Search Results for: Puerto Rico

A graduate of Berklee College of Music, with his college degree in hand, the young bassist returned home to make his homeland in salsa time.

Jesús Algarín is a Puerto Rican bassist who, at the age of 25, landed in the salsa scene to make music his life project.  The young musician already walks with a firm step accompanied by the forceful interpretation of his bass, leading his own orchestra with confidence.

From the time he was born, according to what his parents told him, they used to party, so it was not surprising that at the age of 8 he was already the one who was the one who was livening up the parrandas while playing the Puerto Rican cuatro.  Algarín, who was born and raised in the heart of Puerto Rico (Caguas), candidly tells us that as a child, he discovered through our very own parrandera tradition, that music -which he refers to as a wonderful art- had a healing and restorative power.

Well advised by the adults in his family, he recounts that his uncle explained to him early in his life that if he failed to ignite his audience at the Choliseo during a parranda, it would become more difficult for him. Once he understood the advice, he applied it to himself.  Today he concludes that it is necessary to dominate every stage, from a marquee to a public square, and to take it one step at a time.

Through Puerto Rican folk music, studying and interpreting the seis, the aguinaldo, the bomba, and the plena, he was entering into what without planning it became his life project.  Later, playing the Puerto Rican cuatro purely by ear, he was able to enter the “magical” world of music, as he himself describes it.

Already in the sixth grade of elementary school, he began his formal apprenticeship at the Escuela Libre de Música de Caguas.  Before that time, he played the cuatro but did not read music.  Once he learned to read music, he decided to continue growing musically in his instrument.

Six years later, in grade 12, about to finish high school, he took part in the camps that Berklee College of Music brings to Puerto Rico every year. He auditioned for the Puerto Rican cuatro.  However, at the time, he did not achieve his goal of positioning himself. Determined not to give up, the following year he returned to the Berklee camp but changed tactics. He showed up to the workshops with a bass because he understood that the cuatro was not a good fit.  When he filled out the registration form for the workshops, he reported that his bass playing was at the advanced level, even though he knew it wasn’t true.  This adolescent idea, which added a good deal of pressure and stress to his musical performance, helped him get into the ensembles he aspired to qualify for. Today he admits that at that time, which today seems far away, he could not handle the bass because, as an instrument, it was still unknown to him.

In any case, Algarín qualified because, as we know, you have to take your chances with life.  The rest is history. 

With the bass as his main instrument, Algarín got Berklee to give him a scholarship and after four years in Boston, Massachusetts he graduated with a degree in Music Business. In other words, he spent four years making music while learning to see music as a business.

The young bass player confesses that he had not planned to be a musician nor had he thought he would make a living from music.  He did not see music as a possibility, since although it was always an integral part of his life, music was a hobby or a way to serve God in the church.  And that’s what he limited himself to until he came to Berklee’s summer workshops.  Before that, he saw himself as a lawyer and when it was his turn to enter college, he initially enrolled at Ana G. Mendez University.  There he attempted to complete a bachelor’s degree in accounting. However, from the very first accounting class he knew that accounting was not for him.

Algarín capitalized on what he learned, and has been able to stick to music as a way of life; from a more realistic and less idealistic perspective. Of course, all without losing the artistic focus of musical interpretation.  Along with his musical training, he has been preparing himself in legal issues, maintaining business awareness, focusing on the protection of music and copyrights.  He has also been responsible for making other musicians aware of the importance of registering their music with the Library of Congress and thus making the most of their work.  There is no doubt that Algarín knows his worth as a musician and from his space he has decided to serve and guide his counterparts to protect their work.

Before entering the studio to record his project, Algarín had recorded with Manolito Rodríguez.  During his student years in Boston, he was a musician in the Eric German Orchestra, the orchestra that accompanies visiting solo singers in the New England area.

Today, his main instrument is the bass, double bass, baby base or electric bass.

The bassist, a native of Caguas and graduate of Berklee College of Music, class of 2020, returned to Puerto Rico to lead his own musical project.

Two years after Algarín’s return home, the orchestra is already promoting its first production entitled “Dímelo Algarín”, which is part of his project “Jesús Algarín”. The format of the base orchestra of the project is as follows: winds (trumpet, trombone and baritone saxophone), bass, piano, conga, timbal, bongo and bell; backing singers and choirs. This, his first production, contains 5 songs, with contemporary themes in its lyrics. This lyric, however, embraces the nostalgic sonority of the sextet, complementing some of the songs with the Cuban tres. The bassist leader of his project arranged and composed these 5 unreleased tracks, which are merged in a production for which Jesús Algarín is also responsible.

The production is available in digital format on all platforms. The promotional cut is Sigue tu camino performed by Ricardo Colón, who also sings in the Willie Rosario Orchestra. The other four tracks included in the production are:  Playita, Cadencia y sabor and La calle se prendió; performed by vocalist José Luis De Jesús and Caribeña, in the voice of Marisabel Vázquez Varela.

The recording studio musicians who participated in the production are from the Caribbean.  Puerto Ricans, Cubans and Venezuelans merge in a salsa embrace; as is to be expected.

Vocals: José Luis De Jesús, Ricardo Colón and Marisabel Vázquez Varela.

Backing vocals: Jorge Yadiel Santos, Carlos García, Ricardo Colón, José Luis De Jesús, Manolo Ruiz and Carloscar Cepero.

Bass: Jesús Algarín

Piano: Aníbal Cruz and Juan Rivera

Tres: Renesito Avich

Percussion: Miguel Martínez

Trumpets: Luis Arnaldo Ramos, Angel Segarra y Nicolás Benítez

Trombone: Johan Escalante y Carloscar Cepero

Baritone saxophone: Efraín Martínez

Cuatro: Jesús Algarín.

As the son of documentary filmmaker Juan Félix Algarín, Jesús considers himself blessed to have been mentored by a father with first-hand knowledge.  His father always instructed him to be aware of music as a business in the entertainment world. Jesus knows his worth and has kept himself informed as to the costs of production and is clear as to the rates of his work.  He identifies himself as a Puerto Rican and Caribbean musician. He is in every sense of the word, a music worker.

As it is, we are still in salsa.  Yes, salsa lives! The effort, discipline and talent -in that order- of this young bandleader attest to that. Congratulations, and may you continue to “catch the ride”.

For bookings, Ángel Ilarraza: 787-347-4662 or e-mail: [email protected]

How his career started

We have here Fernandito Rentas, who is a Puerto Rican salsa singer. Good afternoon, Mr. Rentas, how do you do?

Good afternoon. Thank goodness, i’m doing just fine right in good health and working hard. We are doing what is done daily, which is my regular job, but on the other hand, we are making the music that I would be able to do up to the present time, or rshould I say, musical projects.

Fernandito Rentas recording one of his songs

You come from Ponce. This is a city from which many famous Puerto Rican artists come, especially in the salsa genre. Do you think that coming from that city had something to do with the road you would take later on?

Ar some point, yes because that influence was around me since I was a little boy. I have always been interested in music and sports, but I enjoyed more of music. I don’t come from a family of musicians as far as I know, but my biggest influences come from distant relatives like, for example, Mr. Esteban Tato Rico Ramírez, who was a singer in the orchestra La Solución.

Basically, what I remember most about my childhood is that it was from there that I became interested in music. At the same time, I would see my parents dancing at parties and there was all that excitement and feeling of celebration. The church and its chants were also important in that regard.

Those were earlier influences, but it was from the age of 7 that I began to understand tropical music. As time went by, I got more interested in it. I couldn’t take music lessons due to economic problems at that time, so I did everything by ear. I do remember that there was an instrument I liked a lot when I was in elementary school, which was marimba. I was strock by it, which led me to join a group of classmates at school who practiced in the school canteen in the afternoon. I also remember my music teacher, Mr. Fermín Torres, who was from the Adjuntas or Coamo area in Puerto Rico, but he was well known in the musical area of the school system.

I didn’t really jump right into music until a few years later because our family moved to Florida, where I began to look out for other interests such as the US Armed Forces. When I graduated from high school, I joined the army and there I met other colleagues from my homeland, which made me reconnect to Latin music. I was not only focused on music of Puerto Rico, but also from Colombia, Venezuela and other countries.

Fernandito Rentas singing on stage

My idol as an artist in the genre has always been Oscar D’ León since the first time I saw him when I was 7 or 8 years old during the patron festivities in my village. When I went into the army, many colleagues who were already veterans in this issue helped me to train me. The first person I met was bass player Héctor Cruz, who I say was my godfather in music. That was in Germany when I served on the force in 1989. When I returned to the United States, I went to North Carolina and began to succeed in music step by step.

I spent nine years serving in the South Korean peninsula, where I was blessed to pull together a group of musicians and perform live music with many fellow musicians, including Korean friends I made there. I returned to the United States in 2011 and thank goodness I stay on this. These days, I had the opportunity to connect or lift me up from where I were and do something different. What I was looking for was to create my own productions with the music that I like, so that’s what I’ve been doing these last two years.

His groups

You were part of various groups including Orquesta Mambo Son, Grupo Descarga, among others. When did you decide to go solo and create your own productions?

I decided to do it in 2020. I had already had this interest for many years and was always seeking the opportunity to break the ice through groups. I was looking to take part in the production of a group I was with and start from that point, but unfortunately none of my groups managed to get into production.

I finally got the chance with the pandemic, as I started to be able to be interacted with colleagues and friends through Facebook and connect with musicians from around the world. Then, other comrades who were also in the armed forces told me about Mr. Robert Requena, who is a Chilean who lives in Medellin, Colombia.

Fernandito Rentas in his military uniform

When I wanted to do things differently adapting myself to the new era, they put me in touch with Mr. Requena and I expressed my ideas. Then, he was the one who showed me the first composition for my first song, which we titled Bailando debajo del agua (Dancing under the water). The thing is that this song is based on an event that happened here in my house, which I told Requena about and we used it for the song. Then, we talked about its musical bases and what I was looking for in my future songs, so he came up with the formula. Today, we are working on my sixth record and thinking about releasing it in June, but there are seven others that are being created right now.

Seeing as your career practically started with Covid-19, do you think the pandemic precipitated what you had in mind?

Well, in a way, yes. My desire to make a solo album is very old, but the 20 years in which I was serving in the armed forces limited me, thing that also happened to other colleagues who are also launching their own albums today, such as Arnaldo LaFontaine, Edwin El Calvito Reyes, Josean Rivera, José Rivero, among others. Arnaldo La Fontaine, Jose Rivero and I were singers in the same orchestra in the southeastern United States during the 1990s.

My interest in being a soloist was present for a long time, but the opportunity to do so did not come until I made use of technology. I can tell you that all my albums are being made in Medellin, Colombia. All I do here in New Jersey is go to the studio and record the voice. That advantage that we have today really helped us and, at the same time, the arrival of the pandemic has prevented us from going to other places to bring our talent. I have accumulated unimterrupted 33 years of career, but the pandemic prevented us from going out and locked us up at home. It was there when many other artists began to take alternate measures to be able to continue reaching people.

In any way, I think we have turned this situation to our advantage in the best way that the Lord has not allowed.

Art of his last song Qué difícil es

An artist I interviewed told me that many musicians were preferring to release single songs instead of full recordings. Are you makings full recordings or single songs?

Based on advice that Mr. Requena gave me, I am releasing single songs. Nowadays, the matter of full albums has become complicated due to the lack of record labels and factories where these materials are produced. I would say that the idea of releasing singles was the best because you want to know if the public is going to accept or like the album. Instead of releasing all the songs at the same time, releasing one song at a time is more comfortable, less expensive and easier to work with. For the time beingt, I have no plans to release a CD.

How did you balance your musical and military activities?

I had to balance them because our obligations and priorities in the military service are focused on the mission and commitment to the defense of the country. During our free time, we liked to clear the mind and do different things. We went to parties.

We felt great making music for our fellow soldiers, their communities and families. We were able to bring our Latin culture to the countries we went to.

Music was our main hobby and the to entertain ourselves on the weekends.

Social networks and website

Facebook: Fernandito Rentas II

Instagram: Fernandito Rentas

YouTube: Fernandito Rentas

Ortiz features Tony Vega, Milly Quezada, Johnny Rivera, Gerardo Rivas, Henry Santiago, Yturvides Vílchez, Néstor Torres, Charlie Sepúlveda and Antonio Luis Orta.

The new production of the Puerto Rican trumpeter Luis “Perico” Ortiz, Sigo entre amigos comes to us with the same energy as always.  We trust this is a foretaste of what is to come because as the genius of musical production, Julio Gunda Merced, says: “We must continue to create”.

Sigo entre amigos begins by modernizing what would otherwise keep us in the nostalgia of the unforgettable production, Entre amigos.  The also masterful 1983 production featured Rafael Ithier, Rubén Blades, and Roberto Lugo, as well as the same Conjunto Quisqueya that for years dominated the danceable musical genre known as merengue.  In this new arrival, Sigo entre amigos, “Perico” continues with his trumpet and the rumba is back to form. In this renewed Sigo entre amigos, cut that gives title to this impeccable production, we find the voices of: Tony Vega, Milly Quezada, Johnny Rivera, and Gerardo Rivas. The legendary backing vocalist Henry Santiago also stands out, with the vocal power to which we are accustomed.

Beginning in the third minute of what has become the promotional cut, the unmistakable trumpet of the usual Luis “Perico” Ortiz stars in the notes of the arrangement until he joins in calm and saucy harmony the melodic wind collective formed by Yturvides Vilchez, Antonio Luis Orta, Jesus Rafael “Rafy” Torres, Eliut Cintrón, Randy Román, Miguel Rivera and Danny Fuentes in a masterful closing.

The second cut of this production, De mi para ti, features the crystalline voice of Johnny Rivera.  The song is a composition and arrangement by “Perico”.

The chorus that says: “Mi tributo es para ti, gracias al salón de baile” (My tribute is for you, thanks to the dance hall) enters in a tune that my ear associates to the style that stands out in the Orquesta Puertorriqueña del maestro Don Perignon.  I’m not saying that’s the way it is, I just think that’s what my ear appreciates.  I love it, by the way.

Johnny’s soneos bring nostalgia to the affair without abandoning the innovative touch of the arrangement.  This dichotomy of keeping the foundation constantly evolving has been very well achieved, highlighting New York as “the supreme soul of the art”.  Somewhat later in the song, the touting style that Johnny adds to “si tú quieres que yo cante, canto; y si tú quieres que yo baile, bailo” shows the malleability and mastery with which “Perico” manages to weave the classic with avant-garde expertise. Bravo!

After Johnny’s characteristic war cry in the fourth minute of the song, I recommend listening to what follows the “¡Vayaaa!” anticipating the forcefulness of Gadwin Vargas’ tumbadora. That, for the sake of highlighting my favorite special effect.

How can I say no, if it is a song inspired by the affection and respect that this avant-garde school obviously expresses for women.  It is about a gentleman who “sees lights” for a lady who approaches him cautiously and without haste.  Finally, the gentleman succeeds in making the lady fall in love and confesses to her that the wait was worth it, even though at first he did not even dare to ask her for a kiss.  In short, this composition by “Perico” himself is far from the lyrics that some fire-eating feminists condemned as misogynistic, in that past that this team of artists led by “Perico” were never part of.  In a way, this song repairs the damage caused by others.

In the vocal part, it distinguishes the duet between Gerardo Rivas, guest of this production, and “Perico” himself, who also interprets through the trumpet.

Musically, the arrangement of this song is easy to listen to, although I imagine that the arranger processed all the complication to make it simple for our inexperienced ears. The rhythmic changes within the salsa sound of this song have interesting transitions, the kind that make the dancer get active even if his dancing shoes are not well tied.

In the vocal part of Detente, the duet between Tony Vega, guest of this production, and “Perico” shines.  Detente lightens the speed compared to the rest of the songs in the production, so the dancer must be in good shape before trying to dance to it.  This fact shows us the versatility in the interpretative ability of Tony Vega whom we are used to hearing singing romantic and slower songs.  It is, without a doubt, refreshing to see how the performer’s horizons can be expanded by way of these artistic combinations of seemingly simple variations. Of course, a pioneer of these effects is “Perico” and this invention that I attribute to “Perico” is due to him having the necessary experience to achieve exceptional results with the usual performers.  At the 2 minutes and a half mark, the correspondence between the bass played by Jorge Rivera and the piano played by Carlos García; they reach a rhythmic transition, which makes this arrangement a remarkable one within the list of songs that compile this production.  Almost entering the fourth minute, we reach the social message that the song delivers to the listener as a chorus: “Persigue lo bueno…”.  The chorus and the pregones are framed within the tastiness of a trombone full of positivism.  The fifth minute gives way to the conversation between the trumpet of “Perico” and the voice of Tony Vega, affirming a message of love and truth.

Days after listening to the track, I can still hear Henry Santiago’s voice echoing, “chase the good…”

The intro of the track Solo tuya seré features “Perico’s” trumpet playing what appears to be a fragment of the Puerto Rican national anthem.  “Perico” demonstrates masterful mastery in the harmony of the aforementioned notes conjugating them with the vocal entrance of Milly Quezada.  The song’s lyrics are sweet and romantic with lots of melody and rhyme.  However, this does not limit the arrangement to a simple one.  On the contrary, it is one of those arrangements that conquers by its complexity and fluidity.

Before reaching the 2 minute mark, the leather beats come in, anticipating Milly’s proclamation, confirming in multiple ways the chorus that says: “solo tuyo siempre yo seré” (only yours I will always be).  The mambo goes on, while Milly continues to splash the feeling summarized in the confession she makes while singing in her characteristic color: “eres mi mejor canción, eres tú mi melodía” (you are my best song, you are my melody).  By 3:33, the arrangement returns to the undisputed sound of “Perico”.  This composition, also by “Perico” pays homage to patient love, good love that swears: “te amaré toda la vida” (I will love you all my life).  As you can see, it is possible to coordinate romance with a musical arrangement that is at once melodic, danceable and heavy.  Now, the question I have to ask myself is: Did “Perico”‘s return to his homeland after living in New York for about two decades inspire his pen? Is that the reason for the intro with the overlapping resemblance to the national anthem?  That is the question that leads me to: “Eres tú lo que soñé, eras tú mi fantasía” (You are what I dreamed of, you were my fantasy).

On Señores que se sepa, Henry Santiago’s unmistakable voice stands out again in the coros, backing up “Perico’s” vocal performance.  Shortly after 2:30 minutes, the trumpet leads the melodic development of the winds.  Well into the third minute, the association of bass and piano precede Jorge David Marcano’s timbal until the trombone and tumbadora begin to dominate by the fourth minute.  In the fifth minute, a trumpet-led mozambique takes over.  When the mozambique goes down, the piano seems to embrace the trumpet.  As can be seen, the development of the theme is one with modern overtones of undeniable Afro-descendence, without departing from the classic fundamental sound.

On Tres grandes amigos, Henry Santiago sings with his usual strength.  The melody benefits from a sound that I imagine was inspired by Puente, Rodríguez and Machito, since the saxophones stand out in that typical playfulness of the three Palladium greats.  It would seem that the composition and arrangement -both by “Perico”- are in tune with the upcoming reunion of those whom I affectionately call “Los herederos del Mambo” (The heirs of the Mambo).  I associate it, since on March 5, 2022 begins the reunion tour of Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. in the concert: The Big 3 Palladium Orchestra.  The reunion will be held at the Lehman Center for the Performing Arts in New York, under the concept called “The Big 3”; this time titled Palladium in the New Millennium.  On the other hand, on June 19, 2022, Tito Rodríguez, Jr. will be at the Centro de Bellas Artes de Puerto Rico performing as a tribute to “El Inolvidable”: his father, Tito Rodríguez.

Without wanting to compete with the theme performed live with the three timbaleros heirs of the Mambo: Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. backing the voices of Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román, I invite us to take a closer look at the presentation I am referring to, within the 6th Jazz Festival in Carolina, Puerto Rico.  The performance of this song closed the aforementioned festival and is on YouTube for the delight of those who could not make it there.  Click on the link, https://youtu.be/4jZLEnpaRCo you won’t regret it.  It gave me a more complete perspective of the song and its interpretation.  The arrangement of the song performed that night in Carolina is by Luis “Perico” Ortiz himself.  Highlights of the August 2010 performance included: Carolina Mayor José Carlos Aponte Dalmau, Mario Grillo, Tito Rodríguez, Jr., Tito Puente, Jr. and Luis “Perico” Ortiz.  On the vocal front, Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román stood out.  Of course, I can’t leave out Sammy Velez on baritone saxophone.

It is true that: “We are fortunate to have had three great teachers, three great friends…” and it is also true that Henry Santiago ate it. What a hurricane, that voice that sweeps!  Now what we have left is the appetite to enjoy this year’s concerts.  It’s coming, we are waiting for it.

In Yturvides & Perico, the characteristic speed of the other songs contained in the production is changed and the tempo of classic Jazz with the Latin touch that characterizes the master Luis “Perico” Ortiz stands out.  At minute 3:30, the arrangement is skipped for approximately thirty seconds to return to a soft minute of the undisputed Soñando con Puerto Rico.  The slow tempo is skipped again until the end of the song.  This arrangement is for connoisseurs only.  You know, those who know, know, and those who don’t, learn.  The last minute is pure trumpet accompanied by an orchestra that does not get in the way.  The percussion is complementary and sends the children to school.

As promised on the compact disc’s laminated cover, this song is a fusion of Osvaldo Farrés’ Tres palabras and Bobby Capó’s Soñando con Puerto Rico in a masterful arrangement by “Perico” that accommodates an exceptional performance by Yturvides Vílchez.  Simply exceptional.

In the song Warming Up, which closes this production, stand out:  Charlie Sepúlveda, Néstor Torres and Antonio Luis Orta.  The instrumental segment sounds like a big band, as it is.  The piano dominates and seems to direct the saxophones from the first minute, besides conversing in constant playfulness with the bongo played by Richard Carrasco.  The trumpets have a leading role entering and leaving in orderly shifts with the coros.  Distinguished among the coros is one of my favorite voices; not only for his vocal power but also because he can subtly balance that power with his unequaled melodic command.  That’s Henry Santiago, but that’s my preference.

Anyway, I love this production.  If you don’t have it, get it.  If you do, enjoy it.

Facebook: Luis Perico Ortiz

Article of Interest: Ray Barretto Giant Force y A Conguero’s Conguero

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico

News about the current music scene

As every month, we bring to you all of the entertainment news related to Latin music and the current situation of its most important exponents in order to keep all our dear International Salsa Magazine’s community of readers informed, which is always very aware of the latest news. 

Today, we are going to talk about two beloved stars who have left Latin music at the top because of their great talent and perseverance they have shown during their artistic careers. It is always an honor for us to be aware of all their projects and make them known through this platform.   

A new book by Sophy Hernández 

Famed Puerto Rican singer Sophy Hernández has published a book about her life entitled Sophy de Puerto Rico: Desde lo más íntimo (El poder de luchar para triunfar). In this material, the artist reflects on all she has lived through to become the person she is today and unburdens herself to certain difficult details in order to be able to forgive herself. Likewise, she also talks about some unprecedented details of her family and personal life that have not been previously shared.   

Sofia Hernandez Font (her birth name) recently commented that she has spent many years going through places that were very important to her during her childhood, so that she could begin to rehash as many details as possible about what she has been through in the town of San Sebastian, where she spent most of her years as a child. It was precisely there that her passion for music was born, which would become her career as an adult. Sophy seeks to motivate any young person who reads the book in the future to achieve their dreams despite the circumstances. 

After she has presented the book, the singer expressed that the work has served as an outlet for her, since she was able to describe on the pages those painful moments through which she passed, but at the same time, to forgive those who caused them. She also talks about the extramarital affair that her mother (black) had with a married man (white) and how she made his way up and get ahead. 

Luis Perico Ortiz’s new recording production   

Puerto Rican trumpeter Luis Perico Ortiz has recently announced that he will be recording his latest album with some very special guests. After more than a decade staying away long from the stage and dedicating to teaching, the artist has revealed that he will get back to the recording studio to record his latest album with several hugely successful singers such as Milly Quezada, Domingo Quiñones and Tony Vega. Due to the friendship that binds him to the aforementioned stars, the material will be called Sigo Entre Amigos, like the first promotional single.   

Ortiz commented how happy he was with the reaction of his friends at the moment of proposing to work with him on the album. He said that Quezada, Quiñones and Vega did not even let him finish talking and were made available to whatever he needed. 

As for the musical aspects of the album, Perico has made it known at least six of the songs will have the typical style of the salsa singer’s other works, but three others will be based on the big band concept. 

By: Johnny Cruz correspondent of International Salsa Magazine in New York City, New York