Search Results for: Tito Nieves

Tito Nieves’ concert “50 Años, La Historia” made it clear that ‘Salsa Lives

On Saturday, May 17, 2025, Tito Nieves celebrated half a century of a successful musical career at the Coliseo de Puerto Rico (El Choliseo) with a massive concert titled “50 Años, La Historia,” part of his “Mi Último Tour” (My Last Tour) tour.

Tito Nieves smiles in front of a packed coliseum

Music started powerfully around 9:00 p.m. with “Señora Ley” (Lady Law), followed by “Mañana es Domingo” (Tomorrow is Sunday). This led into a medley of songs Tito popularized before going solo: “El Pregonero” (The Town Crier), “El Piragüero” (The Shaved Ice Vendor), and “Panadero” (Baker), all penned by Ramón Rodríguez. In this first segment, the honoree was joined by Rodríguez and Norberto Vélez, setting the theme for the show, where Nieves was accompanied by various guests.

Tito Nieves bid good evening shortly before asking the audience to record the concert, asserting it would be the first and last time he would perform solo at the Coliseo de Puerto Rico for a historic concert that the singer declared was “sold out.”

The soloist demonstrated the evolution of his career, moving to the next stage of his journey, which included the songs “Quiero Perderme Contigo” (I Want to Get Lost with You) and “El Amor Más Bonito” (The Most Beautiful Love). Before starting “Perdido en la Oscuridad” (Lost in the Darkness), Tito stated that during one of the most difficult stages of his life, he asked José José for permission to record it. “Un Tipo Común” (An Ordinary Guy) preceded Tito’s spoken interlude, during which he requested “a big round of applause for Ismael Miranda ‘the eternal handsome boy,’ who is with us tonight.”

For the next segment, Gilberto Santa Rosa and Gerardo Rivas joined Tito Nieves for the song “Soy” (I Am). Gilberto explained that he and Tito Nieves have been musical brothers for over forty years, shortly before saying, “Tito and I are family,” a phrase that led into the performance of “La Familia” (The Family).

The next stage featured a medley of hits including “Sueño” (Dream) and “Lo Que Son Las Cosas” (What Things Are Like). From this same solo period, “Manías” (Obsessions) and “No Me Queda Más” (I Have Nothing Left) stood out. Tito Nieves’ voice was recorded on several of the few salsa lyrics in English. For the concert, Tito brought to life “I’ll Always Love You,” “Celebration,” and “I Like It Like That,” with which he later bid farewell.

Tito paused during the concert to dedicate the song “Gracias Madrecita” (Thanks, Little Mother) to his late mother, Victoria Nieves.

The next guest, Rey Ruiz, “the salsa heartthrob,” performed “Almohada” (Pillow) with Tito, then sang “Mi Media Mitad” (My Other Half) to a bolero rhythm before transitioning to the same song in its usual salsa tempo, which is how it became popular. The turn of also invited Carlos García brought him to the stage to sing “No Me Vuelvo a Enamorar” (I Won’t Fall in Love Again) as a duet with Tito.

Shortly after, Tito Nieves continued singing his most notable hits, including “Déjame Vivir” (Let Me Live) and “Tuyo” (Yours). When it was José Alberto “El Canario”‘s turn, he sang “Le Gusta Que La Vean” (She Likes to Be Seen) with Tito Nieves and “Baila Que Baila” (Dance, Dance) solo. For this particular performance, dancers and choreographers Flavia Tamara Livolsi and Tito Ortos Gutiérrez were in charge of the dance that connected with the guest’s music, who also performed his characteristic “flute” solo, without a flute.

The super orchestra accompanying El Pavarotti de la Salsa

For the song “Fabricando Fantasías” (Manufacturing Fantasies), Tito Nieves took the stage accompanied by 9 child choristers; both the singer and the choristers were dressed in white. Tito sang alongside a hologram of his deceased son, whose passing preceded the song’s release; for the concert, this led into “Un Amor Así” (A Love Like That) and “Soy Cantante” (I Am a Singer).

Continuing with the idea of being accompanied by his guests, Tito Nieves welcomed Tony Vega to the stage to perform their duet and give voice to “Tú Por Aquí, Yo Por Allá” (You Here, Me There), shortly before Tony performed “Aparentemente” (Apparently). Once Tony’s participation concluded, Tito returned to the stage dressed in blue to perform “Te Amo” (I Love You) and “Más Que Tu Amigo” (More Than Your Friend).

Immediately after, Tito Nieves commented: “In salsa, we’ve had Celia, La Lupe, Graciela, India…”, as he welcomed one of the new salsa promises: Daniela Darcourt. With her, he sang “Si Tú Te Atreves” (If You Dare) shortly before suggesting his “musical daughter” perform the soloist’s new single, titled “La Sinvergüenza” (The Shameless Woman).

The concert’s peak was reached during the performance of “De Mí Enamórate” (Fall in Love with Me) and “Sonámbulo” (Sleepwalker), songs with which the artist demonstrated that the voice that earned him the title of “The Pavarotti of Salsa” remains intact.

Next, Tito and his wife—Janette Figueroa, the self-proclaimed “toxic one”—showcased their influencer skills, leading into a theatrical interlude of their interaction with the public during the COVID-19 lockdown: “Conversa con Tito” (Talk with Tito). For this, the couple was accompanied by the new talents Daniela Darcourt and Christian Alicea. Once the micro-theater segment concluded, the production celebrated the sold-out status by presenting a plaque indicating the exclusive status, after congratulatory greetings to Nieves from Víctor Manuelle, Rubén Blades, and Marco Antonio Solís were projected.

It was at this moment of various congratulations that it was demonstrated that ‘Salsa Lives’in the key of fierce salsa. For this, Christian Alicea joined Tito Nieves’ vocal and stage mastery, contributing with his voice and an energetic conga solo.

At 12:40 a.m. on May 18, the concert hosted by “The Pavarotti of Salsa,” accompanied by his super orchestra, concluded with the same power it began, though in English and to the beat of “I Like It Like That.” For the closing, the dance corps, made up of Tito Ortos, Tamara Livolsi, Christina Reyes, and Yadiel Carrasco, complemented the interpretive energy with which Humberto “Tito” Nieves once again demonstrated the connection he has maintained with the salsa audience, regardless of the language he sings in.

Photographs By: Francisco J. Rivera Rosado Photographs

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Tito Nieves The Pavarotti of The Salsa

Humberto Nieves, (Río Piedras, Puerto Rico, June 4, 1959), better known as Tito Nieves, is a Puerto Rican salsa singer of American origin, known by the nickname of The Pavarotti Salsa.

Tito Nieves

Tito Nieves began his career while participating in Orquesta Cimarrón, a group that originated in New York.

In 1977, he teamed up with singer Héctor Lavoe and his Orchestra and joined the Conjunto Clásico.

In 1979 in New York he recorded the production with the outstanding boricua composer Jhonny Ortiz for the Fania Records label that same year in Puerto Rico under the support of the New Generation label. Tito Nieves recorded with the also boricua percussionist Julio Castro and the Massacre the production of El Pregonero.

Later, Nieves decided to start his solo career in 1987, apart from singing salsa in English.

He is known for his hits such as El Amor Más Bonito, Sonámbulo, and the English-language salsa hit, I Like It Like That.

In 1988 he was presented with the opportunity to record for the RMM label. His first big hit for the company was the song “Sonámbulo”, a composition by Leo Casino, which appears on his first album for RMM, entitled “The Classic” which reached a gold record.

With this album, Tito Nieves definitely imposed his interpretive style, launching himself to conquer international markets, setting the tone for other artists who later form the nucleus of what is known as “The Sound of New York”, championed by RMM.

“Yo quiero cantar”, the second album for RMM in 1989, brought a pleasant surprise. The English-language song “I’ll Always Love You”, taken in the style of salsa, became a hit on English-language radio stations.

Thanks to this and other songs, the album reached the numbers to be credited as a Gold Record. With this production Tito Nieves expanded horizons making the famous “crossover” to the Anglo-Saxon market.

His third production “Déjame vivir” in 1991 reached a platinum record, including the hits “De mí enamórate”, “Te amo”, “Déjame vivir”, “Almohada” and “How To Keep The Music Playing”. His fourth recording was released in June 1993 under the title “Rompecabeza (The Puzzle)”.

Inspired by the success of his songs in English, Tito decided to include two songs in this language “Can You Stop The Rain” and “You Bring Me Joy”.

In 1995 his fifth album, “Un tipo común”, was released, produced in Puerto Rico by Cuto Soto and had arrangements by Ramón Sánchez, Julito Alvarado, Louis García and Cuto himself. The production included the song “No me vuelvo a enamorar” by the Mexican singer-songwriter Juan Gabriel and with arrangements by Sergio George.

Another surprise on the album was Tito’s version of Selena’s classic song “No me queda más”.

Tito Nieves definitely had a strong impact on the Anglo-Saxon market with his sixth production recorded all in English “I Like It Like That”. This song took him to great stages such as the UPN TV show VIBE.

Hits from the album Fabricando Fantasías (2004) include Fabricando Fantasías and Ya No Queda Nada with La India, Nicky Jam, and K-Mil.

In 2005, he released Hoy, Mañana and Siempre which contains the hits Esa Boquita, Si No Fuera Él and Tu Belleza.

In 2007, he released Canciones Clásicas de Marco Antonio Solís, a tribute to Mexican singer-songwriter Marco Antonio Solís

Tito Rojas passes away at 65 years of age

Tito Rojas, The Puerto Rican artist passed away this December 26

The bad news in 2020 does not stop coming, after a hard year full of unfortunate events, a few days before the year ends, Julio César Rojas López, better known as Tito Rojas, died this Saturday, December 26. His death was confirmed by both the authorities of Puerto Rico and the statements of his daughter Jessica Rojas.

According to the testimonies given, the relatives of the salsa singer found his lifeless body on the balcony of his residence in Tejas de Humacao, a municipality of Puerto Rico, subsequently, they called 911 to report his unfortunate death. Although everything seems to indicate that the cause of death was a heart attack, it has not yet been confirmed by the doctors in charge of carrying out the autopsy, however, it is expected that such confirmation will come in the next few days.

The news came as a surprise to everyone, especially because a few days before this horrible news, he offered a virtual show for all his fans, and he seemed to be in good health, so the unfortunate news has caused a great impact.

“El gallo de la salsa”, as he (Tito Rojas) was known internationally, lived 65 years, and his music has inspired many artists of the salsa genre, who have had him as a reference. As expected, great Latin American artists have spoken about it through social media.

Tito Rojas dies — Tito Rojas passes away on december 26.

Artists share their thoughts about the singer’s death

The salsa singer Tony Vega shared a photo of Tito Rojas and accompanied it with the following words: “A colleague, a friend, today we mourn his departure, but we will always carry him in our hearts.” On the other hand, Gilberto Santa Rosa also offered a message full of emotions through his Facebook and Twitter accounts: “I still can’t believe it… my dear Gallo. We will miss you and remember you in each song, in each saying and in each gesture of affection and companionship that you left. Rest in peace, my friend Tito”. Tito Rojas had participated in the new production of his compatriot Gilberto Santa Rosa, specifically in the song “Por la calle del medio”.

Other artists who have also expressed their condolences have been: Don Omar, Bad Bunny, Tito Nieves, Victor Manuelle, among many others; On the other hand, Tito’s have been such an important figure than even other well-known faces outside of the music industry also publicly lamented his death. Pedro Pierluisi and Wanda Vázquez, both governors of Puerto Rico, also share their sadness through their social media accounts.

Social networks continue to be filled with moving messages, as well as memories and anecdotes related to “El gallo de la salsa”, and due to the importance that Tito has had in the industry, this is certainly expected. After a long career full of successes, the interpreter of songs such as “Siempre seré”, “Señora de madrugada”, ” “Ella se hizo deseo” and many others, will be remembered as one of the greatest exponents of the salsa genre, his music to this day continues to inspire both veterans and emerging talents.

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Ralph Mercado: The Visionary Who Turned the Rhythm of the Barrio into a Global Phenomenon

The Giant of New York Salsa

Ralph Mercado was a music promoter and an iconic figure of Salsa and Latin music in New York. More than just an entrepreneur, Mercado was the strategist who took Salsa out of local New York clubs and placed it on the world’s most prestigious stages.

Through his vision, the sound of Latin identity found a commercial language without losing its “street” essence, making him the most influential tropical music mogul of the 20th century.

Ralph Mercado, the visionary who transformed the rhythm of the neighborhood into a global phenomenon

Creator of “The Perfect Combination”; Early Days in the Bronx and Brooklyn

Of Puerto Rican and Dominican descent, Mercado was born on September 29, 1941, in Brooklyn. As a mere teenager, he was already organizing parties and dances as the president of a neighborhood social club.

He later founded the 3 & 1 Club on Atlantic Avenue, which hosted local bands and musicians such as Eddie Palmieri and Richie Ray & Bobby Cruz, among many others. Shortly thereafter, he created his first production and promotion company, Showstoppers, through which he promoted R&B acts of the caliber of James Brown, Aretha Franklin, Gladys Knight & the Pips, The Stylistics, and The Chi-Lites.

Expanding the Empire

He eventually ventured into Manhattan, where he helped expand the legendary Fania All-Stars, promoted dances at the Cheetah Nightclub, and presented Latin Jazz artists at venues like the Red Garter and the Village Gate. In 1972, Mercado established RMM Management, representing Palmieri and Ray Barretto.

Ralph Mercado was a music promoter and an emblematic figure of salsa and Latin music in New York

He managed the genre’s biggest stars, including Tito Puente and Celia Cruz, with whom he worked for 25 years. “I learned so much from her,” Mercado told the AP in July 2003, following the passing of the “Queen of Salsa.” “I witnessed the impact she had in every country we visited.”

Mercado credited Cruz and Puente with the internationalization of Salsa. “They were two artists with so much talent and such good hearts… something unrepeatable,” he expressed at the time.

The RMM Phenomenon

By 1987, his popular “Latin Tinge” nights at the Palladium attracted hundreds of salseros every Thursday. In 1992, he founded the independent label RMM, which branched into RMM Records, RMM Filmworks, and two publishing houses. With a catalog of over 140 artists, the label sold millions of albums annually.

Mercado brought Salsa to South America and to places as remote as Africa, Asia, and Israel. He personally discovered and launched the careers of talents like Marc Anthony, La India, Domingo Quiñones, Tony Vega, José Alberto “El Canario,” and Tito Nieves. For his work, he received numerous accolades, including the Billboard Lifetime Achievement Award in 1999.

Mercado creador de La Combinación Perfecta; RMM

The RMM Label: A Hit Factory

Mercado’s impact was solidified by his ability to adapt tradition to changing times. While others clung to the past, Ralph understood the potential of Salsa Romántica and the power of international collaborations. RMM didn’t just produce records; it produced culture, documenting the history of the rhythm through videos and massive concerts that redefined the concept of Latin entertainment.

His influence extended far beyond recording. As a promoter, he opened markets in Europe, Asia, and throughout Latin America, ensuring the tumbao was heard in every corner of the planet. He was a relentless negotiator and a protector of the legends’ legacies, ensuring that Latin Jazz and Salsa Dura maintained their academic prestige while dominating the pop charts.

An Indelible Legacy

“Without him, I don’t believe the Fania All-Stars would have achieved the success they did,” stated Eddie Palmieri. Meanwhile, promoter Leo Tizol remembered him as someone “accessible and noble” who never refused to share his knowledge with those starting out.

Ralph Mercado passed away on March 10, 2009, surrounded by his wife Cynthia, his five children, his siblings, and his grandchildren. His departure left a void that as the greats of music often say can never be filled.

Source: RMM / Photo: Ralph Mercado Archives

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Uruguayan composer and multiinstrumentalist Sebastián Natal and his band Grupo Sensación

After having contact for days and overcoming some pitfalls, we could finally get to talking with producer, composer, and multi-instrumentalist Sebastián Natal, who kindly attended and revealed his views on the path he has followed to become the great artist he is today.

Sebastián Natal posing for the camera with his instruments

Sebastián Natal’s beginnings

First, Sebastián appreciated our interest in learning a little more about him and began to describe his native country’s musical and cultural context at the time. First of all, the artist was born in Montevideo, Uruguay, where a tropical music movement was established by then, considering many genres from the tropics and the Caribbean, such as salsa, bachata, merengue, cumbia, guaguancó, and many more.

Obviously, these genres did not originate in Uruguay, as bomba is Puerto Rican, salsa is Cuban, and bachata is Dominican. However, there were quite a few groups and musicians who used these tropical roots to create their own identity. Outside of Montevideo, other provinces listened much more to cumbia and charanga.

The orchestras that played these rhythms were dedicated to developing covers of salsa songs, but by bringing them into other genres that were emerging at the time, such as plena, plena danza, and bomba, among others. Sebastián grew up with this sonority in his country, so the whole musical environment he was exposed to abroad became very familiar to him and easy to assimilate. From the early ‘nineties, as a young boy, he began to absorb all the influence from the dawn of romantic salsa and iconic songs such as “Aquel Viejo Motel,” “Cinco Rosas,” “Sin Sentimiento,” “Amores Como El Nuestro,” and many others of its kind.

It is worth adding that Sebastián comes from a family of musicians, starting with his own father, Yeneca Natal, who was the musical director and pianist for Grupo Sensación. Music always surrounded him, so it can be said that he was meant to follow this path.

Sebastián and Yeneca Natal — Sebastián Natal next to his father Yeneca Natal

When and why Sebastián left Uruguay and moved to New York

In 2005, at just 21 years old, Sebastián joined the Sonora Borinquen, which was the most popular orchestra at the time. Thanks to them, he had the opportunity to tour the United States and Canada, where he could see environments and ways of working that were completely different from what he was used to. Two years later, he toured the United States again, but by then he already saw the country as a new destination to advance his career.

Unfortunately, Uruguay was becoming too small for the plans he had for his development in salsa, which sparked his curiosity about the Big Apple and all it had to offer him musically speaking.

By 2008, he decided to move to New York for a few months, but so many doors opened for him that he never left and continues to live there to this very day.

Sebastián, the multi-instrumentalist

The first instrument Sebastián came in contact with was the piano, which he started playing it at age four and from which he graduated at age 11. Since he had not attended high school yet, he could not study a master’s degree to continue his musical education. In addition, he was a child who wanted to play football and do the usual things for his age, so a few years later, his father made him join an Afro-Uruguayan music group. In that orchestra Sebastián played piano and bass, which allowed him to further develop his skills with those instruments.

Sebastián in Panama — Sebastián Natal in Panama City

After that, he began to create his own tropical music band, inspired by the Venezuelan orchestra Los Adolescentes. All the members were minors, and, as well as in the previous group, Sebastián also played piano and bass.

Sebastián as a producer and composer

Regarding his role as a producer and composer, Sebastián confessed that he has no idea how he came to learn these areas of music. He did emphasize that he always lets his music and his feelings flow to deliver the message he wants to convey in each of his pieces. After that, he defines the ideas and adds the music.

He says he greatly admires professional lyricists and composers. He admits he is neither the best nor the worst composer, but he always tries to reach his own heart to convey what he feels.

Sebastián Natal Y Grupo Sensación

The idea of Grupo Sensación started with the orchestra of the same name where his father worked in 1982, but unfortunately the group did not have much impact due to how closed that environment was at the time. There were a number of orchestras that got the best contracts, and it was very difficult for the rest to achieve. Over time, Yeneca left Grupo Sensación and managed to join several of these more established orchestras to gain more reputation.

Soon after, when Sebastián moved to the United States, he almost immediately noted that the Uruguayan community needed a tropical orchestra, but he did not know what name give it. With the passing of his father on October 19, 2010, he chose to use the name “Grupo Sensación” as a way to continue the legacy of his father and the tropical movement born in his country so many years ago.

Sebastián and Pedrito — Pedrito Martínez and Sebastián Natal on stage

Artists he has collaborated with

Sebastián has had the opportunity to collaborate with artists of the stature of Nino Cegarra, Oscar D’León, José Alberto “El Canario,” Domingo Quiñones, Tony Vega, Roberto Blades, Cheo Feliciano, Tito Nieves, Viti Ruiz, and many more. However, few were the ones with whom he has truly been able to have a conversation or a close connection beyond purely profesional relationships.

“You can only say you played with someone if you’ve had a connection with that person. I’ve been able to play with great artists, but many times they don’t even know who I am. That’s why I don’t include them on my resume. Now if they call you back, then you can say you did things very well and that there’s someone really interested in you,” said Sebastián on this interesting subject.

The cases of Bill Murray and Camila Cabello were completely different, as he managed to record songs with them through his friend and fellow musician, Pedrito Martínez, whom he describes as “the best percussionist in the world”. It was also Martínez who connected him with the world-famous composer and guitarist Eric Clapton, with whom he performed at the American Airlines Center in Dallas—one of the most beautiful experiences he has had in his career and his life in general.