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Rubén Blades: What a magnificent way to celebrate 70 years of life and 50 of career!

North America / USA / Miami

Rubén Blades

The author of many of the most popular hits in the history of salsa, reached the seventh decade and music has not stopped playing for him.

The indisputable social sense of his songs made the difference in times when the themes of every other song were about love and unloved.

“The poet of salsa” was born on July 16, 1948 in a humble family, in Panama City, leaded by musicians, because his father was a percussionist and his mother was a pianist.

With an amazing multifaceted nature, Blades was the first in his family to go to college; so music was a hobby, like any other. Shortly after graduating as a lawyer, he arrived to Miami running away from Omar Torrijo’s dictatorship.

Since the time of Fania, he has walked through different currents of the same genre and composed the song Patria, which is still the second national anthem of his native Panama. In his last awarded albums, he returns to the company of great orchestras and to an intentional change in his voice to give nostalgia airs to the songs he sings. He has won 17 Grammy Awards and has been nominated 3 times for the Emmy Awards.

He has ventured into film, television and politics. His deeply critical nature does not allow him to ignore injustice and the abuse of power, and does not skimp on making his point of view known. Recently, he hinted his presidential aspirations in Panama for the 2019 elections, and this would not be his first time at the presidency’s run. In addition, he was Minister of Tourism between 2004 and 2009.

Blades has acted in 35 films and three series, and we must add the recently released documentary, “Yo no me llamo Rubén Blades” directed by Abner Benaim. Apart from his apparition in the popular TV series “Fear The Walking Dead”, he recently participated in the film “Hands of Stone” about the mythical Panamanian boxer Roberto “Manos de Piedra” Durán. There is no artistic space which Blades has not dabbled in.

How does he celebrate 70 years of life and 50 of career?

Singing! Although he has stated on several occasions that he wants to devote himself to other artistic facets and perhaps on purpose, he has allowed himself to think retired and then reappear with excellent albums like “Cantares del subdesarrollo” or, “Medoro Madera” the truth is that everybody is wondering, what will Rubén Blades do now, will he retire?

Currently, Blades writes opinion articles and publishes them on his website www.rubenblades.com, while on tour with the Panamanian group Roberto Delgado & Orquesta, until September. As if that was not enough, he prepares a book of poems, two scripts for cinema, is considering a couple of offers for the big screen, and will continue promoting the documentary “Yo no me llamo Rubén Blades” that although HBO has not revealed when it will be released on TV, will continues its journey in film festivals, and on cinema until August 30th in Panama, and 31th in Mexico to start the next premieres.

As a cherry pie will keep us in suspense about his possible presidential candidacy, because ” “antes necesito saber lo que el país quiere y si está dispuesto a abandonar el clientelismo a cambio de un plan nacional a largo plazo” Likewise, Blades clarified that ” no es algo que esté ya decidido “, it is a possibility, which requires society’s “apoyo masivo”.

This year near his 70th birthday, he affirmed without doubts: ” No me despido de los escenarios, sino de las giras de salsa. En este momento tengo muchos otros planes y proyectos y, a mi edad, tengo que priorizarlos”.

Anyway, Rubén Blades is that salsero that integrated action and politics into his social struggle. What else can we ask of him?

Rubén Blades’ National Tour

Review of Rubén Blades’ National Tour

The Ruben Blades concert at Oakland’s Paramount Theatre on Saturday, November 20th was sensational! The anticipation of the packed intergenerational crowd to his first visit In 18 years was at a high peak.

Rubén Blades while singing — Rubén Blades while performing

Blades wowed the audience with a stunning performance backed by bassist Roberto Delgado’s dynamic Big Band.

Rubén Blades and his orchestra — Rubén Blades and Roberto Delgado’s Big Band

Ruben’s powerful voice was as crystal clear as when he started his career with Ray Barretto back in 1974.

Rubén Blades' great voice — Rubén Blades’ voice was incredible

Latin Grammy for Salswing!

His set list was a retrospective into his vast and deep repertoire that included his big hits, crowd favorites, esoteric song choices and selections from his Latin Grammy award winning album Salswing!

Rubén's stage — The lighting environment on stage was amazing and varied

The musicianship that accompanied Blades was top notch as Roberto Delgado’s crack band were tight, explosive and swinging!

Ruben's band — The performance of Roberto Delgado’ band was very appropriate for the show

The visuals projected on the huge screen above Ruben were imaginative displaying photo tributes to Hector Lavoe as well as to recently deceased Latin music giants and clever animation that was the backdrop for songs.

Tribute to Pérez-Bidó — Tribute to Carlos Pérez-Bidó displayed by the screen above Ruben Blades

This was a triumphant return to the SF Bay Area for Blades who last played a concert here in 2003 at Roccapulco.

Blades in front of his orchestra — Triumphant return to the San Francisco Bay Area for Rubén Blades

He performed for 2 hours and 40 minutes to the delight of the massive crowd. What a show!!

Blades' two-hour show — Rubén Blades’ two-hour show delighted the audience

BY LUIS MEDINA, PRODUCER AND HOST OF CON SABOR ON KPFA 94.1 FM AND SABIDURIA CON TUMBAO ON WORLD SALSA RADIO.COM

Do You Know In Which Country Rubén Blades Start his Tour?

The United States Will Be The First Country Where The Panamanian Artist Will Present Salswing Tour!

Rubén Blades with blue hat on stage — Rubén Blades will be recognized as “Person of the Year” at the Latin Grammys on November 17th in sin city, Las Vegas (Nevada)

The multifaceted artist and political activist, Rubén Blades, announced his return to the American stage with his friend and fellow countryman Roberto Delgado & Big Band, starting next November 20^th.

The Salsero icon announced the beginning of his tour through his official Facebook account: “We are very happy to be able to work and get in touch with our audience again, after almost two years without being able to do so. With the Roberto Delgado Big Band, an orchestra of 20 musicians that is sounding better, we are eager and want to share our latest album Salswing!, and the usual songs… Please, don’t stop getting vaccinated”.

There are eight cities that the living Salsa legend will visit in North America, starting on November 20^th in Oakland (CA), Los Angeles (CA), Atlanta (GA), Miami (FL), passing through Boston (MA), and New York (NY) on November 28^th and December 2^nd respectively, and having as a special guest the extraordinary American actress, singer, and wife of Blades, Luba Manson who will be showing the repertoire of her Jazz album Triangle released in October 2020.

Rubén Blades with black hat and Luba Mason with white shirt — Rubén Blades and Luba Manson have been married since 2006

Later, Salswing Tour! & the Roberto Delgado Big Band will present their penultimate concert this year on Friday, December 3^rd in Washington (DC), and will close this magnificent tour on Sunday, December 5^th on the southwest shore of Lake Michigan at the mighty Arena Arie Crown Theater in Chicago (IL).

Regarding this great 2021 tour, Nelson Albareda, CEO of Loud And Live, the company in charge of carrying out this series of concerts and those of Latin stars such as Carlos Vives, Juanes, Farruko, among many others, commented: “It is an honor for us working with a Latin icon, who has inspired generations through his salsa music and long artistic career. Rubén Blades is not only a great artist but also a great ambassador, and activist for our Latin community”.

The prestigious Panamanian songwriter will show for the first time the eleven songs of his most recent album “Salswing!” title that also gives the name to the tour.

Digital album cover Salswing! in red background and yellow letters — “Music is a universal gift, and from Panama, we renew our contribution with this album, SALSWING!”. Rubén Blades

Salswing! has 11 tracks including, Mambo Gil, Cobarde, Canto Niche, and Ya No Me Duele, the latter written by Jeremy Bosch and Rubén Blades with arrangement by Tom Kubis. Salswing! was recorded in collaboration with the record’s bassist and musical producer, Roberto Delgado, and his band made up of 20 talented Panamanian musicians, and it was released on the digital market on April 15^th, 2021.

“Although the connection between Jazz and Salsa has been historically documented, much remains to be described and recognized. The combinations and collaborations between musicians of these genres have been numerous over the years and include figures of the stature of Mario Bauza & Dizzy Gillespie, Machito & Charlie Parker, Luis Russell, and Louis Armstrong. With this record production, I try to continue that relationship, verifying that art does not have a nationality but rather represents a spirit that transcends races, geographies, and languages”. It is extracted from his official page.

Rubén Blades has been performing with Roberto Delgado & Bing Band for ten years in the most prestigious stages around the world. In these eight concerts, there will be a historical tour of recognition of the Latin origins of jazz as well as the influences of the son, Afro-Caribbean music, and swing. In addition to including the hits always chanted by the crowd in any corner of the planet.

You Can Keep Reading: Meet The Amazing Fasching Jazz Club In Sweden

Who Is Roberto Delgado?

Roberto Delgado dressed in black holding a Grammy in his hand — Roberto Delgado and his Orchestra along with Rubén Blades won a Grammy for Best Latin Tropical Album in 2018

Roberto Delgado was born in the capital of the Chiriquí province in western Panama on June 27^th, 1961. This prodigious artist has developed in the musical environment as a Producer, Singer, Bassist, and Arranger.

His upward career began with his studies at the prestigious Conservatory of Music of Fine Arts in Mexico City (Mexico) and later at the Golden West College of Huntington Beach California (United States).

With more than 40 years of experience, Roberto has been a member of ten Panamanian groups counting the Salsa singer orchestra, Roberto Blades (1992) and he is currently the director of his big band made up of 20 musicians and with whom he has shared the stage since 1996 together with the master Rubén Blades.

In the enormous list of famous artists that Delgado has accompanied in productions and tours in addition to the Blades brothers are Cheo Feliciano, Celia Cruz, Gilberto Santa Rosa, Ismael Miranda, Andy Montañez, Tito Nieves, La India, Víctor Manuelle, José Alberto “El Canario”, Luigie Texidor, Maelo Ruiz, Charlie Aponte, Joan Manuel Serrat, Carlos Vives, and many more.

The conductor together with Rubén Blades has performed on the major international stages, including Madison Square Garden (New York), Hollywood Bowl (Los Angeles), Shepherd’s Bush (London), Poble Espanyol de Barcelona (Spain), numerous Latin American auditoriums, and acclaimed festivals in Europe and the Caribbean.

Also, this duo has three Latin Grammys (2015, 2017) and two Grammys for Best Traditional Tropical Latin Album in 2016 and 2018.

Currently, Roberto Delgado (60 years old) and Rubén Blades (73 years old) continue to transgress the barriers that will be the first Latin artists touring Salswing! in the middle of the pandemic throughout the North American territory.

An important fact to attend the Rubén Blades and Roberto Delgado & Big Band concert series in Los Angeles County is mandatory to wear masks. At the moment, mandatory vaccination in the United States only applies to public employees and workers of large companies.

Synthesis on the song “El Cazanguero” written by Rubén Baldes for the album The Good, the Bad, the Ugly

“It is the lament of the cazanguero in Coiba at dawn, hurry up Chino Juan, they are already calling the line, the guard says not this time, don’t fall so far behind”.

“Whether it is sunny or raining hard, you have to take care of the sowing; don’t let the hunanga come to spoil your effort”.

In 1974, El Malo del Bronx, after 8 years of touring with El Jíbaro de Ponce, decided to take some time off, he did not attend the presentation of Fania All Star in Africa and dedicated himself to solving personal problems and producing.

He was working on his next album with Yomo and Hector, he remembered that there was a Panamanian boy he had met in 1969 at a carnival in Panama, whom he had invited to come on stage to sing with Hector in several of the presentations in clubs in the Big Apple.

This guy was already part of Barretto’s band and had given songs to luminaries of the genre that became hits, such as Guaguancó Triste to Richie and Bobby, Las Esquinas to Niño Bonito and Amor Pa’ que to Conjunto Candela.

These songs put him on Willie’s radar who asked him for a song to complete his next album. Ruben, who was that Panamanian boy, happy for El Malo’s request, writes his first song while living in New York.

Ruben arrives at the studio where that song was being recorded and Hector approaches him and tells him that he would not record it because he didn’t understand it, he didn’t feel it and that’s why it wouldn’t sound right.

Ruben is disappointed by what Hector said, but Willie really liked the song and asks Ruben to record it himself.

Ruben reminds Willie that he is part of the band El de Las manos Duras and that it would be a problem, Willie replies that he would fix it, which he did, obtaining don Masucci’s permission.

This marked the end of Ruben with Barreto and the beginning of what would become the duo that would dominate Salsa for the next 6 years.

This song we are talking about is El Cazanguero,

It is the lament of the cazanguero in Coiba de madrugá’. Hurry up Chino Juan, they’re already calling the line, the guard says not this time, don’t fall so far behind”.

“Whether it is sunny or raining hard, you have to take care of the sowing, so that the cazanga does not come to spoil your effort”.

Part of Coiba’s history as a penal colony, for 74 years, is described in El Cazanguero, a song by Rubén Blades that began to be heard in 1975.

The song describes who the cazangueros were, some of the punishments to which inmates who broke the rules were subjected, and the sadness of being far from their families, with the uncertainty and fear of an enemy attack, in an open penal system like Coiba.

Although the main value of the island is in its natural wealth, it is also important its history and the history of the prisoners it housed, the anecdotes of those who paid long sentences for going against the laws and the rights of others.

How many cans of gravel are there from here to Catival?” Blades ask in his song. The rubble, which is everywhere in Coiba, was used to fill the holes in the roads, to fill land or in construction”.

The Cazangueros were the inmates who chased away the cazanga, a climbing bird of the parrot family, green in color, with a blue head and neck, black beak and legs, which killed, like a plague, any planting it found in its path.

“The cazanga would come down from the mountains by the thousands, in the early morning, and the hunters had to scare them away by ringing empty oil cans and shouting. Sometimes they had to make dolls in human shapes to win the battle against the birds”.

As mentioned above, El Cazanguero was the first song Ruben wrote in the United States. To write it, he was inspired by his trip to the penal island of Coiba where he wrote his law degree thesis. It seems that this song was placed as filler on the 1975 album “The good, the bad, and the ugly” featuring Willie Colon, Hector Lavoe and guitarist Yomo Toro on the cover. However, it was “El Cazanguero” that sold the acetate record.

“El Cazanguero” was cut 6 of the album “The good, the bad & the ugly” which was recorded in 1974, at Good Vibrations studios. It was the last album in which Willie Colón and Héctor Lavoe collaborated.

It contained 3 instrumental tracks, three sung by Colón in his first appearance as a solo singer on record (“Toma”, “Cua cua ra, cua cua” and “Guaracha”, 2 with Lavoe’s solo voice (“Popurri III” and “Que bien te ves”) and “El Cazanguero” written and sung by Blades.

Hablemos de EL CAZANGUERO

You can read: Louie Ramírez «El Quincy Jones de la Salsa» y su talento progresivo un Genio escondido de La Fania All Stars

Willie Colón The “Architect of Salsa” Enters Immortality

February 21, 2026, will be etched into the history of Latin music as the day the “street trombone” fell silent to become an eternal echo.

A Sorrowful Farewell: February 2026

After several days of uncertainty and reports regarding his delicate health, the passing of William Anthony Colón Román was confirmed in New York City at the age of 75.

Willie Colón, the Architect of Salsa, Passes into Immortality

Producer, trombonist, visionary. He was the architect of a sound that broke the mold and redefined salsa from New York for the entire world.

With his aggressive trombone, his innovative musical concepts, and his leadership within the historic Fania All-Stars, he marked an era that can never be repeated.

The musician, who had already shown signs of physical frailty following his retirement from the stage in 2023, suffered severe respiratory complications that kept him hospitalized during his final days.

Iconic figures like Rubén Blades and the entire Fania family have expressed their grief, noting that we haven’t just lost a musician, but the “Malo” (The Bad Boy) who revolutionized the visual and sonic identity of Latinos in New York.

A Legacy of Rebellion and Sophistication

Unlike other bandleaders, Willie Colón didn’t just make music; he told cinematic stories. From his early days with Héctor Lavoe to his era of social consciousness with Rubén Blades, Colón transformed salsa into a vehicle for urban narrative.

With his aggressive trombone playing, innovative musical concept, and leadership within the historic Fania All-Stars

Innovation: He was responsible for putting the trombone at center stage, creating that “heavy,” raw sound that defined the Bronx.
Identity: Through his iconic album covers (emulating FBI “Wanted” posters), he constructed the mystique of the Latin anti-hero.

His Eternal Anthems

Willie Colón’s catalog is the backbone of every party and social reflection in Latin America. Among his most remembered tracks, more relevant today than ever, are:

Song	Significance
El Gran Varón	A milestone in social lyrics regarding identity and redemption.
Idilio	The most romantic and melodic facet of his mature era.
Pedro Navaja	The ultimate expression of narrative salsa produced alongside Blades.
Gitana	A classic of sentiment and rhythmic fusion.

Beyond the Trombone: Activism and Service

In his later years, Willie Colón’s life was also defined by his work offstage. He served as an activist, a community leader in New York, and held positions in organizations advocating for Hispanic rights. His life was a testament to the fact that art and social commitment can walk hand-in-hand.

Producer, trombonist, visionary. Architect of a sound that broke molds and redefined salsa from New York to the world.

The Centennial on the Horizon

Though the Maestro has physically departed in 2026, his office and family have made it clear that his music will live on. Releases of unedited material and tribute concerts are expected as we pave the road toward the centennial of his birth in 2050.

“Time passes, and I am left unable to speak to you” Willie Colón.

His music will continue to speak for him on every corner where a trombone sounds and in every heart that feels the pulse of urban salsa.

His talent was more than rhythm: it was identity, the barrio, resistance, and living history. Today, we don’t just say goodbye to a musician; we say goodbye to a pillar, a North Star, and an entire chapter of our Latin culture.

Anecdote:

Willie Colón had a notorious incident in Medellín in 1985 when he refused to perform at the Iván de Bedout Coliseum because the promoters of “Rumba Producciones” failed to pay the agreed amount. Police arrested him along with 13 of his musicians, and they were detained for two days at the Belén neighborhood police station.

The audience, who had waited for hours, grew unruly, leading to riots that resulted in six injuries and significant property damage. This episode inspired the song “Especial No. 5,” which narrates Colón’s experience inside cell number five of that station.

Willie Colón had an incident in Medellín in 1985

Special Contribution by Julio Cesar Galindo Alarcón (Lima, Peru)

A posthumous tribute to the great Willie Colón (1950-2026): The greatest disciple of Mon Rivera by his own admission and today a legend of our passionate salsa.

Willie Colón: From “Classic Urban Salsa” to “Symphonic Salsa”

His musical production clarifies and proves that “salsa” does not only originate from Cuban and Puerto Rican rhythms, but also from American, Brazilian, and other Latin influences.

When Willie produced and recorded his 1977 instrumental-only album, El Baquiné de Angelitos Negros, he expanded the orchestral lineup to include violins, saxophone, flute, cello, and trumpet. While the work had little commercial success and went largely unnoticed during his triumphant career, it served as more than just a platform for his “salsa” fusions with Jazz, Funk, Soul, and R&B. It was the starting point for producing grander orchestral arrangements with a larger number of musicians, thus becoming the precursor to what is now known as “Symphonic Salsa.”

Four years after this beginning, in 1981, this “Symphonic Salsa” reached its peak when Willie released his second solo album, Fantasmas dedicated to and motivated by the loss of his younger sister, Cindy. The album included a track he composed, with musical arrangements by Luis Cruz, titled “Toma Mis Manos” (Take My Hands).

This piece, dealing with the somber theme of death, is considered by this author (due to the quality of the composition and the fabulous “Symphonic” orchestration) to be an authentic and grand masterpiece of “Classic Salsa.” It blends Funk, Soul, R&B, and Bossa Nova with Willie’s excellent vocals, serving as a spectacular prelude to that other legendary, yet often overlooked, symphonic track recorded in 1991 by the “Canary of Carolina,” the great Lalo Rodríguez: “El niño, el hombre, el soñador y el loco.”

To conclude, with the immense pain that his departure brings, I accompany this tribute with the aforementioned song: “Toma Mis Manos,” an unforgettable composition by the recent legend of our “salsa” the great Willie Colón, famously known as “The Bad Boy of the Bronx.”

The legendary musician and his wife Julia Colón were married for decades and share three children ( — The legendary musician and his wife Julia Colón were married for decades and share three children

Also Read: The legacy of Leopoldo Pineda, the ambassador of the trombone in La Maquinaria Fania All Stars