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Search Results for: Timbales

David Frankel pursued music and created Avenida B Band to reconnect with the memory of his father

After coupling on our schedules, we were able to speak with bandleader and pianist David Frankel, whose story of how he became interested in music and eventually dedicated himself to it is truly fascinating. It also shows that not only Latinos and their descendants can fall in love with these rhythms, but also people outside our culture. This is because David has Russian and Polish heritage, which did not prevent him from falling in love with Latin music so intensely.

David and Ricky playing
David Frankel and Ricky Rosa playing live some years ago

What inspired David to pursue music

David was born in Lower Manhattan, New York, where there were many Latin families at the time. The neighborhood housed many Puerto Ricans and Dominicans. To this we must add that his father, Daniel “El Mago del Órgano” Franklin, was a musician and moved to that very place where Papote Jiménez, Ismael Miranda, Markolino, Freddy Lugo, Henry Fiol, Luis Ayala, and many others lived. Besides being a neighborhood full of artists, it was much cheaper living there, so he thought it was the ideal place for him.

It is worth noting that Daniel knew how to write music and read scores, but he had never played Latin music before in his life. He began to know it when several musicians he worked with asked for his help to read their scores, which led him to fall in love with Afro-Cuban music and develop an interest in salsa and merengue.

When David was born in 1979, Daniel had already been making music for about 15 years and had earned the nickname “The Organ Wizard” thanks to some band competitions held at a club in the Bronx. From a very young age, the boy watched bands rehearsing on the first floor of his house, so this salsa scene was natural for him. However, David had nothing to do with music until the death of his father in 2003.

David never had any interest in entering the art world, but the void left by Daniel’s death in his life drove him to study music, looking to connect with his father in some way. From there, he began taking piano and percussion classes, but he did not stop there. He also started to go out social dancing in the New York nightclubs and to know a bit more the nightlife of the city. On one occasion, a woman left him alone on the dance floor, and he was so ashamed in that moment that he decided to take classes and learn to dance.

David and the rest of Avenida B
The Avenida B Crew:
Juan Bowers – piano
Alvin Céspedes – bass
Ricky Rosa – congas/coro
Brian Pozo – bongos/coro/stage direction
Jhohan Hernandez – timbales
Demetrios Kehagias – trombone
Dan Lehner – trombone
David Frankel – lead vocals

That was when he realized that all the local bands played almost the same genres and songs, but there was no need for that because there was a world of possibilities in the Latin music he had discovered during his classes. There is a world beyond La Fania, and he learned that thanks to dance schools. All this thinking led him to create his own band with different music, to the old-school style he had always loved. 

His father had always told him salsa is for dancing, and if you are not playing dance music, you are doing it wrong.

Which teachers taught David?

After thanking us for the question, David then proceeded to explain that there was a school in New York called the Harbor Conservatory for the Performing Arts, located at 104th Street and Fifth Avenue in Manhattan. The heads of the education programmes there were Ramón Rodríguez and Louis Bauzó, who were excellent musicians and great people whom he met thanks to his father, who was a piano teacher at that institution. David used to accompany Daniel to the school and met both teachers through him.

Following his father’s death, David returned to that same conservatory to study singing with Ramón, while also studying percussion with Georgie Delgado and piano with Louis. In short, this institution was of vital importance for his career, and the many things he learned there were momentous both personally and professionally. 

As for the dance, he enrolled at the Baila Society school in New York through some friends, but later studied at others such as Santo Rico Dance and Dance On 2.

Jimmy and David
Jimmy Bosch and David Frankel

Avenida B Band

David began his career as a musician by playing boogaloo with a group called Spanglish Fly and a few other small bands. After everything he had studied and learned, already for the year 2011, the idea of creating his own group started percolating in his mind, so he posted an ad online looking for musicians and called some former classmates who might be interested in the proposal. That was how he managed to gather a decent number of people with whom he could finally put the Avenida B project together.

He chose salsa dura as his main genre because it is the kind of music that makes him want to dance, and given his background, this was very important to him.

He is also about to release an album in tribute to his father, which he has named “El Mago,” and it will feature some of his own songs; it is scheduled to be released in July 2026. 

David's father
Daniel ”El Mago del Órgano” Franklin, David’s father

Read also: Puerto Rican bandleader and musician Diana Sosa talks about her many projects in Nashville, Tennessee

Ray Pérez The Genius and Vanguard of Venezuelan Salsa

The Journey of a Pioneer Between Piano, Vinyl, and Musical “Madness”

Ray Pérez is, indisputably, one of the primary architects of Salsa in Venezuela. Born in Barcelona, Anzoátegui, on April 7, 1937, Ray stands as one of the most disruptive and essential figures in the genre’s history.

Ray Pérez: The Genius and the Vanguard of Venezuelan Salsa
Ray Pérez: The Genius and the Vanguard of Venezuelan Salsa

His nickname, “El Genio” (The Genius), isn’t just hyperbole; he earned it through his multifaceted mastery as a pianist, arranger, and composer. Above all, he was a visionary who possessed the rare ability to capture the raw “sound of the streets.”

Historical Note: While his official records cite 1937, a fire that destroyed original birth registries has led to speculation that his true birth date may be December 25, 1938.

Music was in his DNA. Ray inherited a deep artistic vein from his father a singer, trumpeter, pianist, and musical director. Ray’s journey began at age twelve playing the tuba in the San Juan Bosco youth band under his father’s tutelage.

Ray Perez y Dustin Hogg
Ray Perez y Dustin Hogg

By seventeen, he had mastered the guitar, the cuatro, and the piano. Following his father’s passing, he balanced work and academics before ultimately deciding to commit his life entirely to his musical passion.

Formative Years and First Steps

Between 1962 and 1965, Ray studied at the Maracaibo Conservatory. His recording debut came via RCA Víctor under the artistic direction of Aldemaro Romero, recording the track “Marcianita” with the Trío Cristal.

After stints with the Trio Hambay and the group Los Bobos del Twist, he officially dove into Caribbean rhythms in 1965 with the creation of Ray Pérez y Su Charanga in the Zulian capital.

The Golden Era: Los Dementes, Los Kenya, and Los Calvos

Throughout his vast career, Ray launched three pivotal projects that secured his place in the Hall of Fame:

  1. Los Dementes (1965): Their debut, Alerta Mundo, Llegaron Los Locos / The Crazy Men (1966), signaled the start of a new era. Under this moniker, he recorded nearly 25 albums for labels like Velvet, Fania, and his own imprint, Pyraphon Records, founded in 1967.
  2. Los Kenya: Alongside the legendary voices of Carlos Yanes “Calavén” and Carlín Rodríguez, Ray innovated the sound by replacing traditional timbales with a full drum set. This project produced iconic albums like Ronda del Guaguancó, Rai Rai, and Nuevo Día.
  3. Los Calvos: A bold experiment, again featuring “Calavén,” which resulted in two essential productions for RCA Víctor: Estos son los Calvos and Los Calvos… y qué Calvos.
  4. La periodista y crítica musical venezolana Lili Rodríguez, el músico Ray Pérez y Roberto Ernesto Gyemant
    La periodista y crítica musical venezolana Lili Rodríguez, el músico Ray Pérez y Roberto Ernesto Gyemant

The New York Chapters and The Return

In 1969, Ray moved to New York City. There, he played piano for Francisco Ángel Bastar “Kako,” collaborated with Rafael Cortijo and Pedro “Rudy” Calzado’s Charanga, and arranged for the “King of Boogaloo,” Pete Rodríguez, composing hits like “Bossa Triste” and “Dame Felicidad.”

Upon returning to Venezuela in 1971, he founded Ray Pérez y su Orquesta, releasing a string of hits such as Aquí estoy de nuevo, Perucho y el loco Ray, and Yo soy el Rey de la Salsa. In 1974, he struck gold again with Grupo Casabe, recording three albums under the CBS label.

Ray Pérez Y Sus Dementes El Dictador 1981
Ray Pérez Y Sus Dementes El Dictador 1981

An Everlasting Legacy

Ray’s prolific career includes collaborations with immortal voices like Perucho Torcat, Nano Grant, Teo Hernández, and Nelson Navas. He has shared the stage with titans such as “El Pavo” Frank Hernández, Alfredo Padilla, Alberto Naranjo, and César Monge.

From his massive repertoire, we remember the anthems of the barrios:

  • “No salgas de tu barrio”
  • “Emae Mae”
  • “Pa’ l 23”
  • “Así mueren los valientes”
  • “Guaguancó en New York”
  • “La montaña”

 

Colaboración: Fotografías de ©Roberto Ernesto Gyemant

 Read Also: The Conjunto Bailatino “La Resistencia Salsera” again “Antes los ojos del Mundo” and here, “No hay quinto malo”

Timbalero Manolito Rodríguez Debuts a Fresh Sound as Musical Director of La Zónica

On Friday, March 27, 2026, Manolito Rodríguez and La Zónica performed at La Respuesta, a unique venue a hall where diverse musical genres blend, creating an atmosphere where a dance concert serves as the artists’ formal introduction to the public. The ensemble has been working together since August 2025, when the new orchestra was formed under the leadership of the virtuoso timbalero.

Timbalero Manolito Rodríguez arrives with a renewed energy as musical director of La Zónica
Timbalero Manolito Rodríguez arrives with a renewed energy as musical director of La Zónica

When Manolito began assembling the group, he sought out songs that resonated with him, such as “Gente Luminosa” and “A Mi Medida.” He has also been working with unreleased compositions by Anthony García and Leni Prieto. La Zónica marks a new chapter for the timbalero as the director of his own orchestra. Nevertheless, they continue to perform hits from Manolito’s previous era, now brought to life by the vocal front: Ángel Pomales, Joelis Crespo, and Gabriel Cotto. Manolito has promised to step back from singing to focus entirely on his instrument and musical direction.

The director of La Zónica hopes the dance concert at La Respuesta on March 27 marked a turning point for the band. “It’s an event we’ve been working on with great intensity,” Manolito says with enthusiasm. With energy and conviction, the timbalero adds: “I want to leave a legacy like El Gran Combo de Puerto Rico, like Sonora Ponceña, like Roberto Roena’s Apollo Sound, or Willie Rosario’s band. I want people to say in 25 years, ‘Look, that’s Manolito’s La Zónica.’ It’s a long road, but it’s possible.”

As if that weren’t enough, a new line of Meinl Percussion instruments, inspired by the young Puerto Rican timbalero, is now available.

The new line of instruments - from Meinl Percussion - inspired by Manolito
The new line of instruments – from Meinl Percussion – inspired by Manolito

A Prodigy’s Journey

The career of this salsa virtuoso began early. Manolito Rodríguez is a percussionist, musical director, singer, and dancer. While he was still in middle school, piano genius Papo Lucca invited him to record on the 45th-anniversary album, Homenaje a Tres Grandes del Teclado. “At that time, I was just entering the Escuela Libre de Música; I was in ninth grade,” the timbalero recalls. Four years later, upon graduating from the Ernesto Ramos Antonini ELM in San Juan, Manolito earned the timbalero chair with Sonora Ponceña on Papo Lucca’s recommendation. “Don Quique” accepted him, and the young musician remained with the group for four years.

Puerto Rico’s salsa stages watched Manolito Rodríguez grow up, flanked by musical institutions such as Sonora Ponceña, his now-colleague Willie Rosario, and Roberto Roena’s Apollo Sound.

His skill as a percussionist grew by leaps and bounds, and his versatility was tested on multiple fronts. In fact, his vocals were featured with the orchestra Del Sur al Norte, led by the renowned director, arranger, and producer, trumpet master Julito Alvarado. “Julito was the first one who gave me the opportunity to record as a singer,” Manolito acknowledged in an interview.

Manolito Rodríguez and La Zónica performed at La Respuesta, a different venue.
Manolito Rodríguez and La Zónica performed at La Respuesta, a different venue.

Thanks to his interactions with salsa veterans since childhood, Manolito served as musical director for various youth projects along the way. This included Revolución Juvenil in high school and Manolito y su Trabuco, an orchestra that performed every Wednesday at El Doble Seis in Caguas.

Legacy and Discipline

According to Manolito himself now a music professor—he owes much of his career to the support of his mother and grandmother, who nurtured his musical interests and encouraged him to pursue formal training. Today, the instrumentalist considers himself a “music worker” who approaches his craft with respect and maturity.

His new orchestra, La Zónica, finds him with a different mindset: he wants to concentrate on the timbales and direction. He considers Master Willie Rosario—who treats him as a protégé one of his greatest influences as a timbalero-bandleader. Rodríguez shares that when he read the authorized biography of “Mr. Afinque” (Willie Rosario, El Rey del Ritmo by researcher Robert Téllez) and saw himself mentioned, he was overcome with emotion. “My eyes welled up. I didn’t expect it,” he says. “Since I started taking things seriously, Willie has always mentored me.”

Despite his vast experience, the young musician felt deeply blessed to be chosen to fill in for the leader of “the band that delights” (la banda que deleita) on several occasions, and to perform at the Willie Rosario Centenary concert at the Coliseo de Puerto Rico. “I feel very fortunate because Willie is a very serious person, someone highly respected in the world of salsa with an impeccable career. He is a true role model.”

Following the passing of Roberto Roena, Rodríguez was also entrusted with the legacy of the Apollo Sound—a testament to the confidence and solidity he projects despite his youth. “Wow, yes. It was an honor,” he recalls nostalgically. “Roberto was the first person to give me a big break in Puerto Rico,” referring to his participation in the 1998 Día Nacional de la Zalsa at the Juan Ramón Loubriel Stadium in Bayamón.

The timbalero Manolito Rodríguez
The timbalero Manolito Rodríguez

On Sunday, March 22, 2026, Manolito Rodríguez returned to the Día Nacional de la Zalsa as the timbalero and director of La Zónica, a project that debuted last November during Sonora Ponceña’s 70th-anniversary concert. The current lineup includes: Airemyelisse Díaz (bass), Reinaldo Burgos (piano), Savier Díaz (congas), Manolito Rodríguez (timbales/director), Carlos Arroyo (bongo), Víctor “Yuca” Maldonado (baritone sax), Efraín Martínez (tenor sax), Rubén Díaz (trumpet), and Jan Santana (flugelhorn).

Manolito is well aware that “people pay to be entertained,” as he mentioned in a Zoom interview, and he views himself as a craftsman of music. He feels fortunate to be a full-time musician. “That’s what keeps me grounded. I get paid to make music. I am a music worker with great aspirations who trusts his talent and knows he must stay focused.”

Bella Martinez Puerto Rico

Also Read: Sessions from La Loma brings together salsa fans from all over the world in Puerto Rico

Puerto Rican bandleader and musician Diana Sosa talks about her many projects in Nashville, Tennessee

We had a wonderful and very nice conversation with Puerto Rican percussionist, timbalera, conga player, and cuatro player Diana Sosa, who kindly told us about all the projects she has in the pipeline. Her husband and bandmate, guitarist and vocalist Chuck Nelson, put us in touch with her so we could learn more about both the project they share and the one she has undertaken on her own.

Then these are the things the talented Puerto Rican shared with us on this warm Sunday before Easter.

Diana Sosa is playing
Diana Sosa is posing for the camera while playing the timbales

How Diana got into the world of music

Diana was born and raised in Puerto Rico, where she began to love music and play, but not professionally yet. She was just experimenting with some traditional instruments of her homeland, such as the Puerto Rican cuatro, which she even studied with a private teacher. 

At the age of 39, she moved to Nashville, Tennessee, where she finally got her first big opportunities in music, and the background she brought for years helped her a lot. It all started with a short rehearsal she was invited to, and from there, she has done nothing but prove what she is really made of. 

Of course, she keeps studying and preparing to improve every day. When she is not learning to play with fellow musicians like John Santos, she is taking online courses to solve any doubts she may have.

Diana’s first opportunity with The Bicho Brothers

The first serious group that gave Diana the opportunity to develop professionally—and with which she keeps to playing to this day is The Bicho Brothers, a classic rock band whose members really appreciated the contribution provided by Diana. For this reason, it is she who brings that Latin flavor, the product of her heritage and years of training in these genres.

Something that really attracted the audience was that she was the only woman in the group and, incidentally, she played the timbales, which was uncommon back then. In addition, she added atypical sounds to certain well-known songs, which was also remarkable.

Diana Sosa and the rest of the Bicho Brothers
The Bicho Brothers from left to right: Jeff Krinks (guitar and vocals), Ron Krasinski (drums), Diana Sosa (timbales, congas, percussion, and Puerto Rican cuatro), Chuck Nelson (guitar and vocals), and Kenny Zarider (keyboards and vocals)

Another important personality who encouraged her to follow this route was the great producer Bill Cuomo, who told her she was very good at playing but needed to improve her technique. Twenty years later, it can be said that she took him at his Word seeing all she has achieved since then. From that point on, there have been many other projects and opportunities that make her very happy and keep her fulfilled.

Soul Sacrifice

Soul Sacrifice is a Santana tribute band founded in 1969 that has won a high reputation in Nashville by becoming one of the best tributes to Santana to date. The mix of familiar melodies and infectious rhythms they play at every show transports audiences to the biggest classics of the legendary Latin rock group created by Carlos Santana.

The band also includes some of the same members of The Bicho Brothers, such as the cases of Diana and Chuck due to all the years they have spent playing together, but including Cuban musician John Santos. He plays a fundamental role in making people feel they are listening to the original Santana rather than an imitation, which is why both he and Diana are key to the band’s performance.

Diana Sosa with Diana's Mambo Maniacs
Diana Sosa playing with Diana’s Mambo Maniacs

Diana’s Mambo Maniacs

Diana also has her own project, which she decided to call Diana’s Mambo Manics. This Latin music group was founded in the early summer of 2025 as part of Hispanic Heritage Month. In that time of year, there are always many festivals dedicated to Hispanic and Latin music in the United States and around the world, so Diana and a group of musicians she had been in contact with for some time took the opportunity to play wherever they were able to make themselves known.

Among some of the musicians in the band we can mention John Santos as singer and timbalero, whose presence is essential at every show. The group also includes conga player Josvany Cordero, bassist Isoel Villareal, pianist Kenny Zarider, trumpeter Joe Mercado, and trombonist Huge Lindsay.

The main difference between this band, The Bicho Brothers and Soul Sacrifice is that it plays exclusively Latin music, but of the great artists in the 1950s and 1960s who performed at the Palladium Ballroom, the Copacabana, El Corso, Chez José & 3 and 1, among many others. Diana feels that, to a certain extent, she pays tribute to her parents, who used to go dancing and enjoying these rhythms to some of these places in their youth.

However, not all are covers. She is about to release an original song featuring Puerto Rican cuatro player Prodigio Claudio, but she did not have the details to share with us yet.

Diana and Tito Puente Jr.
Diana Sosa Playing with Tito Puente Jr.

Read also: Bandleader and bongosero Ray Degaldo is here to talk about his life and career

Paoli Mejías A Talent Forged in the Streets and Discipline with a New Sound in Latin Jazz

From legendary sideman to the leader of a limitless musical vanguard.

Paoli Mejías is a pivotal figure in the evolution of contemporary percussion, renowned for his seamless fusion of Latin jazz with masterful conga technique.

Paoli Mejias: From accompanying legends to leading a musical vanguard without borders

Paoli Mejias: From accompanying legends to leading a musical vanguard without borders

While he is an exceptional multi-percussionist, his command of the congas has established him as one of the most in-demand soloists in the world.

He is distinguished by a melodic style; he doesn’t just keep time he makes the drums “sing,” utilizing precise tuning and astonishing speed.

After touring the globe alongside icons such as Eddie Palmieri, Tito Puente, Seis del Solar, Chick Corea, and Marc Anthony, Mejías has solidified his status as an international benchmark. His vast musical, folkloric, and cultural knowledge positions him today not only as a percussion virtuoso but as a visionary leading his own quintet.

With a career marked by success, Mejías has produced three high-caliber independent albums: Mi Tambor (2004), which received a Latin Grammy nomination, Transcend (2006), and Jazzambia (2008).

Paoli Mejías, a talent forged in the streets and through discipline

Paoli Mejías, a talent forged in the streets and through discipline

These works have placed the Puerto Rican percussionist at the forefront of the genre, earning glowing reviews in the world’s most influential publications, including JazzTimes, DownBeat, Jazziz, and Modern Drummer.

A Talent Forged in the Streets and Discipline

Born in Río Piedras, Puerto Rico, on March 7, 1970, Paoli discovered his calling at the age of twelve. Inspired by the records of Carlos “Patato” Valdés and Ray Barretto, and the innovation of groups like Batacumbele and Irakere, he bought his first conga and began a self-taught journey.

Without formal teachers, he learned the language of percussion by mimicking the sounds emanating from his favorite vinyl records.

Paoli Mejía with Nuevo Sonido en el Jazz Latino

Paoli Mejía with Nuevo Sonido en el Jazz Latino

His true training took place in the effervescent musical atmosphere of San Juan, absorbing the styles of his mentors in street rumbas.

His professional debut came via Rafú Wagner (former vocalist for Bobby Valentín), and while still a teenager, he was already collaborating with renowned local artists such as José Nogueras, Glenn Monroig, and Charlie Sepúlveda.

The Leap to the Global Stage

His impeccable technique and melodic sensitivity quickly made him the preferred sideman for the greats. For over eight years, he was a key member of maestro Eddie Palmieri’s orchestra, recording on historic projects like Masterpiece/Obra Maestra (with Tito Puente), which won a Grammy Award.

Paoli Mejías is a fundamental figure when discussing the evolution of contemporary percussion
Paoli Mejías is a fundamental figure when discussing the evolution of contemporary percussion

His discography now exceeds 20 commercial productions, including the nominated Acuarela de Tambores.

This exposure to world music enriched his creative fire. As Elmer González noted in Latin Beat: “Through Mi Tambor, Paoli achieves a watercolor of rhythms and textures that make this album one of the best Afro-Latin jazz productions released as a leader, and he aspires to continue a career forged on the stages of the world’s most important festivals.”

Beyond the Traditional Genre

Today, Paoli Mejías’ group offers a style that transcends labels. His proposal fuses the “Salsa Gorda” of the big orchestras with Puerto Rican bomba and plena, incorporating nuances of Greek, Flamenco, Indian, and African music. The result is a vibrant experience where the audience ceases to be spectators and becomes participants.

His versatility was cemented at the Heineken Jazz Festival, where critics highlighted his absolute mastery of minor percussion, timbales, bongos, and ethnic instruments like the Nigerian Udu, hailing him as one of the most complete percussionists of our time.

Paoli was there: Eddie Palmieri, Tito Puente, Seis del Solar, Chick Corea and Marc Anthony

Paoli was there: Eddie Palmieri, Tito Puente, Seis del Solar, Chick Corea and Marc Anthony

Beyond his role as a performer, the “Maestro” shares his knowledge by conducting clinics at prestigious institutions such as the University of Washington, the University of New Mexico, and the Puerto Rico Conservatory of Music.

Sponsored by leading brands like Latin Percussion and Sabian, Paoli Mejías continues to elevate the legacy of Latin jazz into exciting new dimensions.

Member of Santana

Paoli Mejías is a world-renowned percussionist who was a member of the band Santana, led by Carlos Santana.

Joining Santana: Paoli joined the group in 2013, taking over the conga chair. His arrival brought an impressive technical energy and rhythmic depth, establishing him as a fundamental piece of the band’s world tours for several years.

Source: Paoli Mejías

Photos: Paoli Mejías Archives / © Martin Cohen

Also Read: Carlos “Patato” Valdés: One of the Greatest Percussionists in Latin Jazz History

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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.