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Caoba Y Bambú, Tito Rivera’s first discographic production

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

Important facts of Tito Rivera’s career

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

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

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

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

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

Caoba y Bambú

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

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

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

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

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

Don Perignon and La Puertorriqueña Release Classique et Savoureux

Timbalero, director, and music producer Pedro Luis Morales Cortijo, better known as “Don Perignon,” presents the 14th musical production from the “dancer’s orchestra” titled Classique et Savoureux. The leader of La Puertorriqueña features three guest vocalists on the album: Venezuelan musician and sonero Marcial Istúriz; Josué Rosado, one of the most iconic voices from La Puertorriqueña’s history; and “El Niño de Trastalleres,” Andy Montañez. With this record, Don Perignon reinforces his commitment to producing “flavorful” salsa with the dancer in mind.

In September 2025, Don Perignon and Andy Montañez reunited in the recording studio to reinvent “La Bikina.” The digital single fused the signature sound of Don Perignon’s La Puertorriqueña with the seasoned expertise of Andy Montañez. This alliance revives a nostalgic duo—the “dancing timbal” and the “singing compressor” that dates back to 1981. At that time, “Perín” took the reins as Andy’s musical director at the invitation of the legendary vocalist following his departure from Dimensión Latina. From that eight-year partnership, Andy Montañez still treasures Don Perignon’s participation in the 1988 recording of El Eterno Enamorado (TH-Rodven), where the latter not only played the timbales but also served as the album’s musical director. Regarding this, Andy says: “I remember him with great affection and appreciate his discipline in directing that recording, especially because every track became a hit.”

Don Perignon and La Puertorriqueña Release Classique et Savoureux

As promised in earlier press releases, that single was the prelude to Classique et Savoureux, where “La Bikina” is featured as the third track. Don Perignon released the song arranged by pianist and composer Domingo García 60 years after its original composition. The song, originally titled “The Beginning,” was penned by Mexican songwriter Rubén Fuentes Gasson.

Tracklist and Credits

The tracklist for Classique et Savoureux is as follows:

“Ella Sigue Bailando”: Composed and performed by Joe González; arranged by Andy Guzmán.
“Hay Que Quererlas”: Composed and performed by José Karlo Ribot; arranged by Roberto Pérez.
“Pura Imagen”: A classic piece by Adalberto Álvarez, vocalized by Joe González; arranged by Juan C. Cardona.
“Ayer Te Vi”: Written by Rubén Rada, featuring the vocals of Henry Santiago; arranged by Ramón Sánchez.
“No Se Equivocan”: Written and performed by José Karlo Ribot; arranged by Carlos “Cuto” Soto.
“Yo Soy Guaracha”: Written by Ángel Santos, performed by Marcial Istúriz; arranged by Carlos García.
A Medley of Boleros: Featuring “Necesito Llamar Su Atención” (Roberto and Erasmo Carlo) and “Mírame Más” (Julio Gutiérrez), performed by Henry Santiago and Joe González; arranged by Juan C. Cardona with a flute solo by Roberto Calderón.
“Será Mejor”: The closing track, written by Héctor Olmo and arranged by Juan C. Cardona, featuring vocalist Josué Rosado.

The Musicians

Leading his musical generation on the timbales and as director, Don Perignon was backed by the musicians of La Puertorriqueña and several guest artists. On the congas, Antonio “Coqui” Marrero, Jean Carlos Camuñas, and the late William “Kachiro” Thompson ensured the time and clave remained rhythmically precise. On the bongos, you can hear the distinctive touch of one of the original members of La Puertorriqueña, Miguel Aponte. On bass, the unmistakable Efraín Hernández interacts with Juan Rivera on piano. Other pianists on the recording include Luis Marín, Leni Prieto, and Ricky Rodríguez. The production is rounded out by the backing vocals of the incomparable Henry Santiago, Juan Bautista, and Joe González. The trumpet section featured Ángel and Richie Segarra along with Jesús Alonso; Sammy Vélez on baritone sax; and the trombones were handled by Juan C. Cardona, Gamalier González, César Javier Ayala, and Carlos “Cuto” Soto.

Pedro Luis Morales Cortijo “Don Perignon”

The album was recorded at the studios of Rolando Alejandro and Angelito Segarra, with mastering by Wiso Rivera.

This release “reaffirms Don Perignon’s commitment to the evolution of salsa in the digital age” without neglecting physical formats, as the album is available on CD and LP to ensure the music is accessible to everyone.

With the title Classique et Savoureux, Don Perignon honors more than four decades of using his stage name inspired by the French champagne Dom Pérignon. He expresses gratitude for the longevity of a concept that began without a clear goal but was built on heavy discipline and the firm purpose of making music for the dancer. In an interview, the bandleader stated that his musical project “is already a classic, thanks to the dancers who have appreciated and supported its sabrosura (flavor).”

Also Read: Long live the music! Repeat after me: “Long live the musicians so they can keep making it.” And I’ll add: “Long live SALSA!”

Musician and entrepreneur of Latin origin Jorge Torres talks about his band and his company

American multi-instrumentalist and entrepreneur of Puerto Rican descent Jorge Torres had a conversation recently with us about his musical origins, his company Jimmy Jorge Entertainment, his band, and his work with music today. In International Salsa Magazine, we are more than happy to interview him and learn what he has to tell us.

Jorge Torres and his conga — Musician and entrepreneur Jorge Torres next to his conga

Jorge’s beginnings in music in his native Chicago

Jorge said that when he was very young, his mother got a large stereo system that included a record player and radio where she listened to all kinds of music. His brother had a copy album “Che Che Cole” by Willie Colon and a cowbell he used to play constantly, making it the first instrument he heard in his childhood.

In the fifth grade in Philadelphia, he became interested in learning to play the guitar, but at that time his school did not offer guitar programs, but violin. So he decided to try the violin, but only played it during that year. In the eighth grade, he returned to Chicago to live with his father following the death of his mother, and his interest turned to steel drums, which he also referred to as Caribbean drums.

He spent another year playing this instrument until he reached high school and moved back to Philadelphia to live with his brother, which is when he changed his mind again and started loving the trumpet and the conga. He was so passionate about the latter that he bought his own conga, which he still has to this day. Then, other musician friends taught him how to play it, and the rest is history.

Early professional career

His learning to play the conga was the beginning of his life as a professional musician, and he played for various groups such as La Orquesta Cupey, Orquesta La Precaución, and Orquesta La Opinión, among others. During this time, Jorge learned to play many other instruments such as bongos and timbales. His teacher was Mikie Rivera, renowned Puerto Rican singer-songwriter and trova and jazz guitarist, who met with the young man and other musicians in the cellar of a friend’s house to mentor them and work with them.

These meetings aroused in him the idea of creating his own band in the future because of all that Rivera taught him about the music biz, and he wanted to put that knowledge into practice as soon as possible.

Jimmy Jorge and The Latin Jazz Expenses

Jorge’s band started as a small jazz group, but he did not want to settle for that. At some point, he was interested in having an orchestra with four wind instruments, three singers, piano, bass, bongos, timbales, and congas. That is how Jimmy Jorge and The Latin Jazz Express project arose.

This project started as a six-member Latin jazz band in 1995, but has managed to grow to the point that it has about 12 members and plays many other musical genres, although salsa is still very present in its repertoire.

Jorge Torres and the band — Jorge Torres and the rest of Jimmy Jorge and The Latin Express

Through hard work, Jimmy Jorge and The Latin Jazz Express have managed to position itself in the industry until they became the house band on the radio station called “La Mega 1310 AM” for some time and have played at all kinds of events such as The Puerto Rican Parade, La Feria del Barrio, Penn’s Landing’s Hispanic Fest, among others.

Some of the current members of the band are Peruvian singer Joseito Rivera, Puerto Rican singer Lia Montalvo, Dominican singer Hugo Tavares, conguero Edwin “Papo Buda,” percussionist Orlando Santana, and trombonist Edgar Salias.

Jimmy Jorge Entertainment

When Jorge began performing with American orchestras, he noticed that some of them, in addition to their musicians, also had dancers and DJs who were part of the orchestra and the show. The inclusion of these professionals in concerts seemed like a phenomenal idea to him and wanted to put it into practice for his own project, so he took advantage of the contact he had made with singers, DJs, photographers, dancers, and dance teachers to recruit them for his own shows in the future.

So, he began asking for phone numbers in order to build a network of artists he could count on in case he needed their services. Today, he has a large catalog of options for every type of show, making Jimmy Jorge Entertainment one of the most important Latin entertainment companies in Philadelphia today.

Carlos Jimenez offers his talent and passion to charm the audience in universities, hotels, and restaurants all over New York

We are very happy because this beginning of the year has brought us a very friendly conversation with brilliant bandleader, composer, vocalist, and flutist Carlos Jiménez, who kindly answered the questions we had for him.

The New Yorker has many interesting things to tell, so we hope that everyone will enjoy the material below.

Carlos’ beginnings in music

Carlos was born in New York City, but moved to Puerto Rico with his family when he was six years old. It was on the Island of Enchantment that he discovered his inclination toward music thanks to his trumpeter father William, and his cuatrista grandfather Cruz, who encouraged him to take music lessons. Therefore, he also began to receive musical training and built competence for playing percussion instruments such as the timbales, bongos, and congas.

His first lyrical instrument was the trumpet, which he learned to play under the tutelage of Professor Pablo León at Francisco Zayas Santana High School. However, inspired by Mongo Santamaría and his musical arrangements for his song “Song For You,” he decided to switch instruments and start playing the flute, which he has continued to do.

Carlos’ return to New York

As a young man, he decided to return to his hometown highly motivated by the vibrant Latin music scene there, which he describes as “the city where all our dreams come true.” While there, he enrolled at the Music Conservatory of Westchester to study classical flute, but his training have not been completed.

He also studied jazz harmony and voicing with piano teacher Michael Longo, who he describes as a good friend and teacher to the point of making a recording together. Unfortunately, Longo was one of the many victims of the COVID-19 pandemic, which was an immense sadness for Carlos and those who had the privilege of knowing him.

Orlando Marín and Carlos Jimenez — Orlando Marín ”El último Rey del Timbal” and Carlos Jimenez

Results of his prolific career

After more than 20 years of successful career, Carlos has built a great reputation in the industry at the point of passion and hard work. He himself says that his good name comes as a result of his responsibility, reliability, and, most importantly, his ability to play good music.

His great skills as a professional and musician have led him to play at corporate events for companies such as Victoria’s Secret, Nike, ScotiaBank, Regeneron, and many others. In addition to that, he has also been able to play and lead orchestras in performances for universities and cultural institutions such as Lehman College, Sarah Lawrence College, New York Botanical Garden, Columbia University, and many more.

Likewise, Carlos’ band has performed in so many festivals such as West Harlem Jazz Festival, Harbour Jazz Festival, Fall Harvest Fishkill Farm Festival, Lake George Festival, Summer Sound Festival, and many others.

Altruistic side

In addition to the above, Carlos has also earned the respect of his colleagues thanks to the numerous galas, charity events, and community activities the artist has been involved in recent years, which has made him worthy of numerous awards for his community service. This shows that the flutist is not only passionate about his craft, which is music, but also uses it to do good to those in need. We can also add that he has headlined numerous shows at well-known restaurants and hotels such as Casa Cipriani Hotel, The Marriott, Ritz Carlton, The Lexington Hotel, among others.

Carlos Jimenez and Eric Adams — Carlos Jimenez and former New York Mayor Eric Adams

The Carlos Mambo Dulcet

Together with his orchestra, Carlos has released several albums, including “Red Tailed Hawk Vol. 1,” “Red Tailed Hawk Vol. 2,” and “Despierta Boricua,” among others. The artist closed the conversation by saying that his group continues to be formed and has more than 100 musicians and all are are wonderful.

Son 14 The History of the Orchestra and the Success of “A Bayamo en Coche”

The Son 14 orchestra was founded in Santiago de Cuba in 1977 by vocalist Eduardo “El Tiburón” Morales (born in Cuba in 1935) and pianist and musical director Adalberto Álvarez.

As the name suggests, it is a 14-member ensemble dedicated to performing son, the national musical genre of Cuba. In 1978, Lázaro Rosabal (born in Santiago de Cuba in 1953) joined the group.

They quickly recorded several albums for the local EGREM label, many of which became bestsellers throughout Latin America, allowing them to undertake extensive tours across the Americas and Europe.

In 1992, co-founder Álvarez left the band to form his own group. Nevertheless, Son 14 continued its journey under the musical direction of Rosabal.

In addition to their continued success in the Latin market, the band began to gain international recognition, first with the song “El Son De La Madrugada,” included on the compilation Cuba – Fully Charged (Earthworks Records, 1993), and later with the release of Son – The BIG SOUND (Tumi Records, 1995), a compilation of their material from the Álvarez era.

After introducing a modern, vibrant version of son and its variations (son montuno, bolero son, etc.) to non-Latin audiences, Tumi Records commissioned a new recording at Cuba’s EGREM studios. Released in 1996 as part of the Cuba Explosion series, the album Cubanía proved that the band had not lost an ounce of its musical talent and energy under Rosabal’s direction. Three years later, the group released La Máquina Musical, which incorporated Colombian tropical rhythms into their sound, promoting the album with a European tour that included a performance at the Cuba Presente Festival at the Barbican Centre in London. (Source: AllMusic)

The Milestone of “A Bayamo en Coche”

The album A Bayamo en Coche (A Bayamo by Carriage) was released in 1979, with its biggest hit being the title track itself. The album’s opening song, composed and arranged by Adalberto Álvarez from Camagüey, instantly transformed him into one of the leading figures in popular Cuban dance music from that year on.

The song “A Bayamo en coche” not only revives traditional son and enriches it with new sounds but also artistically recreates a cherished tradition rooted in Bayamo, the cradle of Cuban nationality. In this city, coches (horse-drawn carriages) are used for pleasure rides and recreation, and the song’s lyrics narrate these moments.

The album contained other tracks that were hugely popular in Cuba between 1978 and 1980, such as “Calle Enramada” (a son elegy to that main Santiago street), “El Son De La Madrugada” (with a beautiful later version by Omara Portuondo), “Se quema la trocha,” and “Elena la cumbanchera,” which turned the record into a landmark within this genre of Cuban music. Most of the tracks were performed by Tiburón Morales, the group’s lead vocalist.

Tribute to The Gentleman of Son

Recently, Son 14 founder Adalberto Álvarez, known as “El Caballero del Son” (The Gentleman of Son), was honored with a concert at the Karl Marx Theatre. This event celebrated his 46 years in music and the 35th anniversary of his later orchestra, Adalberto Álvarez y su Son.

The concert was a memorable tribute to the work of the composer of “A Bayamo en coche.” Some of his best songs were performed by notable Cuban musicians:

Septeto Santiaguero (Son para un sonero)
Pancho Amat and Alain Pérez (Tu fiel trovador)
Alexander Abreu (Pura imagen)
Paulo F. G. (Fin de semana)

At other points, Frank Fernández performed a duet accompaniment with the voices of Adalberto Álvarez and Jorge Luis Rojas, “Rojitas,” on Santa Cecilia.

Additionally, Rojitas sang with Tania Pantoja (Vivir lo nuestro) and solo (Y qué tú quieres que te den). Robertón and Lele, vocalists from Van Van, performed Agua que cae del cielo, while the orchestra Adalberto Álvarez y su Son took on De Cuba pa’l mundo entero, Son de la madrugada, and Los caminos de Ifá.

En La Sala Show “El Saraito” Adalberto Álvarez (R.I.P) Fundador, Director. Arreglista y Pianista del Son 14 de Cuba, Dj. Augusto Felibertt y Vicente López

That night, Maestro José Luis Cortés highlighted Álvarez’s musical quality, focusing specifically on “A Bayamo en coche,” the song that, in 1979, announced the existence of a great artist to the public. Álvarez was capable of bringing son to Cuban art schools and has defended Cuban son with grace and artistry, all while staying true to the essence of one of the dance music genres that best represents Cuban identity. (Source: Joel del Río, Cibercuba)

“A Bayamo En Coche” Album Details (1980)

No.	Track	Genre	Composer
01.	A Bayamo En Coche	Son	Adalberto Álvarez
02.	El Son De La Madrugada	Son guaguancó	Adalberto Álvarez
03.	Se Fue Mi Amor Y No Lo Vi Partir	Bolero son	Adalberto Álvarez
04.	Calle Enramada	Son	Pedro Gómez
05.	Elena La Cumbanchera	Son	Gerardo Martínez
06.	Se Quema La Trocha	Bachata-Son	Adalberto Álvarez
07.	Tal Vez Vuelvas A Llamarme	Son montuno	Adalberto Álvarez
08.	Gimen Las Rosas Por Una Triste Ilusión	Bolero	Adalberto Álvarez
09.	Vamos, Háblame Ahora	Bachata-son	Adalberto Álvarez

Musicians who participated in the recording (1979):

Director, Acoustic Piano, Keyboards: Adalberto Álvarez
Vocals, Minor Percussion: Eduardo “El Tiburón” Morales, Héctor Wedderbron, Daniel Carmenates
Bass: Jorge Machado
Guitar: Efisio Barroso
Trumpet: Eduardo Sánchez, Guillermo Femández, José Fernández, Dagoberto Rodríguez
Trombone: Lázaro Rosabal
Tumbadora (Conga Drum): Ubaldo Canes
Bongó, Cowbell: Guillermo Viera

Recorded at: EGREM Studios (1979)

Collaborators:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Luis Conte: The Cuban-American percussionist who fuses Cuban son with global music