Search Results for: Puerto Rico

Juan Manuel Lebrón: a versatile Puerto Rican artist

Music accompanies him from a very young age

Juan Manuel Lebrón is a very complete artist who has ventured into different areas of the entertainment industry, from music to comedy, Mr. Lebrón has put his name on it. Born on April 22, 1947 on the island of Puerto Rico, he has worked from a very young age on the stage when he became the singer of the Sexteto Rítmico group. But Juanma’s career, as he is affectionately known, is the perfect example of self-improvement that other artists can look up to when necessary.

Juan Manuel Lebron — Lebron is a complete artist

He recorded his first full album with the Orquesta Sensacional, which was his next step in the industry. His career took off when he participated in the OTI Song Festival, being the first salsa singer to represent Puerto Rico in this prestigious festival. Here he performed the song “Represento” which was originally by singer-songwriter Lou Briel. OTI allowed Juanma to have international recognition and the unconditional support of the late and talented cantaora Lola Flores who always praised Juan Manuel.

Currently he already has nine complete productions, his first success that conquered the radio of Puerto Rico was “Amores Sin Sentido” released in 1982. Later one of his greatest prides was to make a bolero album, in 1999 where the song “Una obra de amor” which is dedicated to all children struggling with HIV positive.

Acting and comedy are other of his passions

But beyond music Juanma has also stood out at the acting level, especially in television comedies, and if you ask any actor they will say that comedy is much more difficult than drama. Among Juan Manuel’s most famous productions we find “Musicomedia”, “Salsa con chispa” and “En casa de Juanma y Wiwi”; the latter was on the air for 14 consecutive years. He also dabbled in the host part with shows like the game one “Atrévete”

Many records and songs — Who does not know Juan Manuel Lebron?

Apart from this great repertoire as a singer, actor and entertainer, Juanma has excelled in other facets as a music producer, composer, librettist, model and brand image. In fact, even he has ventured into the theatrical world by writing and starring in the play “Cosas de papi y mami”. He has also been a radio producer with his own shows.

There are many recognitions that Juan Manuel Lebrón has obtained in his long career as a public figure, these have not only been to recognize his work as a singer and actor, but also to recognize the great contribution he has made to Puerto Rico. Among them are:

Comedian of the year in 1978.
One of the “Ten Most Outstanding Young People in Puerto Rico” in 1980.
“Represento” awarded him a platinum record and the Buho de Oro given by Panama in 1986.
In 1991 he was nominated for Premios Lo Nuestro for the song “Ella y Tú” in the category Tropical Singer (Salsa).
In 1992 he was the official entertainer chosen by Telemundo for the Great Celebrations of the Fifth Centennial of America.
That same year he was awarded the honor of representing his island at the Puerto Rico Pavilion in Seville, Spain.
He won the Paoli Award in 1993 for Tropical Genre Singer of the Year.
In 1999 he received the Don Quixote award thanks to his long career as a comedian.

A Puerto Rican Artist — A talented and very versatile Puerto Rican artist.

In these modern times Juanma remains active in the music industry. There are several singles and albums that he has compiled in recent years. We hope that soon he brings us a new production, and the successes continue for this talented and very versatile Puerto Rican artist.

Anthony Carrillo The Legendary and Virtuoso Bongocero for Batacumbele and

Anthony Carrillo was born in New York City on 117th Street and Lexington Avenue, a neighborhood marked by significant complexities in terms of violence and drugs. This is why his father decided to move the family back to Puerto Rico in 1972.

“I remember that when I opened my eyes the second day, I heard the music of Willie Colón and Héctor Lavoe”.

Me opening my eyes, and the smell of the earth. It’s a scene I’ll never forget in my life.”

Once in Puerto Rico, his father continued to play music and was connected with musicians such as David “La Mole” Ortiz, who would later become a great mentor and collaborator for Anthony.

In the mid-1970s, Anthony and his brother began collaborating with the Areito Folkloric Ballet.

Anthony Carrillo: Master Percussionist

Master percussionist Anthony Carrillo comes from a proud Puerto Rican musical heritage. Although perhaps best known for his performances alongside his childhood friend and famous LP artist, Giovanni Hidalgo, Carrillo has performed with numerous renowned musicians throughout his career, including Eddie Palmieri, Gonzalo Rubalcaba, Paul Simon, and Harry Belafonte.

He was also an integral member of the outstanding percussion ensemble, Batacumbele, and, in contrast, the Puerto Rican metal band, PUYA. Piano legend Eddie Palmieri has referred to Carrillo as “the best bongocero in the universe.”

Under his own name, Anthony Carrillo has released three CDs, which include the historic first rumba recordings from Puerto Rico. His most recent performances include the off-Broadway musical “I Like it Like That” in 2017, and recording bongos with Puerto Rican artist Residente on his recent track “Hijos del Cañaveral.”

In April 2018, his Latin jazz group, AA team, released two original singles featuring Carrillo on bongos, drums, and vocals.

In August 2018, his dance orchestra, YÁMBAWA, released a four-track EP with originals and English-language pop standards infused with Spanish rap. He has stated that these two productions form his most prolific and inspired body of work in his career so far.

Musical Origins

Anthony Carrillo was born in New York City of Puerto Rican ancestry. From childhood, he expressed a special interest in music. His father, Mr. Roman “Don Nan” Carrillo, was his first teacher.

Through his father, Anthony Carrillo was exposed to the music of “Ramito” (one of the greatest exponents of folkloric music in Puerto Rico) and Rafael Cortijo.

Anthony’s earliest influences were “Papi Andino” (Ramito’s bongocero) and Roberto Roena (Cortijo’s bongocero).

When he was only nine years old, Anthony Carrillo’s family returned to Puerto Rico.

It was then that his father asked David Ortiz “La Mole” who was considered one of the best Rumberos in Puerto Rico to teach his son the techniques and patterns of Rumba. By age 13, Anthony was already part of the touring National folkloric group Areito, directed by Mrs. Irene Mcleane.

In the early 1980s, Anthony Carrillo became a member of the famous folkloric group, La Familia Cepeda, the foremost exponents and keepers of the traditional “Bomba” and “Plena” styles.

Collaborators:

Yova Rodriguez

Planet Drum

Also Read: Papo Vázquez the Pirate & Troubadour of Our Latin Music

“Promesa de Reyes” from the pen of Yova Rodríguez “The Jibarito of Mayagüez in New York”

International Salsa Magazine, through salsagoogle.com, has the privilege and immense honor of presenting the most recent musical work titled “Promesa de Reyes” from the pen of the Puerto Rican singer-songwriter Yova Rodríguez “El Jibarito de Mayagüez.”

Promesa de Reyes de la pluma del Yova Rodríguez “El Jibarito de Mayagüez en New York”

The most recent track, titled “Promesa de Reyes,” is something I’ve wanted to do for a long time. I have to tell you that producing a Christmas production is a bit difficult because the season is so short, and it’s hard to develop the theme as it should be. But I was determined to do it because it’s a gift or tribute to the memory of my mother, Doña Delia Ruiz.

The inspiration for “Promesa de Reyes,” in reality, when you listen to the song, what you’ll realize is that it’s a narration. That is, in this track, I’m going to describe, from when I was a child, how I used to watch my mom carry out the process of her “Promesa de Reyes,” from the time they sent someone to cut the palm leaves to make the altar, until that altar with the Three Wise Men was completed, and the next day, well, we knew we had the party.

I’ve been incredibly lucky because the track was arranged by Leo Morales, originally from Colombia. It turns out that Leo is influenced—he learned to play the trombone and became a musician because of Willy Colón’s Asalto Navideño records. So, he told me that since then, he started studying the authentic, folk music of Puerto Rico to find out where Willy got those kinds of ideas. This is a very special track because we managed to include Puerto Rican danza (dance), Puerto Rican bomba (drumming and dance), and salsa.

It’s a track that gathers a lot of little things, and obviously, we added the music of the Puerto Rican countryside (música del campo). It starts with different rhythm changes, and you’ll hear one part that has Puerto Rican danza, another that has Puerto Rican bomba, and another that has salsa.

I sing and I wrote the song. On piano is Vicente Báez, the current pianist for Sonora Ponceña. On bass is Puri Matos, a master based in New York. He was recommended by Anthony Carrillo and has been doing all my projects with me for two years. Anthony Carrillo did all the percussion. On trumpet is Agustín Someillan from the Cuban National Sextet. The chorus singers are Nino Segerra, Danny Dávila, and Caneca Rosa. Manny Trinidad, recommended by Nino Segarra, played the Puerto Rican cuatro.

The recording studio was Nino Segarra’s. This is about the fourth or fifth track we’ve done there in his studio with Nino.

Nino, besides being a singer, is a professional teacher. He’s an expert who knows how to guide you, how to explain things the way they should be; he doesn’t pressure you; he lets you develop. In other words, I feel extremely comfortable working with Nino; the experience of working with Nino is very satisfying.

People tell me, “Yova, you’re crazy. You get on a plane just to go record a voice track,” and I tell them yes, for two reasons:

First, because I feel secure. And second, because I know I won’t fail with Nino, so the sacrifice is worth it. Recording with Nino was thanks to Herman Olivera, my compadre, who told me, “Look, Yova, I’ve been recording with Nino for two years, and I’m not recording with anyone else.” And look, I got on the plane, I did it, and now I have five productions with Nino Segarra.

Nino Segarra y Yova Rodriguez en Puerto Rico

Yova, the time in the studio to make the track is very important. Talk a little about that.

Look, Augusto, remember that depends on the type of musician you have there, right? There are musicians who are sight-readers of the first caliber.

These musicians tell you, “Send me the charts two days before,” they skim them. When they get to the studio, they’re done with their part in half an hour, 20 minutes, 15. But there are others who you have to take at a slower pace. For example, in Anthony’s case, Anthony told me, “Send me the demo, and I’ll listen to it.”

But Carrillo is from another planet. I send him his demo; he listens for two days beforehand. And he tells me, “Let’s go to the studio.”

And Anthony recorded flawlessly. Anthony didn’t take three hours to do four instruments; he did it in about two hours, and everything was excellent.

The track’s release? The video will be released on Friday, October 31st. The track will also be launched on radio stations that same Friday, confirmed in Venezuela, Colombia, Peru, Florida, and Puerto Rico.

Danny Dávila, Yova Rodriguez y Caneca Rosa

Yova, you brought in a Venezuelan graphic designer for this, your most recent track. How was it working with that graphic designer? The good thing about Victoria is that she listens, right? Sometimes you work with not only the graphic designer—it often happens even with the arrangers; I compare them. They do something, and you tell them, “No, wait, wait, that’s not what I want, this is.” “Oh, but no, I think that’s what should be.”

Victoria listens to you and works with what you ask for. The experience with her was excellent, and I hope it continues to happen many more times.

“Promesa de Reyes”

Piano: Vicente Báez

Bass: Puri Matos

Puerto Rican cuatro: Manny Trinidad

Conga: Anthony Carrillo

Bongó: Anthony Carrillo

Snare Drum (Redoble): Anthony Carrillo

Puerto Rican güiro: Anthony Carrilllo

Cuban güiro: Edwin Caneca Rosas

Trumpets: Agustín Someillan

Chorus: Nino Segarra, Edwin Caneca Rosas, Danny Dávila

Singer: Yova Rodríguez

Studios: Sonority in New Jersey (Recording of all Percussion). Engineers: Nino Segarra

Mix: Héctor Mora, HM

Producción Medellín Colombia

Arrangement: Leo Morales

Video Production: Jhonatan Chávez

Composition: Yova Rodríguez.

Graphic Designer: Victoria Rivas Rojas.

Also Read: Yova Rodríguez. The jibarito of Mayagüez

Latin America / November 2025

Events – November 2025

BAILATINO
La Resistencia Salsera

Nov 15, 2025

Bajo La Matica
2102, Maracay 2103
Aragua, Venezuela
+58 414 444-9767 / 424 340-0730

$ 10

DIRECTORY OF NIGHTCLUBS
ARGENTINA	ARUBA	BELIZE
BOLIVIA	BRAZIL	CHILE
COLOMBIA	COSTA RICA	CUBA
DOMINICAN REPUBLIC	ECUADOR	GUATEMALA
MEXICO	PANAMA	PERU
PUERTO RICO	VENEZUELA

Colombian dancer and instructor Camila Cepeda takes salsa caleña to Canada

Every day there are more Latinos who, with their talent, are gradually taking over various cities in Canada and the hearts of many of its inhabitants. Colombian instructor and dancer Camila Cepeda shows us that she and several of her compatriots have managed to break into the aforementioned North American country and shares with us a little bit of her interesting story.

Camila’s interest in dance

Camila has danced through life, and since she was a little kid, dance has been very important to her. One genre in particular that caught her attention was salsa caleña, especially since she saw it for the first time with dance groups on the TV show “Colombia’s Got Talent”. From there, more specifically in 2011, she looked for a dance academy where she could learn to dance and imitate what she saw on the screen.

Almost immediately, she realized that it was a very demanding style that required stunts and movements that were not common in more classic versions of salsa. After training in dancing, she did not want to be just an expert in salsa caleña, but many more people learned how to dance it as well, which led her to create a folk dancing group with which she would take her first steps towards teaching.

In addition to salsa caleña, Camila also danced salsa choka, champeta, bachata, merengue, and Colombian folklore.

Camila dancing at an event — Camila Cepeda dancing in one of her salsa caleña events

Moving to Canada

Initially, Camila’s plans did not include leaving Colombia, but when she knew Canada, she found it an extremely interesting country where she could start something new with dance due to the lack of salsa caleña there. So, she entered the country with a student visa and studied international business at Seneca College in Toronto, with the intention of forming her own company in her new host country.

While gaining business experience through jobs for other companies, she continued to offer classes in parallel. Finally in 2020, in the middle of the COVID-19 pandemic and when she was still a university student, she decided to register and open her dance academy, “Salsa & Sabor.”

During that time, she also validated her teaching in English so that she could give classes to both locals and people from other cultures who spoke the same language.

Camila, Aleja, and Sonia — Camila with dancers Aleja and Sonia

Salsa & Sabor today

Although the academy was started with only online classes due to the sanitary restrictions of that time, Camila was able to gather together a more or less numerous community that allowed her to stay afloat in such a difficult moment. Therefore, when government controls were relaxed, the young woman had no problem to organize dance classes and activities in parks keeping proper social distancing.

A short time later, she could finally open her dance studio, welcome students in person, and recruit other instructors such as Diana, Victoria, Mateo, and Paula. One thing to mention about these five young Colombians is that they were all Camila’s students in the past and, after all the training she offered, they also became experts in the field. Given the pitifully small number of salsa caleña instructors in Canada, when they were ready, she asked them to join her team, and they gladly accepted the opportunity.

This, in turn, helped them to open up more schedules and workshops for many more people, allowing the academy to grow even more.

Camila with her students — Camila with some of her little students

Division of teaching genres and events

As we said at the beginning of this article, Camila also teaches other genres such as salsa choke, la champeta, bachata, and merengue, but her flagship and main rhythm remains salsa caleña. An important difference between salsa caleña and the rest is that it has a well-defined continuity and academic structure, so it takes much longer to learn. The other genres are relatively simpler, so they do not require as many hours or such an elaborate program.

Differences between salsa caleña and traditional salsa

According to Camila, a very important component of salsa caleña is its speed compared to traditional salsa. The way salsa is danced in Puerto Rico, Cuba, or New York is much better known around the world due to its age, while salsa caleña is a little newer and only began internationalizing a few years ago. In addition, traditional salsa is slower and uses the hips and shoulders a lot, while salsa caleña relies heavily on the rapid movements of the feet.

In fact, an important fact to know is that salsa caleña was created from a mistake. It turns out that a group of young people in Cali were doing private parties with LPs by various artists of the time, but they accidentally raised their speed and made the songs sound faster than they should. This led them to create completely new steps and choreographies based on these fast songs, giving rise to what we now know as salsa caleña.

These parties were called “aguelulos,” a Colombian term to refer to alcohol-free parties or gatherings for young people.