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Search Results for: World Salsa

Rafaelito and his career between Munich and New York

We had a very personable and honest conversation with Rafael Pareja Ibañez, who via WhatsApp has given us a few minutes of his busy schedule to tell us a bit about his fascinating career to date and the group he currently leads, Rafaelito Y Su Tumbao. 

The artist, born in Lima, Peru, has a huge love for music and remains intact to date, so he says it is a pleasure to share the story of how he came to pursue it professionally, no matter how many times he tells it.

Rafaelito playing
Rafaelito playing the guitar live

Rafael’s beginnings in music

Rafael was first inspired by the artists his parents used to listen to at home, including La Sonora Matancera, Celia Cruz, Tito Puente, and many others. Family social gatherings always featured iconic songs by these stars, so he could not help but be interested in music at the early age of 10.

It all started when his father caught him beating some paint buckets to make it look like he was playing a drum set on the roof of their house, which led him to enroll his child in a music school to take guitar lessons. While it is true that this was the first instrument he learned to play, he also plays the baby bass in salsa and the piano together with all the percussion instruments.

At that time, what the young man played the most was rock and pop because the radio and other media left little room for Latin music. In fact, Rafael formed his first rock band at 16, as this was the genre with which young people identified the most in the 1980s.

Move to Germany

At 20 years of age, Rafael decided to move to Germany, specifically to Munich, where he lived for more than 27 years. It was there that he came into contact with people of other nationalities and had far more access to Latin music, especially Peruvian music, which surprised him greatly. He also got to listen to international stars such as Eddie Palmieri, Miguelito Cuní, and Arsenio Rodríguez.

Rafaelito and Nicky Marrero
American Latin jazz percussionist Nicky Marrero and Rafaelito at Mamajuana Cafe in the Bronx

It was also in Munich where he began to have his first professional experience together with major musical groups from there such as the Sexteto Melaza, where he played alongside musicians from different parts of the world. At a student barbecue, Rafael was hanging out with many Latinos, and they began to sing and play instruments together, leading them to form a group, which they named Melaza. During that time, he dedicated himself to play salsa, guaracha, son, bolero, and cha-cha-cha in a sextet format.

The group featured a guitarist, a bassist, a conga player, a timbalero, a bongo player, and a singer. This sums up his first musical experience in Germany, which lasted about a year and a half. It also helped him draw the attention of other musicians in the city’s music scene, who convinced him to join other projects that were being created.

Another of those projects included a trio of young musicians called Madera Limpia which was founded in 2005, when rap, reggaeton, reggae, and many other genres mixed with Latin rhythms such as changüí or kiribá were super trendy. It turns out that a Romanian couple traveled to Cuba, produced a film called “Paraíso,” and went on a concert tour through Europe and North Asia. Therefore, they needed to hire many musicians, including the members of Madera Limpia, who contacted Rafael through connections and asked him to be their bassist. The Peruvian accepted the offer and toured all those places with these musicians, an experience he talks about with great affection.

Back in Munich, he met Lou Bega, the creator of the hugely popular swing-pop cover of Pérez Prado’s “Mambo No. 5,” which stayed at number one for 36 consecutive weeks in the United States. When his producer wanted to find a band to accompany him, there were very few Latin musicians in the city and Rafael was one of them. Obviously, they called him and his colleagues to work on some demos featuring Bega’s vocals and trumpet samples. After being selected, he became the director of his live band and accompanied him on many concerts in Europe between 2007 and 2008.

El Canario and Rafaelito
José Alberto ”El Canario” and Rafaelito

Rafaelito Y Su Tumbao

Right there in Munich, Rafael finally made up his mind and formed his own musical group, Rafaelito Y Su Tumbao, which currently has branches in Munich, Lima, and New York, where the artist currently resides. Rafael arrived in this city as early as 2020, which is when he got to perform with stars such as Charlie Aponte, Andy Montañez, Jose Alberto “El Canario,” Hildemaro, and many others. When he saw how good the human material was in his new place of residence, he also founded Rafaelito Y Su Tumbao in New York with musicians from there. 

What is striking about his move to New York is that it was motivated by Rafael’s reunion with his childhood sweetheart in Peru, whom he reconnected with in 2019. It turns out that his partner was living in New York, so he jumped on this new opportunity that life offered him and made the romantic decision to cross the Atlantic again and marry her. This radically changed his life both personally and professionally, but he’s glad he did.

Members of Rafaelito Y Su Tumbao
Members of Rafaelito Y Su Tumbao in New York
Line Up :
Rafael Pareja – Baby Bass
Ray Cabrera – Piano
Andres Garces – Vocal
Karla Olivo Moreno – Vocal
Dennis Hernandez – Trumpet
Christian Gomez – Trumpet
Jimmy Bosch – Trombone
Andre Carpio – Timbal
Hector “ Jereto “ Ferreyra – Congas
Chuito Quintero – Bongo

Read also: Dominican bandleader and musical director Orlando Santana talks about La Makina and his career in general

Bailatino & Negramenta

Latin America / Venezuela / Caracas

Bailatino & Negramenta

Bailatino & Negramenta Flyers
Bailatino & Negramenta Flyers

This December, Hard Salsa Bar—the go-to spot for themed parties dedicated to spreading, promoting, and enjoying Latin music—invites you to experience an incredible atmosphere in their top-notch facilities.

They have just announced their year-end bash taking place on December 17th. The event features a New Year’s dance hosted by Hard Salsa Bar and Christian Paul Escobar (Splinter), starring two of the best Venezuelan orchestras today: Bailatino and Negramenta. It will be an authentic “mano a mano” (head-to-head) performance featuring their greatest hits.

The night will be soundtracked by DJs Augusto Rafael Felibert Palacios and Jesús Adrán, who will keep the energy high with stellar musical repertoires. It’s a night designed to satisfy true salsa aficionados and keep everyone dancing until dawn. Get ready for a world-class celebration as we gear up to say a grand goodbye to 2016 in the coming days.

This exciting event will take place on the second floor of Posada del Pollo on Panteón Avenue, Caracas. The party kicks off at 8:00 PM and will keep going until 6:00 AM the following morning. For all those attending this great event, guaranteed security will be provided, along with free on-site parking (limited to 50 vehicles).

Bailatino & Negramenta
Bailatino & Negramenta

Starting December 1st, tickets will be priced at 6,000 Bs. Please note that tickets will not be sold at the door, and availability is limited.

Affordable drink prices are guaranteed throughout the night; however, there are certain entry requirements and house rules to keep in mind:

  • Prohibited Items: No weapons, t-shirts, caps, backpacks, or luggage allowed.
  • Age Limit: Must be at least 21 years old with a valid ID (cédula).
  • Dress Code: Semi-formal attire.
  • Seating: Tables cannot be reserved (first-come, first-served).
  • Admission: We reserve the right of admission; disruptive or intoxicated individuals will not be permitted.

“By following these guidelines, we can all enjoy the long-awaited dance that Hard Salsa Bar has put together for the community.”

Hard Salsa Bard
Hard Salsa Bard

For more information or to purchase/reserve your tickets, contact:

  • Phone: (0414) 396-3465 / (0412) 589-5160
  • Email: [email protected]
  • Facebook: @hardsalsabarcaracas

 

Jairo Varela Music, Identity, and Social Narrative

The BE MORE publishing house is proud to announce the release of the new book by journalist and music researcher Robert Téllez M.

The work offers a deep dive into the social and narrative dimensions of the compositions of Jairo Varela, founder of the world-renowned Grupo Niche. It illustrates how his lyrics transcend music to become chronicles that interpret Latin American reality.

More than just a repertoire of songs, Jairo Varela’s legacy serves as a testament to memory and identity, born from his profound Afro-descendant roots. From this perspective, the book develops a discourse analysis that explores the symbols and meanings structuring his lyrics within a historical and social context.

Categorized within the field of ethnomusicology, the literary work proposes a rare perspective in Salsa studies: understanding Jairo Varela as a narrator of social reality.

“Through his lyrics, Jairo Varela challenged indifference, exposing what many preferred to keep silent,” states author Robert Téllez M.

To develop this research, the author brought together an interdisciplinary team of specialists in anthropology, communication, law, education, history, linguistics, music, journalism, and poetry from across Latin America. This diversity shapes a study organized into seven chapters, where symbols, metaphors, and narrative structures within Varela’s songwriting are analyzed and deconstructed.

“With an honesty that never yielded to artifice, Jairo Varela mapped the social landscape of everyday life; he narrated the intimate without betraying the collective, all in an effort to better understand the world,” Téllez notes.

As an innovative feature, the book Jairo Varela: Music, Identity, and Social Narrative incorporates QR codes that lead directly to Maestro Varela’s compositions. Each code allows the reader to use their mobile device to access the songs analyzed via Grupo Niche’s profile on Spotify, enhancing the connection between the written word and musical creation.

The publication also includes a prologue by writer Bella Martínez, illustrations by Frank Rosado, and photographs from the Varela family archive—elements that provide essential context to the composer’s creative universe.

Jairo Varela: Music, Identity, and Social Narrative is now available to the public on Amazon, with worldwide shipping.

The Book: Jairo Varela. Music, Identity, and Social Narrative

Jairo Varela (1949–2012)

Varela was the creator and founder of the iconic Grupo Niche and one of the most influential figures in Colombian Salsa. It was Jairo Varela who built the prestige of this orchestra through his artistic vision and his talent as a composer and director. With those five letters Niche Varela changed the course of Salsa made in Colombia, elevating it to a level of international respect.

Jairo Varela. Música, Identidad y Narrativa Social
Jairo Varela. Música, Identidad y Narrativa Social

Throughout his musical career, Jairo Varela wrote hundreds of songs and produced dozens of albums for his group. His compositions including “Cali Pachanguero” (recognized by Billboard magazine as one of the 50 most important songs in the history of Latin music), “Buenaventura y Caney,” “Mi pueblo natal,” “Ana Milé,” “Un caso social,” and “Han cogido la cosa” have traveled the world and become classics. In his lyrics, Varela portrayed everyday Latin American stories and the identity of Afro-descendant communities.

When Grupo Niche’s music plays, there is something for every listener. Behind that diversity lies the creative intuition of Jairo Varela, a composer who knew how to turn local stories into universal emotions. For this reason, from its beginnings in the late seventies to its international acclaim, the group has brought the rhythmic power, joy, and character of its culture to stages worldwide.

About the Author

Robert Téllez M. is a social communicator, radio and TV broadcaster, and producer with over 20 years of experience. He is an accomplished interviewer, journalist, and music researcher.

His analyses and reflections have been published in outlets such as Revista Semana, El Espectador, El Tiempo, El País, La República, and Agencia EFE, among others. He has also contributed to the scientific journal Nómadas of the Universidad Central de Colombia.

Robert Téllez is also the author of Ray Barretto: Giant Force (2016), whose English translation won a silver medal for Best Translation (Spanish to English) at the 2021 International Latino Book Awards.

In 2019, he presented the authorized biography Willie Rosario: The King of Rhythm, with a second edition released in 2024. He served as a judge for the annual international minimalist poetry contest for the anthology titled Siglema 575: Say What You Want to Say (2024).

As a result of his extensive research, Robert Téllez serves as a consultant and lecturer on topics related to the appreciation of Salsa music.

Press Contact: [email protected]

 

Roberto Tellez

Also Read: Willie Rosario, El Rey del ritmo by journalist and music researcher Robert Téllez M.

Timbalero Manolito Rodríguez Debuts a Fresh Sound as Musical Director of La Zónica

On Friday, March 27, 2026, Manolito Rodríguez and La Zónica performed at La Respuesta, a unique venue a hall where diverse musical genres blend, creating an atmosphere where a dance concert serves as the artists’ formal introduction to the public. The ensemble has been working together since August 2025, when the new orchestra was formed under the leadership of the virtuoso timbalero.

Timbalero Manolito Rodríguez arrives with a renewed energy as musical director of La Zónica
Timbalero Manolito Rodríguez arrives with a renewed energy as musical director of La Zónica

When Manolito began assembling the group, he sought out songs that resonated with him, such as “Gente Luminosa” and “A Mi Medida.” He has also been working with unreleased compositions by Anthony García and Leni Prieto. La Zónica marks a new chapter for the timbalero as the director of his own orchestra. Nevertheless, they continue to perform hits from Manolito’s previous era, now brought to life by the vocal front: Ángel Pomales, Joelis Crespo, and Gabriel Cotto. Manolito has promised to step back from singing to focus entirely on his instrument and musical direction.

The director of La Zónica hopes the dance concert at La Respuesta on March 27 marked a turning point for the band. “It’s an event we’ve been working on with great intensity,” Manolito says with enthusiasm. With energy and conviction, the timbalero adds: “I want to leave a legacy like El Gran Combo de Puerto Rico, like Sonora Ponceña, like Roberto Roena’s Apollo Sound, or Willie Rosario’s band. I want people to say in 25 years, ‘Look, that’s Manolito’s La Zónica.’ It’s a long road, but it’s possible.”

As if that weren’t enough, a new line of Meinl Percussion instruments, inspired by the young Puerto Rican timbalero, is now available.

The new line of instruments - from Meinl Percussion - inspired by Manolito
The new line of instruments – from Meinl Percussion – inspired by Manolito

A Prodigy’s Journey

The career of this salsa virtuoso began early. Manolito Rodríguez is a percussionist, musical director, singer, and dancer. While he was still in middle school, piano genius Papo Lucca invited him to record on the 45th-anniversary album, Homenaje a Tres Grandes del Teclado. “At that time, I was just entering the Escuela Libre de Música; I was in ninth grade,” the timbalero recalls. Four years later, upon graduating from the Ernesto Ramos Antonini ELM in San Juan, Manolito earned the timbalero chair with Sonora Ponceña on Papo Lucca’s recommendation. “Don Quique” accepted him, and the young musician remained with the group for four years.

Puerto Rico’s salsa stages watched Manolito Rodríguez grow up, flanked by musical institutions such as Sonora Ponceña, his now-colleague Willie Rosario, and Roberto Roena’s Apollo Sound.

His skill as a percussionist grew by leaps and bounds, and his versatility was tested on multiple fronts. In fact, his vocals were featured with the orchestra Del Sur al Norte, led by the renowned director, arranger, and producer, trumpet master Julito Alvarado. “Julito was the first one who gave me the opportunity to record as a singer,” Manolito acknowledged in an interview.

Manolito Rodríguez and La Zónica performed at La Respuesta, a different venue.
Manolito Rodríguez and La Zónica performed at La Respuesta, a different venue.

Thanks to his interactions with salsa veterans since childhood, Manolito served as musical director for various youth projects along the way. This included Revolución Juvenil in high school and Manolito y su Trabuco, an orchestra that performed every Wednesday at El Doble Seis in Caguas.

Legacy and Discipline

According to Manolito himself now a music professor—he owes much of his career to the support of his mother and grandmother, who nurtured his musical interests and encouraged him to pursue formal training. Today, the instrumentalist considers himself a “music worker” who approaches his craft with respect and maturity.

His new orchestra, La Zónica, finds him with a different mindset: he wants to concentrate on the timbales and direction. He considers Master Willie Rosario—who treats him as a protégé one of his greatest influences as a timbalero-bandleader. Rodríguez shares that when he read the authorized biography of “Mr. Afinque” (Willie Rosario, El Rey del Ritmo by researcher Robert Téllez) and saw himself mentioned, he was overcome with emotion. “My eyes welled up. I didn’t expect it,” he says. “Since I started taking things seriously, Willie has always mentored me.”

Despite his vast experience, the young musician felt deeply blessed to be chosen to fill in for the leader of “the band that delights” (la banda que deleita) on several occasions, and to perform at the Willie Rosario Centenary concert at the Coliseo de Puerto Rico. “I feel very fortunate because Willie is a very serious person, someone highly respected in the world of salsa with an impeccable career. He is a true role model.”

Following the passing of Roberto Roena, Rodríguez was also entrusted with the legacy of the Apollo Sound—a testament to the confidence and solidity he projects despite his youth. “Wow, yes. It was an honor,” he recalls nostalgically. “Roberto was the first person to give me a big break in Puerto Rico,” referring to his participation in the 1998 Día Nacional de la Zalsa at the Juan Ramón Loubriel Stadium in Bayamón.

The timbalero Manolito Rodríguez
The timbalero Manolito Rodríguez

On Sunday, March 22, 2026, Manolito Rodríguez returned to the Día Nacional de la Zalsa as the timbalero and director of La Zónica, a project that debuted last November during Sonora Ponceña’s 70th-anniversary concert. The current lineup includes: Airemyelisse Díaz (bass), Reinaldo Burgos (piano), Savier Díaz (congas), Manolito Rodríguez (timbales/director), Carlos Arroyo (bongo), Víctor “Yuca” Maldonado (baritone sax), Efraín Martínez (tenor sax), Rubén Díaz (trumpet), and Jan Santana (flugelhorn).

Manolito is well aware that “people pay to be entertained,” as he mentioned in a Zoom interview, and he views himself as a craftsman of music. He feels fortunate to be a full-time musician. “That’s what keeps me grounded. I get paid to make music. I am a music worker with great aspirations who trusts his talent and knows he must stay focused.”

Bella Martinez Puerto Rico

Also Read: Sessions from La Loma brings together salsa fans from all over the world in Puerto Rico

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 Sosa with Diana's Mambo Maniacs
Diana Sosa playing with Diana’s Mambo Maniacs

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.

Read also: Bandleader and bongosero Ray Degaldo is here to talk about his life and career

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.