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Four nationalities united in Ladama

Talent can come from the most amazing and unexpected origins and more when we are talking about music, a branch of art from which always emerges people with a lot of potential who can completely break our schemes. This leads us to introduce the topic of a group of four young musicians and singers who joined their skills despite their apparent differences. They are the musical group Ladama.

Ladama is an alternative Latin music band composed of four members of different nationalities: Venezuelan Maria Fernanda Gonzalez, Brazilian Lara Klaus, Colombian Daniela Serna and American Sara Lucas. 

Three of the four members of the group spoke exclusively with International Salsa Magazine and this report will show some of the topics covered during this pleasant conversation. 

Sara, María, Lara, and Daniela from Ladama
From right to left, Sara Lucas, María Fernanda González, Lara Klaus and Daniela Serna

Origins of Ladama as a group 

The conversation was started by Lara and Dani, who explained a bit about the rise and concept of the band. The group was created in 2014 while the girls were doing an artistic residency known as OneBeat, which was sponsored by the U.S. Department of State. They were selected to represent their respective countries, which led them to socialize with each other and discover the great chemistry between them because of the language and genres they played. 

Since OneBeat was an initiative towards cultural exchange between artists and offered the necessary technical equipment to record music, they took full advantage of this space to get to know each other’s styles and see what they could do together. 

Once the month-long residency was over, each went their way, but they kept in touch via Skype a year after having met. The motivation to create a project that would encompass a musical band and teaching classes to minority communities remains intact.

They wanted to create an initiative in which community, creativity, social impact and cultural exchange would be the fundamental pillars of Ladama. It was always clear that they not only wanted to make music, but also do something that would positively impact upon society and they think they have succeeded so far. 

As for the name Ladama, it is simply a combination of the first two letters of the names of each one: ”la” comes from Lara, ”da” comes from Dani and ”ma” comes from María Fernanda. At the same time, ”La dama” in Spanish means ”The lady”, which also refers to the fact that it is an all-women group.

Ladama in a residency called OneBeat
They first met in an artistic residency known as OneBeat

How did these different origins coexist in Ladama? 

We were very impressed by the fact that all Ladama members came from different countries, so we wanted to know how this impacted the group. Lara answered that the only thing they needed was the desire to play together and move this initiative forward, which means that the origin of each one was not a problem to found the group.  

Just like every other band, each one had her own ideas and they discussed them together to know which one to choose or not. 

Their major test was given during the Rec-Beat Festival in Brazil. They arrived only a few days before the event, so they could barely rehearse and set up the repertoire. Despite the haste, they feel that everything went very fluidly, as they spent time meeting with each other and writing some songs for an occasion like this.

Given that Lara, Dani and Maria Fernanda come from Latin and tropical countries, there are certain rhythms that sound so much alike, which they took advantage of to unify them and create completely new rhythms that sound good at the same time. Lara also pointed out that these mixes are in constant change and they always try not to get stuck in the same styles.  

In addition to that, Ladama has left traditional music behind a little bit and has focused on alternative music and other genres such as pop, soul and R&B. 

Dani addressed the topic of genres by saying that they do not follow a plan in which they have something specific to play or mix. Any of their songs can go from Dominican merengue and Colombian cumbia to trap and reggaeton without any problems. They do not like to limit themselves and always seek to reach all audiences.   

Ladama live
Ladama performing live

Ladama in a Tiny Desk concert series

Playing on Tiny Desk (a series of live concerts organized by the radio program All Songs Considered in the United States) is always a prestige for any artist or group that performs on that platform, which is inviting Latin singers more frequently every time.  

The girls were at a festival in Albuquerque, New Mexico, where they had the opportunity to meet the curator of Tiny Desk, who would invite Ladama to record their session in Washington D.C. shortly thereafter.

Lara considers that this was a great opportunity to spread their work due to the large number of people who always tune in to Tiny Desk, in addition to the many artists they knew after their appearance on the platform. 

For her part, María Fernanda commented that, on that same occasion, they took the opportunity to bring instruments from their own countries so that the Tiny Desk audience could get to know them. She also stressed that this session will be an important audiovisual document for history that will serve as an inspiration for other musicians in the future.

It was a great achievement after all that hard work.

Ladama on Tiny Desk
Ladama performing on Tiny Desk

Music classes for the community

The members of Ladama have also been focusing on music classes for the community at large, mostly in schools and universities. In their four countries, they have given workshops of all kinds related to music in the languages they speak, which are, English, Spanish and Portuguese. 

the artist emphasized that they always try to do this type of activities together in the very countries where they offer live performances. They have total freedom to do things separately, but they prefer to carry out these activities supporting each other.

Although they offer classes to anyone who is interested, Latino children are a very important group for Ladama, as many of them often have some problems of identity and adaptation to the United States. When they arrive at school in this country, they often disguise or even hide their Latino roots in order to fit in with their peers, so these classes are an opportunity for them to reconnect with that identity they begin to leave behind. 

These workshops and classes also serve as additional income for the group, as they can not only support themselves through tours and festivals. These educational activities are another way to diversify their earnings and have more stable inflows of money.

Read also: Juan Antón ”El Blanco” from La Clave Del Blanco

Legacy of the Cepeda family after eight generations

As all our readers may know, this is a space devoted entirely to the promotion of salsa and other derivative styles, but that does not mean we should leave out other Latin genres that also deserve to be promoted and recognized worldwide. Such is the case of bomba and plena, which we are going to talk about in the next lines.  

Bomba and plena are two Puerto Rican musical genres that initially became popular at the local level, but little by little, they have received international notoriety thanks to certain groups of Puerto Ricans who have devoted considerable effort to take their culture to as many places as possible in the world. This is how we get to the theme of the Cepeda family and all that its members have done for bomba and plena.  

Bárbara and Margarita
Bárbara Liz Ortiz Sánchez and his mother Margarita ”Tata” Cepeda

The Cepeda Family  

The Cepeda family is a cultural institution that has been given the task of promoting bomba and plena for eight generations, so that they can be heard and danced all over the world. Don Rafael Cepeda Atiles, a professional musician and composer with an extensive career who has left a great legacy thanks to his hard work during his lifetime, which keeps current thanks to his descendants. 

When he married Caridad Brenes Caballero, he involved her in all his artistic activities and became a fundamental support for the musician in his work. The lady became a professional bomba and plena dancer, costume designer, and choreographer, which made her shine with her own light in every project directed by her talented husband.  

During his career, Don Rafael created several musical groups and, over the years, he and his wife involved their children and other family members to collaborate in what would become a renowned family business. 

One of the artist’s greatest achievements was the development of a cultural movement around the rescue and preservation of local traditions related to bomba and plena, which were thought to be lost. He was also decorated with the Smithsonian Institute’s National Endowment for the Arts Fellowship for his contributions to music. 

All this legacy remained in the hands of Don Rafael’s family and one of the first to do something about it was his son Modesto, who founded the Escuela de Bomba y Plena Don Rafael Cepeda in Santurce, Puerto Rico. This institution was created in order to teach bomba and plena in the areas of dance and percussion. 

Those who would follow these steps would be Margarita ”Tata” Cepeda, granddaughter of Don Rafael and Caridad, and Barbara Liz Ortiz Sanchez, great-granddaughter of Don Rafael and Caridad. Margarita currently runs the Escuela de Bomba y Plena Doña Caridad Brenes de Cepeda and her daughter, Barbara Liz, runs the Escuela de Bomba y Plena Tata Cepeda in the state of Florida. It was precisely the latter with whom we had the pleasure to talk about this project and the plans she has for the future.  

Bárbara and her bomba custome
Bárbara Liz wearing her bomba attire

Barbara Liz from the Escuela de Bomba y Plena Tata Cepeda 

Barbara Liz belongs to the seventh generation of the Cepeda family and her children, who also dance bomba and plena, would belong to the eighth generation. She says that each family member has tried to endorse Don Rafael’s legacy in their own way. In her particular case, she has spent five years running the Escuela de Bomba y Plena Tata Cepeda in Florida, which she decided to baptize with his mother’s nickname, which is Tata, to pay tribute to her in life.   

Although the operation of her school and his mother’s are different, they usually work together in cases that require it. For example, if for some reason a student cannot pursue his education here because he is going to Puerto Rico, he can continue studying at the school located on the Island of Enchantment without any problem.   

”We didn’t have a curriculum or educational program to follow to teach bomba and plena, but my mom was responsible for creating one so that we could teach dance and percussion with a clearer methodology,” said Bárbara Liz. 

As a result of Hurricane Maria, many Puerto Rican families went to live in Florida due to the loss of their properties and material things, so the students of the school in Puerto Rico became able to enroll in the Florida school instead. It can be said that they are sister schools working together towards the same goal.   

Percussion and dance in bomba and plena  

Something Bárbara Liz wanted to highlight about this point is that many girls are enrolling in her school to learn to play percussion, something that did not happen very often. 

At other times, it was believed that percussion in bomba and plena was exclusively for men and dance for women. In more conservative versions of these genres, women only sang and men were responsible for dancing and playing instruments. 

That has been changing over time. Nowadays, there are many guys who are setting their sights on dancing and many girls are having an interest in the percussion part. Every day, the female part is becoming more and more relevant in the different areas of bomba and plena.  

In addition to all this, the institution’s teachers also teach quite a bit about the emergence and history of these two genres, so that their students are not just dedicated to playing and dancing, but also know the origin of everything they learn now.   

Differences and similarities between bomba and plena 

When we wanted to know a little about the differences and similarities between bomba and plena, Bárbara Liz explained to us that both genres were very different from each other. The rhythms, the instruments used and the ways of dancing have many differences in both.   

In the case of bomba, this is the oldest musical genre and dance in Puerto Rico and is born from a barrel-shaped instrument, which is one of its most representative elements. It is also known as the ”first sung newspaper”.  

Similarly, it is the dancer who sets the pace for the percussionist, not the other way around. The musician should be guided by the footsteps of the dancer, which often gives rise to completely new rhythms.   

Plena was born a few years later with certain variants of bomba and is called the ”second sung newspaper”. It was plena that inspired several of the Cepeda family members to create their own groups such as the Grupo Gracimá (a variant of bomba), which originated in the school owned by Margarita in Puerto Rico.  

In contrast, Bárbara Liz named her professional group Kalindá in honor of one of the most popular variants of bomba. 

Bárbara and Kalindá
Bárbara Liz and her professional group Kalindá

Tributes 

Something that makes Bárbara Liz very proud is that both she and her mother had the opportunity to go to the Smithsonian National Museum in March to pay tribute to their ancestors and the genres that her great-grandfather promoted so much in life. 

At the time, Don Rafael donated some items related to bomba and plena such as barrels, a güiro and barrels However, some bomba costumes were missing to complete the collection, which were given by Bárbara Liz and Margarita to be exhibited in the institution, so anyone interested in learning more about Puerto Rican genres and musical culture can visit the place and cherish these valuables. 

Read also: Yani Borrell ‘‘El Elegante de La Salsa”

José Alberto “El Canario” and his orchestra enjoy a great international reputation in the Latin music scene.

His start in music was as a drummer, then as a bongo player, with some 48 years in Latin music and as a sonero, today in International Salsa Magazine through www.salsagoogle.com, José Alberto Justiniano Andújar, better known artistically as José Alberto El Canario, was born on December 22, 1958 in Villa Consuelo in Santo Domingo Dominican Republic.

José Alberto El Canario
José Alberto El Canario

El Canario began to have a passion for music from a very young age, first playing drums, bongo and timbales, at the age of 7 his mother Adalgisa, recognized dancer of the golden age of “Radio-Televisión Dominicana”, took him to live on the island of Puerto Rico, as a professional dancer she had to perform in important international theaters.

El Canario began to study in a military school in Las Antillas, then in 1970 he moved with his father to New York, where he began to sing with several orchestras, receiving international attention as the leader of the Típica 73 in October 1977, where he earned 25 dollars for each presentation and recognized it as his university in the life of art.

José Alberto credits his compadre Roberto Geronimo for his successful artistic career. Geronimo discovered him as an artist and managed him for many years. El Canario also sang merengue at the onset of his musical journey.

In 1983, José Alberto established his own band and gained fame as a major Latin star after his debut album Noches Calientes released in 1984.

Jose Alberto is a renowned singer who has recorded numerous chart-topping hits, including “Sueño Contigo”, “Hoy Quiero Confesar”, “Te Voy a Saciar de Mi”, “A Gozar”, “Es Tu Amor”, and “Quieres Ser Mi Amante”, among others, for his 1988 album Sueño Contigo and several others.

His inimitable voice and unmatched improvisational skills have earned him international acclaim. Jose Alberto has collaborated with several contemporary artists such as Johnny Rodriguez, Mario Rivera, Nicky Marrero, Oscar D’Leon, and Celia Cruz.

El Canario began to have a passion for music at a very young age, first playing drums, bongo drums and timbales.
El Canario began to have a passion for music at a very young age, first playing drums, bongo drums and timbales.

José Alberto “El Canario” has earned multiple gold and platinum records due to his high number of album sales.

He has achieved success not only in the United States and Europe but also throughout Latin America, including his native Dominican Republic, Puerto Rico, Peru, Venezuela, Panama, Colombia, Ecuador, and Costa Rica.

The nickname “El Canario” was bestowed upon him by a New York disc jockey who christened him so in a disco due to his improvisational skills; “Canta canario” was the catchphrase he would belt out through the control microphone.

José Alberto ‘El Canario’ and his Orchestra have gained immense international recognition in the Latin music industry.

His musical prowess and captivating voice make his live shows some of the most thrilling performances.

El Canario, winner of the “Congo de oro” in 2005 – an award given to the best musical groups presented at the Festival de Orquestas del Carnaval de Barranquilla – and of three Latin Grammys in 2013, 2015 and 2018, is one of the undisputed artists of Latin music with a career spanning some 48 years.

Arturo Sandoval, Oscar D' Leon y El Canario
Arturo Sandoval, Oscar D’ Leon y El Canario

Throughout his career, José Alberto El Canario has gained international recognition for his unique voice and style, but also, according to his biographies, for his improvisations on stage.

José Alberto El Canario y su Orquesta enjoys great international renown in the Latin music scene.
José Alberto El Canario y su Orquesta enjoys great international renown in the Latin music scene.

Also Read: Jimmie Morales a conguero for the history of Afro-Caribbean music

Metamorphosis: from music to photojournalism, a reinvention without limits

In the salsa scene, we are privileged to have the presence and companionship of Felix “Guayciba” Ayala.Guayciba is one of the greatest photojournalists Puerto Rico has ever produced.

He has moved from the musical notes that embrace our ears to now capturing visuals that awaken our five senses of unrepeatable moments.

I appreciate and share first hand the reference of how this idea begins, how the seed of wanting to be a photojournalist is planted, after having directed the Guayciba Group for 12 years.

“In the mid-’80s, a group of friends and I got together. We started playing and put together a Christmas repertoire. People liked it, and they told me, ‘Hey Felix, you should form a group, you sound great.'”

Félix “Guayciba” Ayala y Chucho Valdes
Félix “Guayciba” Ayala y Chucho Valdes

Encouraged by the public’s reception, they set about the task of banding together and formalizing a repertoire of Christmas music, which they later expanded to include popular music. In 1987, the group did not yet have a name, but the musicians were already rehearsing and playing in a bar in Santa Rosa (Bayamón, Puerto Rico).

In 1988 they started calling themselves Murciélago Sound Machine and got their first professional contract, for which they charged $200.00. During one of the rehearsals, Felix’s neighbor, who owned a movie and video rental store, offered to give him the name of his store: Guayciba; which he had already registered with the State Department.

The rest is history.

Felix liked the name, even though he still didn’t know what it meant. Guay-ciba means to take care of the stone.  It turns out that our Taino Indians communicated by carving messages on stones, which we now know as petroglyphs.

This form of communication of our Indians, the Tainos, was engraved on the stones that are part of our heritage.

Since 1989, Guayciba claims to have lost his last name – Ayala – to replace it with the name he is known by in the media, Guayciba.

On the salsa stage we have the privilege of having the presence of Felix "Guayciba"
On the salsa stage we have the privilege of having the presence of Felix “Guayciba”

This was the name of the musical group of which Félix Guayciba was the director, composer and singer.  As the main member and founder, he took on the task with commitment and in 1989 they released their first record production, entitled Nuestra música primero en LP, because CDs were not yet widespread in the market.

Felix remembers that the first singer of Grupo Guayciba was Gisela Ortiz.  Some time later, Gisela got thyroid cancer and when she lost her voice, she had to be replaced by Aidita Encarnación.

Guayciba recalls that Aidita made her debut with the group during the “Coffee Festival” in Maricao and remained with the group until it disbanded in 2000.

In 1991 they produced Echemos pa’lante, which opened the door to radio stations on the island. In 1992 they produced Por ti doblaré rodillas, and in 1993 they released what Felix considers their masterpiece under the title Borinquen, nido de amores.

Félix affirms that this production became the classic album that consolidated them in Salsoul, Z-93 and Estereotempo.  Later they released La revolución apoya lo nuestro. In 1999 they released their last album, Contra viento y marea.

In this last Guayciba production, Maestro Luis ‘Perico’ Ortiz made two arrangements: “Déjame Soñar” by Perín Vázquez, which Tito Puente had already recorded on the 100th album, backing the voice of Tony Vega (Antonio Vega Ayala), the cousin of Félix Guayciba Ayala. The six albums of the Grupo Guayciba were recorded in the studio of Maestro Pedro Rivera Toledo, and in Contra viento y marea Maestro Rivera Toledo recorded the saxophone.

Félix “Guayciba” Ayala
Félix “Guayciba” Ayala

In his last album, the song “Por nada la cambiaré” was composed by Guayciba and dedicated to his homeland, Puerto Rico.

They never recorded Christmas music because their mission was to defend our music, the seis, the bomba, the plena and the guaracha, among other indigenous rhythms. The time came for the group to disband, but as Guayciba affirms: “We left a legacy for the musical history of our nation (…) Guayciba was, is and will be one of the best musical groups in the history of typical Puerto Rican music. I have retired, but at least we have left a legacy for history, we have left a mark”.

With the arrival of the new millennium, Guayciba’s musical stage ended to give way to the visual arts, making it clear that he had not retired from the humanistic arts, but had reinvented himself and now stood out in the visual arts.

The images captured by Guayciba’s photographic lens are full of life and movement. The viewer sees as if the artist, athlete or object in the photo comes to life.

Guayciba reflects while explaining how the image speaks or remains silent, depending on the adjustment made, the movement given, the position and the light.

He hastens to clarify: “I have used my musical career to distinguish myself in photography. I photograph artists the way I want them to photograph me.

I try to make the image I take of an artist or a show speak. In photojournalism, the photo has to speak.”

Guayciba made the decision to move from music to photojournalism as a result of a deep depression that he faced and fought with professional help.  Once the decision was made, he began training at the University of Puerto Rico.

He never forgot what one of the specialists who was part of the medical team that helped him recover told him: “I have faith in you.  If you are going to be a photojournalist, I want you to be the best photojournalist”.

Felix attended classes every Wednesday for three hours. He remembers his first photographic experiments.  One that comes to mind is Ricardo Arjona, who performed for an entire season at the Centro de Bellas Artes. Felix would leave his weekly class to go to the CBA, where he would stay until late.

On the salsa stage we have the privilege of having the presence of Felix "Guayciba"
On the salsa stage we have the privilege of having the presence of Felix “Guayciba”

The next day he would go to a megastore to develop the photos from the night before and bring them to the professor to evaluate the shots.  The professor would give him advice on what to do to improve the photos he had in hand.

Another moment he remembers with emotion was in 2002, when Fania played a concert at the Juan Ramón Loubriel stadium in Bayamón.

Guayciba already had a digital camera, and during that concert, he says he used 25 rolls of film with 36 exposures each.

He says this was his first international assignment. The first time he photographed an international artist was when he was still a photography student, practicing with Ricardo Arjona in the Fine Arts Department.

As a result of that coverage, he got in touch with the Guatemalan artist, who was thrilled with the photos Felix took, saying at the time that they were the best photos he had ever taken, adding that the Puerto Rican had captured his best side.

Felix has continued to evolve and has had the opportunity to cover concerts by Elton John, the Rolling Stones and Paul McCartney, among others.  He says: “The only thing I don’t do is pornography, weddings or quinceañeras”. His specialty is artistic shows and sporting events.

Guayciba is the longest serving photographer to cover the Coliseo de Puerto Rico since its inauguration in 2004, when Sonora Ponceña, Richie Ray & Bobby Cruz and Roberto Roena’s Apollo Sound performed in that memorable concert produced by Pepe Dueño.

One of the highlights of his career was a trip to Cuba in 2009, where Guayciba was the official photographer for the Puerto Rican delegation that went to the Cuba Disco Festival, which was dedicated to Puerto Rico in that edition.

He has taken more than 24,000 pictures of Cuba. The most memorable experience of his trips to Cuba was visiting the resting place of Che Guevara.

He continues to learn from all the images he has taken and published.  “At one point, during the performance of the 2013 musical Pedro Navaja, the Caballero de la Salsa, Gilberto Santa Rosa told me, “You have to let yourself be criticized and you have to accept criticism as long as it is constructive criticism.”

Felix added and still maintains: “It depends on who is criticizing you, because there are people who criticize you just to make fun of you; yes, you know, out of envy”. In fact, Felix understood that he had the best photos of Gilberto.

When he went to see him to show him, Santa Rosa told him: “They’re good, but these photos where I’m alone don’t say anything because it could be at the Fine Arts Center or it could be in some theater.  This concert is symphonic, where is the symphony orchestra?” Santa Rosa was right. “From that ear flattery I learned that you have to take the picture of the artist and the complements like stage, orchestra, etc..  It’s like writing a story.  You have to include the day, the historical setting, the characters, and make sure that the viewer can get a picture of what happened there in the moment. It’s more of a frozen in time effect.

Guayciba considers Conrado Pastrano her teacher and mentor. She expresses gratitude for all that she has learned in photography and acknowledges that there is still more to learn.

Conrado is an exceptional colleague who takes the time to explain ways to correct unwanted effects in images. Guayciba has developed her own unique style by studying the works of other colleagues and drawing inspiration from each of the photojournalists whom she admires.

Guayciba is highly regarded as one of the top photojournalists in Puerto Rico, although he is humble and has never claimed the title for himself.  He recognizes that there are others who may be more talented than him.  His motto is: “I may not be the best, but I am proficient in my craft and the photos I take convey a narrative.”

When he is at the ball park, he adeptly adjusts his lighting, shutter speed, and lens to capture the intricate details on a ball despite its velocity exceeding 100 miles per hour. When artists perform on stage, Guayciba faces the task of restoring their natural appearance despite the color filters and stage lighting often making them look unnatural or cartoonish.  Overcoming these challenges and bringing the images to life, imbues these artists with renewed enthusiasm for their craft, a pursuit they have devoted over two decades to.

At 68 years of age, he prays daily for longevity. He abstains from drugs and alcohol, including wine, champagne, and cider. His sole indulgence is tobacco and photography.

To view Félix Guayciba’s artistic works and keep in touch with this vital advocate of Puerto Rican culture, please visit the publication at www.guayciba.com. To email him, please use [email protected], or follow his IG account at https://www.instagram.com/guay54/.

To reach him by phone, please dial 787-637-8617. He is always available and eager to assist with his usual helpful demeanor.

Bella Martinez Puerto Rico

Also Read: Bella Martínez presents “Las memorias de Jimmie Morales: un conguero para la historia” [Read more…] about Metamorphosis: from music to photojournalism, a reinvention without limits

Déjalo, the latest track by Pedro Conga y su Orquesta Internacional

The song -composed by Pablito Ruiz- is catchy and brings us the essential style of the orchestra with the renewed touch added by singer Pedro Blasini.

Pedro Conga y su Orquesta Internacional

Within the first 16 seconds, Rafael ‘Bodo’ Torres on piano and Pedro Perez on bass create a lively and energetic musical introduction, perfectly arranged by Roberto Perez.

Pedro Conga y su Orquesta Internacional photos by Adriana Vega
Pedro Conga y su Orquesta Internacional photos by Adriana Vega

Twenty seconds after the melody starts, Pedro Blasini’s voice enters accompanied by the timbales in a hushed tone.

Through this recording, Pedro Blasini establishes himself as the lead vocalist of the International Orchestra of his uncle, the notable percussionist: Pedro Conga.

The arrangement combines musical intricacy with the required flexibility to captivate listeners searching for love dramas in the salsa de golpe scene.  And when it comes to beats and cuts, within the first ten seconds of the opening minute, Jan Duclerc’s unique trumpet cut fuses seamlessly with Pedro Conga’s tumbadora, creating the perfect harmony to complement the lead vocal.

At the 1:30 mark, José Joel Díaz introduces his timbal cymbal with subtlety, underlining the prominence of the conga.  Raúl Díaz’s bongó delivers consistent accompaniment, providing a masterclass in both rhythm section perfection and percussion timing.

Pedro Conga y su Orquesta Internacional
Pedro Conga y su Orquesta Internacional

From the 1:40 mark onwards, the harmonies of Charlie Cruz, Nino Segarra, Alejandro Villegas, and Blasini himself shine.

At minute 2:34, “Bodo’s” piano collaborates with Pedro Perez’s bass to demonstrate their musical partnership, resulting in exceptional musical performances.

The vocalist harmonizes well with the tumbadora, as the drumbeat establishes its presence from the very first minute and gradually intensifies until, during the lead-up to the third minute of the song, the coordination between the lead’s tumbadora and Héctor Morales’s trombone unequivocally proves that (as they say in Puerto Rico) “there is no one for anyone.”

It is clear that there are no bounds to the experience and innovation behind the musical production led by Julio “Gunda” Merced, Rafael “Bodo” Torres, and Santo Santiago.

Pedro Conga, a Puerto Rican musician, displays his exceptional talent through his music.

Pedro Conga
Pedro Conga

He was born in Humacao, Puerto Rico. He explains that he received the pseudonym “Conga” during the years he spent accompanying Justo Betancour. Betancour bestowed the name upon him due to his prodigious talent on the congas. Pedro “Conga” subsequently established himself as a master, doing invaluable work in fostering the growth of SALSA. His orchestra was privileged to welcome vocalists of the highest caliber, including:

He carried out this mission with unmatched finesse and superior quality.

Anthony Cruz, Tito Rojas (“El Gallo de la Salsa”), Ismael Ruiz (“Maelo”), Rafy Cruz, and Edgardo Diaz.

Among his songs are “Pienso en ti,” “Tú me niegas tanto amor,” “No te quites la ropa,” “Quiero volver,” “Te quiero amor,” and “Si supiras,” among others that have become salsa classics.

The productions he created with his orchestra achieved great success not just in Puerto Rico, but also in the United States, Europe, Colombia, Venezuela, Panama, and Peru.

Furthermore, he has received international acclaim for his productions due to the versatility and freshness showcased in each album.

Pedro Conga is renowned in the music industry for his ability to blend rhythm, flavor, and emotion into a single composition.

Bella Martinez Puerto Rico

Also Read: Ray Barretto Giant Force y A Conguero’s Conguero

[Read more…] about Déjalo, the latest track by Pedro Conga y su Orquesta Internacional

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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.