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Search Results for: Puerto+Rico
Edgardo Cambon will celebrate his 40-year career at Yerba Buena Gardens
A few years ago, we had the great honor of interviewing Uruguayan bandleader, director, composer, percussionist, and singer Edgardo Cambón, with whom we talked again about his career anniversary as a musician next month.
Obviously, we wanted to recount the most important and interesting details of his wonderful career, but we could not fail to ask him how he has been the last few years, and that is how we wanted to begin our conversation today.
One of the things he revealed is that he recently released his new album, “For Export,” under the record label Latinbaum Records during a show at a venue known as The Fright, an event in which he enjoy the opportunity to celebrate his 65 years of life in April 2025. There were about 450 people present, with whom an excellent music video was filmed and the previously mentioned CD was released.
At the end of last year, he made about eight radio appearances, one on TV, and another one live in Bogotá, Colombia, which is one of the locations where the producer of Latinbaum Records, arranger, producer, composer, and pianist Israel Tannenbaum, is based. We have also had the opportunity to interview him on other occasions.
He says he is very happy with the five albums he has recorded so far and how active he has been over the past year due to his many promotional trips to places like Puerto Rico.
How has Edgardo Cambón managed to remain relevant after so many decades?
After being performed for nearly 40 years continuously, it is important to know how Edgardo has managed to remain relevant for such a long time, which in his own words, has been possible thanks to the originality of his sound and lyrics. He has never stopped writing original material, but that does not mean he has not dared to experiment with other people’s compositions, as was the case with “Imagine” by John Lennon. The artist created his own salsa version of this classic, which is an extremely risky thing due to how different salsa is from the soft rock we all remember from the original song.
More importantly, he has never been afraid of changes, and that can be seen in all the genres with which he has experimented, except for reggaeton, since he cannot support many aspects of culture that accompanies this type of music and its leading artists.
He made romantic salsa songs when that genre was very fashionable, but he always tried not to be swayed by the thing of the moment, but to seek himself in each style. Something to acknowledge Israel Tannenbaum is to be the first producer to mold him as an artist and give him so much valuable advice such as reducing the duration of a song or how to keep the message with a shorter length of time.
Another big change to which he had to adapt over the years was the fact that his understanding of the local scene could no longer be the same. One of the many things that changed was the appearance of salsa congresses where DJs, who usually played the hottest tracks of the moment, took center stage. This led Edgardo and many other artists to adapt their repertoire and include covers of much better-known songs, as that was what a whole segment of the public demanded most.
Performance at the San Francisco Salsa Festival
One of the festivals he has attended was the 2026 edition of the San Francisco Salsa Festival, organized by John Narvaez and Elizabeth Rojas, who had previously hired him to offer percussion classes. Edgardo & Candela had an extremely successful performance on Thursday, March 26, which was the day of the opening.
The artist took the opportunity to remind us that he has also been performing for years at the San Jose Jazz Festival and the Monterrey Jazz Festival, the first time the organizers hired a Uruguayan bandleader, and he was one of the few to perform salsa that day. In addition, he had the honor of introducing candombe (a traditional Uruguayan rhythm) mixed with salsa and traditional drums.
Top moments of his career
After such a long career, he has logically experienced moments that marked a watershed that forced him to adapt to the new trends. One of those changes was the replacement of the vibraphone (a very delicate instrument) by the trombone, which represented a significant sonic leap, as the musicians had to switch from a percussion instrument played with drumsticks to a brass instrument that runs on air and lip pressure.
With the arrival of Karl Perazzo, he proposed to Edgardo that they start using trombones, and he agreed to when seeing the potential of the instrument. So, that was when the group became a septet, having previously been a small ensemble in which the three percussionists played and sang simultaneously, making the band sound bigger than it really was.
Some time later, Edgardo made a series of trips to Cuba that completely transformed his mind and his way of seeing and playing music, since anyone could not go on stage in that country. It was then that he felt inspired to release his album “Madre Rumba, Padre Son,” in which he gives all credit to what he learned from Cuban music and its greatest exponents. He also took the opportunity to mention some of his other biggest influences, such as the politicized lyrics of Ruben Blades in the 1970s, Los Van Van, Isaac Delgado, and many others.
Another aspect that changed over the course of his career was the way the media, radio specifically, was transforming as the years went by. However, there were always communicators willing to promote his work, such as Chuy Varela, Louis Medina, and Chata Gutiérrez, who supported him at the time despite being a local artist from Uruguay playing salsa in such a competitive environment.
Thanks to all those moments and the support he received, Edgardo managed to meet his biggest dreams such as making great music, continuing to live from music, and achieving international popularity. Although he hopes to continue reaping the fruits, he feels he has already achieved what he set out to do early in his career.
40 Anniversary of Edgardo Cambon’s career
Before telling us of his plans for his 40-year career, he reminded us how he celebrated his 20-year career at Yerba Buena Gardens, where he released his album “20 Años de Sabor.” The event was so successful that he will use the same venue to celebrate his 40th anniversary on August 6 this year. The concert will be completely free, suitable for all ages, and outdoor from 6:00 p.m. to 7:30 p.m.
That day, he will perform the best of his repertoire together with special guests who will make it a very special night, especially for Edgardo and his team.
And Edgardo also wanted to thank International Salsa Magazine, its editor Eduardo Guilarte and me for such a very positive interview on the occasion of celebrating the anniversary of his amazing career. The honor is all us and it is what a first-class artist deserves for leaving our heritage high.
Read also: The Latin Ensemble enchants the United States and Spain with its talents
Rumbon de Caracas
Latin America / Venezuela / Caracas
“El Rumbon de Caracas” is a party that brings together a variety of genres to kick off the holiday season, starting November 12th at the Ciudad Tamanaco Shopping Center (CCCT) in Caracas, Venezuela. The lineup includes Salserin, Francisco Pacheco y su Pueblo, Jonathan Moly, Guaco, and special guest El Gran Combo de Puerto Rico. The event begins at 4:00 pm (16:00). Tickets are available through TicketMundo, with prices ranging from 15,000.01 Bs to 45,000 Bs.
El Gran Combo de Puerto Rico is a Puerto Rican salsa band that is as successful in its home country as it is one of the most well-known throughout Latin America. Unlike other salsa orchestras, particularly those that emerged in New York from the 1960s onward, this group, known as “Mulatos del Sabor,” has always protected its musical timbre from complex innovations and experiments, safeguarding the unique, simple, and rhythmic sound that has characterized it since its founding on May 26, 1962.
We also have “Guaco,” the Venezuelan orchestra born in the city of Maracaibo, Venezuela, which evolved to become recognized as a Super Band of Venezuela. Influenced by rhythms such as salsa, pop, funk, jazz, and gaita zuliana, its rhythm remains unique and constitutes a style in itself.
Similarly, we have “Salserin,” known as the children’s and youth salsa orchestra formed in Venezuela in 1993, where the musical genres are pop, ballad, Latin, and primarily salsa. This orchestra boasts over 7 million copies of its albums sold worldwide, as well as 11 productions, 6 novels, 1 feature film, 1 radio drama, and more than 50 gold and platinum records.
For more information about tickets, please contact:
- http://venezuela.ticketmundo.com/Evento/Rumb%C3%B3n-de-Caracas/4574
- http://clasesdesalsa.net/wp-content/uploads/2011/01/El-Gran-Combo.jpg
Ismael Miranda
North America / USA / New York
Ismael Miranda was born in the village of Aguada, Puerto Rico, on 20 February 1950. At an early age he moved to New York, where he began his passion for music. In 16, he recorded his first hit song “Rumbón melon” with Joey Pastrana. Then, he became part of the Orchestra Harlow in 1967, with which he achieved success of the song “Abran Paso”.
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Ismael dabbled solo in 1972, with a new production called “Opportunity”. He also formed his own band called “The Revelation” and recorded another CD called “Así se compone un son”. In addition to having other notable songs, the title track was a resounding success in Latin America, the United States and Europe. The next year saw the light the album In Fa Menor, appearing again the song of the same title, “In Fa Menor”, among other successes.
Miranda continued producing hits, with songs such as “Borinquen tiene Montuno”, “La Cama Vacía”, “La Copa Rota”, “Como Mi Pueblo” y “Las Cuarentas; all were widely broadcast radio media. His compositions also achieved success with pieces like “Señor Sereno”, “Abren Paso”, “Lupe, Lupe” and “Pa ‘Bravo Yo” song made famous by the Cuban salsero, Justo Betancourt.
In 1974, the founders of the Fania, Jerry Masucci and Johnny Pacheco, asked Ishmael to form part of the Fania All Stars, where he was dubbed “El Niño Bonito de la Salsa” by being the youngest of all members. In the 80’s, he found success with the Fania, such as “No me digan que es muy tarde” and “Galera tres.”
Also, Ismael created his own label, under which he recorded several productions, including “Por el buen camino”, of which the theme “Careta” was a hit in 1985, plus two holiday productions. The early stage salsa enjoyed its best, and the debut of Miranda with his own band, Orquesta Revelation, could not be timelier.
For 2000, Ismael recorded several productions under the direction of Gilberto Santa Rosa, titled “Vengo con todo”, “Tequila and ron” (which was nominated for a Grammy in 2003), and “Special Edition”. At 2005, reached #1 on the Billboard chart, with the theme “Se fue y me dejó” with Andy Montanez and Cheka, produced by Sergio George. In 2007, he recorded his first Christian production called “Buscando el Camino” in which the theme “Como el Águila” achieved great success. In 2008, he launched the production called “De regreso al son”. For 2011, Ismael recorded his second Christian production “Aferrado a ti”, which issues “Francotirador” and “Sabes que te amo” were big hits.
In 2014, after a successful tour to mark its 45th anniversary in the Salsa, Ismael met with Victor Manuelle, to whom he delegated the production of his latest album “Son 45”. This production is very modern, but retains the classical influence of salsa, and has proven to have the support of the whole public salsero. From his first days on the market, this new album, started climbing positions in the lists of the prestigious music magazine Billboard, with the theme that gives the name to the album “Son 45”.
Entered 2015, The Pretty Boy of Salsa positioned in the first place with the same subject, under the category “Air Play” magazine, the second member of the Fania All-Star to reach the #1 position for the second time, place before conquered only by the Guarachera del Mundo, Celia Cruz. Ismael made history again when launching his second promotional theme of this production, “Bajo, piano and bongo” again ranked at #1 on the Billboard charts in the same category, becoming the most #1’s has reached among members of Fania. As if that were not enough, this production has also been nominated for a Latin Grammy in the category “Best Salsa Album”.
During the course of his great career, Miranda has recorded more than 20 albums and has performed with notable artists such as Nicky Marrero, Hector “Bomberito” Zarzuela, Reinaldo Jorge, Ismael Quintana, Willie Colon, Ray Barreto and Luis ‘Perico’ Ortiz.
The Elegant One of Salsa Life and Legacy of Tito Allen, one of the most refined voices in our Latin Music
The world of Afro-Antillean music celebrates the birth of one of the genre’s most distinguished and sophisticated voices Roberto Romero Caballero, universally known in the music scene as Tito Allen.
Born on May 1, 1946, in the iconic neighborhood of Santurce, Puerto Rico, this pillar of salsa has left an indelible mark on the history of Latin music throughout a career spanning over four decades of artistic excellence.
The Origin of a Name with Tumbao
The stage name of this renowned sonero holds a curious history split into two parts. The first part, “Tito,” stems from a deeply rooted custom in Puerto Rican slang: the double diminutive. From Roberto, people began calling him “Robertito,” a nickname that over time affectionately evolved into “Tito.”
On the other hand, the surname “Allen” has a much more urban and accidental origin. The singer himself has confessed that during his youth, he saw the word painted as graffiti on a wall. The visual impact and the sound of the name pleased him so much that he decided to adopt it on the spot as his signature trademark for the entertainment world.
The Beginnings of a Multifaceted Star
Tito Allen’s musical journey formally began in 1962, when he was just a 16-year-old teenager. In his early days, the young Roberto showed a strong inclination toward rock and roll, a genre that was causing a frenzy among the youth of the 1960s.
During this formative period, Allen stood out as a bassist and guitarist, forming part of various musical trios that emulated the great bands of the era. These groups even enjoyed successful appearances on Puerto Rico’s Channel 4 television.
Fortunately for lovers of Caribbean rhythms, destiny guided him toward tropical music. His powerful voice, characterized by impeccable tuning and elegant phrasing, quickly made him a highly sought-after singer.
Among his major aesthetic influences, Allen has always expressed a deep admiration for Cheo Feliciano, whom he listened to with devotion during Feliciano’s era with the Joe Cuba Sextet. Likewise, he has repeatedly pointed to the Bobby Valentín Orchestra as one of his favorite bands of all time.
Conquering New York and the Big Leagues of Salsa
Determined to take his career international, Tito Allen traveled to New York in 1972. Although he initially tried to join the orchestra of the “King of the Timbal,” Tito Puente, Puente had no vacancies at the time. Far from discouraged, Allen joined forces with the prominent Colombian pianist Eddie Martínez to form a quintet that performed successfully in Big Apple nightclubs.
The true turning point came in May 1973. After a brief return to his native Puerto Rico, Allen went back to New York and, thanks to a recommendation from Eddie Martínez, scored an audition at the famous club El Corso. There, maestro Ray Barretto was looking for a vocalist to replace none other than Adalberto Santiago.
Allen rose to the challenge masterfully, recording the acclaimed album Indestructible (1973), a work that instantly enshrined him in the pantheon of salsa royalty.
A Legendary Journey: Following his successful run with the Ray Barretto Orchestra, Tito Allen fulfilled his dream of working alongside Tito Puente. Later, he joined the ranks of the legendary Típica 73 before launching a solid solo career.
His impeccable reputation also led him to become a fundamental part of the Puerto Rico All Stars, participating in two of their most iconic album productions. Additionally, he collaborated closely with the virtuoso Louie Ramírez, leaving an indelible mark thanks to his versatility.
The Golden Backup Singer of the Latino Neighborhood
Beyond his brilliance as a soloist and bandleader, Tito Allen’s career stands out for his generosity and professionalism in the recording studio.
His trained, melodious voice graced countless productions for artists of the stature of Pupi Legarreta, Ralphy Santi, and Conjunto Clásico, among many other representatives of “the ultimate expression of the Latino neighborhood.” His work as a backup vocalist was essential in defining the sound of New York and Caribbean salsa during the ’70s and ’80s, solidifying his status as a complete artist and a gentleman of music who today, more than ever, deserves the applause of his audience.
