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Caoba Y Bambú, Tito Rivera’s first discographic production

This month’s material is dedicated to the great arranger and trumpeter Ernesto “Tito” Rivera, who year after year has established himself as one of the most respected artists in the Puerto Rican music scene, especially in salsa. Below, we will mention some of the most important facts of his career to date and what he is doing presently.

Important facts of Tito Rivera’s career

One of the greatest contributions the virtuoso Tito has made to music in general has been his pen and the help he has provided to famous orchestras of all time, especially in the 1980s and 1990s. One of these is Roberto Roena y Su Apollo Sound, that to a large extent, is what fans remember today thanks to the Puerto Rican musician’s talented songwriting.

Tito Rivera playing the trumpet — Arranger and trumpeter Ernesto ”Tito” Rivera playing the trumpet

Another orchestra that was strongly influenced by Rivera was La Impacto Crea, which many remember as the group born of Hogares Crea and recorded for Vaya Records under the production of Bobby Valentín. Other groups we can mention on this long list include El Conjunto Borincuba de Justo Betancourt and Tony Yanz Y Su Orquesta Nacimiento.

Similarly, all this talent also gave him the opportunity to collaborate with many big stars, such as Marvin Santiago, who did not doubt to trust the trumpeter who lent his invaluable vision to a number of productions during those years.

And not only that because Tito also left his mark on several songs by Kim De Los Santos Y Su Orquesta, which achieved impressive success in countries such as Colombia and Venezuela.

Caoba y Bambú

Caoba Y Bambú is Tito’s first album as a leader, which represents a major challenge for the sonero’s career. Once again, he demonstrates all the experience he has acquired over decades through the work of other greats who trusted his judgment at the time. Now it is his turn to work on something of his own to which he could apply everything he has learned over the years.

Something very interesting to note about the album is that it brings to life great pieces such as “Musa Y Letra,” which was originally recorded by La Impacto Crea in 1981 for Vaya Records. What changes this time is that the song will be performed by Puerto Rican Jesús “Gumbi” Navedo and Venezuelan Marcial Isturiz. The soneros will also be accompanied by Danny Guzmán’s piano solo.

The fact that “Musa Y Letra” was chosen as the first preview of the album was not a random decision, since it shows that Tito seeks to build an immediate connection with the most classic salsa fans, which only a song as representative as this one can do.

Although this has been a much talked about piece, it is definitely not the only one worthy of mention. We should also talk about “Plaza Vacante,” which is one of El Gran Combo de Puerto Rico’s best-known songs. However, this time, it will be performed by José Luis “Papa Chu” de Jesús, who will, without a doubt, do a magnificent job like the rest of the vocalists.

Another important addition to the album is “Vete Pa’alla,” which was previously recorded by Bobby Valentín for his album “Rompecabezas,” but on this occasion, it will be performed by the talented Davian Raúl.

Carlos “Cano” Estremera was a legendary Puerto Rican salsa singer, widely known as “El Dueño del Soneo” (The Owner of Soneo)

Why “El Dueño del Soneo”?

He earned this nickname due to his extraordinary and almost unbeatable ability for soneo, which is the part of a salsa song where the vocalist has the freedom to improvise lyrics, phrases, and rhymes over the musical base, elevating the track’s energy and the connection with the audience.

Cano Estremera was famous for his quick wit, rapid rhyming, and extensive vocabulary, qualities that established him as one of the greatest soneros in history, often compared to figures like Ismael Rivera and Héctor Lavoe.

He started in Latin percussion and also with the group Barrio Latino, then he was with Los Pleneros del Quinto Olivo, and later, at the young age of 18, he joined La Orquesta Mulenze, with whom he recorded the track “Mala Lengua” in 1976. The voice that replaced Cano Estremera in Orquesta Mulenze was the great Pedro Brull, who recounts that he had to thoroughly study Cano Estremera’s style to join Edwin Mulenze’s orchestra.

Undoubtedly, one of the greatest successes in Cano Estremera’s career was accepting, in 1978, the invitation to be the lead singer of maestro Bobby Valentín’s orchestra, “El Rey del Bajo” (The King of the Bass).

His first song recorded with Bobby Valentín’s orchestra was the iconic track “La Boda de Ella” (Her Wedding), by the Puerto Rican composer Roberto Angleró, with no suspicion that it would soon become one of the essential elements of Puerto Rican popular culture.

Cano Estremera was famous for his mental agility

Cano Estremera was a unique sonero. He was an artist with an identity and immense talent that was very distinct from the normal or commercial. He established his style from the very first day he became known. There was no style in the genre like “El Cano’s.”

Bobby Valentín was always looking for sound and voices, and Luigi Texidor was leaving the group, and that’s when “Cano” joined with a very different talent.

‘Bobby Valentín Presenta al Cano Estremera’ turns 40.

Cano Estremera’s first solo album, accompanied by Valentín’s orchestra. Produced by ‘El Rey del Bajo’ (The King of the Bass) and released by the Bronco Records label (BR-124) on Thursday, October 7, 1982. It includes the hits: Por qué Me Citas, Buen Corazón, El Caimán, Awilda, Casa En El Campo, etc.

'Bobby Valentín Presents Cano Estremera 1984 — ‘Bobby Valentín Presents Cano Estremera 1984

When he decided to go his own way as a solo singer, Cano Estremera did not have the support of the salsa industry’s machinery at the time. Despite this, with hard work and talent, Cano Estremera decided to fight alone with his music, personally producing everything from his album covers, musical arrangements, tours, and even the distribution of his musical works.

He was always a defender and fiercely protective of the genre. His style and demeanor were always controversial, and that was the magic that captivated his audience throughout his long career—always entertaining, creative, melodious, and above all, prodigious when he stepped onto a stage.

Solo Career: He separated from Bobby Valentín at the end of 1984 to form his own orchestra, further consolidating his career and his title with albums like “Dueño del Soneo”.

Death: He died on October 28, 2020, at the age of 62, after years of health problems related to pulmonary fibrosis, for which he received a double lung transplant in 2018.

Also Read: The owner of the Soneo’s solo career Cano Estremera

Julio Albino Y Su Secreto A Voces released ‘‘Pasaporte A Rumbero’’

After a few months of absence, we’re finally back with the batteries recharged to put a magnifying glass on the current projects of the best soneros right now. Today it is the turn of percussionist Julio Albino, who, as usual, delights us with every project he releases.

But before that, we are going with a bit of the artist’s story so that everyone can know him better.

Julio during an event — Julio Albino during a live event

A little bit about Julio Albino’s beginnings

Julio Albino, also known artistically as Junito, became interested in music in his homecity of New York, and after his subsequent return to Puerto Rico, this curiosity did nothing but grow as time went by. It was then that he started listening to the music of legendary names in the industry such as “El Rey de Los Timbales” Tito Puente and Oreste Vilato, who inspired him to join the San German’s school band to some extent. He would later pursue an artistic career through collaborations with more experienced artists.

He ventured into this world professionally in the 1960s, when he began to be taken into account by several of the greatest salseros of the time, such as Frankie Ruiz, Hector Tricoche, Marvin Santiago, Paquito Guzman, Junior Gonzalez, Los Hermanos Colon, Joe Quijano, among others.

There is no denying that each of these collaborations contributed to Julio making known his great talent as a percussionist, but he would not rest until he was able to form his own project, which he eventually achieved. That was how he founded his own orchestra, Julio Albino Y Su Orquesta Secreto A Voces.

Secreto A Veces

Thanks to all the effort invested in his career, Julio has managed to secure a place for his orchestra in the salsa scene, and his best-known musical works are proof of this. His big debut came in 2005 with the album ‘‘Bailalo’’, which ranked high on the charts in countries such as Italy.

Ten years later, he also released the album “Haciendo Ruido” and, the following year, he came with his single “Chachara Con Cua” and the promise of a new album. In 2018, he released “Edén Borinqueño” as his second promotional single, and shortly after, Julio released the full album, which he named “El Secreto Ya No Es Secreto”.

secreto a voces — Cover art of the song ”Pasaporte de Rumbero”

Pasaporte de Rumbero

In 2025, Julio once again showed why he deserves the place he has earned and released his new single “Pasaporte de Rumbero”, with which he looks to consecrate himself as a worthy heir to the soneros who previously gave him the opportunity to join their ranks. Similarly, he shows absolute respect for Afro-Caribbean culture and its deepest roots.

This joyful and energetic piece is not only a reflection of the Puerto Rican artist’s talent, but also of the strength and modernity of his orchestra, which is deeply connected to the Cuban musical tradition. From the very first seconds of the song, listeners can appreciate a festive street atmosphere, but at the same time with sophisticated percussion led by Julio himself, who boasts incredible technique that serves as a guide for the rest of the musicians accompanying him.

Among the members of the orchestra, we can mention trombonist Juan Colón, trumpeter Juan “Junito” León, saxophonist Ricardo Dávila, pianist Gabriel Rodríguez, and bassist Luis Rodríguez. Likewise, the lead vocalist is the charismatic singer Ángel Ríos, who contributes his exquisite phrasing and an enviable dominance of the clave at all times.

The best of Cuban music in Tampa with Cuband Son Band

We are very happy to be able to talk with Lizandro Muñoz, Liaudriz Fuentes, and Alfredo Sotolongo, who are part of the Cuban music group Cuban Son Band. We will know a little about each of them and the orchestra as such so that the public can get to know them and identify them.

Although all the musicians are coming from Cuba such as the genres they play, they met in Tampa, Florida, where they currently reside and have developed their respective musical careers.

Lizandro playing — Lizandro Muñoz playing at Water Street Tampa in April

How Lizandro, Liaudriz, and Alfredo became interested in music

Lizandro was the first who talked a little about himself and started by describing how his father played the guitar and began teaching his son to do the same. After attending the pre-university studies and playing guitar along with a group for about four years, he did his military service and moved to Spain to work with a number of groups at many Latin music events, especially Cuban music, which was what he played most.

Itis at this point in the conversation that Liaudriz, the group’s keyboardist, joined the meeting. After saying hello and introducing himself, he began to explain that he started in music at a very young age in Cuba, more specifically on the Isle of Youth or the Isle of Pines, as it was known before. As a child, he already had a lot of affinity for the guitar just like Lizandro, but also for everything related to percussion, which led him to take the respective tests to enter a music school.

That was when he went through the elementary, middle, and part of the upper levels. He did not complete the latter, as he got the opportunity to move to the United States.

When Alfredo, Cuban Son’s violinist, slipped into the conversation, he and the boys joked about whether he remembered how he started in music due to his age. He then relates starting in music at about 10 and is now 66, so much water has flowed under the bridge since then. He studied at the National School of Art up to the fifth level for five years, where he trained as a percussionist, singer, and violinist, but had to withdraw due to family problems. However, his great strength helped him keep the lights on.

By not being enrolled in any institution, he began his training at home. Several members of his family were helping him to continue his dream and one of whom was his uncle, a flutist who played in Los Van Van, who inspired him to follow his path in the world of music. This is how he resumed his academic training and received an A grade in singing and an A grade in violin lessons.

Liaudriz playing — Liaudriz Fuentes playing the keyboard live

He was in the Cuban Institute of Radio and Television Orchestra, better known as ICRT for its acronym in Spanish, and made some recordings with Los Van Van as a violinist. In 1998, he emigrated to Israel, where he worked as a musician for 10 years and even played in an orchestra known as Jerusalem Salsa Band, in which he alternated with several great artists such as Alfredo de La Fe, Buena Vista Social Club, and many others.

After those 10 years, he moved to the United States in search of new opportunities, which led him to make contact with Lizandro and Liaudriz from Cuban Son, which he joined about two years ago.

Alfredo added that one of the things that brought them together was that his now bandmates were following the way of son, the same path as their ancestors, who were soneros. It is in their blood and they had that in common.

How Cuban Son Band got started

Liaudriz again takes the floor and assures that the affinity between them was also due to the need Cubans feel to continue making music from their native land despite the distance and the way many of them come together to do this work. This is something that has mushroomed in Tampa in recent years due to the large number of Cubans who have arrived there.

“Cuban Son Band emerged from our need to share the music of our country not only here in Tampa, but also in other cities in Florida,” said the young keyboardist on this subject.

Lizandro added that several members of the group came from a much larger orchestra, but for economic and practical reasons, they left it and opted for a smaller, more compact format. This also gave them the freedom to make the music they wanted without consulting many people.

Alfredo playing — Alfredo Sotolongo playing the violin during a concert

The biggest challenges Cuban Son faced at first

Regarding the receptivity of the people to Cuban Son Band’s work, Alfredo pointed out that they always try to make their music as traditional as possible so that the audience may know it. What has made things easier for them was his senior audience that misses these genres and enjoys listening to them, even if they are not what is trendy right now. There are many new genres in Cuba, such as reggaeton and cubatón, but the audience between 30 and 40 years old are not fans of that kind of music, but of more traditional genres such as bolero, bachata, changuí, and others.

Lizandro also added that as long as they offer something traditional, original, and authentic, language barriers should not be a problem, even though most of their fans are American. One of the biggest challenges for the group has been communication, precisely because of the language of their lyrics, but that has not prevented them from being listened to and fervently supported.

In addition to that, they rely on covers of well-known English songs to connect even more with their non-Latin listeners, which has made them accept their work even more willingly. Their traditional foundation and open mind to new things have been the key to their progress.

Lizandro, Liaudriz, Alfredo, and Raysel — Trumpet player Raysel Reyes, keyboardist Liaudriz Fuentes, Violinist Alfredo Sotolongo, and guitarist Lizandro Muñoz

Current members of Cuban Son Band

Alfredo pointed out that they always try to be as loyal as possible to their main project, which is Cuban Son Band, but they are also aware that it will not always be possible for them to play only with their main orchestra, as they will have to work on other projects due to their economic situation.

Liaudriz also said that something that benefits them is that Tampa is a city that is growing a lot as for the Latin music scene, resulting in more and more work for them and groups with the same characteristics. This allows them to call each other and help each other without egos or pettiness.

Inspirations for each one

Alfredo was inspired as a singer by artists such as Ibrahim Ferrer, Pacho Alonso, Felix Chappottín, Pedrito Calvo, Oscar D’ León, Gilberto Santa Rosa, among others. in one way or another, all of them have honored Cuban music and that makes them bastions of what Cuban Son wants to achieve.

For his part, Lizandro mentioned Buena Vista Social Club, Omara Portuondo, Compay Segundo, Adalberto Álvarez, Chucho Valdez, Juan Formell, Bebo Valdéz, and Benny Moré.

Read also: Tito Planas talked to us about his Orquesta Afinke and its members

Oscar D’León’s La Crítica was founded in Caracas in 1978

La Critica by Oscar D’León

We had just returned from New York when “Chiquitín,” Oscar D’León’s longtime secretary, called us at the office to let us know there was a commotion in the “Faraón de la Salsa’s” office.

Oscar D'León's La Crítica was founded in Caracas in 1978 — Oscar D’León’s La Crítica was founded in Caracas in 1978

It was about the defection of some musicians from the Orquesta La Salsa Mayor. Indeed, Leo Pacheco, Felipe Blanco, and other musicians had decided to leave for financial reasons.

The news caused a stir; Oscar had already achieved a very special sound. He had moved away from the trombones that characterized his style and had incorporated a brass section with trumpets that made a difference. Suddenly, he was without his powerful machinery. Leo and his group formed what was called Nuestra Orquesta La Salsa Mayor, and Oscar, without a second thought, reassembled his group alongside Enrique “Culebra” Iriarte.

La Crítica

No one should doubt that Oscar had a tough time, but the prestige he had gained and the popularity of the sonero allowed him to come out on top.

Paul González, the son of “El Guajiro” González, a veteran guarachero and who at the time served as manager for the now-called “Sonero del Mundo,” devised the orchestra known today as La Crítica to avoid future setbacks and to have an orchestra on hand to alternate in scheduled dances.

The project’s formation brought together pianist and arranger Mauricio Silva, percussionist Radamés Pimentel, and Teo Hernández, who would serve as vocalist.

Since 1978, La Crítica emerged as an exceptional group. The jazz influences infused by Mauricio Silva from the very beginning were crucial for the public to accept the band as a favorite. In that “beginning,” other significant names included “Cheo” Navarro and Gustavo Quinto, who were already known from their time with Grupo Mango.

It could be said that Teo Hernández was the newest to the scene, as he had only been “toiling” in the world of salsa for five years, although he already had a “summa cum laude” after recording with maestro Ray Pérez and his Dementes. A female voice would debut with the orchestra: Gladys Torres.

40 Years of La Crítica

There have been many setbacks and successes over 40 years.

The musicality of this successful group is to be celebrated this Saturday, June 16, at the BOD Cultural Center. The event is at 5:00 in the afternoon, when the salsa public will gather en masse.

La musicalidad de esta exitosa agrupación ha de ser celebrada este sábado 16 de junio en las instalaciones del Centro Cultural BOD.

Jorge Collazo, who was Oscar D’León’s press chief and now is La Crítica’s on their return, tells us that a spectacular night is being prepared, “an evening to remember, a show that no salsero should miss.

The original singers will be there: the sonero Teo Hernández and Gladys Torres, who will take the stage accompanied by top-tier musicians and luxury guests to celebrate, dance, and sing the well-known hits of the moment, we are talking about ‘Se necesita rumbero,’ ‘Amada ven,’ ‘La merenguita,’ ‘Madre,’ ‘Rumba rumbero,’ ‘No lloraré,’ ‘A él,’ and ‘Cruel desilusión,’ among others.”

The prestige gained by La Crítica allowed it to accompany great international soneros such as Justo Betancourt, Héctor Lavoe, Ismael Miranda, Ray de la Paz, Daniel Santos, and the legendary Celia Cruz.

This is part of La Crítica.

Also Read: Cheo Linares is a Singer, Composer, Sonero, Poet and Caraqueño