• Skip to primary navigation
  • Skip to main content

International Salsa Magazine

  • HOME
  • Previous editions
    • 2026
      • ISM / May 2026
      • ISM / April 2026
      • ISM / March 2026
      • ISM / February 2026
      • ISM / January 2026
    • 2025
      • ISM / December 2025
      • ISM / November 2025
      • ISM / October 2025
      • ISM / September 2025
      • ISM / August 2025
      • ISM / July 2025
      • ISM / June 2025
      • ISM / May2025
      • ISM / April 2025
      • ISM / March 2025
      • ISM / February 2025
      • ISM / January 2025
    • 2024
      • ISM / December 2024
      • ISM / November 2024
      • ISM / October 2024
      • ISM / September 2024
      • ISM / August 2024
      • ISM / July 2024
      • ISM / June 2024
      • ISM / May 2024
      • ISM / April 2024
      • ISM / March 2024
      • ISM / February 2024
      • ISM / January 2024
    • 2023
      • ISM / December 2023
      • ISM / November 2023
      • ISM / October 2023
      • ISM – September 2023
      • ISM – August 2023
      • ISM July 2023
      • ISM Edition June 2023
      • ISM – May 2023
      • ISM April 2023
      • ISM March 2023
      • ISM February 2023
      • ISM January 2023
    • 2022
      • ISM December 2022
      • ISM November 2022
      • ISM October 2022
      • ISM September 2022
      • ISM August 2022
      • ISM July 2022
      • ISM June 2022
      • ISM May 2022
      • ISM February 2022
      • ISM January 2022
    • 2021
      • ISM December 2021
      • ISM November 2021
      • ISM October – 2021
      • ISM September 2021
      • ISM August 2021
      • ISM July 2021
      • ISM May 2021
      • ISM April 2021
      • ISM June 2021
      • ISM March 2021
      • ISM February 2021
      • ISM January 2021
    • 2020
      • ISM December 2020
      • ISM November 2020
      • ISM October 2020
      • ISM September 2020
      • ISM August 2020
      • ISM July 2020
      • ISM June 2020
      • ISM May 2020
      • ISM April 2020
      • ISM March 2020
      • ISM February 2020
      • ISM January 2020
    • 2019
      • ISM December 2019
      • ISM November 2019
      • ISM October 2019
      • ISM Septembre 2019
      • ISM August 2019
      • ISM July 2019
      • ISM June 2019
    • 2016
      • ISM December 2016
      • ISM November 2016
  • Spanish
  • Download Salsa App
    • Android
    • Apple

Search Results for: Salsa

Poncho Sanchez visited us at the Salsa Museum

Like every month, we are going to dedicate this edition to a very special name in the Latin music scene and it is about the extraordinary percussionist and conguero Poncho Sanchez, who has given us the honor of donating some of his congas and the suit he wore during the Grammy Awards to the Spaha Salsa Gallery Museum.   

In gratitude to such a generous act, we want to dedicate the following lines to his brilliant career and everything he has contributed to Latin music with his work and talent.    

Poncho playing the congas
Poncho Sánchez playing the congas live

Poncho’s beginnings in music 

Pablo Sanchez, better known as Poncho Sanchez, is currently a percussionist and salsa singer who leads a renowned Latin jazz and Cuban music band. He became such a talented artist after a long journey in the difficult and competitive music industry. 

Poncho is the son of two Mexicans from different cities who had eleven children, the musician being the youngest of them all. From a very young age, he developed an intense love for music, which led him to learn to play instruments on his own.   

Although Poncho was born in Laredo, Texas, he spent all his childhood in Los Angeles with his family. In that place, he began to have a lot of contact with American jazz, Latin jazz and soul. During his adolescent years, his musical tastes were dominated by artists such as Mongo Santamaría, James Brown, John Coltraine, Miles Davis, among many others.   

Poncho at Catalina Bar
Poncho Sánchez performing at Catalina Bar and Grill in Hollywood

When he decided he wanted to take music up professionally, he began to teach himself to play the congas, guitar, drums, timbales and flute. This is how he was preparing for what was to come in his professional life later on.   

When he reached adulthood in his twenties, he was playing in various dance clubs for a while, until finally he got Cal Tjader and his group to notice his talent and invite him to join them.   

Today, Poncho is very grateful to Cal and said that he learned a lot from him during the time he was in the group. In fact, he even recalled in an interview that he gave him some lessons just as he was a teacher and Poncho was a student. This, in order to be on par with his bandmates and be able to put on a good show to the public.   

Poncho and Tito Puente
Poncho Sánchez and Tito Puente ”The King of Timbales”

Poncho as a soloist  

In 1980, Poncho finally managed to form his own group with which he began to carry out certain projects, although he had not completely departed from Cal’s band. In fact, the conguero worked with the musical director till the end of his days in 1982.   

Just a few months later, he signed with the Concord Records label to release his first official solo album, which he titled ”Sonando”, marking the beginning of a partnership that remains intact to this day. So far, Poncho has some two dozen recordings with Concord.  

Following decades of starting his career, Poncho saw his dreams become a reality when he won a Grammy for ”Best Latin Album” in 1999 thanks to the Latin soul album he had recorded at the time. That’s when the artist finally felt that everything he had worked for in the previous years had paid off.   

As for his latest album called ”Trane’s Delight”, Poncho seeks to pay homage to the artists who have inspired him and helped him develop his own art, as he considers that these personalities have been a fundamental basis for his growth as a music professional. 

Johnny Cru ISM corresponde in New York City

Read also: The Great Pichie Pérez and his brilliant career 

If you want to listen to Tasty Salsa tune in to Ritmo Sabor y Salsa with Nesmary J. Gómez

Nesmary J. Gómez H. was born in Venezuela, Miranda state, city of Los Teques on January 9, 1995.

If you want to listen to Salsa sabrosa tune in to Ritmo Sabor y Salsa, there's no other way to listen to it
If you want to listen to Salsa sabrosa tune in to Ritmo Sabor y Salsa, there’s no other way to listen to it

Nesmary is a young student of social communication at the Bolivarian University of Venezuela, Announcer of the Ritmo Sabor y Salsa program.

From an early age she felt attracted to the salsa genre and at 3 years old she sang Pedro Simon (dumb things) of the Colón orchestra when she turned 7 she already danced songs by Oscar D’ León and the Latin Dimension.

Afirma Nesmary  Gómez que gracias a su abuela materna y quién ha sido fiel seguidora del sonero del mundo “Mi abuela Gloria Hueck a ella le debo todo lo que soy una mujer inigualable una madre para mi luego de la trágica muerte de mi mama, fue mi abuela quien me crío y crecí a su lado escuchando desde Óscar D León hasta un Ismael Rivera, Henry Fiol”.

With 12 Years she fell in love with the radio by being a very active listener of all the radios of the town making herself known by almost all the announcers earning the heart and affection for being the number 1 listener of different programs.

Being in the first year of basic education he had the experience of airing an educational program on the community radio Urquia 97.5FM being this radio the first to open its doors to him.

Nesmary Gómez y Carlos Marrero en Radio PLENITUD 90.9FM
Nesmary Gómez y Carlos Marrero en Radio PLENITUD 90.9FM

After 3 years she is taken into account for a new project as co-producer “El baúl de los recuerdos” on the community radio of Carrizal 91.5FM with the physically disappeared Jhonny Tovar, who with his great support was able to highlight the talent of this young woman, said project had a duration of 2 years.

The opportunities remained present and is called by the director of a commercial radio Carlos Daniel Piñango man who fully trusts this young prospect of broadcasting and is included as a second voice in the El Hormiguero RV program where he was nourished every day more when working with The announcer Mario García is a long-distance man who so far is a reference on Altomirandina radio.

When life began to smile at her a hard blow after the death of her second child made that young woman passionate about the voiceover lose the desire to live “I remember that by that moment I felt the desire to die, depression and pain led me to a bad emotional and physical state.

Thanks to our heavenly father who gave me strength to get up” The best way not to be overcome by pain was a radio booth starting as an audio operator in different live programs, in addition to motivating himself to create a project of the salsa genre called Salsa and Control project that lasted 4 years and was interrupted by situations beyond his will.

This talented young woman continues to prepare herself day by day to be an example of overcoming and show that obstacles can be overcome with perseverance and perseverance “There is no pain that separated us from what we like, on the contrary when you have pain the best thing is to take refuge in what we are so passionate about and mainly in God”.

Nesmary Gómez y Rodrigo Medoza
Nesmary Gómez y Rodrigo Medoza

For 1 year and a half has been airing a proposal that is giving something to talk about Ritmo Sabor y Salsa is Nesmary Gómez’s project on Radio PLENITUD 90.9FM Monday Wednesday and Friday between 2:00 – 4:00pm from where this year 2023.

Has been sharing in exclusive interviews with great exponents of the genre such as Mauricio Silva, Viti Ruiz, Pedro Arroyo, Edgar Joel, Lus “Perico” Ortiz, Gus Colón, Fernando Cancel, Antonio Cartagena, among many other artists.

Who appreciate the existence of this program that gives the audience the opportunity to know their musical trajectory in chronological order.

“I am one of the few people who think and feel that artists must be honored in life, let’s not wait for them to leave this earthly plane to pay tribute and place their songs, let’s give him that great satisfaction that You can enjoy it in life” said space recently premiered the segment “La Clave de la Salsa”.

In honor of that percussion instrument, to those two cylindrical wooden sticks on which many of the music of the Caribbean are built and for this case the salsa known as the key, in this segment the story of 2 songs that sounded insistently and that are still kept in the memories and taste of the public is known.

Nesmary Gómez y Elio Pacheco
Nesmary Gómez y Elio Pacheco

Nesmary recently received his speech certificate at the Elac of Santa Rosa University. Being one of the few female voices in Los Teques and all the Altos Mirandinos that has the perfect formula to brighten your afternoons in the company of a great audio operator known as Carlos “Lolo” Marrero the duo that is delighting you and dictating catedra quoting those words of the renowned singer Roberto Lugo “If you want to listen to a tasty salsa tune in to Ritmo Sabor y Salsa there is no hay más na”.

Also Read: Lizna Tovar winner in the category Voice Over of the year 2022 in Canary Islands Tenerife

Christmas salsa albums to listen to this December

Christmas albums 

Christmas is one of the best times to celebrate with family and friends and a very important element of any celebration is music, especially in Latin countries and communities.   

Because we are in December, we thought it would be a great occasion to relive some of the most iconic salsa albums of all time with which our dear readers can enjoy this wonderful month at the rhythm of the most joyful Latin music from some of the best exponents of the genre.  

Asalto Navideño Vol. 1 

This album should never miss in a list of this type and it could not be in another way, since it is part of the incredible path traveled by the New York orchestra Willie Colón & Héctor Lavoe. The material is the group’s sixth studio album and was recorded during the first week of December 1970.  

Prior to this, the boom that was taking the orchestra in those years made Jerry Masucci and Johnny Pacheco suggest to the artists that they take advantage of the fame they had harvested so far to create an album dedicated to Christmas, which they both gladly accepted.  

It is then when they got hands on and invited the talented musician Yomo Toro to participate in the album. The artist was not well known by the fans, but he ended up occupying a very important place in the final result. 

Although at first, the material was focused on honoring Puerto Rico, but ended up embracing the Latin community living in the U.S., which had been the main responsible for the strengthening of salsa in the liking of the people and the profit received the Fania Records label. 

The album was recorded in the studios of Fania Records in New York and had a total of 12 songs dedicated to the most beautiful time of the year. Aires de Navidad” and ”La Murga” are among the most successful tracks of the album and the most listened to so far. 

album Asalto Navideño
Cover of the album ”Asalto Navideño Vol. 1”

Nuestra Música 

El Gran Combo de Puerto Rico never disappoints and certainly did not do it with its Christmas production ”Nuestra Música”, with which it seeks to pay tribute to this wonderful time and put everyone on dance in their homes during the Christmas holidays.   

The album was released in 1985, the year in which salsa was going through a very challenging time, since merengue was gaining a lot of momentum, displacing the aforementioned genre to some extent. However, this was no impediment for the orchestra to demonstrate, contrary to what many believed, that salsa was more alive than ever.   

The album’s release was surprising as well as exciting for the fans of El Gran Combo de Puerto Rico, which managed to rescue much of the holiday spirit that was lost and gave life to hits such as ”La Fiesta de Pilito”, ”Desenfunda”, ”Arbolito” and ”No Hay Cama Pa’ Tanta Gente”. 

album Nuestra Música
Cover of the album ”Nuestra Música”

Navidad Criolla 

Another great recor production that could not miss in this list is ‘‘Navidad Criolla’’ by La Sonora Ponceña. A very particular and different thing about this Christmas album is that, instead of using the typical Christmas aguinaldos, salsa dura is the predominant genre. However, the vocalists and musicians do their best to maintain the essence of Christmas at all times. 

The album was released in 1978 and includes the unmistakable voices of Luigi Texidor and Tito Gómez, who add an exciting and cheerful touch to the music with the power of their vocal cords. In addition to that, Adalberto Santiago and Yayo El Indio participated on backing vocals along with the talented musicians of the group.   

The album includes songs such as ”Aguinaldo Antillano”, ”De Noche Buena”, ”Canción de Navidad”, ”Vamonos Pa’l Campo”, among others.  

album Navidad Criolla
Cover of the album ”Navidad Criolla”

Felices Pascuas 

Ricardo Ray and Bobby Cruz delighted the public during the December holidays in 1971 with this extraordinary musical work with which they conquered the public one of those countless times they did it.  

Ricardo delighted the duo’s fans from the piano and musical arrangements, while Bobby was on voice and backing vocals. Both artists were accompanied by Miki Vimari on voice and backing vocals, Ismael Cocolia Rodríguez and Ismael Rivera on trumpet, Manolito Gonzales on bongos, José Hidalgo on conga, Charlie Cotto on timbales and Plito Huertas on bass.   

Among some of the best-known tracks of the album, we can mention ”Bomba en Navidad”, ”Mi Niñez”, ”Aguinaldo Navideño”, ”Kyrie Eleison”, ”Sinfonia To Cantata No, 29”, and so on. 

album Felices Pascuas
Cover of the album ”Felices Pascuas”

Read also: Legacy of the Cepeda family after eight generations 

Lengaïa Salsa Brava is killing it in Montréal

Latin talent can be found where you might least expect it and, this time we found it in the city of Montreal, Canada, a place that is cultivating an increasingly large and vigorous Latin music scene. On this occasion, we were thrilled to be able to talk to Giany-Frantz Huyghues-Despointes, who is the leader and founder of the orchestra Lengaïa Salsa Brava.

Lengaïa Salsa Brava is a 12-member salsa orchestra that was created in 2012 by Giany, who was also a trombonist and had some experience in the world of music before daring to create his own group. 

The effort of all its members has enabled them to collaborate with great performers of the genre and win important awards such as the Canada Latin Awards in the category of ”Salsa Group of the Year” in a row in 2017 and 2018 respectively. 

Lengaïa Salsa Brava has also performed approximately 30 concerts a year since its foundation and has participated in important festivals such as Toronto Salsa Festival, Festival Nuit Blanche de Montreal, Nuits d’Afrique, among others. The group was greatly helped by the fact that its members come from different countries such as French Guyana, Cuba, Colombia, Peru, Quebec, Spain and Venezuela. 

This interesting journey shows us how hard this group has worked to achieve a place within the industry and all the potential they have to achieve much more than what was obtained. Today, Giany, its founder, shares a little more about himself and his orchestra Lengaïa Salsa Brava.

Giany, founder of Lengaïa Salsa Brava
Giany Huyghues Despointes, director and founder of Lengaïa Salsa Brava

Giany’s beginnings as a musician

Although the trombone is the instrument for which Giany is known, he started playing the trumpet from 10 years of age, which is when he began his interest in this branch of the art.

An important point is that in French Guyana, the country where Giany was born, salsa is not a predominant genre, since the most played by the French Guyanese is the mazurka, which is very similar to the Haitian compas. In the case of Giany’s family, they listened to a bit of everything, including salsa.

A turning point for the artist was watching Celia Cruz singing on tv one day. The musician had never heard the Cuban singer before and it was an incredible experience for him, as her deep voice, colorful outfit and wig caught his attention at the time. 

Because of her deep voice, he thought she was a man, but his mother explained to him who Celia was and, months later, took him to a concert to see her live. That performance of ”La Guarachera de Cuba” marked him so much that he would begin to lean towards music in the future. Today, he says that Celia is a spiritual mother to him, as she was his great inspiration. 

Along with being a fan of the Cuban singer, he wanted to learn to play instruments and initially opted for the piano and the guitar, but that changed when his Spanish teacher at school gave him a trumpet and he discovered that he really liked to play it.

Some time later, he graduated from the national school of music in his country and, by the time he turned 18, Giany noticed that his musical skills excelled more with the trombone than the trumpet. This is how he decided to choose the trombone as his main instrument and so it has been to the present time.

He started playing classical music with that instrument but soon discovered that he wanted to return to the genre that captivated him when he was just a child, so he dared to create a group in France, where he studied aviation. The thing is that he went to live in Canada six months later and had to abandon the plans he had at that time.

Lengaïa Salsa Brava
The whole orchestra Lengaïa Salsa Brava

Founding of Lengaïa Salsa Brava

Giany arrived in Canada with the vision to create another group in his new country of residence, but he did not know any musicians yet, so he moved into action and started placing ads on social networks and other virtual means to communicate with artists who were interested in joining his project. 

The results were amazing and there were many musicians who contacted Giany because of their interest in the concept proposed by him. With this group, he started assembling the orchestra in order to give form to what Lengaïa Salsa Brava is today. The orchestra has six years with the same staff and format it presents to the public today.

Huge number of nationalities in Lengaïa Salsa Brava 

As for the large number of nationalities living in the orchestra, Giany has said that all ”are part of a big family” hinting that national origins have not been a problem for the smooth development of the group. In addition to that, the salsa brava is a genre widely known worldwide, so the members of the orchestra knew in advance what they were getting into.

To what we must add that these guys work or have worked in other salsa brava orchestras, so they were pretty much steeped in everything related to this beautiful music. 

Giany says it is very easy to work with his musicians because they always know how to perfectly interpret what he wants.

Lengaïa at one of its concerts
Lengaïa Salsa Brava at one of its concerts

Origin of the name Lengaïa Salsa Brava

When Giany was looking for a name for the group, he wanted something different and not very Latin sounding. He also wanted people to ask what the name meant, so we have fallen into the trap. 

The musician explained that he wanted something that refers to how explosive, energetic and aggressive his music is, so he chose the name inspired by a Tanzanian volcano called Ol Doinyo Lengaï that spews black lava. ”When you see a volcano exploding, you imagine something explosive and aggressive at the time. That’s what we want to reflect with our music”. Also, the fact that its lava is black is something different from other volcanoes, as is the group’s orchestration and technique,

Activities outside Lengaïa Salsa Brava

Giany wanted to emphasize that all the members of Lengaïa Salsa Brava have other jobs and work activities outside the orchestra. In his particular case, he works as a commercial pilot, but in his spare time, he devotes himself as much as he can to his great passion which is music. 

So far, Giany and the other members of the orchestra are unable to live solely on music, but they do their best to keep the group together and are there to fulfill Lengaïa Salsa Brava whenever necessary.

Although the orchestra has been a second employment option, it is undeniable that this is their great vocation and the engine that moves his life, so there will always be space for it.

Read also: John Narváez and Elizabeth Rojas from Salsamania

“The Sun of Latin Music” the first Grammy Award for Salsa Eddie Palmieri’s historic album

It has been 49 years since “The Sun of Latin Music”, Eddie Palmieri’s historic album, which marked a fundamental milestone in the history of Latin music by becoming the first production to win a Grammy Award in the category of Best Latin Recording, awarded on February 28, 1976.

"The Sun of Latin Music" the first Grammy of Salsa Eddie Palmieri's historic album
“The Sun of Latin Music” the first Grammy of Salsa Eddie Palmieri’s historic album

Recorded in New York at Electric Lady Studios, the album was released by Coco Records on Wednesday, September 18, 1974.

The album featured vocals by Lalo Rodríguez, who was only 16 years old at the time.

It includes: ‘Nada De Ti’, ‘Deseo Salvaje’, ‘Una Rosa Española’, ‘Nunca Contigo’, ‘Un Día Bonito’, ‘Mi Cumbia’.

“The Sun of Latin Music” proved to the world that Latin music, especially Salsa, was an honorable art form and opened the doors for many other Latin artists to receive solid recognition for their talent and work.

Eddie Palmieri

The sun of Latin music

MP, 1990. MP-3109 CD

Recorded in 1975

The Sun of Latin Music was a controversial album. It was too far from the easy formula of the middle salsa boom – what César Miguel Rondón calls the “mtancerization of salsa”.

“Ahead of its time” was one of the comments; “a piece like Un día bonito, had to be mutilated” with a 6-minute piano intro just to be able to play it on the radio; a danzón (Una rosa española) with lyrics by the Beatles; a cumbia that is not very Colombian, despite the name (Mi cumbia) and the chorus that says “very Colombian…”.

Nevertheless, this album represents the strength of the spirit of salsa: the encounter between the harshness of the street and the majesty of the most sophisticated musical sound.

One of the best albums of Caribbean music ever released.

Palmieri was always in search of something new. The Sun Of Latin Music is the culmination of a phase that began with an earlier album, Sentido (1974).

This time he chose the Panamanian Vitín Paz for the trumpet solo, Barry Rogers for his trombone and an unusual tuba, which formed a kind of basso continuo, and besides Barry, José Rodrigues, who for a long time was, and despite his absence still is, his most emblematic trombonist.

Cover of issue 36 of Latin New York magazine (April 1976) where Eddie Palmieri appears.
Cover of issue 36 of Latin New York magazine (April 1976) where Eddie Palmieri appears.

Ronnie Cuber and Mario Rivera were chosen as the first saxophonists in a Palmieri orchestra.

For many it is Palmieri’s best album, the most experimental and universal. One that borders on academic music, but without forgetting the dancer.

With spices like the violin of Alfredo de la Fe, who contributes his creativity everywhere, the tuba, the penetrating power of the brass, the overwhelming percussion.

Thus, Una rosa española is a modern danzón that later becomes a montuno that revives the joyful Palmerian game with the dignified uproar of trumpets, saxophones and trombones.

A young man of only 17 years, Lalo Rodríguez, who years later would become the standard-bearer of what was called salsa erotica, was chosen as the singer. Another novelty: the timbre of his voice, with a very high register, and the way he faced the montuno, which did not correspond to his age, caused different reactions.

But the most amazing thing about this 1974 album is the 14:20-minute track Un día bonito, arranged by Barry Rogers, which would keep even the most trained dancers busy. But Palmieri wasn’t just thinking about leg sets or dance floors.

The piece begins with a long piano interlude, the same structure he used in the track Adoración from the album Sentido, which would mark a new musical phase in his career.

It was more than experimental, it had some electro-acoustic music; no one had ever had the audacity to do that on a salsa album. Palmieri made the leap, he could do it, it sounded more like Stravinsky or Milhaud than Puente or Fania.

Suddenly, back in the piece, the orchestra bursts in, harder and heavier than ever, wishing the city of Los Angeles a beautiful day and San Francisco a “warm greeting,” and it is certain that Keruack and Borrough heard the call.

First Eddie Palmieri Grammy
First Eddie Palmieri Grammy

Then Eddie Palmieri was consecrated by the intellectuals and the educated and also by the Grammy.

Eddie Palmieri

The sun of Latin music

Produced by Harvey Averne

Eddie Palmieri: piano

Lalo Rodríguez: vocals

Vitín Paz: trumpet

Virgil Jones: trumpet

Barry Rogers: trombone, tenor tuba

José Rodrigues: trombone

Ronnie Cuber: Baritone Saxophone, Flute

Mario Rivera: Baritone Saxophone, Flute

Alfredo de la Fe: Violin

Eddie Guagua Rivera: Bass

Tommy Chuckie Lopez, Jr.: Bongo

Eladio Pérez: conga

Nicky Marrero: timbales, percussion

Peter Gordon: French Horn

Tony Price: Tuba

Jimmy Sabater: Chorus

Willie Torres: Chorus

Tommy López Sr.: conga

Tracks: Nada de ti; Deseo salvaje; Una rosa española; Nunca contigo; Un día bonito; Mi cumbia

Arrangements by René Hernández and Barry Rogers

One of the most valuable pieces in the exhibition “Rhythm and Power: Salsa in New York”, which will be presented until next November at the Museum of the City of the Big Apple, is the first Grammy in the history of Latin music, awarded in 1976 to Eddie Palmieri for his album “Sun of Latin Music”.

“The Sun of Latin Music”
“The Sun of Latin Music”

Sources:

Anapapaya

Salsero Radio

D j. Augusto Felibertt

Also Read: Salsa and its detractors “Caiga quien Caiga”

  • « Go to Previous Page
  • Page 1
  • Interim pages omitted …
  • Page 21
  • Page 22
  • Page 23
  • Page 24
  • Page 25
  • Interim pages omitted …
  • Page 409
  • Go to Next Page »

International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.