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Profile of Raimundo Elpidio Vázquez Lauzurica: The Guardian of the Rhythm in Sonora Matancera

The heir to a musical dynasty that defined the sound of the “Dean of Latin Ensembles”

On March 15, 1934, the Jesús María neighborhood in Havana saw the birth of one of the most solid figures in Cuban syncopation: Raimundo Elpidio Vázquez Lauzurica. Known worldwide as “Elpidio Vázquez,” his destiny was written between the strings of a double bass and the mystique of Cuba’s most iconic musical group.

As the son of the legendary Pablo Vázquez Gobín (“Bubú”) and the older brother of master pianist Javier Vázquez, Elpidio did not just inherit an instrument he inherited a historical responsibility.

His formal connection with Sonora Matancera began in 1952, when he started subbing for his father. It didn’t take long for his talent to secure him the permanent spot, becoming the rhythmic backbone of the institution until the end of his career.

Legacy and Musical Contributions: Beyond the Double Bass

Elpidio Vázquez was not just a performer; he was a sonic architect. His ability to maintain a precise tumbao allowed Sonora Matancera to preserve that unmistakable harmonic signature that captivated the entire continent.

In addition to his technical prowess, Elpidio shined as a composer, contributing tracks that became essential hits:

“Le dio con la sartén”: A guaracha recorded by the “Flaco de Oro” (The Golden Thin Man), Celio González, in late 1959.
“La negrita inteligente”: A gem performed by the Queen herself, Celia Cruz, in 1961.

His versatility led him to explore other musical horizons. He participated in the vibrant Cuban descarga (jam) sessions alongside Osvaldo “Chihuahua” Martínez and collaborated on historic recordings with giants of salsa and bolero, such as Ismael Rivera, Daniel Santos, Johnny Pacheco, Justo Betancourt, and Roberto Torres.

The Double Bass: Unlike many bassists of the salsa era who quickly transitioned to the Baby Bass or the electric bass, Elpidio is remembered for his mastery of the acoustic double bass, maintaining that organic, deep sonority of traditional, evolved Cuban son.

Recognition and Saying Goodbye to the Stage

One of the most memorable chapters of his career took place in 1989, during the 65th-anniversary celebration of Sonora Matancera. Organized by Gilda Mirós, Elpidio rocked world-renowned stages like Carnegie Hall and New York’s Central Park, reaffirming the band’s timeless relevance.

Career with Sonora Matancera

The Historic Handover: In 1952, Elpidio took on the responsibility of replacing his father on the double bass for Sonora Matancera. This was no small task, as he had to maintain the characteristic tumbao that had defined the group’s sound for decades.
Sonic Signature: He is credited with imprinting a robust harmonic stamp and a rhythmic stability that allowed Sonora to back the biggest stars of the era (Celia Cruz, Nelson Pinedo, Bienvenido Granda, etc.) with flawless precision.
Exile and Continuity: Like the rest of the group, he left Cuba in 1960, continuing his career abroad and participating in Sonora’s prolific New York era and their international tours.

A historical footnote: After the death of Rogelio Martínez, it is said that Elpidio was designated as the group’s musical director by public deed. However, in a gesture of humility and after decades of dedication, he preferred to retire in New Jersey, letting his brother Javier take the helm for the orchestra’s new era.

Today, the figure of Elpidio Vázquez remains a symbol of artistic fidelity and musical excellence the bridge between the tradition of “Bubú” and the modernity of New York salsa.

Also Read: La Sonora Matancera musical congregation of long trajectory and its sound quality, is one of the most popular in the Caribbean island “Cuba”

“Sonido Bestial Sinfónico” solidifies classical sound in salsa

The February 27, 2026, performance of Sonido Bestial Sinfónico, which reunited “The Kings of Salsa,” Richie Ray and Bobby Cruz, at Puerto Rico’s Coca-Cola Music Hall, served as a farewell for Bobby Cruz. With a sold-out crowd thanks to Alexandra Fuentes’ production and a promotional alliance with the radio station Salsoul the legendary salsa vocalist said goodbye to the stage, insisting that while death had come looking for him, it had taken Willie Colón instead.

During Sonido Bestial Sinfónico, the audience also celebrated the 81st birthday of virtuoso pianist Richie Ray (born February 15) and the 88th birthday of singer Bobby Cruz, who celebrated his birthday the day before the event. Midway through the performance, the duo took a moment to blow out the candles on a cake brought onto the CCMH stage.

The concert was conducted by maestro Cucco Peña, featuring the voice of Yanira Torres and the Philharmonic Orchestra of Puerto Rico. From the local salsa scene, standout musicians included timbalero maestro Edwin Clemente, Emanuel Navarro on congas, and Richie Carrasco on bongo and cowbell, alongside the essential bass swing provided by Edwin Morales, director of the Orquesta Mulenze. Richie Ray’s wife, Angie Maldonado, and Jerry Medina were featured on backing vocals.

This symphonic concert, which celebrates more than six decades of “The Kings of Salsa” in music, had been postponed from its original date of October 25, 2025.

The repertoire included major hits popularized by the duo that have become classics of tropical music. Following a symphonic medley opening, the setlist included “Sonido Bestial,” “Agúzate,” “Richie’s Jala Jala,” “La Lluvia,” “Míster Trumpetman,” “El Diferente,” “Mi Amigo Juan,” “Yo Sé Que Te Amo,” “La Zafra,” “Juan en la Ciudad,” “A Mi Manera,” and a reprise of “Sonido Bestial,” among others.

The performance on Friday, February 27, 2026 of the Symphonic Bestial Sound concert that reunited "The Kings of Salsa", Richie Ray and Bobby Cruz — The performance on Friday, February 27, 2026 of the Symphonic Bestial Sound concert that reunited “The Kings of Salsa”, Richie Ray and Bobby Cruz

The show’s pinnacle featured Cucco Peña singing “Idilio” alongside Norberto Vélez in a heartfelt tribute to the late Willie Colón. The conductor acknowledged that figures like Willie Colón have made it possible for Puerto Rico to hold an important place on the global stage, affirming that “music is the face of Puerto Rico to the world.”

Richie Ray interjected a segment in which he shared his testimony of conversion to Christianity, extending an invitation to anyone who wished to join the ministry he now leads as a pastor. During this segment, the song “Hombres de Valor” was performed.

Another significant moment occurred when Bobby Cruz sang “La Novia,” clarifying that he is “free, but not available.” In addition to the hits achieved during the duo’s monumental and historic musical career, Richie Ray led several classical music pieces adapted for salsa.

The Coca-Cola Music Hall in Puerto Rico served as Bobby Cruz's farewell concert. It was a sold-out show. — The Coca-Cola Music Hall in Puerto Rico served as Bobby Cruz’s farewell concert. It was a sold-out show.

The patriotic finale featured the performance of “Mi Bandera,” which served as a farewell from both Richie and Bobby to the island, as both artists reside within the Puerto Rican diaspora in the continental United States. Events of this magnitude are what give deep meaning to maestro Cucco Peña’s statement: “Music is the face of Puerto Rico to the world” within the universal musical scene.

Also Read: Don Perignon and La Puertorriqueña Release Classique et Savoureux

Eduardo Herrera. The Man Behind Every Song – The Story of His Music

Latin America / Puerto Rico / Puerto Rico

“There’s a wide variety of artists, singers, and famous orchestras in different parts of the world, but that doesn’t mean you can’t discover new artists who have the motivation and desire to boost their musical talent. Here, we have as our guest Eduardo Herrera, a salsa and ballad singer.

Eduardo is the son of Puerto Rican parents, raised in New York with a ‘boricua sazón’ (Puerto Rican flavor/style). From a very young age, he fell in love with music, and over time, he gained many musical experiences in different genres with Latin nuances and foreign fusions.

He mentions that when he was younger, he participated in youth choirs on stages and attended concerts of great artists, learning the lyrics of urban music. As time passed, he captivated the perfect school that shaped his unique style; it includes spiritual music, Latin rhythms, and the influence of American styles without abandoning his Puerto Rican roots. He also mentions that he had the opportunity to share and collaborate with very famous artists who influenced him with their exceptional style and talent, even to this day.

Eduardo Herrera comments that his music is a collection of life experiences that many people identify with. It has no age or time; it has ‘sazón,’ Caribbean rhythm, and soulfulness.

It simply identifies what no one else sees or knows in or about you. In fact, his songs tell stories; they tell your life, his, and mine. Each story on a bus or train in New York, each event in family life or with a stranger, the stories of the fans, among others.”

“Eduardo Herrera comments that his music is a collection of life experiences that many people identify with. It has no age or time; it has ‘sazón,’ Caribbean rhythm, and soulfulness.

When you hear the melody, you fall in love; when you pay attention to the lyrics, you are captivated; when you listen to it again, you turn it into something that identifies you, regardless of your age, race, condition, or gender. It simply identifies what no one else sees or knows in or about you. In fact, his songs tell stories; they tell your life, his, and mine. Each story on a bus or train in New York, each event in family life or with a stranger, the stories of the fans, among others.

Eduardo Herrera - El Amor — Eduardo Herrera – El Amor

In the course of his life, he mentions that it was a transition as he went through many positive and negative life experiences, which allowed him to gain different meanings for the emotions he felt, whether real or false. All these experiences helped him help others, such as in personal growth.

In ‘Salsa‘ and ‘Balada,’ he has found his perfect space to express what he carries in his life’s baggage. Hoping that many couples will have a happy life to the rhythm of his music. Eduardo told us, ‘To achieve that emotional catharsis that lifts you up from any tragedy, it is necessary to LOVE YOURSELF BEFORE LOVING SOMEONE.’ So remember that when you listen to Eduardo Herrera’s music: ‘LOVE YOURSELF BEFORE LOVING SOMEONE.’

Recognizing the value of an individual and appreciating their abilities while learning from mistakes, that is what defines every song you will hear from Eduardo. The message will arrive; it’s up to you for the outcome to be happy. Because you learn from the difficulties in the process, the final result depends on how you handle the ‘tests’ to qualify yourself in feelings for the life you choose to live.

If you wish to know more about him:

Facebook: https://www.facebook.com/eduardoherrerasalsa
Instagram: eduardoherrerasalsa
Email: [email protected]
Phone: 787 399 5064

Toña La Negra The Unequaled Velvet Voice of Tropical Song

On November 19, 1982, in Mexico City, Antonia del Carmen Peregrino Álvarez, better known as “Toña La

Toña la Negra, passed away. She was a prominent Mexican singer and actress of African descent, famous for her interpretations of boleros and tropical songs by the composer Agustín Lara, who considered her “the greatest female singer of all time” due to her “highly personal style,” “the power of her expression, and the velvet of her privileged throat.”

Toña La Negra The Unequaled Velvet Voice of Tropical Song

Antonia Peregrino was born in the city of Veracruz, in the La Huaca neighborhood, on November 2, 1912.

Her father, Don Timoteo Peregrino Reyes, played the guitar and worked as a freight opener for the crates arriving at the port; he was also one of the founders of the Veracruz Port Commercial Loaders and Openers Guild.

Her mother, Doña Daría Álvarez Campos, sang at family gatherings.

Her paternal grandfather, Don Severo Peregrino, was Haitian and had emigrated to Mexico in the 19th century.

By 1927, she had married Guillermo Cházaro Ahumada, who took her to Mexico City with their first child, who was only forty days old.

On July 16, 1929, she debuted at the cabaret El Retiro. While performing there, where she was known as La Peregrina, she met Don Emilio Azcárraga Vidaurreta. It was Azcárraga, along with Enrique Contel, who christened her “Toña La Negra.”

On November 19, 1982, in Mexico City, Antonia del Carmen Peregrino Álvarez, better known as “Toña La Negra”, passed away.

She began to gain recognition with her interpretation of the song “Enamorada” (In Love) by Agustín Lara. Lara also produced tracks for her such as “Lamento Jarocho,” “Veracruz,” “Noche Criolla” (Creole Night), “Oración Caribe” (Caribbean Prayer), “Palmera” (Palm Tree), “La Clave Azul” (The Blue Key), and “La Cumbancha.” They presented these together in a musical revue at the Teatro Esperanza in December 1932, achieving such success that they had to extend their performances for a long time.

Her voice tone was rather deep, with a velvety and rounded sound, and impeccable vocal techniquecharacteristics that became her interpretive signature.

Azcárraga added her to the cast of the XEW radio station, where she sometimes performed accompanied by Lara and other times by the Alfredo Girón orchestra.

Shortly thereafter, her spectacular performances began at the Teatro Politeama, across from Las Vizcaínas and next to San Juan de Letrán street.

Her recordings for the RCA Victor label constitute one of the most precious musical legacies in the history of the bolero.

One of the first records she cut for this label contained the song «El Cacahuatero» (The Peanut Vendor); this recording dates back to the 1930s. For RCA Victor, she recorded several long-play albums, including Caleidoscopio musical con Toña la Negra (Musical Kaleidoscope with Toña la Negra), Noche Criolla, vol. II, and La Sensación Jarocha, vol. III (The Jarocha Sensation, vol. III).

In the mid-sixties, she signed an exclusive contract with Discos Orfeón, where she recorded the last albums of her career.

“Este amor salvaje” (This Wild Love), “Por qué negar” (Why Deny It), “Obsesión,” “Mentiras tuyas” (Your Lies), “Y sin embargo te quiero” (And Yet I Love You), “Noche criolla,” “Pesar” (Grief), “Vereda tropical” (Tropical Path), “Cada noche un amor” (A Love Every Night), “Angelitos negros” (Little Black Angels), “Lágrimas de sangre” (Tears of Blood), “Estás equivocado” (You Are Wrong), “De mujer a mujer” (From Woman to Woman), “Como golondrinas” (Like Swallows), “Diez años” (Ten Years), and “Cenizas” (Ashes) are some of her successful titles recorded on over 75 LP records, some of them for the Peerless label. Already famous for many years, she recorded two songs with the legendary Sonora Matancera in 1974.

In her final years, due to some health issues, she gradually withdrew from the stage and recording.

Toña La Negra always maintained a very reserved personal life. With her first husband, the musician Guillermo Cházaro Ahumada, she had three children: Ramón (b. 1932), Guillermo (b. 1933), and Ernesto (1935–1979). Toña and Cházaro Ahumada separated in 1945.

Later, in 1955, she remarried the Veracruz-born bassist Víctor Ruiz Pazos, known as “Vitillo.” This marriage lasted until 1963. In an interview, Ruiz Pazos spoke about Toña’s artistic qualities:

Her commitment, her feeling when she sang, her style, the way she did it, how she expressed things musically; I have lived a long time, I have heard many fabulous singers, but none of them come close to Doña Toña.

The German filmmaker Christian Baudissin made a documentary about Toña La Negra for television in 1993, featuring interviews with her ex-husband, the musician Vitillo (Víctor Ruiz Pazos), and other artists who knew her during her lifetime.

Collaborators:

Los Mejores Salseros del Mundo

Dj. Augusto Felibertt

Also Read: Santa La Salsera and Diva of Mexico with her unique voice and style will continue to conquer us all

Son 14 The History of the Orchestra and the Success of “A Bayamo en Coche”

The Son 14 orchestra was founded in Santiago de Cuba in 1977 by vocalist Eduardo “El Tiburón” Morales (born in Cuba in 1935) and pianist and musical director Adalberto Álvarez.

As the name suggests, it is a 14-member ensemble dedicated to performing son, the national musical genre of Cuba. In 1978, Lázaro Rosabal (born in Santiago de Cuba in 1953) joined the group.

They quickly recorded several albums for the local EGREM label, many of which became bestsellers throughout Latin America, allowing them to undertake extensive tours across the Americas and Europe.

In 1992, co-founder Álvarez left the band to form his own group. Nevertheless, Son 14 continued its journey under the musical direction of Rosabal.

In addition to their continued success in the Latin market, the band began to gain international recognition, first with the song “El Son De La Madrugada,” included on the compilation Cuba – Fully Charged (Earthworks Records, 1993), and later with the release of Son – The BIG SOUND (Tumi Records, 1995), a compilation of their material from the Álvarez era.

After introducing a modern, vibrant version of son and its variations (son montuno, bolero son, etc.) to non-Latin audiences, Tumi Records commissioned a new recording at Cuba’s EGREM studios. Released in 1996 as part of the Cuba Explosion series, the album Cubanía proved that the band had not lost an ounce of its musical talent and energy under Rosabal’s direction. Three years later, the group released La Máquina Musical, which incorporated Colombian tropical rhythms into their sound, promoting the album with a European tour that included a performance at the Cuba Presente Festival at the Barbican Centre in London. (Source: AllMusic)

The Milestone of “A Bayamo en Coche”

The album A Bayamo en Coche (A Bayamo by Carriage) was released in 1979, with its biggest hit being the title track itself. The album’s opening song, composed and arranged by Adalberto Álvarez from Camagüey, instantly transformed him into one of the leading figures in popular Cuban dance music from that year on.

The song “A Bayamo en coche” not only revives traditional son and enriches it with new sounds but also artistically recreates a cherished tradition rooted in Bayamo, the cradle of Cuban nationality. In this city, coches (horse-drawn carriages) are used for pleasure rides and recreation, and the song’s lyrics narrate these moments.

The album contained other tracks that were hugely popular in Cuba between 1978 and 1980, such as “Calle Enramada” (a son elegy to that main Santiago street), “El Son De La Madrugada” (with a beautiful later version by Omara Portuondo), “Se quema la trocha,” and “Elena la cumbanchera,” which turned the record into a landmark within this genre of Cuban music. Most of the tracks were performed by Tiburón Morales, the group’s lead vocalist.

Tribute to The Gentleman of Son

Recently, Son 14 founder Adalberto Álvarez, known as “El Caballero del Son” (The Gentleman of Son), was honored with a concert at the Karl Marx Theatre. This event celebrated his 46 years in music and the 35th anniversary of his later orchestra, Adalberto Álvarez y su Son.

The concert was a memorable tribute to the work of the composer of “A Bayamo en coche.” Some of his best songs were performed by notable Cuban musicians:

Septeto Santiaguero (Son para un sonero)
Pancho Amat and Alain Pérez (Tu fiel trovador)
Alexander Abreu (Pura imagen)
Paulo F. G. (Fin de semana)

At other points, Frank Fernández performed a duet accompaniment with the voices of Adalberto Álvarez and Jorge Luis Rojas, “Rojitas,” on Santa Cecilia.

Additionally, Rojitas sang with Tania Pantoja (Vivir lo nuestro) and solo (Y qué tú quieres que te den). Robertón and Lele, vocalists from Van Van, performed Agua que cae del cielo, while the orchestra Adalberto Álvarez y su Son took on De Cuba pa’l mundo entero, Son de la madrugada, and Los caminos de Ifá.

En La Sala Show “El Saraito” Adalberto Álvarez (R.I.P) Fundador, Director. Arreglista y Pianista del Son 14 de Cuba, Dj. Augusto Felibertt y Vicente López

That night, Maestro José Luis Cortés highlighted Álvarez’s musical quality, focusing specifically on “A Bayamo en coche,” the song that, in 1979, announced the existence of a great artist to the public. Álvarez was capable of bringing son to Cuban art schools and has defended Cuban son with grace and artistry, all while staying true to the essence of one of the dance music genres that best represents Cuban identity. (Source: Joel del Río, Cibercuba)

“A Bayamo En Coche” Album Details (1980)

No.	Track	Genre	Composer
01.	A Bayamo En Coche	Son	Adalberto Álvarez
02.	El Son De La Madrugada	Son guaguancó	Adalberto Álvarez
03.	Se Fue Mi Amor Y No Lo Vi Partir	Bolero son	Adalberto Álvarez
04.	Calle Enramada	Son	Pedro Gómez
05.	Elena La Cumbanchera	Son	Gerardo Martínez
06.	Se Quema La Trocha	Bachata-Son	Adalberto Álvarez
07.	Tal Vez Vuelvas A Llamarme	Son montuno	Adalberto Álvarez
08.	Gimen Las Rosas Por Una Triste Ilusión	Bolero	Adalberto Álvarez
09.	Vamos, Háblame Ahora	Bachata-son	Adalberto Álvarez

Musicians who participated in the recording (1979):

Director, Acoustic Piano, Keyboards: Adalberto Álvarez
Vocals, Minor Percussion: Eduardo “El Tiburón” Morales, Héctor Wedderbron, Daniel Carmenates
Bass: Jorge Machado
Guitar: Efisio Barroso
Trumpet: Eduardo Sánchez, Guillermo Femández, José Fernández, Dagoberto Rodríguez
Trombone: Lázaro Rosabal
Tumbadora (Conga Drum): Ubaldo Canes
Bongó, Cowbell: Guillermo Viera

Recorded at: EGREM Studios (1979)

Collaborators:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Luis Conte: The Cuban-American percussionist who fuses Cuban son with global music