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Don Perignon and La Puertorriqueña are prides of Puerto Rico

There are many legendary orchestras in Puerto Rico that may not be widely known to many, but La Puertorriqueña is one of those names that cannot be excluded from the musical history of Puerto Rico and Latin America in general. Today, we were fortunate to interview Don Perignon, leader of the group, so that he could tell us about himself and the orchestra he founded.

Pedro Luis Morales Cortijos, better known as Don Perignon, is a bandleader and timbalero with whom we had the pleasure to talk about his musical background and the Orquesta La Puertorriqueña, which has given him the recognition he has nowadays. Then, these are the most important topics covered in the pleasant conversation we had with the veteran musician.

Don Perignon from La Puertorriqueña — This is Don Perignon, bandleader of La Puertorriqueña

Why the nickname ”Don Perignon”?

When asked about why he is known as Don Perignon, he laughs and says that this is the most frequently asked question he has answered in the past three decades.

It all started because his familly called him ”Perin”. Then, one day, a musician from Andy Montañez orchestra in Miami asked him why he was called that, to which he replied that he has always been called ”Perin” in Puerto Rico. Later, the same gentleman arrived with a bottle of Dom Perignon (a well-known vintage champagne brand) and said that, for him, this young man was a grown man because of how he conducted himself, so from now on he was going to call him Don Perignon.

After that, Andy Montañez took it as a joke and began referring to the musician as Don Perignon, which other fellow musicians began to do, so it ended up being his official stage name.

How did Don Perignon fall in love with music?

Don Perignon told us that the first instruments he liked were the bongo and the conga, but that changed immediately as he knew the timbal, which he felt was more in line with the personality that he projected.

This curiosity for music led him and other teens his age to create an improvised group, while being at the school and studying at the Puerto Rico school of music. It was not a long time that he was in the institution, but it was enough to learn everything he would need in the future. In addition, the style he has nowadays when performing and leading an orchestra was acquired by watching Barry White, Ray Charles, Elvis Presley, among other celebrities of the day.

Don Perignon and Andy Montañez — Don Perignon next to Andy Montañez

La Puertorriqueña

Something that Don Perignon wanted to clarify with regards to La Puertorriqueña is that the project did not start in 1975 as we thought, but that the group started with other names until 1987, which is when the artist and his colleagues finally decided to name it that way.

In the early 1970s, both Don Perignon and the rest of his colleagues, in his own words, were ”kids playing at being musicians” who were only interested in playing. However, over time, they started taking things a lot more seriously and decided it was time to pass the baton to someone, so they all took a vote and chose the young man as their bandleader because he was the tallest, had more physical presence and more character.

That responsibility he was given was a training-school for Don Perignon and acquired most of the knowledge he has today about music. Although the group eventually broke up, the artist is proud that his former orchestra fellows have achieved success and obtain prestige in the projects they undertook, which shows that those seeds they sowed at the time have borne fruit. According to him, ”they all achieved their dream thanks to discipline”.

Over time, other musicians joined the orchestra and also did their bit to make La Puertorriqueña what it is today.

Demostrando a Tiempo

Don Peringnon has said that one of the most important features of La Puertorriqueña is to always pay homage to the dancers and of course their latest album ”Demostrando a Tiempo” could not be the exception. Orchestras and Latin artists in general can interpret music in their own way, but a common denominator between all of them is that they will always include the characteristic spice of the dance and that is what we aim for in each of our productions,” said the musician.

It is for this that the artist says that ”Demostrando a Tiempo” is not very different from the rest of the work made by the orchestra, since they have always paid homage to dancers and they will never deviate from that path. What has changed is that the group experienced with much more romantic lyrics than ever and included them in special rhythms for dancers. This makes the production have the perfect fusion of rhythms for those who dance or simply listen.

Another important detail is that ”Demostrando a Tiempo” can also be defined as a mix between tradition and modernity. In this regard, the bandleader points out that, in the early days of salsa, most musicians were self-taught, until conservatories and music schools welcomed salsa, so musicians were better academically trained and new ways of performing and doing things in general emerged. Therefore, Don Perignon and his musicians, who are from the old guard, have had to adapt to the new times, but without leaving aside the essence with which they started their project.

Some of its main songs are a new version of the classic ”Soy Tu Ley”, ”A Quien Iré”, ”Sácala A Bailar”, ”Sin Rumbo”, among many others that La Puertorriqueña fans will find in this album.

After a few weeks of its release, critical reception to the album was very positive and Don Perignon trusts that the impact will be greater as days go by.

Antonio Laya a traditional artist

Latinoamerica / Mexico / Cancun

Antonio Laya “He tells us a little about his new single Abre que voy”

Today we are pleased to learn a little about the life of Antonio Jose Laya Gonzalez (Antonio Laya), a Venezuelan who with his voice and his particular way of dancing has managed to climb and carve his way to success, this Taurean with a great career as a singer of good salsa and especially son, he presents us his new single, abre que voy, a success that has gradually positioned itself on the best musical platforms from his current hometown, the beautiful city of Mexico.

Good afternoon friend Antonio, thank you in advance for the time you give us to learn a little about your life and give our great readers a little about your son, but in letters, we know from your artistic review that you come from a cultural world. the dance? Why the singing?

I come from a family of musicians, teachers and athletes, in 1995/96 I started in the popular culture workshops of the “Fundación Bigott” (cultural house of great social impact in Venezuela) in the Afro-Venezuelan percussion workshops with Professor Jesús Raúl Paiva, where he gave me the opportunity to enter this world of culture…

Years later this would bear fruit, when I joined the Vasallos del Sol group, a representative entity of Venezuelan folklore, on one of their tours in Europe “Germany” to be exact, one of its dancers stayed, leaving an open vacancy, it was then that I received the invitation to audition, at a festival of San Juan of the foundation, where I was able to win a spot. From then on I became a vassal of the sun.

All this experience in the middle of the show made me lean towards dance, where I got to venture as direct from my own dance school destined to spread the Cuban casino. With Vasallos del Sol I had the opportunity to travel the world, Colombia, Cuba, Ecuador, Spain, Mexico, Korea, Japan, the United States,

How many years has it been since the idea of entering the cultural world of your country?

22 years since I formally started at the Bigott Foundation.

How did the idea of giving life to singing come about?

On the tour of the United States, I began to sing with the vassals accompanied by the guitar of Luis Gonzalez, assuring me later that it was there that he heard me and knew that I could sing, quickly and a few months later he called me and invited me to participate in a project that neither It didn’t even have a name, which would quickly begin to take shape and to date is known as the seventh bohemian.

I began to sing very badly, I lost my voice because I didn’t know how to use the phonator, I began to take classes with several teachers, the first of them Ronald Gonzalez, fundamental pillar to start singing, placing and improving my vocal technique, successively Fabby Olano, Gladys Salazar, Maigualida Ocaña, Dayan Montiel, Marcial, Gustavo Gerardo. We recorded 3 albums on national tours, the second of which is entitled “She takes me” a song that I believe made the Seventh Bohemia popular. Singing was not in the plans but it ended up being one of my great passions.

A song that marks you?

She sings: The earrings that the moon lacks, I have them saved to make you a necklace I found them this morning in the mist when I was walking next to the immense sea. Since I was a child I woke up very early listening to music by La Sonora Matancera, Felipe Pírela, Damiron and Danzón de Acerina, it fascinated me.

Let’s talk about the seventh bohemia. How do you join this septet?

I am a founder, just in the second rehearsal when only Luis Freites, Cesar “Chagu” Bolívar and Luis Gonzalez were there I was summoned along with Krlos Gonzalez to be part of the group, from then on I started singing “Bilongo” to be exact, hahaha I’m so in love with the black tomasa……….., El Jamaiquino, Me que, among others.

What is the greatest thing you have experienced so far with music? -You could perhaps refer to a concert or moment to share with an artist-

I think the greatest thing I have experienced in music is having shared the stage with great figures both Venezuelan and foreign, Francisco Pacheco, Canelita Medina, Trina Medina, among, Jose Alberto “el canario”, Cheo Feliciano, Alexander Abreu and his Habana de First, Manolito Simonet and his Trabuco, Tiburón Morales, El Septeto Santiaguero, among others. On the other hand, being at the 2014 and 2015 Pepsi Music Awards, the biggest thing, achieving 4 nominations for the 2015 Latin Grammys, a great privilege.

What has given you and what has taken away the artistic life you lead?

It has given me the satisfaction of feeling and receiving the applause of an audience, feeling the magic of a stage, dancing on the most important stages of Venezuela and the countries I visit, I don’t know if there is another artist who performed in the same weekend in two different facets and groups in the most important venue in Venezuela

The Teresa Carreño Theater where on Saturday I danced in my last Vasallos de Venezuela concert in the concert “Guiados por la Luz” occasion to baptize the latest production, with guests from the cultural movement and the next day singing with La Séptima Bohemia alternating with Francisco Pacheco, El Septeto Santiaguero, Jose Alberto “El Canario” Canelita Medina and El Tiburón Morales and as special guests all the best dance academies in Caracas.

Antonio let’s laugh a little. Tell us about the funniest thing that has happened to you at a concert and the most painful.

WUUAOOO, too many, Well, a concert with Los Vasallos where I went out to dance and my pants began to drop, at a concert at the Yerba Buena Garden Festival 2008 in San Francisco we got the foot burn of the century since the stage was al pure sun and linoleum floor and at the baptism of the album “She takes me” in the main hall of the Central University of Venezuela after the great presentation of the renowned Ramón Castro We went on stage and I couldn’t see anything through my glasses hahaha and I I put in the place of my partner Miguel Guanchez colliding spectacularly ahaha to start singing. What a laugh.

We know of the great success that you have had in Venezuela with the successes that you have sung and have marked the public, they have gone from a sound to a necessity for the dancer. What do you consider this great impact?

Definitely because I come from the world of dance, I’m a dancer and a dancer and I understood perfectly that I needed the same audience that the casineros came from, those of us who at some point went to the Goiticoa school or the Monagas house. By the way, as a curious fact, I was the one who organized one of the first casino parties in a place called Beisboland, a party where I dare say it was the second presentation of one of the most important dance groups in the Venezuelan casino Son Rumbero, where they danced “Cuentas Verdes y Amarillas de Adalberto Álvarez.

How has your foray into Latin music in Mexico been?

Since my arrival in Mexico I have participated in several musical projects, Los Panas.com, La Formula Perfecta, Swing Latino to mention a few, it has not been easy since musically Cancun has a particularity and that is that the music that is danced is still that of the 80s when they talk about salsa, of course with its exceptions, but it has cost me to adapt but in the end it is what is consumed here. Here the forte is the hotel industry, so the Latin genres that marked an era are what is worked on, that’s why as a salsero it has been difficult for me to adapt, although I have worked anyway.

The Salsa or the Son? Which one do you lean towards?

Definitely La Salsa, I grew up in the middle of the Salsa de La Sonora Ponceña, Willie Rosario and the great Ray Barretto to name a few. Son also became my passion but I have to be realistic! came into my life thanks to the Seventh.

Open, I’m coming. Tell us a little about this great topic?

When I got on the plane to leave my country, in addition to nostalgia, I only had one thought, to make my album as a soloist first, I knocked on many doors, I looked for a lot of help, until I finally reached what today is called “Abre que I’m going” in that search the day came when I remembered that I had a buddy who was Omo Aña (Drummer) Maurice Melo and that after conversations, long conversations we would take a first step, start aggravating a theme, my first promotional single.

What surprise do we have to see from Antonio Laya during this 2019?

With God’s favor, to continue recording my album, including my first music video, if money allows me, hahaha For this 2019 I’m going to release my second single, it’s called… (Thinks) Not yet, let’s leave it as a surprise , do a launch concert and seek my respective nomination for the 2019 Pepsi Music Awards and the 2019 Latin Grammys.

Where can our followers find you?

My social networks Facebook and Instagram through @ToñitoLaya, on twitter as @Negrolaya and through my YouTube channel, Toñito Laya

Meet Pablo Emmanuel Lemos and his classes at the School of Caribbean Rhythms “PA’ que lo Gozes”

Latinoamerica / Argentina / Punta Alta

On this occasion we had the opportunity to meet the dancer and teacher of the School of Caribbean Rhythms “PA’ que lo Gozes” Pablo Emmanuel Lemos. He tells us about the course of his career, profession, tastes and goals.

Unlike many dancers who started when they were little, at the age of 23 he (Pablo Emmanuel Lemos) began to dance different Latin rhythms and with the support of his classmates and teachers, he decided to do a Caribbean Rhythms teacher training at SAOCO. Later he began to teach at the academy where he began his apprenticeship, without imagining what his job would be today.

He mentions that he is passionate about teaching, sharing and giving his Salsa and Bachata classes in his work space and that at the moment he does not have his own academy; however, he gives his classes in Punta Alta, Argentina:

Monday and Wednesday at 8:15 p.m. at Humberto 1159 (Guapas Factory Gym) in Bahía Blanca.
Tuesday and Thursday at 8:00 p.m. in Spain 843 (Dance Pulse).

In general, competitions and/or recreational activities are held for those who wish to share these dynamic and joyful rhythms.

In one of our questions, to know what is necessary to learn to dance like a professional, he answers us:

“Knowledge is not what makes the dancer, but the desire, motivation and decision to learn from their peers and/or partners”.

For new Latinos, he tells them to “dare to dance… whatever the impulse that leads you to want to do it, without brakes, fear, or doubts…. Dancing is a wonderful art that has made a resounding change in my life. That is why I invite you all to dance and try this healthy discipline”

If you want to know more about his classes:

Facebook: @PabloEmmanuelLemos o @AleA.Abello
Teléfono: +54 2932554866 / +54 2915265613

Pupy Pedroso An Ambassador of Cuban Music in the World

Latin America / Cuba / La Habana

When we talk about the beautiful island of Cuba, it is impossible not to automatically think of its rich and ancient musical culture. We are talking about a small piece of land in the world, of that long Caribbean, but it is full of the most successful musicians of Cuba. the history of Latin rhythms.

It all lies in the Spanish and African influences that came to the Island hundreds of years ago, that race that was created from the strings and the drum, from the white and the black, from singing and dancing.

On this occasion I feel very proud to be able to speak directly with a cultural ambassador, recently appointed by the Latin Institute of Music, the leader of those who are are and one of the founders of the very famous Van Van orchestra, the great Cesar Pupy Pedroso, teacher of teachers, as we have called him for this occasion.

Good morning maestro, thank you in advance for the time you give us to all the readers of the International Salsa Magazzine and the portal www. salsamundi.com.

“Well, here I am very happy to be able to talk a little with you and grateful that you want to talk about this server”

Maestro with 19 years of foundation with Pupy and those who are maestro, tell us how the idea of founding this great orchestra was born after making the whole world dance with the Van Van.

“The idea for the project ‘’Los que Son Son’’ arose from a recording I made (while in Los Van Van) with songs of my authorship performed by an internationally renowned performer. (Omara Portuondo, Rolo Martínez, Xiomara Laugart, Raúl Planas, Caridad Cuervo, Pedro Calvo, Raúl Planas etc…etc..) From that moment on I got the idea of making another album with other performers, with a German publisher, and The album was called César Pedroso y Los que Son.

There came a time when I was on tour with Van Van and the dancers came with the records, so I could sign them, and it was then that the idea came to me of forming an orchestra and leaving Van Van and calling it ‘Los que Son Son’. . ”

Why Pianist?

“In my house when I was born there was already a piano, my father was a pianist, and children always want to be like their parents, and I was not going to be the exception, regardless of the fact that I liked the piano since I was little.”

What theme do you consider the flag of Pupy Pedroso’s new journey? When your orchestra opens

“Themes of the new transit: themes like ”What are the things in life” ””A crazy man with a motorcycle” ”Mommy behave well”, ”They’re calling me” and of course ”Six weeks “”

Tell us the story of the musical piece “De la timba a Pogolotti” does it tell us about a change in your life?

“From Timba to Pogolotti: It arises from a piano solo that I did in ”Sandunguera” and Pedrito Calvo identified me, as ”Pupy the sandunguero of Pogolotti” and the neighbors of La Timba (neighborhood where I I was born) they asked my older relatives why they said about Pogolotti, if I was born in La Timba, then I wanted to be okay with the two neighborhoods, when I made ”Los que Son…”

Well, I made that song in honor of the two neighborhoods, because I was born in La Timba, but I grew up in Pogolotti, and all my childhood friends are from Pogolotti, I don’t have friends in La Timba, and I consider that one is from where one is from. upbringing, not where he was born, because all the customs, friendships, first ”girlfriend” were Pogolotti’s.”

Which song is your favorite from Van Van’s golden era?

“If you talk to me about the songs from Van Van’s golden age, there are several, of mine the authorship of Maestro Formell and others of mine, for example of the maestro, there are several, “My doubts” ”Marilu”” The Painful” ”There are women” ”I’m everything” and one of mine: ”Six weeks “Sugar” ”The Negro is cooking” ”It must be over” ”That’s good ”, among many others, we live in a wonderful time”

Since August 2018, he was named Cultural Ambassador by the Latin Music Institute. Do you consider it an achievement or a new commitment?

“I consider both things, an achievement because it is not easy in a country with so much talent and so many performers to take me into account for said recognition, and at the same time a commitment, because I am obliged not to let my musical guard down in any way.” sense.”

Maestro comes from a family of great musicians, his grandfather a director, his father a pianist, both from great Cuban orchestras. Can we say that being a musician in your family comes in your blood? Is it inherited in the genes?

“Yes, sir, I am grateful for having been born in this family where there was so much musical talent, where only music was breathed, my autistic grandfather, director of an orchestra called ”Cuba”, my uncle a percussionist in an orchestra very famous for that ”Arcaño y sus Maravillas” era, and I believe a lot in the musical heritage because I consider myself a product of it.

As a pianist, it is because my fundamental patron was my father, from whom I copied and learned a lot from what I could discreetly practice and as a conductor, because I had the joy of having worked with different directors, Rolando Valdés, Enrrique Pérez, I assisted in substituting for my father and the ones I spent the longest time with, Elio Revé and Juan Formell, I spent 6 years with Revé and 32 with Formell and I learned a lot with both directors, I was lucky.”

To what do you owe your great success as a pianist and conductor?

“I think that to be good at any career, the fundamental thing is that you like it and have the aptitude for it, I think that music does not escape from that rule, because you can like it, but if you don’t have the aptitude, don’t waste your time, and Maybe if you have aptitude and you don’t like it, over time you may like it and fall in love with it, so aptitude is the fundamental thing.”

What is your greatest reference or influence in music?

“My greatest influence is Son, I love Son, rumba, guaguancó, Cuban music and Brazilian music, jazz, but my greatest influence is Son.”

Currently, how do you see timba within the island of Cuba? Minimized by Cubaton or leader of local rhythms?

“I believe that at all times, there have been different musical genres, which have been in the preference of the dancer, in the era of Rock and Roll they danced with Elvis Presly, with Bill Halle and his comets, with Little Richard, but also they danced with Aragón, Benny Moré, Sonora Matancera, among others,…

but today the balance leans more towards these foreign movements, good and bad, and that is happening all over the world, in the dance area, but I do not consider our dance music critical or dead, because there is taste for everything and every time “A convening orchestra performs on an open-air stage, it overflows with audiences, that means we are in battle, and the country that has the most musicians making a living from music is Cuba.”

Tell us about the 2019 projects? New CD? Tours?

“Fundamentally starting the next album, the release of a documentary of a tour we are doing in Cuba and some presentations abroad, to reappear again at the end of the year in Europe, with one of the dance hits from France:

”Having a good time”, I make a parenthesis, clarify that there are countries where our music prevails (El Son, La Timba, La Salsa) like Peru and Colombia, Cuban rhythms are still in fashion, thanks to many musicians and orchestras that make a great job for the dissemination, to the printed media and now the digital wave that quite develops our work, look, you are an example of this, we hope to continue giving our audience reasons to dance.

In August we return to South America, it is the tour we are most looking forward to, the Latin public is one of the best, we think about stopping in August in Colombia, Ecuador and Peru, in the same way we are now planning to organize the calendar, for businessmen or producers who wish to have us in their cities, must contact our direct representatives, talking to them is like talking to Pupy”

What should a producer do to have them in their Latin American projects?

“No compadre, very simple, contact them at these numbers +573022582306 and +51992630351, they are the only ones authorized to market our tour, we want to be in all the cities of Latin America.”

Grateful teacher for your time and for letting us get to know you a little, may the successes continue for what they are.

“Grateful to you, thank you for the dissemination you make of the popular dance music of my island.

It remains to leave you the social media links of such an important orchestra so that you can follow in its footsteps and find out about the development of the successes of this great band, on Facebook:

@pupypedroso and the numbers

+573022582306 and +51992630351.

La Puertorriqueña de Don Perignon presents her new recording work

Demostrando in time

With great enthusiasm, La Puertorriqueña de “Don Perignon” announces the release of its most transcendental recording production, entitled Demostrando a tiempo.

La Puertorriqueña de Don Perignon presents her new recording work

This release is a testament to more than forty-five years dedicated to music by the orchestra’s leader, Pedro Morales Cortijo, known artistically as “Don Perignon”. After overcoming health challenges,

“Don Perignon“, with renewed vigor, turns his attention to what he calls “an unprecedented chapter for the orchestra”.

And what better way to kick off this new phase than with the release of the album? Demostrando a tiempo, a title derived from Moncho Rivera’s composition arranged by Carlos García, adds a historical and significant nuance to the recording.

“Don Perignon” highlights the importance of paying tribute to the pioneers of Puerto Rican popular music, Ismael Rivera and Rafael Cortijo, underlining the crucial influence they had on the musical movement to which their group belongs:

“Moncho represents Ismael Rivera and I represent Rafael Cortijo. They (Cortijo and Rivera) were the ones who created what we do, that’s why we decided to pay tribute to these two greats of our music”.

The album opens with a composition by Sammy Ayala, entitled ‘Dilo tú’, previously recorded by Rafael Cortijo’s Combo. This song, on this occasion, includes an exquisite timbal solo by Perignon.

This, which is La Puertorriqueña’s thirteenth production, rescues two jewels of the prolific composer Catalino “Tite” Curet Alonso.

The first, ‘Aquí estoy con mi son’, was first recorded in 1991 by singer Frankie Hernández under the production of Bobby Valentín. The second, ‘Soy tu ley’, was initially recorded in bolero time by Cheo Feliciano, the so-called “Señor sentimiento”. For this occasion, the skillful musical arrangement -in salsa key- by Ramón Sánchez gives the song a fascinating nuance, by integrating it with the distinctive sonority of the orchestra.

Pedro Luis Morales Cortijo, is the first name of the Puerto Rican timbalero and musical director

It should be noted that ‘Soy tu ley’ was destined to be part of the album Música Maestro (2014), but like fine wines, it waited patiently until it reached its optimum point to be released.

Highlighting the musical diversity, the album includes ‘A quién iré’, a composition by singer-songwriter Héctor Olmo, which at Perignon’s request, seeks to express gratitude to God for all that He has given him, including what the orchestra leader calls “a new opportunity in life”.

“I have my way of thanking God, but not through a message as fine as that,” says the director of La Puertorriqueña, considering that the song written by Olmo came to answer questions about everything he has achieved musically, despite the many obstacles that have come his way. ‘A quién iré’ features the arrangement by Juan C. Cardona, the vocal participation of Alex D’ Castro and the creation of the chorus by “Don Perignon” himself.

Demostrando a tiempo includes the songs: ‘Sácala a bailar’ (composition and vocals by José Karlo Ribot, with a tasty arrangement by Andy Guzmán who incorporates a forceful piano solo); ‘Sin brújula’ (lyrics by Harold Aguirre, musical arrangement by Ramón Sánchez, sung by Joe González); ‘La clave me lleva’, ‘Como si me amaras’ and ‘Afinque, cadencia y sabor’ (title that lists the distinctive adjectives of La Puertorriqueña).

Demostrando a tiempo reflects the dedication and unparalleled talent of “Don Perignon” and La Puertorriqueña.

Through a careful fusion of tradition and innovation showcased in the repertoire, this album represents the invaluable contribution of the orchestra, captivating dancers around the world with its vibrant and distinctive sound.

La Puertorriqueña de “Don Perignon” invites the public to immerse themselves in this unique musical experience and enjoy Demostrando a tiempo, available on digital platforms and select music stores.

Don’t miss the opportunity to experience the magic of Demostrando on time. Join us on this exciting musical journey.

About Don Perignon:

Pedro Luis Morales Cortijo, is the first name of the Puerto Rican timbalero and musical director known internationally as “Don Perignon,” whose musical career began in 1974.

“Don Perignon” comes from a family with a long musical tradition, which includes his cousin, Rafael Cortijo.

After having stood out as musical director for singers Andy Montañez and Lalo Rodríguez, in 1989. “Don Perignon” released his first production La buena vida, which featured the participation of Victor Manuelle. This album was followed by Festival de soneros (1990) and Subiendo (1992).

In his career “Don Perignon” with his orchestra, La Puertorriqueña, has released thirteen recordings, in which figures such as Gilberto Santa Rosa, Víctor Manuelle, Luisito Carrión, Oswaldo Román, Pedro Brull, Josué Rosado, Rico Walker, José Alberto “El Canario” and Hermán Olivera, among others, have collaborated.

Also Read: Déjalo, the latest track by Pedro Conga y su Orquesta Internacional