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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’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.

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

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

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

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

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

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

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

Also Read: Hector Maisonave Manager of the Greatest Salseros in New York

José Mangual Sr. “Buyú”: The Architect of Bongo Sound Defining the Rules of How it Should Sound

In the history of Afro-Latin music, there are names that didn’t just play an instrument they defined the rules of how it should sound. José Mangual Sr., known universally as “Buyú,” is one of those pillars.

José Mangual Sr., known universally as Buyú, is one of those pillars

An extraordinary and legendary percussionist, José Mangual Sr. was the founder of the prestigious percussive lineage that carries his surname.

Since his childhood in Juana Díaz, he professed a deep love for music; by age ten, he was already playing professionally, and during his youth, he even enjoyed crafting his own bongos.

Over time, he became the musician who endowed the instrument with an extraordinary sonority. He was the father of the equally prominent percussionists José Mangual Jr. and Luis Mangual.

The Architect of Sound on the Bongos defining the rules of how it should sound

Considered by experts as one of the greatest bongo players of all time, his legacy remains the gold standard for meter and tuning in Latin Jazz and Salsa.

From Juana Díaz to the Heart of Spanish Harlem

Born on March 18, 1924, in Juana Díaz, Puerto Rico, Mangual discovered his vocation at age 10. However, his musical destiny was sealed in 1938 when he migrated to New York at the age of 14.

Settling in Spanish Harlem (“El Barrio”), he found himself at the epicenter of a cultural explosion that was about to change world music forever.

The Consecration: Machito and his Afro-Cubans

Although he began by filling the timbales position, it was with the Machito and his Afro-Cubans orchestra where “Buyú” made history. Under the direction of Mario Bauzá (who is said to have given him his nickname), Mangual remained with the group for nearly 17 years.

The Legacy and the Patriarch of a Dynasty

Rhythmic Innovation: He was part of the “perfect percussion trio” alongside Carlos Vidal (congas) and Machito (maracas).
Historic Fusion: His performance was key to blending the complexity of Afro-Cuban rhythms with the harmonies of New York Jazz in the 1940s and 50s.

An Unrivaled Session Musician

His technique was so clean and his sound so bright that he became the preferred collaborator for the biggest stars. Throughout his career, he contributed his mastery to projects led by:

Tito Puente: The “King of the Timbales.”
Israel López “Cachao”: Participating in historic Afro-Cuban Jazz “descargas” (jam sessions).
Jazz Greats: His versatility allowed him to navigate fluidly between the world of Big Bands and traditional Salsa ensembles.

Pedagogical Legacy and Solo Career

In the 70s and 80s, Mangual recorded music not only for enjoyment but also for instruction:

Album “Buyú” (1977): A Latin Jazz gem on the Turnstyle label, featuring tracks like “Black & Brown Boogie.”
Musical Education: Alongside conguero Carlos “Patato” Valdés, he recorded the volumes of Understanding Latin Rhythms. These LPs became the auditory manual for thousands of percussionists around the globe.
The Mangual Dynasty: In 1986, he consolidated his family heritage with the album Los Mangual: Una Dinastía, recording alongside his talented sons.

“The sound of his cowbell and his bongo didn’t just mark time; they cemented the foundations of the music we dance to today.”

The Patriarch of a Dynasty

The impact of José Mangual Sr. extends through his sons, who inherited his musical excellence:

José Mangual Jr. (“El Milamores”): Famous bongo player and singer, a key figure in the orchestras of Willie Colón and Héctor Lavoe.
Luis Mangual: Renowned percussionist and musical director.

Passing and Recognition: Buyú passed away in 1998, leaving an irreplaceable void. In 2001, he was posthumously inducted into the International Latin Music Hall of Fame a fitting tribute to the man who gave the bongo unprecedented brilliance and elegance.

Also Read: Israel “Cachao” López, a Cuban musician and composer, has been hailed as “the Inventor of Mambo”

Andy Durán: The Architect of Mambo and Latin Jazz

If there is one name that embodies technical elegance and rhythmic passion in the contemporary Caribbean, it is Andy Durán.

A musician, arranger, composer, and conductor, Durán has spent over four decades serving as the guardian of the big band sound. He keeps the flame of legends like Tito Puente and Pérez Prado alive, but with a distinctive signature that fuses academic precision with popular soul.

Andy Durán El Arquitecto del Mambo y el Latín Jazz

Born in Caracas, Venezuela, on January 2, 1949, as Nelson Valor Ramos, this extraordinary artist is today an essential figure in music production and direction.

The Musician: Master of the Arrangement

Andy Durán is more than just a conductor; he is a scholar of musical structure. His academic background has allowed him to master the art of the arrangement the ability to transform a simple melody into a complex masterpiece where twenty musicians move as a single, unstoppable force.

The Big Band Sound: He is one of the few directors who has kept the large orchestra format relevant in Venezuela. His ensemble, Andy Durán’s Latin Jazz Big Band, is an institution renowned for its rhythmic precision and powerful brass section.
Stylistic Versatility: While Mambo is his backbone, his repertoire flows seamlessly through Jazz, Salsa, Mambo-Jazz, and traditional Venezuelan music.
Cult Discography: Albums such as Tropicalia, Mambo 2000, and his acclaimed tribute to Tito Puente, Fidelidad, are essential pieces for any collector of the genre.

The Person: The Educator and Music Lover

Behind the baton, Durán is known for his humility and profound work ethic; he is frequently described as a “gentleman of music.”

Nacido en Caracas, Venezuela, el 2 de enero de 1949, bajo el nombre de Nelson Valor Ramos

Relentless Researcher: Beyond performance, he is a historian of rhythm. His concerts often turn into masterclasses where he explains the origins of the pieces, always honoring the original composers.
Generational Bridge: He has served as a mentor for young Venezuelan musicians, integrating new talent into his ranks and proving that classic Caribbean genres have no expiration date.
Cultural Resilience: In an era dominated by commercial trends, Durán remains faithful to acoustic quality and the complexity of Latin Jazz, earning the respect of international critics.
Si existe un nombre que personifica la elegancia técnica y la pasión por el ritmo en el Caribe contemporáneo, ese es Andy Durán

Career and Legacy

Andy Durán is one of the greatest exponents of Salsa and Latin Jazz in Venezuela. With 16 albums to his credit, he holds the most extensive discography of any Venezuelan jazz artist. Additionally, he is recognized as the country’s premier music copyist.

His beginnings date back to his youth with the group Nelson y su Sexteto. In 1978, he founded the Orquesta Palladium. Shortly after, he adopted the stage name “Andy Durán” to avoid confusion with other artists of the era and because it was easy to remember and write.

Since 1982, he has been fully dedicated to professional music, working alongside giants such as Aldemaro Romero, Eduardo Cabrera, the Billo’s Caracas Boys, Los Melódicos, and Soledad Bravo. In 1985, he released his first LP, Mambo Salsa. Among his most notable works are:

Tropicalia Caraqueña
Canelita y Andy Durán: Tribute to Celia Cruz
Tito & Tito (A tribute to Tito Puente and Tito Rodríguez)
Salsa Dura y Descarga: A Tribute to Fania
Fiesta con Billo

Reflections by Andy Durán: Is Singing Easy?

The Requirements: Flawless pitch, breath control, phrasing, and diction; in addition, a strong memory for melodies, lyrics, and orchestral arrangements.

It is highly recommended to know how to dance according to the genre being performed (e.g., Salsa). It is also beneficial to have basic acting skills to handle dramatic themes when necessary.

Reading is mandatory to develop a rich vocabulary for improvisation or public speaking; it also prevents embarrassing spelling errors in written lyrics. Keeping the vocal cords healthy and trained is a vital matter. Music theory and sight-singing are the ideal, essential, and unavoidable tools.

Finally, a singer must define their style and repertoire with great care. One must invest in professional orchestral arrangements and have an arranger-director or advisor—this is an investment, just like stage attire.

Remember, my fellow singers: a director’s worst nightmare is a singer who is out of tune, off-beat, and forgetful.

Best regards to all vocalists and singers.

Maestro Andy Durán: Director, Arranger, and Composer

P.S. Vocalists must meet two more requirements: keep your nerves in check and sing from the heart.

Also Read: Víctor Cuica “The Eternal Breath of Latin Jazz and Venezuelan Identity“