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The “Caballero de la salsa” delights us with his new album

North America / United States

The story of an artist

Gilberto Santa Rosa, known as “El Caballero de la salsa”, was born in 1962 in Puerto Rico.

The singer has excelled at performing romantic ballads, boleros, and salsa. His first steps in music were at a very young age. Before reaching adolescence he was already forming youth groups within the tropical genre. For about two years, he was part of the band La Grande, from the hand of greats of the genre.

Colegas is the new album of Gilberto Santa Rosa — Gilberto Santa Rosa has a new album

Elías Lopés, famous Puerto Rican trumpet player, became his teacher and tutor. At the age of 14 he traveled to New York to take his first steps in the musical field and his father entrusted him to Lopés. Santa Rosa is very pleased to have received his teachings.

“The greatest legacy for me was discipline, knowledge of the work you are doing and the challenges; He gave me musical challenges that developed the talent I had at that time, “said the salsa singer.

Gilberto participated in the “Homenaje a Eddie Palmieri” with the Puerto Rico All Star, a great opportunity for his career that was on the rise. In addition, he was in the ranks of the Willie Rosario orchestra.

First steps

In 1986, he got his first opportunity as a soloist. Combo Records allowed him to record four albums; giving it a further boost in the salsa genre. Good Vibrations (1986), Keeping Cool! (1987), De Amor y Salsa (1988) and Salsa en Movimiento (1989) were his first record works.

In 1990, he had the opportunity to change record labels. On this occasion, CBS today is known worldwide as Sony Discos. Company with which he has recorded approximately 24 albums and continues to this day.

Sony Discos trusted him and saw him succeed through the years. Punto de vista, the first production made with the label, received a gold and platinum record. The Man and His Music was quite a special production. It was held in 1995 and reflected a presentation held at Carnegie Hall in New York.

Acting is another of the roles that he has developed with great skill. In 1990, he participated in “La pareja dispareja” with Rafo Muñiz and Luis Vigoreaux, Jr.

In the 2000s he was in other theatrical pieces. He starred in the revival of “La verdadera historia de Pedro Navaja”, a musical that demanded a lot from him on a professional level; and with Cuban comedian Alexis Valdés in the play “Atrácame más”.

“Returning to the theater, this time to comedy, fills me with great enthusiasm and even more so to be able to share the stage with one of the greats of comedy in the United States and Latin America. The truth is that “Atrácame más” takes me out of my comfort zone which is music and challenges me professionally. I’m really enjoying this story and I hope people enjoy it a lot more ”, commented Gilberto Santa Rosa, about “Atrácame más”.

Gilberto Santa Rosa is one of the artists who broke paradigms in the United States and in the rest of the world. From the beginning, the Latin public did not hesitate to follow his career and, of course, attend his meetings. He also had the opportunity to travel to Japan.

He presented himself as a worthy representative of his country and surprised the audience by performing “De cara al viento” in Japanese. A feat that surprised critics due to the difficulty of the language. In addition, it was his beginning in the international market, until today he is acclaimed incessantly.

Gilberto had great acceptance and a box office record in his presentations at the First President Festival in the Dominican Republic, the Lincoln Center in New York with Andy Montañez; at the Anayansi Theater in Panama and at the Universal Studios Amphitheater in Hollywood with Olga Tañón.

The accompaniment by the Symphony Orchestra ended up catapulting him among his followers. They considered it an unprecedented presentation and brimming with talent. It was presented under this format in the United States and broke box office records at the Teresa Carreño Theater in Caracas, Venezuela.

Expresión, 1999

It was one of his most popular albums. The album marked the singer’s career as it was nominated for a Latin Grammy Award, for Best Salsa Album, in its first installment. “Que alguien me diga”, original Omar Alfanno, Panamanian composer positioned him for several weeks on the Billboard. The production featured 13 songs with a total of 55 minutes in length.

The album had great renown in the Central American market, giving it a gold record for sales. In addition, he was chosen by the National Foundation for Popular Culture among the most outstanding of the year 1999.

Gilberto, continued to count successes and praise the work of the greats in the industry. He made several tributes such as the concert “Viva Rodríguez” in tribute to Tito Rodríguez; Tribute that the Orquesta Estrellas de la Fania, to Don Tite Curet Alonso and La Guarachera, Celia Cruz, in New York.

40 … y contando, it was released in 2019. It was a live album, with which he commemorated his 40-year career. The idea was born from his concert at the Coliseo José Miguel Agrelot in San Juan, Puerto Rico. 40… y contando it ranked second in sales of Tropical Albums in the United States and first in sales in Puerto Rico.

The Puerto Rican celebrated his 2020 birthday with the launch of a new collectible album.

Colegas, 2020

Gilberto Santa Rosa - New album cover — The album cover was designed for the Venezuelan artist Gilberto Santa Rosa

In this work, he had sixteen collaborations, bringing together “colegas” known to the audience. The first single is “La Familia”, a duet with the singer Tito Nieves, a Puerto Rican recognized within the genre as well as: Tito Rojas, Luisito Carrion, Pirulo, Nino Segarra, Choco Orta, Jose Alberto “El Canario”, Isaac Delgado and Juan Jose Hernandez.

The arrangements are attributed to Ocana Sordi, (El Guateque De Chombo), James Hernandez (La Fonda De Bienvenido), Jose Madera (Bailadores), Rene Gonzalez (Estoy como nunca), Dino Nugent (Apaga la luz), Ricky Gonzalez (Vamos A Bailar El Son, Eque Tumba), Manolito Rodriguez (Medley Boleros), Marty Sheller (Ban Ban Quere, Caminalo), Ramon Sanchez (Que se sepa), Javier Fernández (Masacote, Tremendo Coco), Louis García (Por la Calle Del Medio , Isidro Infante (El Mejor Sonero, Mario Ague, Sonerito),

Singing with Tito Nieves was a pleasure for him because they share a friendship relationship:

“Tito and I have a friendship that transcends the stage and the day to day. He is my dear brother. His sense of humor is incredible. With him everything is very easy. In fact, it only took 45 minutes for us to have the song ready”, said the salsa singer.

Santa Rosa wanted this album to be a very special tribute to his companions of so many years. He looked for the numbers to fit in some way with the relationship with each colleague.

The 58-year-old singer is a winner of a Grammy and five Latin Grammys. He is in his best moment and it appeared that “Colegas” could have a continuation.

“These things excite me and motivate me to do a second part, because other “colegas” were left out,” he said.

Will it be the beginning of your new musical project? We’ll see!

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Alberto Crespo and Carlos Santos Release Their Latest Single “Narci” with Grupo Bacheo to the Latin Market

On November 7, 2025, the vibrant Latin music scene celebrates a stellar collaboration that promises to ignite dance floors.

The acclaimed Venezuelan pianist, arranger, and music producer Alberto Crespo joins legendary Puerto Rican sonero Carlos Santos and the talented Grupo Bacheo to present their latest musical track titled “Narci.”

Alberto Crespo and Carlos Santos release their latest song, titled Narci, to the Latin market with Grupo Bacheo

This original composition by Ali Delgado and José Granados, featuring arrangements by Alberto Crespo himself, fuses a modern sound with the unmistakable rhythm of salsa, guaranteeing a musical experience that will delight dancers.

Alberto Crespo: A Piano Master with an International Career.

From his beginnings at the “José Ángel Lamas” Music Conservatory in Caracas, Alberto Crespo demonstrated exceptional passion and talent. His deep immersion in harmony, counterpoint, orchestration, and improvisation has established him as a versatile and well-rounded musician.

By age seventeen, he was already touring with renowned orchestras, sharing the stage with icons such as Naty y Su Orquesta, Celia Cruz, Bobby Capó, Carmen Delia Depini, Carlos Cano Estremera, Andy Montañés, Ismael Miranda, Pete Conde Rodríguez, and José Mangual Jr., among many others.

Alberto Crespo A Piano Master with an International Career

With over three decades of experience in salsa and Latin Jazz, Crespo has consolidated his reputation as a highly prestigious producer, arranger, and pianist. His impressive list of collaborations includes national and international artists such as Maikel Stuart, Frankie Morales (former singer for Tito Puente), Orquesta Bailatino, Grupo Mango, Herman Olivera, Rumberos de Callejón, Gilberto Santa Rosa, and Naty y Su Orquesta. His versatility has led him to be part of the most prominent musical groups in Venezuela.

Carlos Santos: A Classy Sonero with a Legendary Trajectory.

Born on March 13, 1946, in Cataño, Puerto Rico, Carlos Santos is a true sonero whose career took off with Joey Pastrana’s band. His powerful voice and unmistakable salsa flair led him to perform and record with emblematic salsa orchestras, including “Kako y su Trabuco,” “Los Kimbos,” “Conjunto Candela,” and Roberto Roena’s “El Apollo Sound,” in addition to special performances with Ray Barreto and El Conjunto Libre.

Santos has left classics for posterity such as “Chacaboom,” “Las cosas de la vida” and “Amor verdadero” with Joey Pastrana, as well as “Flores para tu altar” and “Me imagino” with Conjunto Candela. His voice also enriched productions by Eddie Palmieri and Los Kimbos with tracks like “Caridad” and “Todo el mundo.” During his time with El Apollo Sound, he garnered hits such as “El Progreso” and “Háblame ahora.”

Carlos Santos Un Sonero con Clase y una Trayectoria Legendaria

Carlos Santos currently resides in Florida, United States, and continues to delight audiences with his international and local performances.

The union of these two pillars of salsa, under the production of Chongo Producción (from New York) and Juancho Producción (in Cali), promises to be a memorable event for Latin music.

Ali Delgado (Caracas) y Juancho Producción (Cali)

Note: “45 RPM is for sale in Cali by Juancho Producción, and will be presented with great fanfare on December 30 at 10:00 a.m. at the Meeting of Music Lovers and Collectors (Encuentro de Melómanos y Coleccionistas) of the Cali Fair, Colombia. 2025.”

Production Credits

General Production

Production: Alberto Crespo & Chongo Productions LLC

Musical Team

Composer: Ali Delgado / José Granados
Vocalist: Carlos Santos
Arrangements: Alberto Crespo

Musicians

Timbal: Carlitos Padrón
Tumbadoras (Congas): Manuel “Manny” Márquez
Bongó / Bell: Carlitos Padrón
Trumpets: Jorge Maestre “Pitufo”
Baritone Saxophone: José Antonio Fariñas
Bass: José Soto “Mortadelo”
Percussion: Carlitos Padrón, Carlos Crespo
Chorus / Background Vocals: Heyzer Cabrera & José Soto “Mortadelo”

Recording and Post-Production

Recording Studios:
- Chongo Estudios (New York)
- A Tempo Estudios (Caracas)
- París Recording Estudios (USA)
Mixing: Heyzer Cabrera / Alberto Crespo
Mastering: Heyzer Cabrera

Important Note by Alberto Crespo:

I was working on the arrangement for the song NARCI, and when I reached the chorus, I wanted to find a beautiful melody with a different harmony, like a chorus of angels singing from heaven. I was pacing around my workspace and the areas near my house, searching for ideas.

My wife, Adriangela, was listening to what I was developing to achieve a final connection, and all of a sudden, she sang that beautiful melody to me. I immediately copied it and added the chords, and honestly, it was something magical, very spiritual… “Ya no estás más a mi lado, cómo te extraño, mi amor, cómo te extraño…” (You are no longer by my side, how I miss you, my love, how I miss you…) That final unison of the chorus is very subtle and sentimental.

Video

Video: Chongo Productions LLC

Carlitos Padron Director de Chongo Producción (desde New York)

Listen to “Narci” on YouTube:

Alberto Crespo y Bacheo

[email protected]

+58 4142521642

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

Charlie Sierra was a prominent Puerto Rican timbalero, recognized for his long musical career and virtuosity on the instrument

Carlos Manuel Sierra Sánchez, better known in the music world as “Charlie Sierra,” was born on October 10, 1956, in Vega Baja, Puerto Rico.

Charlie Sierra fue un destacado timbalero puertorriqueño

An excellent percussion musician from Barrio Sabana, Charlie Sierra recorded with important figures in music such as Don Mario Ortiz, Andy Montañez, Raphy Leavitt, Marc Anthony, Oscar D’León, Julito Alvarado, and many others. He even recorded the album Bravo by the Fania All-Stars in 1997.

To the worldwide community of salsa fans (salsómanos), he was a member, along with Chago Martínez, Tito De Gracia, Edgardo Morales, and Edwin Clemente, of the Gran Cumbre de Timbaleros (Great Summit of Timbaleros) that emerged in Puerto Rico’s rumbero (Afro-Cuban rhythm/rumba) scene during the penultimate decade of the 20th Century.

Charlie Sierra fue un destacado timbalero puertorriqueño reconocido por su larga trayectoria musical y su virtuosismo en el instrumento

Among these five virtuosos, the majority of the recording sessions in the Puerto Rican market were divided. The others were, practically, second choices for producers.

This fortunate circumstance allowed him to develop an impressive discography as a session musician, which includes the most stellar names in salsa. Likewise, he traveled across a large part of the globe as a member of the backing bands for many of those stars.

Our biographical subject was a child when he began, without a teacher, to learn the bongos and drums which he also played on recordings and on stage and the timbales, leading him to be identified as a fundamentally intuitive musician.

At the age of thirteen, he moved with his family to Bayamón, and it was during his time as a student at the Nuestra Señora del Rosario School that he began to show signs of his talent.

At fourteen, he enrolled in the Ernesto Ramos Antonini Free School of Music (Escuela Libre de Música), where he was a disciple of the Argentine master Samuel Lipchik.

During that time, he also advanced his knowledge of the flute, guitar, and piano, instruments he would never cultivate professionally, as percussion was always his great passion.

Papo Lucca, Charlie Sierra y Cheo Feliciano

However, his time at the Free School of Music was relatively brief (1972-1974). He soon began his professional career, gaining his first experiences with the Orquesta Rica and the Orquesta Tabú.

During this period, he received private lessons from the renowned professor Raúl Berríos Sánchez.

Fully immersed in the music scene, his name began to gain relevance in the salsa world following his tenure with the original Orquesta Mulenze, led by bassist Edwin Morales, during the 1976-1978 period.

At that time, this organization focused its work on providing accompaniment to solo singers affiliated with the genre, both national and foreign, who visited the island. He had the opportunity to travel with several of them: Santos Colón, Celia Cruz, Cheo Feliciano, Chivirico Dávila, Pellín Rodríguez, Yayo El Indio, etc.

From the Orquesta Mulenze, he moved to the lineup of Raphy Leavitt & La Selecta (1978-1979), with whom he had the opportunity to record hits like “La cosquillita,” vocalized by Tony Vega. He later worked with the orchestra led by pianist Tito Valentín, which featured Marvin Santiago as the vocalist.

He then joined trumpeter Mario Ortiz’s orchestra (1982-1984); he collaborated in the founding of the backing bands for the great sonero (Cuban son singer) Carlos «Cano» Estremera (1984) and the equally admired Tony Vega (1988).

In the interim, he worked independently and constantly recorded with other groups and a large number of soloists. He maintained this intense work routine until the present.

In 2009, Charlie Sierra organized his own orchestra, Paso Nivel, with which he recorded the album Ganas de bailar (Paso Nivel, CD-10692).

The album prominently features singer Efraín «Pichi» Gaetán, and included special guests such as Cheo Feliciano, Ismael Miranda, Andy Montañez, and Gilberto Santa Rosa, as well as Primi Cruz, Darvel García, and Héctor Luis «Pichie» Pérez.

Charlie Sierra was a distinguished Puerto Rican salsa timbalero, recognized for his long musical career and his virtuosity on the instrument.

He passed away on October 23, 2024, at the age of 67. Throughout his career, he collaborated with artists of the stature of Andy Montañez, Celia Cruz, Cheo Feliciano, and Bobby Cruz.

Musical Career: He began his career with the Orquesta Mulenze in 1970 and later joined Raphy Leavitt & La Selecta’s band.

Notable Collaborations:

He worked with Andy Montañez for over 25 years, being a key piece in his orchestra. He also collaborated with artists like Celia Cruz, Cheo Feliciano, Gilberto Santa Rosa, Bobby Cruz (on the hit “Sonido Bestial”), Tito Valentín, among others.

Own Orchestra: In 2009, he founded his own orchestra called Paso Nivel, with which he recorded the album “Ganas de bailar” (Desire to Dance).

Collaborators:

L’Òstia Latin Jazz

Also Read: Orestes Vilato. Cuban multi-percussionist.

Unity, The Latin Tribute to Michael Jackson

North America / USA /

Unity, The Latin Tribute to Michael Jackson is a testament to the power of music and one man’s indomitable spirit. The passion project of Peruvian-born, Miami-raised producer / multi-instrumentalist / arranger Tony Succar, Unity features more than 100 musicians, such Latin superstars as Tito Nieves, Jon Secada and Obie Bermudez and the mixing magic of Jackson’s legendary engineer Bruce Swedien in the first ever Latin album salute to The King of Pop.

Fueled by his relentless commitment, quiet determination and passionate faith in the loving message behind much of Jackson’s music, Succar has spent the last four years carefully creating Unity: The Latin Tribute to Michael Jackson. He overcame seemingly insurmountable obstacles, turning each roadblock into a stepping stone to take the project to new heights. In the process, he married Jackson’s timeless pop and R&B tunes, such as “Thriller”, “Bilie Jean”, and “I Want You Back” to his glorious salsa and tropical rhythms, creating innovative, vibrant arrangements that snap to life with exhilarating energy.

“American funk, soul, jazz – all those styles that were influencing Michael – were inspired from African music”, Succar says. “Same with Afro – Peruvian music, Cuban music. These songs were meant to be. Their original flavor lends itself to these Latin rhythms”.

Succar, 28 grew up listening to his parents play Jackson’s music, and by 13 had begun his own music career. He started on piano and segued to percussion, graduating with a degree in jazz performance at Florida International University in 2008. But it wasn’t until after the superstar’s untimely passing in 2009 that Succar, who earned his Master’s in Jazz performance from FIU in 2010, took a deep dive into the music and the man.

Unity, The Latin Tribute to Michael Jackson - Flyers — Unity, The Latin Tribute to Michael Jackson – Flyers

“That’s when I became a fanatic, memorizing all his lyrics” he says. “He was an amazing singer. I started analyzing every single detail”.

As Succar pored through Jackson’s material, revisiting songs like “Man In the Mirror”, “Earth Song” and “They Don’t Care About Us” – all of which are reimagined on Unity – he came to a realization: “Michael wasn’t only a musician, he was a spiritual person. He was speaking to people’s hearts through his music. He was a true role model and leader, not only in the music industry, but life in general”, he says.

Concurrent with his discovery, Succar arranged a salsa-infused version of “Thriller” for a Halloween party at Miami’s legendary, now closed Van Dyke Café. The reaction was so immediate and overwhelmingly positive to the performance of this new arrangement, that Succar recorded a version in his bedroom with his band, posted in online and gave away copies. Djs started playing the track and Succar began getting requests from around the world for a full album of Latin – flavored Jackson songs. “That sparked it”, Succar says. “I was such a fan. I felt like I had to do something”.

He launched a Kickstarter campaign and raided more than $10,000, which allowed him to record basic tracks and the idea and harmonious ideal of Unity was born. “The one thing that stood out in Michael’s usic was love. The reality was unity,” He says. “I also wanted the title to stand for something: a real marriage between Latin roots and American pop culture and to help keep Michael’s legacy alive”.

Part of keeping Jackson’s legacy alive meant incorporating elements of the original production in each of his fresh renditions for Unity. “Even the horn lines, I would transcribe them from Quincy Jones’ produtions and then apply them to the arrangement in a different way,” Succar says. “The essence of every song was respected. I gave it my best to create this very thin line between what Michael did with his production and what I brought to the project”.

As Succar proceeded, an astounding number of coincidences buoyed the project. Succar’s initial plan was to record the album with one vocalist, soulful Broadway veteran Kevin Ceballo, but as Succar finalized the arrangements, the idea of a compilation album cae to him. The first artist he reached out to was legendary salsa singer Nieves. He heard nothing back for months . Then, one day in the studio someone suggested Nieves fo “I Want You Back”. Succar explained he’d had no success contacting Nieves.

It’s turned out a studio visitor knew Nieves, called his manager, sent Nieves an MP3, and within 10 minutes, Nieves was on the phone asking when he should come in to record his vocals.

Nieves became the project’s godfather, bringing in other Latin stars, such as India and Jean Rodriguez. “If it weren’t for Tito, I would never have been able to develop this into what it is, “Succar say. “He really opened the doors for me”. Nieves even brought in his son, Tito Nieves Jr. to duet on the album closer, an emotional take on “You are Not Alone”.

As the project progressed, Succar sought out Secada, but once again, was running into walls. He had switched to a different studio and the recording engineer just happened to have worked wih Secada and upon hearing Succar’s story, gave Succar the singer’s direct email. Secada immediately replied that he wanted to record “Human Nature,” his favorite Jackson track.

But there was more to come. Succar contacted Swedien about mixing some tracks, but failed to get a yes after more than a year’s effort. He met his engineer Nick Valentin through a mutual friend, who piped up that he’d been Swedien some music and next thing Succar knew, he’s sitting beside his hero at Swedien’s ranch as Swedien mixed “Earth Song” and “Smooth Criminal. “He was the cherry on top,” Succar says. “When we were mixing, he would put up the original Michael songs and put on our remixes to compare and contrast. He mixed the tracks on the same Harrison 32C model console he mixed ‘Thriller’ on”.

The groundbreaking album, a joint project between Universal Music Classics, Universal Music Latin Entertainment and Universal Music Mexico, embodies Jackson’s spirit of harmony and bringing diverse cultures together through music.

Members of Unity, The Latin Tribute to Michael Jackson

Where there once was nothing but a dream, Succar now sees unlimited possibilities. Not only will there be a tour to support Unity: The Latin Tribute to Michael Jackson, but he is considering future Unity projects that could salute the music of other timeless artist, such as the Beatles or the Bee Gees, filtered through a Latin musical lens. “Unity is going to become a movement,” he says. And given how far Succar’s come already, who could possibly doubt him?

Cuban singer-songwriter Osmay Calvo shows his versatility in the New Jersey music scene

Osmay Calvo is just one of many examples of why Cubans have triumphed so many times in the United States, which is why his story and that of many of his compatriots always serve as inspiration for those seeking a career in the music industry but who do not dare to do it because of the misfortune of being born in a place that did not offer them the necessary opportunities for this.

Calvo was kind enough to take a few minutes of his time to talk about all that had happened to his career to date, so it is an honor for us to describe what was discussed in the following lines.

Osmay performing — Singer Osmay Calvo performing during a birthday

How Osmay became interested in music

Osmay tells us that, from an early age, he loved popular music, so he began to participate in school music events when he was just six years old in Tarará, east of the city of Havana. At the same time, his mother enrolled him in singing lessons and he spent much time with his family musicians, including his uncle, singer Pedrito Calvo, who was a member of Los Van Van.

A few years later, he began to attend various types of contests and joined the Mariana de Gonitch Singing Academy, directed at the time by maestro Hugo Oslé, thanks to which he met Pacho Alonso, Ela Calvo, Mundito González, and many other important figures of Cuban popular music.

Official beginning of his professional life

Osmay’s professional start was in Cuba when he joined the Adolfo Guzmán company in 1995, which is when he had his first paid job in music. Although it is true that the Cuban government got a huge percentage of the money earned by the artists, Osmay appreciates the experience and the chance to know other countries through his activities with the company.

Some time later, he had the opportunity to travel to Spain and then to Mexico, where he participated in a music competition and won first prize with the song “La Bamba.” He then spent another month in Spain for an event until returning to Havana and winning the Mariana de Gonitch Singing Contest, obtaining the prize for the great popular generation of national music award, which led him to travel through the 14 provinces of Cuba to offer his services and make himself better known.

Osmay, Ela, and Beatriz — Singer Ela Calvo, Osmay Calvo, and ”La Musicalísima” Beatriz Marquez

Moving to the United States

It was in 2002 that Osmay finally decided it was time to look for other roads and leave Cuba to no longer return. He was going to sign a contract with Mambo Records in Miami, but things did not go according to plan, so he started recording his own music and went to New Jersey, where he began to organise his own orchestra with which he has 16 original songs written by himself, but also numerous covers of hits by other artists.

He has not been back to his native country for about 24 or 25 years. In fact, most of his family also lives in the United States and Canada, except for his uncle Pedro Calvo, some cousins, friends, and his music teachers.

However, after all the time he has been gone, things have not been entirely easy for Osmay, especially in the beginning. The hardest thing for him was language learning and how little he knew about his new place of residence, but the artist quickly learned and was gradually integrated into this new music scene, thanks to which he was able to play with many orchestras and meet great figures such as Oscar D’León at the Coco Bongo Club in Elizabeth, New Jersey, and Fernandito Villalona, for whom he opened one of his shows.

In New York, he played with many bands and learned a lot of music that was played locally. Osmay brought an academic background in lyrical and symphonic singing from Cuba, but New York has mostly restaurants, nightclubs, and fairs, so he had to adapt to a completely new format and audience.

Osmay, and Oscar — ”El Sonero del Mundo” Oscar D’ León and Osmay Calvo

Fortunately, he got it and was recommended by other musicians to play in many places until one night he was asked to play at Don Coqui and was told that Tito Nieves would be there. Then, when it was time for Osmay and nine other musicians to perform on stage, Jimmy Rodríguez, the owner of Don Coqui, approached them to say that Nieves might come and play with them later. A little while later, the Puerto Rican actually did approach with a microphone in his hand, and both he and Osmay began to improvise, and the show lasted until two o’clock in the morning. For the Cuban, it was an exceptional experience and an unforgettable moment in his career.

Haberte Conocido

After all the progress made, in 2021, Osmay felt ready to release his first independent album, which he titled “Haberte Conocido”. This was a goal to fulfill since Hugo Oslé, who was also his singing teacher, told him and the rest of his students that it was very important to be an independent artist who wrote and recorded his own songs.

In addition to that, he remembers that everyone in the class was a bolero singer, so he wanted to do something that would set him apart from the rest, and that is how he began to turn to salsa and other genres. This made him a much more versatile artist who could sing almost any genre coming his way. From then on, he stopped learning the original soneos of the songs and started to improvise on many occasions, which eventually led him to compose. Finally, in 2021, he wrote “Haberte Conocido,” which he put together from ideas that came to his mind and that he saved on his mobile phone during rehearsals. Then, stanza by stanza, he created the first song of his own.