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The Senior Mulato Jerry Rivas and His Half-Century Legend with El Gran Combo de Puerto Rico

From the chords of the Puerto Rican cuatro to the eternal voice of “Los Mulatos del Sabor”

Few names resonate with as much power, respect, and relevance in the salsa firmament as that of Jerry Rivas.

Born in Tampa, Florida, but with his soul deeply rooted in the heart of Orocovis through his parents’ heritage, Jerry Louis Rivas Díaz has carved his name in letters of gold into the history of Caribbean music.

El Mulato Mayor Jerry Rivas y su Leyenda de Medio Siglo con El Gran Combo de Puerto Rico

Nearing 50 years as the lead vocalist for El Gran Combo de Puerto Rico, Rivas is more than just a singer; he is a living institution of salsa, a definitive sonero of his era, and the guardian of a legacy that continues to keep the entire world dancing.

Roots, Strings, and the Making of a Self-Taught Musician

Jerry’s history with Puerto Rico formally began in 1960, when his family moved back to the “Isla del Encanto” to settle in Bayamón.

There, the young Jerry began to breathe in the folklore and rhythms that defined the Boricua identity. What many do not know is that long before commanding microphones and international stages, Jerry was deeply passionate about string instruments.

As a fundamentally self-taught musician and singer, his first great love was the guitar. Over time, his musical curiosity led him to master the Puerto Rican cuatro, the island’s national instrument par excellence.

De los acordes del cuatro puertorriqueño a la voz eterna de Los Mulatos del Sabor

Not content with just that, he decided to delve deeper into the roots of Afro-Caribbean music, learning the secrets of the Cuban tres under the tutelage of the renowned professor Carlos Seguí.

This solid foundation as an instrumentalist not only shaped his ear but also gave him an impeccable sense of rhythm and timing that would later define his unique style for soneo (improvisational singing).

The Path to the Top: From Local Bands to a Historic Recruitment

Before the spotlight of El Gran Combo fell upon him, Jerry Rivas honed his craft throughout the island’s musical circuit, leaving his mark on every project:

Grupo Complicación: His teenage musical battleground, where he served as a guitarist for three years.
Conjunto Cojoba: A group he joined in 1972, sharpening his stage presence.
Conjunto Chaney (1974): Jerry was part of the select group of founding musicians of this project, which years later would become a powerhouse of romantic salsa.
Latin Brass (1976): The definitive showcase where his voice truly began to shine on its own.

It was precisely in 1976 when destiny knocked on his door. Following the shocking departure of the iconic “Niño de Trastalleres,” Andy Montañez who left the orchestra after 14 golden years to join Venezuela’s Dimensión Latina El Gran Combo found itself facing one of the most difficult transitions in its history. Replacing a legend seemed like an impossible task.

However, the keen eye of Don Quique Lucca (founder of La Sonora Ponceña) did not fail. Don Quique recommended the young Jerry to Don Rafael Ithier. After hearing him perform, Ithier didn’t hesitate: in 1977, Jerry Rivas officially joined the “University of Salsa.”

Nacido en Tampa, Florida, pero con el alma arraigada en las entrañas de Orocovis por la herencia de sus padres, Jerry Louis Rivas Díaz

Nearly 50 Years of History at “The University of Salsa”

Joining such a demanding institution in the midst of an era-defining shift was a monumental challenge. Audiences initially viewed the new member with skepticism, but Jerry, armed with unwavering humility and immense talent, never tried to imitate his predecessor; instead, he forged his own legend.

Across nearly five decades, his voice has immortalized anthems of the global salsa songbook. Essentials on any dance floor like “Azuquita pa’ el café,” “Ojos chinos,” “Y no hago más na’,” “El menú,” “Cupido,” and “La clave” carry his unmistakable stamp.

His elegant performance style, combined with his sharp wit and deep respect for the dancer, solidified the orchestra’s golden age and ensured the transition was a resounding success.

“Joining El Gran Combo was a tremendous school and responsibility. Replacing Andy was no easy feat, but Don Rafael Ithier gave me the confidence to just be myself on stage.” Jerry Rivas, looking back on his beginnings.

Pocos nombres resuenan con tanta fuerza, respeto y vigencia en el firmamento de la salsa como el de Jerry Rivas.

The Present and Vibrant Legacy of an Eternal Sonero

Now in 2026, the tropical music landscape has changed drastically, but El Gran Combo de Puerto Rico remains unshakeable at the top.

Jerry Rivas stays incredibly active, leading the vocal front of “Los Mulatos del Sabor” alongside the orchestra’s newer generations, Anthony García and Joselito Hernández. This blend of Jerry’s veteran wisdom and the energy of the new vocalists has injected a refreshing vitality into the group.

Jerry Rivas is not just a survivor of salsa’s golden age; he is the living bridge connecting the rich traditions of the 20th century with contemporary audiences.

From his days tuning strings in Bayamón to packed stadiums across Europe, Latin America, and the United States, his journey stands as a testament to discipline, passion, and love for his culture.

We wish lifelong health, inspiration, and continued success to this eternal maestro who, besides being one of salsa’s most beloved voices, has never ceased to be, in every sense of the word, a complete musician. Long live the music of Jerry Rivas, and let the drums keep rolling!

Also Read: The Gran Combo of Puerto Rico “Los Mulatos del Sabor”

Tony Vega Celebrates Half a Century of Romantic Salsa in Puerto Rico

On Saturday, April 25, 2026, the Coca-Cola Music Hall was swept up in the sounds of salsa as Tony Vega took the stage for his concert “49+1: Half a Century of Romantic Salsa.” Thanks to the production of Alexandra Fuentes and a promotional partnership with the radio station Salsoul, the legendary vocalist returned to Puerto Rico for a night filled with music, nostalgia, and profound emotion.

Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

Throughout the celebration, Vega was backed by the musical direction of the virtuous instrumentalist, composer, singer, and independent producer known in the salsa world as Jota Ruiz, of the prestigious Ruiz de Ponce musical dynasty. Jota led an elite ensemble featuring:

Savier Díaz (congas), Edwin Clemente (timbales), Jorge Mercado (bongo), Juan Rivera (piano), and Alexis Pérez (bass).
José “Pucho” Ruiz (the Ruiz family patriarch) and Víctor Ambert on trumpets.
César Ayala and Julio Hernández on trombones.
Fernando Muscolo on keyboards.
Hugo Maysonet and Alejandro Villegas on backing vocals.
A string section composed of Jonelys Ruiz, Sairilis Meléndez, Sinaí González, Sofía Acosta, Orlando Rivera, and César Jacomino, with Luis Rodríguez providing general assistance.
Tony Vega recordando su etapa con Eddie Palmieri Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

Tony Vega’s performance made it clear that his storied career has been a cornerstone of salsa history, particularly within the salsa romántica movement. The audience made the Coca-Cola Music Hall in San Juan vibrate, singing at the top of their lungs to the many hits Vega has placed at the top of the charts over the decades.

Tony Vega y la orquesta acompañante Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

The artist of Puerto Rican descent structured his set to detail the various stages of his brilliant career. He opened the night with “Cosquillita,” representing his professional debut alongside Raphy Leavitt. He then playfully performed “Feo pero sabroso,” a nod to his time in the recording studio with Louie Ramírez, followed by “El cuarto” and “Vámonos pa’l monte” as a tribute to his artistic growth under the mentorship of Eddie Palmieri.

Tony Vega y su sección de percusión Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

A deeply significant and nostalgic moment arrived with a medley chronicling his years with Willie Rosario, prompting the crowd to sing even louder to “Busca el ritmo” and “Mi amigo el payaso.”

From there, the vocalist reminisced about the transition to his ongoing solo career. He shared the story of his historic contract with Ralphie Mercado of RMM, which, as Tony recalls, was famously signed on a napkin “without any formalities.” From this era, he highlighted staples such as “Yo me quedo,” “Tu prenda tendida,” “Lo mío es amor,” “Dile,” “Tengo curiosidad,” “Uno mismo,” and “Mi iglesia,” which he performed as a duet with the stellar guest Alex D’ Castro. He continued the marathon of hits with “¿Dónde estás?,” “Deja,” “Esposa,” “Si me miras a los ojos,” “Si yo vuelvo a encontrarla,” “Fui la carnada,” “Ella es,” “Olvídalo ya,” “Carita de sol,” “Haremos el amor,” “Esa mujer,” and “Aparentemente.”

Tony Vega, concierto CCMH Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

The closing theme, “Déjame soñar,” stirred the singer’s patriotic pride and featured a powerful timbal solo by Edwin Clemente, followed by guest appearances from Gerardo Rivas and his son, Gerardo Gabriel Rivas.

Tony Vega, Trombonista César Ayala al fondo Tony Vega con su director musical, Jota Ruiz Imagenes Jorge Mas

Throughout the evening, Tony Vega expressed his gratitude to those instrumental in his success. He showed profound respect for Humberto Ramírez, who is widely credited with laying the foundation for Tony Vega’s signature sound and establishing the musical concept for his orchestra at its inception. Another noteworthy moment occurred during an improvisation in “Déjame soñar,” where he affectionately declared José Alberto “El Canario” an honorary “Boricua.”

As he had anticipated, Tony Vega experienced the concert as a true celebration of all he has achieved in his 50-year career. He emphasized how much it meant to be surrounded by his people, “sharing music with those who have been with me from the start, right where it all began.”

Photography: Jorge Más

Read Also: Bella Martinez, the irreverent Salsa writer

“El Caballero de la Salsa” Kicks Off “Íntimo” in Puerto Rico

With performances on February 14 and 15, 2026, at the Coliseo de Puerto Rico, Gilberto Santa Rosa started the year “at home” with two sold-out shows and the successful launch of his “Íntimo” tour. That is always the goal. On the island, the audience is as demanding as they are generous and the singer knows it. Following the concerts, “El Caballero” posted on social media: “Puerto Rico, thank you for giving us two nights full of love, dancing, and so much music at home! What a thrill it is to sing at home!”

On January 30 of this year, the album that shares the tour’s title was released. In Puerto Rico, two shows were scheduled for Valentine’s Day weekend. The first coincided with Valentine’s Saturday; the second was added for the following day due to how quickly the first round of tickets sold out.

At exactly 6:46 PM on Sunday, February 15, 2026, the stage of the Coliseo de Puerto Rico welcomed Gilberto Santa Rosa’s orchestra to begin the second concert, marking the salsa singer’s long-awaited reunion with the Puerto Rican public. According to a press release from Edumil Ruiz’s agency: “These performances are part of a series of special concerts celebrating the month of love (…) and represent the long-awaited reunion of ‘El Caballero de la Salsa’ with his Puerto Rican audience after two years since his last performance on the island.”

A Night of Rhythms and Ovations

The performance began with high energy and impact from the very first track. The opening bars were seasoned with the sounds of the Puerto Rican cuatro, played by Fabiola Muñoz. “Déjate querer” featured a timbal solo by Pete Perignon, while “Cartas sobre la mesa” highlighted Saviel Cartagena’s saxophone. These were followed by “Ahora o nunca,” “Tú,” “Amor para la historia,” “Quiéreme,” and “Almas gemelas,” which featured Juan Carlos Vega on an aerophone solo; followed by “Yo no te pido” and “Conciencia,” for which the audience gave the artist a thunderous standing ovation.

Between songs, Santa Rosa took a moment to address the crowd: “I was born, raised, and live here. And it moves me to know that here in Puerto Rico, I am still dearly loved.” He added that he is a fan of singing to the brokenhearted with “scorned” lyrics set to savory, danceable arrangements. Addressing the contradiction of that combination, he stated, “We Puerto Ricans are capable of crying and dancing at the same time,” capping the explanation with: “That’s just how passionate we are.”

152 With the performances on February 14 and 15, 2026 at the Coliseo de Puerto Rico, Gilberto Santa Rosa began the year in "his home" with two sold-out shows. — 152
With the performances on February 14 and 15, 2026 at the Coliseo de Puerto Rico, Gilberto Santa Rosa began the year in “his home” with two sold-out shows.

After his remarks, “Gilbertito” explained he would welcome a beloved artist to sing “Misterio,” an urban salsa track with lyrics “about a relationship where you don’t know if it’s coming or going, starting or ending.” Gerardo Rivas took the lead in his solo role, which required Pete Perignon to fill in on the congas while Pedro Marcano took over the timbales.

Tributes and Special Guests

Later, Gilberto Santa Rosa dedicated a segment of the concert to a legend Puerto Rico bid farewell to last December. He stated that Rafael Ithier was a musical genius whom he considered a mentor and a father in music, dedicating the iconic “Las hojas blancas” to him. Notably, the production featured a team of sign language interpreters who translated the entire concert in real time.

The repertoire also included “Vino tinto,” “Cosas nuevas” highlighting Pedro Marcano on the flugelhorn and “No me dejes solo,” which kicked off with a mozambique rhythm and rumba clave on the drums, courtesy of Gerardo Rivas and Tito Echevarría. The most anticipated moment arrived when Santa Rosa asked the crowd to join him in a chorus that allowed “El Caballero” to pay his respects to special guests. The “Choliseo” vibrated as the crowd chanted: “Mira quien llegó / Quién está ahí / Qué bueno que te vino a ver” (Look who arrived / Who is there / How good they came to see you). The tenacious sonero greeted the following guests in perfect rhyme and with his trademark elegance: Don Perignon, Luisito Ayala, Luis Vázquez, Juan José Hernández, Elwood Cruz, Marilin Pupo, Cucco Peña, Lissette Álvarez, Willie Chirino, his wife Alexandra Malagón (whom he called “The owner of my heart”), and Ismael Miranda, among others.

The evening continued with “No pensé enamorarme otra vez” and “Para vivir,” for which he was joined by Yeika Álvarez and “a representation of the Arturo Somohano Philharmonic Orchestra of Puerto Rico.”

Gerardo Rivas (Hijo de Jerry Rivas el reemplaso de Jimmie Morales), Gilberto Santa Rosa y Pete Pergnon

A Monument to Nostalgia

“Tengo una muñeca,” followed by a fusion that progressed from boogaloo to cha-cha-cha and finally to salsa with Gilberto showcasing his skill on the maracas led us into a monument of nostalgia. The memory of the conga player Santa Rosa had worked with since their days in Willie Rosario’s orchestra until his passing in 2021 was honored with “Impaciencia.” The song showcased the Jimmie Morales Signature Series drums by Remo Percussion©, which sponsored “El Rey del Seco” (The King of the Dry Hit) from 2005 to 2016.

During this segment, “El Caballero” displayed his own skills as a talented conguero while singing, accompanied by Gerardo Rivas (the orchestra’s conga player) and Pete Perignon (the timbalero) on either side. While the audience was spellbound by the sight of the three musicians at their drums, this writer wondered if Gilberto was reminiscing about the days when he used to imagine he was a singer, using an upside-down trash can as a drum in the group led by Don Perignon.

The “Army of One”

This intervention was followed by “La agarro bajando,” which preceded the introduction of the band members, “musically directed by the master of the trombone,” Georgie Torres. The lineup included:

Backing vocals: Yeika Alvarez and Gino Ramírez.
Puerto Rican Cuatro: Fabiola “The one who holds her own” Muñoz.
Trumpet: Rebecca Zambrana (with the orchestra for 29 years) and Pedro Marcano.
Trombone: Anthony Rosado (also a ballroom dance champion).
Saxophone/Flute: Francisco “Paquito” Cruz and Saviel Cartagena.
Piano: Luis Marín.
Congas: Gerardo Rivas.
Timbales: Pete Perignon Morales.
Bongos: Rafael “Tito” Echevarría.
Bass: The legend Johnny Torres.
Keyboard/Aerophone: Dr. Juan Carlos Vega.
Vocals: Michael Pérez.

Santa Rosa also praised the technical and audiovisual teams, producer Rafo Muñiz, and Edumil Ruiz, noting that “all these people make this work.”

After identifying his team who gave a masterclass in what the military calls an “Army of One” the hits “Conteo regresivo,” “Perdóname,” “Que alguien me diga,” and “Que manera de quererte” rang out. Gilberto Santa Rosa celebrated Valentine’s weekend by once again proving why he holds the loyalty and preference of his Puerto Rican fanbase.

From the start, the energy never wavered. The crowd sang and danced along with the artist, the musicians, and the dancers on stage. The vast repertoire serves as a reminder of the countless hits “El Caballero de la Salsa” has collected throughout his prolific career.

Also Read: Bandleader and conga player Tony Rosa tells us how he built his career

Juancito Torres: The National Trumpet of Puerto Rico

We present the musical life of one of the greatest trumpeters in Latin music, the master Juan “Juancito” Torres Vélez, known as “The National Trumpet of Puerto Rico.”

La Trompeta Nacional de Puerto Rico Juan Torres Vélez

Born on January 14, 1936, in Caguas, Puerto Rico, to Justina Vélez Vázquez and Félix Torres Varcárcel, he began his musical journey playing the violin in his hometown. He joined the Municipal Band, where he was taught by Adrián Benjamín and Carlos Julio Bosch, who also taught him the intricacies of the trumpet.

Juancito was a fan of Placido Acevedo, the trumpeter and director of the Mayarí quartet, and Acevedo was his biggest influence for his development as a professional trumpeter. At the age of fourteen, he studied at the Escuela Libre de Música. In 1952, he joined the orchestra of jazz musician Ramón “Moncho” Usera Vives and stayed with him for a year before joining his teacher Miguelito Miranda’s band.

In 1955, he traveled to New York, where he worked with Xavier Cugat, Noro Morales, and the Lecuona Cuban Boys. It is also said that he was part of the orchestras of Pupy Campo and Tito Rodríguez and that he recorded with René Touzet, Dámaso Pérez Prado, and Eddie Cano.

Juancito Torres Primera Trompeta de Fania All Stars

Juancito returned to Puerto Rico in 1960 and enrolled at the Puerto Rico Conservatory to further his musical knowledge. In 1965, he appeared on the list of musicians who recorded the album Bobby Capó and His Orchestra with the great Bobby Capó. In the late 1960s, Juancito joined master Bobby Valentín’s orchestra, recording five albums with them between 1969 and 1975. During the 1970s, he recorded with Frank Ferrer, Justo Betancourt, Puerto Rico All Stars, and Marvin Santiago.

In 1979, Juan began his participation in recordings, concerts, and international tours with the Fania All Stars. He appeared as a member of the Pacheco and Masucci collective on at least ten albums between 1979 and 1997. These include Habana Jam, Commitment, Latin Connection, Lo que Pide la Gente, “Live”, Viva Colombia, and Bravo 97.

Juancito’s extraordinary musical career and great talent also allowed him to participate in recordings for many singers, musicians, and groups such as Cheo Feliciano, Tommy Olivencia y su Orquesta, Adalberto Santiago, Roberto Roena, Sonora Ponceña, Eddie Palmieri, Tito Rojas, Pedro Arroyo, Descarga Boricua, Lalo Rodríguez, and Ray Barreto, among many others. “The National Trumpet of Puerto Rico” also participated in recordings by musicians and singers of other rhythms and musical genres such as Pop, Tropical, Jazz-Rock, Progressive Metal, Rock, Reggae, and Funk/Soul.

Regarding our music, we remember some of the tracks in which our great musician from Caguas recorded immortal trumpet solos: “Cuando Te Vea” with Bobby Valentín, “Dime,” “Menéame La Cuna,” “Quítate La Máscara,” and “Puerto Rico/Adoración” with Fania, “Amada Mía” and “Salí Porque Salí” with Cheo Feliciano. “Pedregal” with Justo Betancourt, “Canto A Borinquen” and “Alianza De Generales” with Puerto Rico All Stars, and “Palo Pa’ Rumba,” “Prohibición de Salida,” and “Solito” with Eddie Palmieri.

Through this work on Juancito Torres’ artistic life, we want to pay a small but well-deserved tribute to one of the ambassadors of Puerto Rican music. Juan Torres Vélez’s musical career spanned half a century, during which he participated in more than a hundred albums in our music alone, which was named Salsa from the beginning of the 1970s. The National Trumpet of Puerto Rico will live forever in the hearts of Salseros around the world.

The trumpeter and producer Charlie Sepúlveda presented his new musical work titled Feeling Good Again, a jazz album released in 2003 on the Metrix label, which included our Juancito Torres on flugelhorn. Los Licenciados is the name of an album published by the Duque Records label and Omar Duque y su Orquesta. The recording year for this album is not specified, but Juancito Torres also participated as a trumpeter.

Charlie Sepulveda Feeling Good Again, Lanzado en 2003

Juancito Torres suffered from high blood pressure and bronchial asthma. Unfortunately, he passed away from a heart attack while sleeping at his home in Carolina on July 26, 2003. We will always remember him.

Long Live Music! Long Live Salsa! Long Live Juancito Torres!

By:

The Best Salseros in the World

Dj. Augusto Felibertt

Alain Pérez Triumphs in Puerto Rico with a Confident Stride

The exclusive Tropicoro Club at the Fairmont El San Juan Hotel in Isla Verde was overflowing to welcome the multifaceted Cuban musician Alain Pérez, who performed in Puerto Rico for the first time as a solo artist. Before the dance concert, held on Puerto Rican soil, which closed Alain’s first solo tour of the United States, he had performed in New York, Los Angeles, Miami, and Tampa.

To open the concert, the Cubanísimo concept, led by Puerto Rican bassist and cuatrista Jesús Algarín, set the mood for the audience. The young musician made a confident entrance, accompanying himself with powerful interpretations on his instruments, skillfully directing his own orchestra. Prior to Alain Pérez’s show, the musicians of Cubanísimo—cuatrista, singer, and director Jesús Algarín, trumpeter Miguel Ortiz, vocalists Carmen Jiménez and Gilberto Félix, bassist Félix Juan Algarín, bongos player Freddy Camacho, conga player Jeren Guzmán, and flutist Juan Ortiz—brought to life songs like ‘El yerbero moderno,’ ‘Esa niña,’ ‘El bodeguero,’ ‘La rosa oriental,’ ‘El paralítico,’ ‘Así fue,’ ‘Parampampam,’ ‘Lo que fue no será,’ ‘Que te pedí,’ and ‘El cuarto de Tula.’ Once the musicians, directed by Algarín, finished their set, Alain Pérez made his triumphant entrance.

The singer, bassist, guitarist, percussionist, pianist, orchestra director, arranger, and music producer had been in Puerto Rico on a handful of occasions as a backing musician for artists of the stature of Issac Delgado and Chucho Valdés, to name a few. This time, of course, he arrived as a solo artist and with force, to the rhythm of ‘El cuento de la buena pipa.’ Once on stage, the “guajiro,” who confessed in an interview to having “converted to flamenco,” showed that he felt at home while singing, dancing, guaraching, playing the bass, soneando, and rumbando. Once Alain and his orchestra warmed up the luxurious venue, which was overflowing with people, the virtuous multi-instrumentalist performed songs such as ‘ADN,’ ‘El sabor de mi rumba,’ ‘Amor fugaz,’ ‘Son con moña,’ ‘Hablando con Juana,’ ‘Shorcito,’ ‘Modo avión,’ ‘Batilongo,’ ‘La lámpara,’ ‘Pa’ to’ la vida,’ ‘La moneda,’ the title track from his most recent production: ‘Bingo,’ ‘Andaba solo’—a duet with the “Caballero de la Salsa,” Gilberto Santa Rosa—and ‘Pistolero,’ the latter loudly requested by the elegant audience.

Alain Pérez acompañado de su bajista Mauro Cabrejas

Gilberto joined Alain to sing ‘Andaba solo’ as a duet, but not before giving a “welcome to this beast of music, with whom I had the opportunity to record and whom I had the opportunity to meet in person recently,” clarifying that he already knew him musically, adding that they would sing “without rehearsal, but with affection.”

During the show, the musician who defines himself as a guajiro, sonero, guarachero, and rumbero, delivered fusions characteristic of Alain’s great contribution to Latin music, within Afro-Cuban traditions influenced by his exposure to Hispanic folklore. Pérez built the show using a varied repertoire that included salsa, timba, son, and bolero in interesting fusions. Accompanied by his band—composed of Mauro Cabrejas, Josué Puig, Roberto Medina, Víctor Oliva, Alejandro Sosa, Robelis Arévalo, Julio Puig, Yunnier Stoker, Cristhian Díaz, Darío Andrés, Alejandro Fernández, and Isaac Cambar—Alain Pérez delivered on his promise: “a night full of Caribbean flavor, rhythm, and

energy.”

From the moment Alain started the dance, the energy did not wane. The audience connected with the artist and the person, who visibly emotional, repeatedly expressed gratitude “for the affection received and the nobility perceived,” adding that since setting foot on Puerto Rican soil he has “felt a lot of peace” and that he’s going to have to buy “a little ranch here.”

With the Puerto Rico performance, Alain successfully concluded his first solo tour of the United States with resounding success. That was the idea. Here in beautiful Borinquen, the audience while demanding makes sure the artist feels the love and respect with which they are received and celebrated. Congratulations!

Also Read: Bella Martinez, the irreverent Salsa writer