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Salsa at its best, led by the leader of La Puertorriqueña: Don Perignon
The most recent production of the Bailable Víspera de Reyes, which was instituted in 1987 by the timbalero and band leader known in the salsa scene as Don Perignon, was quite an event. Thirty-eight years ago, ‘La Puertorriqueña’ was still known as ‘Compañeros y amigos’.
However, the dance that fulfills a promise made by Perignon to kings has continued to be celebrated beyond the names with which Perignon has identified his band over time.
Each year, the show brings with it a box of surprises. In addition to what is promised during the promotion, the salsa public that comes to the traditional gala knows that anything can happen there. This year, the stage showcased great artists in addition to the luxurious closing that gave us the night by way of El Caballero de la Salsa, Gilberto Santa Rosa performing the emblematic song by Johnny Ortiz, ‘Tu música popular’.
In this edition, held on January 5, 2025, the concert was started by the successor of the Perignon dynasty, also a percussionist, Pete Perignon; flanked by vocalists Ricardo Rodríguez in the more melodic songs and Julio López in the heavier numbers. López got the first turn at the microphone with ‘Azúcar pa’ un amarga’o’, followed by Rodríguez in the key of ‘Cuéntame tu historia’.
According to Pete himself, he invited Jorge Yadiel Santos to silence rumors regarding the singer’s departure from his orchestra. With the vocal power that characterizes him, the now soloist closed the presentation of the first orchestra of the night; performing ‘Baila’ and ‘Gotita caído en clave’.
The group led by Pete Perignon and his timbal offered a great performance with master musicians of the present generation. These were: Jean Carlos Camuñas on the tumbadoras, Carlos Pagán on the bongó, Reynaldo Burgos on the piano, Jorge Rivera on the bass; Víctor Ambert and Jahaziel García on the trumpets; Darnell Febres and César Javier Ayala on the trombones, and Víctor “Yuca” Maldonado on the baritone saxophone.
La Mulenze kept the crowd on the dance floor, with the first song of their repertoire being ‘La sala pa’l baile’, performed by Rafy Andino. The vocal front was completed by Rafy Cruz and Alex Ojeda. The bassist, director of the orchestra of eternal youth, Edwin Morales led his boys, as he affectionately refers to his musicians; Among them were Emanuel Navarro on the tumbadoras, Robert Watts on the timbal, Alberto Muriel on the bongo, Manolo Navarro on the piano, Carlos “Coamito” Martínez, Jr. and Abdel Rivera on the trumpets; in addition to Willie Torres Ortiz and Heity Morales Nogueras on the trombones. The golden touch was offered to those present during the interpretation of the song “Mala paga”, written by our Moncho Rivera, when the Venezuelan master musician and sonero Marcial Istúriz took on the task of accompanying Rafy Andino on the soneos, shortly after Rafy confessed to being a great admirer of one of the greatest exponents of the salsa sound in Venezuela.
Before starting his presentation, the star of the annual gala, Don Perignon marked and conducted the orchestra to play ‘Happy Birthday’ in honor of the evening’s host, also Z-93 announcer: Néstor Galán, “El Búho”. The timbalero conducted the orchestra, which was reinforced for the evening with guest musicians. The group in its Bailable Víspera de Reyes 2025 version was composed of: Charlie Padilla on the tumbadoras, Miguel Aponte on the bongó, Ángel Martínez on percussion (güiro), Luis Marín on the piano, Efraín Hernández on the bass; Cuto Soto, Gamalier González and Rafy Torres on the trombones; in addition to Pedro Marcano, Carlos “Coamito” Martínez, Jr., Ángel Segarra and Humberto Ramírez on the trumpets. For the vocal front, Perignon called on: Henry Santiago, Pedro Brull, Joe González, Pichie Pérez, Josué Rosado, Jerry Rivas, Rico Walker, Marcial Istúriz, Hermán Olivera and Gilberto Santa Rosa.
The repertoire took the followers of La Puertorriqueña on a historic tour that demonstrated the variety of songs and voices that come together in a salsa key with the cadence and flavor that Perignon manages to give to each project he leads. Joe González performed ‘Ciudad, ciudad’, Pedro Brull excelled singing ‘Represento’, Pichie Pérez was in charge of vocalizing ‘Como mangó’, Josué Rosado visited to sing ‘Cantándole al amor’, Jerry Rivas was in charge of ‘El pin pin’, Rico Walker shined with ‘Que vengan rumberos’, followed by Marcial Istúriz and a masterful interpretation of ‘La familia’ and Hermán Olivera with his spectacular ‘Ritmo Bembé’.
La Puertorriqueña was born in 1988 near the promise of Kings, which happens every January 5. The dance of January 5, 2025, which was held at the Sheraton in San Juan, Puerto Rico and was dedicated to trombonist Toñito Vázquez (RIP) showed that the promise of Reyes by Don Perignon -who is the leader of a generation of musicians- established more than three decades ago, remains valid. The participation of El Caballero de la Salsa recreated the beginning of his career, together with his first musical director: Don Perignon. That brotherhood between Gilberto and Perín, like the promise of Reyes, also remains valid. For our part, we will continue in salsa thanks to the call of the leader of La Puertorriqueña.
Also Read: Don Perignon and La Puertorriqueña are prides of Puerto Rico
Latin America / February 2025
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Songoyó the perfect idea Experimental Cuban Son Group with its own style
Songoyó is an experimental musical group of the Cuban son genre with a particular style, since it fuses many musical rhythms, born on the initiative of Professor John “Goyo” Useche, on November 11, 2021 in La Victoria, Aragua State, Venezuela.
In order to unite Victorian musicians and start putting together songs by the remembered Madera Group, icon of the Caracas parish of San Agustín in Marín, and thus present themselves at the Guataca Salsera, which takes place every December 31 at the Madera 15 court, located in the Las Mercedes urbanization of the same town.
The idea immediately begins to take shape and that is when Professor John “Goyo” decides to communicate his project to Shinaury Rojas, a personal friend of many years, who at that time was based in Argentina, then informs the poet guitarist Rafael Pérez who was in Brazil and knew by reference of salsa groups via the web. Communication was fluid and accepted, regardless of the distance. John, Rafael and Shinaury embody everything that Songoyó is today.
It should be noted that the first name of the Victorian group was Son Madera 15, due to the loyalty that is maintained with the Madera 15 foundation, then it was changed to Sabor Madera 15 and finally they decided to name it “Songoyó” as the definitive name.
The communication was continuous and they immediately began to organize the activities that had to be carried out to group the musicians who were willing to belong to the group, musicians were contacted by phone and in person, finally the interested parties were grouped and the rehearsals began in an accelerated manner at Professor John’s house, to fulfill the main objective which was the presentation at the Guataca Salsera at the end of the year, in that 2021.
From that moment until the present, there have been many musicians who have passed through the son group, including the young music teacher Willian Herrera who is assigned the task of directing the group, the rehearsals are given and four songs are put together that were played at the Guataca Salsera achieving total success in said presentation causing the acceptance and applause of all those present.
By January 2022, the creator of the group calls the musicians and proposes to continue the project, achieving the acceptance of all. In the following months they contacted maestro Fael Alvarado, an expert musician who knows the TRES very well, the base instrument of the Cuban son, who agreed to join the project and professor William Herrera gave the musical direction to maestro Fael.
In February of that same year, the second presentation was made before a large audience at the Juventud de la Victoria festivities on Paseo La Juventud and Songoyó was again liked by the public.
The rehearsals continued, and it was maestro Fael himself as musical director, who proposed to everyone to create their own style with songs that belonged to the group and to have a unique sound in order to accept more contracts from then on.
In January 2024, the recording of the first and unpublished production of Songoyó “EL NEGRITO BEMBA” began under the creation and pen of the poet Rafael Pérez and the general recording direction of maestro Fael, in the recording studio “Fael Alvarado” in San Mateo, Aragua State. This recording was a huge success and can be found on various digital platforms, Its release took place in January 2025, with a great acceptance.
From that moment on, the group began to be sold and promoted for public and private events inside and outside Venezuela.
Currently, there are 8 musicians that make up the group: Norberto Machado, güiro voice, Noel Machado, clave voice and percussion direction, Rafael Pérez, maracas voice, Alexis Tovar, tres, Edwin González, bass, Jonhy Vergara, tumbadoras, Fael Alvarado, tres, piano, violin and musical director, and John Goyo, bongo and general direction.
“SONGOYÓ, THEY ARE AS WE ARE”
For hiring, contact Professor Useche by phone at
+58 424-3212762
Instagram: Songoyo
Facebook: Songoyo
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Oscar Rojas Oscar Rojas has 54 years of musical career full of passion, rhythm and flavor
Oscarcito Rojas and his unmistakable lump.
In Venezuela, during the years 53-54, there were cold and humid nights in the home of the Rojas Mendoza Family, located in a high area of the Pastora of beautiful Caracas, there the furniture that was outside would wake up damp, particularly a child’s chair with a colonial design, which had the back and seat made of cattle leather, which when heated by the heat of the sun became warm like the leather of a coastal drum.
That is when the restless child Oscar, barely 7 years old, discovered the sounds produced by that cured leather and began that love relationship with percussion without realizing that this would be his life; his livelihood; his passion; his everything.
He also devised a pair of congas with two milk cans of different sizes, and thus achieve different sounds in his new instrument.
By the 70s, being a talented young man and wanting to earn his own living, Oscar bought a motorcycle to work as a messenger. Unfortunately, he had an accident on it, which led to his resignation from the company. With the money he generated from the liquidation, he bought a drum kit that belonged to the illustrious Pavo Frank. This is how his foray into rock began.
Later, due to the fractures he suffered in the motorcycle accident, he could not continue playing drums, but he got involved in percussion without a drumstick, which is to say, by hand, and he started playing congas.
Óscar Eduardo Rojas Mendoza is one of the most beloved and respected conga players in the country. He is the third of five siblings (Jaime; Yolanda; Óscar; Freddy and Leibia), son of Óscar Benito Rojas (musician and cabinetmaker) and Cira de los Santos Mendoza (dressmaker).
Loved by all his family, especially by his sons Gabriel ☦️ Osduare☦️ and Enrique; and his granddaughters Gabriela and Daniela.
Born in Caracas on October 18, 1946, he began his musical career in 1970 with Ramón Hernández, continuing with a trail of figures such as: Pablo Schneider, Vytas Brenner, Victor Cuica, Oscar Maggi, Soledad Bravo, Lilia Vera, Frank Hernández (El pavo Frank), Oscar D’Leon, Chuchito Sanoja, Professor Juan Carlos Núñez, Alfredo Naranjo.
He has participated in the best Jazz festivals in the world and in the country such as the Memphis in May International Festival (Tennessee), Varadero International Festival (Cuba), V International Festival of Montreal (Canada), Festival D’te de Québec (Canada), 10 International Festival of Montreal (Canada), Mar de Plata Jazz Festival (Argentina), Curacao International Festival where he was invited by the great saxophonist Paquito D’ Rivera, in the Venezuela Jazz Festival, in the 4 Caracas Jazz Festivals, in the Jazz Festival in El Hatillo editions IV, V and VII, and in festivals in the interior of the country.
He was an active founder of salsa groups such as Oscar D’Leon, where he participated in the recording of the first 3 albums, the group Caribe Libre, Gerardo Lugo’s Incorregibles, Alfredo Naranjo’s El Guajeo, Nano Grant’s Ensemble ll, Pavo Frank and his Orchestra. He was also part of the jazz groups Oscar Maggi (Macoya), Pedrito López, Otmaro Ruiz and Víctor Cuica.
Among the national and foreign artists he has accompanied are: Trino Mora, Chucho Avellanes, Mirtha Pérez, Estelita del Llano, María Rivas, Nancy Ramos, Nancy Toro, Cheo Feliciano, Ted Cordón, Paquito de Rivera, Eddie Sansson, Aldemaro Romero, Chuchito Sanoja, Jimmy Bosch, the Venezuelan Symphony Orchestra, the Municipal Symphony Orchestra of Caracas, among others. He was the founder of the La Calle Group and the Ensemble de la Calle, ReNueve (rock group), Negros and Aparte.
He currently works as a percussionist for Maigualida and his Ensemble. He also rehearses every Wednesday at Juan Sebastián Bar “El Templo del Jazz y La Salsa” with the new Ensamble de la Calle.
He has been in a musical career for 54 years, full of passion, rhythm and flavor.
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