Search Results for: Salsa Orchestra

“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

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

Tito Rodríguez The Unforgettable “Gentleman of Salsa”

A journey through the life and legacy of Pablo Rodríguez Lozada, the voice that defined an era between mambo and bolero.

Pablo Rodríguez Lozada, known worldwide as Tito Rodríguez, was born on January 4, 1923, in Santurce, Puerto Rico. From early childhood, young Tito displayed a natural affinity for Caribbean rhythms, organizing the ensemble Sexteto Nacional alongside his lifelong friend, Mariano Artau.

Pablo Rodríguez Lozada, conocido mundialmente como Tito Rodríguez

The Early Steps of a Prodigy

At the age of 13, his professional career began to take shape when he joined Conjunto Típico Ladí (also known as Conjunto de Industrias Nativas), led by Ladislao Martínez. Shortly after, he joined the Cuarteto Mayarí under the direction of Plácido Acevedo, where he played maracas and sang second vocals. Although this stint lasted only four months and left no studio recordings, it was fundamental to his musical development.

In 1939, at just 16 years old, Tito emigrated to New York City with hopes of carving out his own musical path. His first jobs in the Big Apple included collaborations with his brother Johnny Rodríguez’s orchestra and recordings with Cuarteto Marcano.

After passing through prestigious groups like Cuarteto Caney and the orchestras of Enric Madriguera and Xavier Cugat, he had to pause his rising career in 1945 to serve in the U.S. Army.

El legado de Tito Rodríguez es analizado este domingo en el Viejo San Juan. (Foto UA Latino)

The Rise of the “Mambo Devil”

Upon his discharge, Cuban pianist José Curbelo recruited him for his band. It was at the China Doll nightclub where Tito met Japanese-American chorus girl Takeku Kunimatsu (Tobi Kei), who would become his wife and lifelong partner.

In 1948, Tito founded his own group: the Mambo Devils. During the height of the mambo craze, Rodríguez entered into a legendary musical rivalry with Tito Puente and Machito’s orchestra.

Under the Tico Records label, he renamed his group Los Lobos del Mambo. Ever conscious of the importance of formal training, he enrolled in the Juilliard School of Music, where he studied percussion, vibraphone, and xylophone.

Un recorrido por la vida y el legado de Pablo Rodríguez Lozada, la voz que definió una era entre el mambo y el bolero

Reinvention: From Mambo to Bolero

In 1953, he signed with RCA Victor, formally establishing the name Tito Rodríguez and his Orchestra. Years later, in 1960, he achieved massive mainstream success with United Artists and the album Live at the Palladium.

However, in 1963, an artistic union dispute prevented him from performing with his usual musicians. Refusing to back down, he took on the challenge of radically shifting his style: he traded the frenzy of mambo for the intimacy of boleros accompanied by a string orchestra. The result was the album From Tito Rodríguez with Love, a commercial phenomenon that established him as an unparalleled romantic crooner.

Return to Puerto Rico and the Beginning of the End

After dissolving his orchestra in 1966 due to contractual issues, he returned to Puerto Rico to star in his own television program. However, nostalgia and his enduring passion brought him back to New York for the record Estoy como nunca.

Tito Rodriguez era excelente tanto en guarachas como en boleros. Esto lo convirtió en uno de los artistas más versátiles de la época.

It was in 1967 when the first symptoms of leukemia appeared. Despite the diagnosis, Tito continued to work. In 1971, he founded his own label, TR Records, releasing the iconic album Inolvidable (Unforgettable).

A Final Farewell on Stage

In 1972, he celebrated 25 years in the industry with a show at the El Tumi club in Lima, Peru, alongside Lucho Macedo’s orchestra. This live recording would prove to be a premonition of his end.

Ignoring medical advice, he gave his final performance at Madison Square Garden on February 2, 1973, alongside Machito’s orchestra. During the show, his health failed, and he had to be hospitalized. Finally, on February 28, 1973, Tito Rodríguez passed away in New York in the arms of his wife.

Per the singer’s express wish, his remains were returned to Puerto Rico. At his funeral, legendary figures of the music world paid their respects, including his old rival, Tito Puente. Today, his ashes rest alongside those of his wife, while his voice continues to resonate as one of the most elegant and versatile pillars in the history of Latin music.

Also Read: Tito Rodríguez, Jr. “The Palladium legacy lives on”

10th Annual Salsa Festival in Cuba: A Milestone Between Stage Lights and the Shadow of Crisis

The event founded by Maykel Blanco celebrates a decade of history amidst blackouts and inflation that make access difficult for the local public.

Havana. What began in 2016 as a personal dream for musician Maykel Blanco has evolved into Cuba’s most significant cultural tourism event for the genre.

As the Salsa Festival reaches its 10th edition, it has succeeded in uniting top-tier orchestras under a single project, fostering an organic exchange between local dancers and international visitors who travel specifically for the occasion.

However, the announcement of this year’s celebration scheduled for February 26 to March 1 at Club 500 comes at a time of extreme fragility for the country.

While the government promotes the festival as a showcase of “credibility and growth,” the Cuban population is grappling with a profound economic crisis characterized by daily blackouts, shortages of basic goods, and a steady decline in quality of life.

Tributes and a Star-Studded Lineup

This special edition will pay tribute to the 70th anniversary of Elito Revé y su Charangón, an iconic institution of popular dance music. Organizers announced in a press conference that the event will feature a strong international presence, including foreign dance instructors and DJs.

Starting Friday, February 27, four high-caliber orchestras will perform each night. Among the confirmed headliners are:

Los Van Van
Alexander Abreu y Havana D’Primera
Adalberto Álvarez y su Son
Alain Pérez
Willy García (Special guest from Colombia, former vocalist of Grupo Niche).

Cartel Oficial de los Artistas que estarán en la 10ma edición de el festival de la salsa en Cuba

The Economic Barrier to Entry

Despite its cultural relevance, ticket prices have sparked debate. Presale tickets at Cine Yara were set at 800 Cuban Pesos (CUP), a price that will rise to 1,000 CUP per night at the venue.

In a context of stagnant wages and runaway inflation, these figures are out of reach for many everyday Cubans, highlighting the gap between official propaganda and daily reality.

Main Concert Schedule

Date	Featured Artists
Thursday, Feb 26	Opening Gala: Issac Delgado, Los Muñequitos de Matanzas, and Eduardo Sandoval.
Friday, Feb 27	Los Van Van, Manolito Simonet y su Trabuco, Papucho y Manana Club.
Saturday, Feb 28	Maykel Blanco y su Salsa Mayor, Adalberto Álvarez y su Son, Alain Pérez, and Willy García.
Sunday, March 1	Alexander Abreu y Havana D’Primera, Haila Mompié, and Elito Revé y su Charangón.

PROGRAMACIÓN OFICIAL (Horarios) de todas los conciertos que brindaremos en EL Festival dela salsa en cuba en su 10ma Edición

Beyond the Music: An Immersive Experience

The festival—driven by MB Producciones, ARTEX, and the Paradiso Agency—is not limited to evening performances (which begin at 9:00 p.m.). The agenda also includes:

Dance Workshops: Classes in Casino (Cuban salsa), Rumba, Son, and the popular “Reparto” genre, taught by prestigious instructors.
Pool Parties: Meet-and-greets with national and international DJs at the Memories Miramar Hotel.
Academic Forums: Lectures on the evolution of popular music and the legacy of figures like Elio Revé Matos.

Presentadores Oficiales de la 10ma edición del Festival de Salsa en Cuba

Once again, the Salsa Festival presents itself as a musical oasis on an island mired in uncertainty, leaving open the question of whether art can truly build bridges in the midst of such a structural crisis.

Also Read: Compay Segundo The Eternal Patriarch of Cuban Son

Chicago International Salsa Congress

North America / USA / Chicago

Mission of the Chicago International Salsa Congress

The mission of the Chicago International Salsa Congress is to unite cultures and generations, engender leadership through empowerment opportunities in its showcase and to keep alive the history of the many cultures collaboration in the creation and evolution of Latin and Afro-Caribbean music and dance.

The Chicago International Salsa Congress is brought to you by a special group of dedicated individuals whose energy, skills, passion and perseverance unite to bring you the number one Latin Music and Dance event in the Midwest!

In 2002 they produced the first Chicago International Salsa Congress (CISC) now in its 14th year. The CISC fosters personal awareness, develops leadership, creativity and inspires highest performance by providing emerging artists an opportunity to learn from and perform with professional artists in the congress showcase.

Schedule: Chicago International Salsa Congress

Día	Horario	Actividad
Jueves 2/9/17	3:00 PM – 11:30 PM	Onsite Registration opens
	7:30 PM	Rueda Summit
	8:30 PM – 9:30 PM	Opening Night! Meet & Greet the STARS of the 2017 CISC
	9:30 PM – 10:30 PM	Dance Showcase
	10:30 PM – 3:00 AM	CISC Concert Series featuring Carpacho y Su Super Combo!
Viernes 2/10/17	9:00 AM – 4:30 PM	Onsite Registration
	9:30 AM – 3:30 PM	Workshops
	4:00 PM – 5:30 PM	Emerging Artist Showcase / Chicago Midwest Salsa & Bachata Open Competition (Elimination)
	5:30 PM – 7:30 PM	Youth Performance Challenge w/Natasha Silva
	6:00 PM – 8:00 PM	Kizomba Bootcamp with Philippe & Upa Danca
	6:30 PM – 11:30 PM	Onsite Registration
	8:00 PM – 10:00 PM	Dance Showcase
	10:30 PM – 3:00 AM	CISC Concert Series: Tromboranga / Bachata Ballroom / Kizomba Party!
Sábado 2/11/17	9:00 AM – 4:30 PM	Onsite Registration
	9:30 AM – 3:30 PM	Workshops
	4:00 PM – 5:30 PM	Emerging Artist Showcase
	5:30 PM – 7:30 PM	Youth Performance Challenge w/Natasha Silva
	6:30 PM – 11:30 PM	Onsite Registration
	8:00 PM – 10:00 PM	Dance Showcase
	10:30 PM – 3:00 AM	CISC Concert Series: Jimmy Bosch with Yoko, La Japonesa Salsera! / Bachata & Kizomba
Domingo 2/12/17	9:00 AM – 4:30 PM	Onsite Registration
	9:30 AM – 3:30 PM	Workshops
	12:00 PM – 2:00 PM	Youth Performance Challenge w/Natasha Silva
	4:00 PM – 5:30 PM	Emerging Artist Showcase / Chicago Midwest Salsa & Bachata Open (Finals)
	6:30 PM – 11:30 PM	Onsite Registration
	8:00 PM – 10:00 PM	Dance Showcase
	10:30 PM – 3:00 AM	CISC Concert Series: Herman Olivera with Nelson Gonzalez / Bachata & Kizomba

Photo 1: Chicago International Salsa Congress

INSTRUCTORS

Enjoy 3 days of over 70 workshops covering Beginner, Intermediate and Advanced levels of dance styles, movement and musicality. The instructors are from American and European continent to don’t stop dancing.

PERFORMERS

The CISC produces seven Dance Showcases to excite your senses and inspire your creativity. Featuring world-class dancers from near and far, you will be captivated as we unleash their talents on the stage. The shows include our Matinee Emerging Artists Showcases at 4:00PM and World Class Dance Spectacular at 8:00PM featuring national and international performers.

LIVE MUSIC

CICS will present an unforgettable dancing experience in an elegant Grand Ballroom where Latin Music’s top artists and salseros connect. Enjoy four nights of non-stop dancing on our spacious dance floor until 3:00 AM to the hottest sounds of yesterday and today. The Chicago International Salsa Congress Concert Series is unmatched in celebrating Latin Music’s timeless presence in honoring the legendary pioneers while inviting a forward vision as new, young artists take up the torch and carry it forward.

Photo 2: Chicago International Salsa Congress

TROMBORANGA SALSA ORCHESTRA

As part of the new generation of independent latin orchestras, Tromboranga is the pure essence of “Salsa Dura”. Tromboranga’s spicy ingredients are the trombones sound, solid and strong percussion, and they recover the essence of “soneos” (voice improvisation among the chorus). With influences from the salsa music from the 60s and 70s, maintaining a raw, strong and a very danceable sound.

His original songs like “Humildad”, “Palo pa la campana”, “Amigo el ratón”, “Adios que te vaya bien”, talks about stories that can describe the life of any of us, and they have become number one in Latin radios and dance floors worldwide. Tromboranga is made up of musicians from the Caribbean and Europe, all residents of Barcelona, Spain.

JIMMY BOSCH

(18 October 1959, Jersey City, New Jersey), known also “El Trombón Criollo”, is a trombonist, composer and producer of Afro-Cuban jazz, salsa and Cuban music.

At thirteen he was already part of different local bands of Latin music. At age 18, while studying classical music at Rutgers University, he meets Manny Oquendo and joins his band. He plays with Manny Oquendo about two decades; then comes to work with Marc Anthony. In 1996 he created his own band, “Los Masters”, with whom he recorded two albums. He has his own record label, JRGR Records.

Photo 3: Chicago International Salsa Congress

YOKO LA JAPONESA SALSERA

Born in Osaka, Japan, Yoko Mimata began her artistic career at the age of fifteen as a vocalist in a rock band her native Osaka. Las Estrellas, a salsa band composed of former members of the famous Japanese orchestra “Orquesta de la Luz”, invited Yoko to join them as lead vocalist.

Subsequently, in 1997, settled in the Big Apple, city in that began to venture into the salsero environment. Her great debut took place at the Salsa Congress in New York in 2006, where she performed with the orchestra Chino Nuñez and Friends. Later she became the lead vocalist and participated in the recording of the second album by Chino Nuñez, “Dr. Salsa”; In which she sings duet with Ray Sepulveda “Hoy les cantamos”.

NELSON GONZÁLEZ

(Born May 30, 1948) is a Puerto Rican tres player. He specializes in the Cuban tres, and only occasionally plays the Puerto Rican tres (similar to the cuatro). He is a prolific session musician and has been a member of renowned salsa ensembles such as Fania All-Stars, Orchestra Harlow and Típica 73. He has authored a book on the tres guitar method published by Mel Bay. Together with Pancho Amat and Papi Oviedo he is considered one of the most influential modern tres players.

Photo 4: Chicago International Salsa Congress

HERMAN OLIVERA

He is a salsa singer from Newark, New Jersey. Born to Puerto Rican parents, he began his career in New York City where he earned his reputation as a “sonero,” that is, an expert in the demanding art of lyric extemporization. In a genre overrun by pop-oriented singers, Herman’s musicality and mastery in this regard garnered him the sobriquet of “El Sonero del Siglo XXI”. Today Herman counts among the most in-demand and hardworking salsa singers around. His voice literally permeates the sound of hard-hitting salsa from the 1980s to the present-with album credits with the likes of Tito Puente and Eddie Palmieri, among many others where he has contributed to the continued vitality and development of the sonero tradition.

DJS

The fifteen DJs at this year’s congress will definitely get your feet, hips, shoulders, and everything else grooving on the dance floor with the best Salsa, Mambo, Cha Cha Cha on the planet!!!

VENUE INFORMATION

HYATT REGENCY O’HARE is just 5 minutes from O’Hare airport with a free shuttle. Easy access by train or car. Beautifully appointed guest rooms, great amenities and nearby shopping and dining make this a perfect getaway for your CISC weekend.

Photo 5: Chicago International Salsa Congress