the same as saying: “Yo soy salsero”.

Long live the music! Know that this implies shouting:

“Long live the musicians, so they can keep making it”.

The song starts off timidly and it seems that the arrangement asks the listener for his opinion on what he thinks of what is the first single of what will be his next musical production in a segment that presents a transcript of that “what do you think of Cholito”.

From there it pivots into a melodic design that reminds me of a segment of “I like Christmas that tastes like Puerto Rico” The shyness of the theme lasts approximately ten seconds.

Then the arrangement takes a turn that suggests that in Puerto Rico it’s Christmas all year round.

The lyrics of the song assures that all salsa-loving countries have their flavor and their flag; defined by other rhythms, highlighting the native rhythms of Colombia, Dominican Republic, Argentina and Peru. But Mel comes from Puerto Rico and asserts on behalf of all Puerto Rican salseros that: “In Puerto Rico the sun is boiling and that’s where Caliente salsa comes from”.

The song starts off timidly and it seems that the arrangement asks the listener for his opinion on what he thinks of what is the first single of what will be his next musical production in a segment that presents a transposition of that "what do you think of Cholito". — Mel Martinez The essence of family and Music

Evidently salsa is our pride. We are all Mel in terms of his love for salsa, the shout of pride, the flavor and the flag”.

And speaking of flavor and flag, it is clear that still “Aníbal Vázquez as a dancer, Giovanni Hidalgo hitting a leather, Tite Curet’s songs and Sammy Marrero’s feeling” are as valid as their first day in salsa performances.

New York’s emblematic nightclubs, all of them already disappeared, stand out in the lyric.

The mention of El Corso, Latin Quarter and the unforgettable Copacabana filled me with nostalgia and joy for having been lucky enough to have been part of that history. In Puerto Rico we have also been part of the history of salsa as it was spun in Lomas del Sol, El Coabey -which has been sustained against all odds- and El Tropicana.

The groups of Luis “Perico” Ortiz, El Gran Combo, Willie Rosario, Bobby Valentín, Tommy Olivencia, La Ponceña, Roena, Mulenze and Chaney star in the list of orchestras born in our soil and that Mel includes in the lyrics of the theme. Costa Brava, Puerto Rican Power, Canayón, Mario Ortiz, Don Perignon and La Solución complete the list of outstanding orchestras in sound and category.

The patron saint festivities and the dancers arrive at the theme at the climax of the mambo, through the pregones in the voice of our favorite for several decades.

From Fajardo to Mayaguez, passing through Bayamón and Carolina, Cataño and Dorado Mel assures that our 100 x 35 and its inhabitants are salseros by birth.

The lyrics of Mel’s song are so great that it secured mention of the dancers who every year try out for National Salsa Day, which until 2020 was exclusive to Puerto Rico.

If you haven’t heard this song, I dare you to listen to it without getting stuck to it:

I don’t know where you’re from

But I love my land

I come from Puerto Rico

and Puerto Rico is salsa.

I can tell you that the choruses are deluxe. The coros feature Luisito Carrión, Lalo Rodríguez and Carlos García; the same Carlos García who composes, arranges, sings and dances, all while masterfully dominating behind his piano.

As Mel states in this beautiful composition, which is also patriotically historical: we were born salseros.

I add by way of an intimately personal opinion that no human being is prepared to face the battle of life without the encouragement that music gives us.

I conclude by recommending you not to miss the correspondence between Pedro Perez’s bass and Emanuel Navarro’s timbal at the end of the song.

For those who doubt that musicians give us music even when it seems that the musical theme has already closed.

What is left for me to say? Long live the music! Know that this implies shouting: “Long live the musicians, so that they keep on making it”. Ah! And that we are still salseros.

Facebook: Mel Martinez

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico

Website: Bella Martinez Escribe

Long live music! Repeat after me: “Long live the musicians so they can keep making it”. And I add: “Long live SALSA”.

With a full tank, Transition by Tito Rodriguez, Jr.

Bella Martinez, International Salsa Magazine by the hand of www.SalsaGoogle.com presents and highly recommends this formidable and exquisite production of Tito Rodriguez Jr. The firstborn of the unforgettable Pablo “Tito” Rodriguez.

Long live music! Repeat after me: “Long live the musicians so they can keep making it”. And I add: “Long live SALSA”.

As soon as I got my hands on it I listened to it, many times. Not that I needed an explanation, but I could not stop listening to it and go off to take care of my duties.

So much so that I had to send the radio station of the Puerto Rican salsa singer on vacation for a few days until I finished writing the note that had chosen to write itself. The CD cover – showing the photo of Tito Rodriguez, Jr. settled on my desk for several weeks as if it belonged to the surface in front of which I sit every day. Until one fine day I said to myself: Today I hope to be able to understand the instrumental pairing of everything that happens in this piece.

Here I go…

In the first cut (Bailando con la más fea) there were several bars after the first minute, that transported me to my days of partying in New York during the bravo launch of that orchestra that I haven’t heard for a long time.

Of course, while that orchestra sounded bigger than it was, this one I’m examining today – Tito Rodriguez, Jr.’s – sounds bigger than it is and on steroids; among other reasons because the baritone enhances the personality of this serious sounding arrangement, albeit hand in hand with a jocular lyric.

During the second theme (El vive bien) we experience a very Cuban theme of those that sandungueando the waists of those who follow the leather beats to’ fuete.

Shortly before entering the third minute, the interplay of saxophones and twists in which the baritone and bongo play suggest to me that this song shares the flavorfulness of the pregón that says “Salsa ahí na’ma’ como me gusta a mí…” from one of the tracks on Gilberto Santa Rosa’s production Colegas (2020). In fact, Gilberto collaborates in this production, specifically in the song Volver.

In the third cut (Ándate nena), the trumpet solo stands out within an arrangement for large orchestra and allows the performance to be sprinkled with conga, marking the nostalgia of the memory of those geniuses that the traditional big bands left us as a legacy. The saxophones sound like those of the Palladium orchestras.

The 4th track (Volver) is an arrangement where the influence of Bobby Valentín’s inventions is evident. The track starts like the romantic arrangements of the 1990’s, although with a heavy and dominant piano, prior to the alto saxophone playing that opens the way for the rest of the saxophones in perfect synchrony with the conga, timbal and bongo. This cut features Gilberto Santa Rosa, although the song didn’t need Santa Rosa to shine.

Tito Rodriguez, Jr. gave way to the most prolific salsa singer in commercial salsa to perform a song that was already the polished diamond of this collection.

Tito Rodriguez, Jr. Timbalero, Arranger, Composer, Producer and Bandleader, Tito Rodriguez, Jr is one of the leading

I found it to be a classic big band arrangement with an avant-garde touch where the saxophones give way to a touch of a musical arrangement that wants to be a sonorous orchestra. However, the perfection of the thing doesn’t let the sonorous touch tuck in the modern big band concept. Well, I understand myself. “Afinca y echa pa’ lante…” said Santa Rosa.

In the fifth track (Con el tanque lleno) the orchestra starts off powerful in sound and playfulness. The song is about a “convertible, colorado y con el tanque lleno”. The pregón reads: “Soy soltero y con el tranque lleno” (I’m single and with a full tank). I don’t think you will be surprised when I confess that this is my favorite song in this collection. The lyrics are funny, but the arrangement is a smashing one.

The conga’s correspondence with the melodic trombone solo by Alex Zapata’s blows sets the stage for a masterful closing by the saxophone ensemble under the leadership of Ismael Vergara’s baritone.

The sixth track (No vale la pena) is evidence of the chameleonic capacity of Sammy Gonzalez, Jr.’s voice, which can be used to proclaim, to sound, to become the most romantic rogativo in the middle of a heavy song, all within a romantic lyric full of feeling. Well, rarely does a man play the “victim” of a sentimental breakup.

This is one of those few times, a situation that makes the pregones both jocular and nostalgic at the same time. The contradiction of suffering and laughing is also visited at the end of the mambo, which makes the theme one of general interest in addition to the musical interest it awakens.

The seventh track (Pa ti morena) is a very brave Cuban son. I don’t know if this son is played in that unlikely combination of the style of Tito Puente, Machito and Tito Rodriguez knowingly or if it was pure chance. I felt like I was reaching for heaven while listening to Sammy Gonzalez, Jr.’s vocal performance when the alto saxophone solo brought me back to reality.

The beginning of cut #8 (Para los bailadores) marks the change of tempo to an aggressive one where the bongo is the one telling where the baritone is going. When the vocalist suggests to Tito Rodriguez, Jr. to enter the mambo with an anticipatory “y nos fuimos”, no one doubts the greatness of the orchestra’s sound.

The timbal solo by Tito Rodríguez, Jr. declines when the performer requests “mambo otra vez”. It is in this track that the distinctive sound of this orchestra is most noticeable, one inspired by the traditional big bands, although influenced by the advanced currents. In short, this is real salsa and it is salsa to enjoy. As promised in the lyrics, this song brings to the arena a very cool rhythm that is not to be confused with charanga.

After I finished writing this note, having already listened to the complete production, I was tempted to ask Tito for an audience and ask him “a couple of questions” according to me. That brief call went on and on and I asked him everything I could, taking advantage of the nobility of the timbalero heir to the musicality and name of one of our greatest musical glories….

During the “cañona” that I wanted to call an organic interview, Tito confirmed that Transición is his fourth album and the first to be titled in Spanish. Let’s go well, Tito.

This album was preceded by Curious? (1978), which featured José Alberto “El Canario” and Rubén Blades; Eclipse (1995) and The Big Three Palladium Orchestra live at the Blue Note (2004).

Why the title Transición? I’ll tell you about it next time. Obviously, Tito deserves another chapter in my salsa journey. Talk to you soon and I’ll tell you about his 2009 adventure when he was in Puerto Rico fulfilling one of his musical dreams.

Tito Rodríguez, Jr. Transición

By: Bella Martinez “La Escritora Irreverente de La Salsa”

Puerto Rico

As soon as I got my hands on this album, I listened to it many times. Not that I owed an explanation, but I couldn't stop listening to it and go off to take care of my duties. So much so that I had to send the radio station of the Puerto Rican salsa singer on vacation for a few days until I finished writing the note that I had chosen to write itself. — Bella Martinez “The Irreverent Salsa Writer”.

WebSite: Bella Martinez

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International Area – June 2021

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Learn to play the percussion with Giovanni “Meñenguito” Hidalgo

A video tutorial by musicians for musicians

Virtuous percussionist, Giovanni “Meñenguito” Hidalgo, proves his talent in the video tutorial entitled Conga Virtuoso. In this masterclass, you will learn about rhythm, technique and improvisation to develop your percussive talents.

Throughout this video, you will observe the legendary Maestro Hidalgo accompanied by Changuito, Ignacio Berroa, Ray Romero, Eric Figueroa, John Benitez, Danilo Perez and David Sanchez issuing instructions in both languages (English and Spanish).

Also, you will be able to recognize the Tumbadora as a non-handed percussion instrument, that is to say, you will learn to play the tumbadora like a right-handed musician even as a lefty and the Maestro Hidalgo with more than three decades of experience teaches you that.

The legendary and multi-talented Puerto Rican musician, Giovanni Hidalgo, a outstanding percussionist, born in San Juan, Puerto Rico on November 22, 1963.

Today he is known as one of the best congueros of his generation in the world.

The virtuoso percussionist, Giovanni “Meñenguito” Hidalgo, demonstrates his talent in the Conga Virtuoso video tutorial.

And quite possibly one of the fastest of all known congueros. Through International Salsa Magazine, I introduce a tutorial method where Maestro Hidalgo gives a master class on rhythms, technique and improvisation; Method that, by the way, you can get in full on the YouTube channel entitled: “Conga Virtuoso”; which is bilingual in English and Spanish and is distributed by Warner Bros. Publications; it is notable that, in the tutorial, Giovanni Hidalgo is left-handed and the examples are written for people who use the right hand.

The tumbadoras as protagonists

Examples of three tumbadoras, including the position of the drums can be played the same way, even if one is right-handed.

Evolution of the tumbao: Around 1940, the bandleader Arsenio Rodriguez began to incorporate a tumbadora (conga), a bongo, a bell, two trumpets, a piano, and a tres (derived from Spanish guitar, but with three double strings and triple voices three).

In the late 1940s, Frank “Machito” Grillo also added the tumbadora to the Afro Cubanos Orchestra, thus achieving the percussion section composed of bongos, tumbadora, and timbales. At that time, the “conguero” performed with a single drum.

Different sounds were produced by dry beats, muffled beats (mute), open tones and deep tone (created with the palm of your hand).

Giovanni Hidalgo explains all these sounds in this YouTube video “Conga Virtuoso”. As Giovanni says, the traditional way of playing only with a tumbadora comes from 40s.

Although he begins almost all examples in lifting (with upbeats) on beat 4, the beginner should know that he starts on beat 1 in most musical situations, without lifting.

Another factor to remember is to use an open tone at the beginning of the first bar, as Giovanni demonstrated by Giovanni.

This initial open tone helps to “anchor” and synchronize the rhythm section in the first measure.

And quite possibly one of the fastest of all known and through International Salsa Magazine, I present, specifically, the introduction of a tutorial method, where the Maestro Hidalgo — Giovanni “Meñenguito” Hidalgo is known today as one of the best congueros of his generation.

This initial open tone helps to “anchor” and synchronize the rhythm section in the first bar.

It is eliminated by repeating the pattern and replaced by a left clap (P). Caption: O = open tone. P = with the palm of your hand, which is similar to the bass sound. B = deep sound (with the palm of your hand). S = dry. T = with the tip of your fingers. M = “muffled” note. It is accomplished by pressing the leather down with the same hand (cover). Two tumbadoras: the first step in the evolution of the tumbao was to perform with a drum.

The second phase incorporated the use of two tumbadoras. It was during this stage that the art of playing the tumbadora upgraded to a higher level.

Some of pioneers of the style with two tumbadoras are: Carlos “Patato” Valdez, Mongo Santamaría, Cándido Camero, Tata Güines, Francisco Aguabella, Armando Peraza, and Ray Romero. In the examples, Giovanni plays a “seca´´ (term to refer to a dry sound) in the later half of the third beat of the first bar.

This is a light “seca´´ as opposed to the most pronounced. By adding the bass: This is a modern approach to how you play the basic tumbao with two tumbadoras.

This pattern uses the bass sound in the fourth bar. Giovanni lifts the tumbao minimally with his legs while playing the bass sound in the fourth bat. He lifts the drum and lets the sound out of its lower part. He also adds the timbales and bongos: This section demonstrates how the tumbadoras, the timbales and the bongos work together in a section.

The pattern for the tumbadoras is the tumbao with variations combining both ancient and modern styles, as Giovanni mentioned. The rhythm of timbales is based on a shell pattern played on the cáscara (the sides of the timbales).

The bongo drum plays the basic pattern called “martillo” with improvised phrases called “chime”

Another factor to remember is that an open tone should be used at the beginning of the first bar, as Giovanni demonstrates. — The tumbadoras as protagonists

The bongo drum plays the basic pattern called “martillo” (the most important bongo pattern in Afro-Cuban music, which means “hammer” in English) with improvised phrases called “chime”.

When repeated, the first open tone is replaced by a left clap (P). Example of bongos: “Little” Ray Romero starts chiming immediately.

These phrases must also comply with the clave. The first example is the basic “martillo”, which is the basic function of the bongo drum in a section. The second example is a transcript of the chimes played by Ray Romero. Basic Martillo: T = fingertip. TH = thumb side. O = open tone on the bass drum (female).

Pattern for timbales: the changuito plays a shell pattern on paila (sides of the timbales) in a 2-3 clave.

In addition, he has a bass drum to which is added a pattern as would a drummer. The fingers from the left hand play the “Ghosts” notes while the right hand plays the bass drum. He also plays an open tone with the third finger from the left hand on the bass drum (female) in the first bar. This creates a melody line between the bass drum and the “hembra”. Also, Giovanni Hidalgo explains the rhythms from Puerto Rico, such as: jíbara, quás, plena, bomba, yubá and Dutch music. To conclude, we invite you to watch the videos “Conga Virtuoso” by Maestro Giovanni Hidalgo in full, which will be very useful for both beginners and advancing musicians.

Video: Conga Virtuoso Giovanni Hidalgo

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Quinteto D’Amore Cultivating traditional Cuban music worldwide

Quinteto D’Amore of Havana – Cuba

Quinteto D’Amore was founded in 2000 within an acoustical format; cultivating traditional Cuban music, although in its repertoire, you can find international songs; and made various presentations both domestic and international.

All these years, different musicians have integrated the group, but two years ago, it has been renewed and is now composed of Bass, Tres, Violin, bongo, minor percussion and soloist.

They are characterized for combining music, voices, and choreography in some of their songs, filling those who can enjoy their show with joy and energy.

Quinteto D'Amore Cultivating traditional Cuban music worldwide. — Quinteto D’Amore of Havana – Cuba

Yasney (violin): Graduated from Higher Institute of Art with a specialty in Violin (ISA). Member of the UNEAC, she joined the National Symphony Orchestra of Cuba, participated in recordings of leading groups and soundtracks, as well as in the CD “Mi Querido Pablo II” with Pablo Milanés and his guests: Milton Nacimiento, Lucecita Benítez,

Fito Páez, Joaquín Sabina, Alberto Cortes, and at the concert offered at the National Auditorium in Mexico City.

He has made numerous tours and concerts with the band “Mambo Así”, the group “Sol y Arena”, “Piel Morena”, among others, through various countries such as Moscow, Spain, Thailand, Hong Kong, Saint Martin Island and Guadeloupe, Italy, and Angola. Yasney joined D’Amore in May 2014.

Quinteto D’Amore

Yonel (three/four Cuban guitar) I began my career in music when I was six by learning to play the guitar. Since then, I used to sing some songs and to accompany others like my brother. AI was seven when I started at the school of arts in Santiago.

In Cuba, I studied violin for about three years and, in time, I started to learn about other instruments such as the piano and the percussion to reach the bass with which I played with the group Son Chévere de Matanzas for several years.

Then I came to Havana and started playing the tres until I made it into a CUATRO, adding a couple more strings and it is the instrument with which I currently work in Quinteto D’Amore.

Evelyn (soloist) began to study music since choildhood, taking piano and musical theory lessons. At the age of 11, she received her first award as a solo singer given by the pioneers’ organization and took dance lessons at the National Ballet School in Havana and contemporary dance workshops, integrating various dance companies and performing in the 2nd Tropicana Show. She is a mid-level graduate from micro operator. She studied at the School for Art Instructors.

As a singer, she started her professional career by joining several groups such as: Lady Salsa Mix, Cuban Salsa Orchestra, Las canelas, Ketlman Ferrer and his orchestra, etc. She is currently the lead singer of Quinteto D’Amore.

In all these years different musicians have integrated the group, currently two years ago the group has been renewed and is composed of Bass, Tres, Violin, bongo, minor percussion and soloist. They are characterized by combining music, voices and choreography in some of their songs, filling with joy and energy those who can enjoy their show. — Quinteto D’Amore was founded in 2000 with an acoustic format.

Orley (Bass): He studied bass and contrabass, he began his musical career in Ciego de Avila as part of different groups of small and great format such as: Eclipse Orchestra, Conjunto Campesino “Campo Lindo”, etc. Later on, he joined groups in Havana such as Septeto Tradición, the group of the singer Leyanis Lopez with whom he travelled to France (Paris) under the record label “Luz Africa”. From 2007 to 2011, he was on the Orchestra of Maykel Blanco Y Su Salsa Mayor with whom he made several international tours in Italy, Sweden, Denmark, Germany, Poland, Switzerland, Belgium, and Peru, and participated in the recording of his 2 albums. From 2011 to 2013, he joined the groups like “Amor y el Son”, Pepitín y su CumBachá”, and Habana Midic with whom performed in Egypt, Jordan, Tunisia and Lebanon. Orey joined D’Amore in May 2014.

Daymé (Director, tres and bongo): Graduated of Telecommunications and Electronics engineering at the “José Antonio Echeverría” Higher Polytechnic Institute and at the intermediate level in music in the specialty of “Tres”. She belonged to the amateur artistic movement for 14 years, participated in international festivals, integrated several groups of small format with which she performed in Cuba in the “Dos Gardenias” complex, La Bodeguita del Medio, the Floridita Restaurant and various hotels, Outside of Cuba, she has fulfilled several contracts in Jamaica, Qatar, Arab Emirates (Abu Dhabi, Dubai and Al Ain), Jordan, Egypt, Japan, Spain, Turkey and China. She is currently the bongo player and director of Quinteto D’Amore.

Maria Carla (2nd violin) began her music studies at the “Alejandro García Caturla Conservatory” where she acquited basic secondary education and the 7th year of violin.

In 2006, she entered the “Amadeo Roldán Conservatory” to continue his studies to reach the ipper secondary level of violin. During her time as a student, she was part of the orchestras of the respective schools and participated in meetings, competitions and concerts as both instrumentalist and vocalist in choirs.

Upon her graduation, she taught in the province of Pinar del Río and gave classes at the Vocational School of Art in the same city for two years.

Since 2010, she is part of the National Symphony Orchestra of Cuba by working simultaneously with various classical and popular music groups such as “La Camerata del Son”, “Ensemble Alternativo”, “Quinteto D Amore”, “Orquesta Panorama”, and “Quinteto Doble Sabor”.

María Carla has also participated in several events and festivals: Encuentro Nacional de Orquestas Sinfónica, Feria Internacional Cubadisco, Encuentro de Coros, Festival América Canta, Festival de Música Contemporánea, Festival de Jóvenes Pianista, Festival del Danzón, Feria Internacional del Libro de La Habana as well as in several recordings and phonograms with artists such as José María and Sergio Vitier, Toni Pinelli, Rafael Guedes, and Aldo López-Gavilán.

She has also accompanied renowned soloists such as pianists Lang Lang, Chucho Valdés, Frank Fernández, Aldo López Gavilán, singer Omara Portuondo, violinists Ryu Goto, Francesco Manara, clarinetist Keisuke Wakao, and guitarist Joaquín Clerch.

He has worked under the baton of conductors such as Yoshikazu Fukumura, Marin Alsop, Francesco Belli.

Quinteto D’Amore Repertoire

Latin/English Recent Hits

Havana – Camila Cabello

Someone Like You – Adele

Don’t You Remember – Adele

Unbreak My Heart – Tony Braxton

Rehab – Amy Winehouse

Whenever Whatever – Shakira

Dancing – Enrique Iglesias,

Lambada – Kapma,

Macarena – Los del Rio,

Mambo No 5 – Lou Bega,

Nossa Nossa – Miechl Telo

Yo Tengo Tu Love – Si7e

Solo Quiero Darte Un Beso – Prince Royce

Despacito – Luis Fonsi & Daddy Yankee

English Pop, Rock, Blues, Jazz, R&B

Stand By Me – Ben E. King

Yesterday – The Beatles

Only You (And You Alone) – The Platters

New York New York – Frank Sinatra, Liza Minelli

Misty – Errol Garner & Johnny Burke / Johnny Mathis

Girl From Ipanema – Pery Ribeiro, Frank Sinatra

Flying To The Moon – Frank Sinatra, Doris Day, Tony Bennett, Diana Krall

Summertime – Ella Fitzgerald, Janis Joplin, Billie Holiday …

Autum Leaves – Nat King Cole, Andrea Bocleli, Eric Clapton …

My Way – Jacques Revaux, Paul Anka / Claude Francois, Frank Sinatra, Elvis Presley

I Just Called To Say I love you – Stevie Wonder

Somewhere Over the Rainbown – Harold Arlen and Yip Harburg / Judy Garland, Israel

For Ever And Ever – Demis Roussos

Hotel California – Eagles …

Cuban/Latin Salsa, Son, Rumba, Cumbia, Bolero

El Yerbero Moderno – Celia Cruz,

Quimbara – Celia Cruz

Life is a Carnival – Celia Cruz

Idilio – Wilie Colon

El Carretero – Buena Vista Social Club

El Cuarto De Tula – Buena Vista Social Club

The Discreet Kisses – Compay Segundo

Chan chan – Compay Segundo

Hasta Siempre, Comandante – Carlos Puebla

Maridos Majaderos – Perdro Luis Ferrer

Yolanda – Pablo Milanés

Volveré – Diego Verdaguer

Montón de Estrellas – Polo Montañez

Cariñito – Los Hijos del Sol

Oye Como Va – Tito Puente / Carlos Santana

Nel blu dipinto di blu (Volare) – Dean Martin …

Capullo de Aleli – Cateano Veloso

Dos Gardenias – Daniel Santos, Buena Vista Social Club

La Flor Pálida – Polo Montanez / Marc Anthony

Perfidia – Alberto Domínguez / Los Panchos, Perez Prado, Nat King Cole, Ben E. King,

Luis Miguel

Guantanamera – Celia Cruz, Compay Segundo, Tito Puente, Joan Baez

Lágrimas Negras – Trio Matamorros, Omara Portuondo, Celia Cruz, Compay

Segundo/Cesária Évora

Moliendo Café – Jose Manzo Perroni / Mario Suárez, Xiomara Alfaro, Ricardo

Montaner

El Manisero – Rita Montaner, Antonio Machin, Mistinguett, Louis Armstrong

Historia de un amor – Carlos Eleta Almaran, Guadalupe Pineda

Besame Mucho – Consuelo Velasquez / Los Panchos, Pedro Infante, Louis Armstrong,

Andrea Bocelli

Quizás Quizás Quizás – Osvaldo Farres / Bobby Capo, Celia Cruz, Nat King Cole

El cumbanchero – Rafael Hernandez / Tito Puente

Que Será, Será – Jay Livingston and Ray Evans / Connie Francis, Natalie Cole

Pink Cherry – Los Tecolines

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