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Los Van Van Orchestra

European Union

Los Van Van Orchestra. The Flavor in Zurich

1960-1969

Vital to the success and peculiar sound of Van Van, was the career of its director Juan Formell. Before founding it on December 4, 1969, ventures as bassist in several groups, from the Orchestra of the Cuban Institute of Radio and Television, to several groups are and jazz, these multiple experiences conditioned their future.

Its passage by the Orquesta Reve marked a turning point in the search for the style I wanted to achieve. He tested his innovative spirit giving it some sound and format solutions.

It incorporates bass, organeta, electric guitar, violins and flute replaced the five by the system. The vocal work was replaced by mounting quartets own voices. This experiment served as a starting point for, once created the VAN VAN, their contagious rhythm patterns sit in popular dance music.

1970-1979

Earlier this decade important critics and connoisseurs of the subject could notice the successful future of the Van Van. Juan Formell maintaining the contributions made to the previous group (The Revé), enriched the set with other instruments such as percussion, that an exceptional and unique way, were weaving what would define as the SONGO.

This mode of address are elements taken from jazz and rock, it consists of a rhythmic design combined with a figurative percussion piano and bass. Then creating harmonic and melodic different timbres.

José Luis Quintana (Changuito), Raul Cardenas (the Yulo), Cesar Pedroso (Pupi), Fernando Leyva, Jesus Linares, Orlando Canto, José Luis Cortés (The rough), Julio Noronha, Gerardo Miró, William Sanchez, Jose Luis Martinez Miguel angel Rasalps (Lele), together with its director, explored all possible ways and then came to this rhythm that becomes the basis of its sound.

It is for these years that begin recording their first five albums and debuted on several international stages.

1980-1989

This represents an important period for the orchestra. They break their own style incorporating the bronco and cracking of the trombones sound. Turn introduced synthesizers, keyboards with multiple sound possibilities. The use of synthesized saxophone and electric violins draw much attention at the time. In addition to his recording material have new triumphs as: Báilalo eh! Ah! (1982), Come, see and move (1984), Havana itself (1985), Eso que anda (1986), We the Caribbean (1987), wanting (1988) is over, and finally Songo gives way to a new stage.

A hallmark of the group is the use of the picaresque, irony, manners in their songs. Becoming a sort of chronicle of the Cuban reality, his writings offer a social circumstance, themes that recreate the jocular of everyday life.

In these years his music transcends borders and Latin American venues like the Empire in London, England, Austria, Switzerland and Germany are witnessing a pace capable of passing the most skeptical of the dancers.

1990-1999

90 start with a tour around the country celebrating its 20 years, evolving into the contemporary timbre and go in search of more complex and preciosistas as the father expressions.

Their latest results leave no doubt that reach maturity. Pieces like “Give him cadela” and “That’s my problem” Disco Sugar (1993), “I am normal, natural” and “What a surprise” the latest in vivo (1994), “Let anger” and “De equals “Ay ampárame god (1995) and” This puts you bad head “and” Take her to your vacilón “Te puts the bad head (1997) are some of the records that predate came VAN VAN ( 1999) containing “Van Van arrived Permit”, “the black is cooking” and “Temba tomb timba”, works that have ravaged mercilessly in the context of salsa, for their contagious rhythm, joy and good taste. All retain the seal of the group even when using other orchestral resources.

2000

Thanks a work of more than thirty years with the Grammy award with Disco Van Van is here or Llego Van Van. Award for best salsa album recorded by soloists, duos and vocal and Instrumentalist groups. (It’s worth noting that the award received is not the Anglophone Grammy Latino) Such award is the result of its continued making magic for over thirty years.

Salsa in Berlin: The Best Clubs for Latin Music

Europe / Germany / Berlin

Salsa hit Europe like a pandemic, spreading from the jazz clubs in the big cities and hitting Germany in the 1980s. No wonder Salsa found so many followers – the Latin beats get directly under the skin and the rhythm moves hips and hearts just by itself. There is a sense of freedom in the music, and the widespread habit of Salseros asking Salseras for a dance makes it a piece of cake to meet new people in a relaxed and unrestrained atmosphere.

Berlin is famous for its nightlife and the immense diversity of scenes on offer for all kinds of people, tastes, and styles. Hence, it goes without saying that Germany’s capital has a thriving Salsa scene. Every year in October, it finds its peak during the three-day Berlin Salsa congress with famous Salsa stars from all over the world and around 6,000 participants.

But Berlin wouldn’t be the nightlife capital if it didn’t have a Salsa party every night of the week. Here are the best of the best Salsa parties in town to get hips swinging.

Havanna

Every Wednesday, Friday, and Saturday, Salsa-obsessed dancers can move their hips in Berlin’s leading Latino and Black music club Havanna. The parties are spiced up by a one-hour dance lesson beforehand and some instructed Merengue in between on up to four dance floors.

Table reservation: +49 (0) 176-216 77 012 | [email protected]

Schedules: Miércoles 21:00 | Viernes 22:00 | Sábado 22:00

Dirección: Hauptstraße 30, 10827 Berlín.
Havanna Berlin Photo 1

RED Ballroom

This wonderful location heats up the floor for Salseros every Tuesday and Saturday. There is a compulsory dance instruction session beforehand, and the parties are free and handy for a newcomer to Salsa. The size of the location and the attached restaurant give the parties a more intimate feeling and professional dancer Fernando Zapato is on hand to ensure the right Latin atmosphere for a party night.

Genthiner Straße 20 10785 Berlin – Germany
Phone: +49 (0) 30 3151 8618
Email: [email protected]

Clärchens Ballhaus

Clärchens’ Ballroom | (c) Clärchens Ballhaus

In an outstanding historical atmosphere, you can shake a leg every Monday. The so-called mirror hall is a secret tip in the Berlin club scene. Built in the late 1800s, the flair of the Wilhelminian era is still present in this location. Furthermore, it has a wonderful wooden dancing floor and is highly frequented by true Salseros in Berlin.

Auguststraße 24
Berlín
+49 30 2829295
@claerchens.ballhaus

Soda Club

Known for its immense parties, the Soda Club Berlin plays Latin and Cuban music every Sunday and Thursday. The four dance floors are impressive, and revelers can expect to find Mambo, Kizomba or Bachata DJs serving up an eclectic mix of these styles so dancers can switch things up throughout the night.

Address: Knaackstr.9710435 Berlin +49 30 44315155 +49 30 44315199
[email protected]

Beachmitte

Salsa parties at this location are organized by the Salsa dance school Cumbancha, which is located in Kreuzberg. They always draw in a huge crowd of Salseros and Salseras, where everyone kind of knows each other and which gives these parties a very familiar atmosphere, although the uninitiated should not be put off, these are friendly folks!

Caroline-Michaelis-Str. 8 10115 Berlin Tel. 030-4679 5997 Fax: 030-4140 8890

Mail: [email protected]

Monbijoupark

Monbijou Park | © Palickap/WikiCommonsThis is definitely the most beautiful location to dance in Berlin, although there is the small drawback that it is closed during the winter. That just heats the anticipation for the next spring, and, frankly, being outside in Berlin’s winter is a zany plan, even if you are dancing. So when winter starts to abate, and this open air location reopens its dance floor directly in front of the Bodemuseum on Museum Island, things start to swing. Even Tango and Swing lovers can enjoy their hobby; just visit their website for more details when they play which style of music.

Houston Salsa Congress 2017

North America /  USA / Texas

In 2000, Houston Salsa Dancers, Inc. hosted the first Congress of its kind in the City of Houston. Today, the Houston Salsa Congress continues to highlight the beauty, creativity, and culture of Latin dance and music with our featured performing artists and musical artists.

HOUSTON SALSA CONGRESS 2017

Houston Salsa Dancers, Inc. is officially recognized as a nonprofit corporation who hosts the LARGEST Salsa Socials in Houston every month raising funds for the annual HSD, Inc. Scholarship Program. Through this program, HSD has helped dozens of students from the Houston area by awarding a cumulative total of over $25,000 in scholarships.

Scholarships are awarded annually at the LARGEST Salsa event in the South, the Houston Salsa Congress, every Martin Luther King, Jr weekend.

The Houston Salsa Congress has become a must-attend event for many dancers and performers. Being the first non-profit Congress, the HSD Board Members are always innovating and changing how Congresses are managed setting the bar high for other events to follow the remainder of the year. The Congress consist of performances by only the best in Salsa and other dances, weekend workshops to help dancers improve their skills, and some of the best social dancing in the world!

Another way HSD is stepping above the rest is through its event called “Bailando Hacia La Universidad (“Dancing Your Way to College”)” which was designed to educate High School students on attending college and college admission. (We bring in guests speakers and end it with a special performance… Example agenda: http://www.houstonsalsacongress.com/schedule_collegeday.php).

Houston Salsa Dancers, Inc. also hosts the “SalsaDURA Saturday” social every 1st Saturday every month. SalsaDURA is also called the mini-Congress of the South attracting dancers and performers from all around the world. This monthly event helps fund the Scholarship fund along with the Houston Salsa Congress event.

BANDS

JOSÉ ALBERTO “EL CANARIO”

José Alberto Justiniano (born December 22, 1958 in Villa Consuelo district, Santo Domingo, Dominican Republic), better known by his stage name José Alberto “El Canario” is a Dominican salsa singer. José Alberto moved to Puerto Rico with his family at the age of 7, and inspired by Latin music went on to polish his singing at Las Antillas Military Academy. He relocated to New York in the early 1970s and sang with several orchestras. He received international attention as the bandleader of Tipica 73 in October 1977.

José Alberto started his own band in 1983, and became a major Latin star after the release of his 1984 debut Noches Calientes. His 1991 album Dance With Me, which established a new style of salsa called salsa romántica. He has sung hit songs such as “Sueño Contigo” His voice was widely adored by his fans, and his exceptional whistling abilities (being able to improvise as if he was playing a traverse flute) led them to give him the nickname El Canario (The Canary).

JOSÉ ALBERTO "EL CANARIO" — JOSÉ ALBERTO “EL CANARIO”

El Canario has enjoyed success in the United States and Europe, but especially throughout Latin America, including in his native Dominican Republic, Puerto Rico, Peru, Venezuela, Panama, and Ecuador. El Canario in 1999 also was part of the biggest Latin American festival in Australian history at The Bacardi Darling Harbor Latin American Festival in Sydney, as supporting act for salsa performer Celia Cruz with over 22,000 people in attendance.

On 24 May 2008, José Alberto celebrated 30 years in the music industry at the United Palace Theater in New York City. Among the several special guests were Oscar D’León, Ismael Miranda, Raulín Rosendo, Joe Arroyo, and Latin music mogul Ralph Mercado.

Bobby Valentín & His Orchestra

Valentín (birth name: Roberto Valentin) was born in June 9, 194, in Orocovis, Puerto Rico. He was taught by his father to play the guitar at a young age. When his mother died in 1947, he went to live with his older sister and was raised in the town of Coamo where he received his primary education and studied music. When he was 11 years old, he participated in a local talent contest with a trio that he had formed.

He played the guitar and sang for the trio and they won the first place prize. One of his teachers suggested that he attend the Jose I. Quinton Academy of Music, which he did. It was there that he learned to play the trumpet.

In 1956, Valentín moved with his family to New York City where he attended George Washington High School and continued to take music lessons. In 1958, he went to play for Joe Quijano but, shortly after, he played in the band of Willie Rosario, who was from the same neighborhood.

MUSICAL CAREER

In 1963, Valentín joined Tito Rodriguez (after not being hired by Tito in a recording session because of his age, he was given a chance and was added to his regular band) and traveled twice with Tito’s orchestra to Venezuela. He also made musical arrangements for Tito and at times for Charlie Palmieri, Joe Quijano, Willie Rosario, and Ray Barretto. In 1965, he formed his own band and was signed by the Fania Record Label. He recorded “El Mensajero” (The Messenger) and “Young Man With a Horn”. He held his first concert in Puerto Rico during that period of time.

In 1975, Valentín left Fania and founded his own record label “Bronco Records” and released the recordings of “Va a la Carcel” Vol 1 and Vol 2, recorded “live” at “El Oso Blanco”, Puerto Rico’s oldest state penitentiary. At the time, Marvin Santiago was the singer on Valentín’s band; his biggest hit with Valentín was “Soy Boricua”, an ode to Puerto Rican nationality that has since become a patriotic song for the pro-independence faction of the island.

In 1978, salsa singer Cano Estremera made his singing debut with Valentín’s orchestra and recorded various major hits for the band, particularly the Roberto Angleró song “La boda de ella” and “Manuel García”. During the years Valentín has been featured in recordings (and occasional live appearances) by Larry Harlow, Ismael Miranda, Roberto Roena, Cheo Feliciano and Celia Cruz. He also provided backdrop for the Billyván Santiago (Marvin’s youngest brother) song “Mata la cucaracha”, a sleeper hit in Puerto Rico during the 2002 Christmas season.

Houston Salsa Congress 2017. TICKETS

Full Event Pass: $280.00 (USD)

Full Event Pass + VIP Upgrade: $310.00 (USD)

Night Pass (ALL NIGHTS): $110.00 (USD)

Night Pass + VIP Upgrade (ALL NIGHTS): $165.00 (USD)

Night Pass (THURSDAY ONLY): $35.00 (USD)

Night Pass (FRIDAY ONLY): $35.00 (USD)

Night Pass (SATURDAY ONLY): $35.00 (USD)

Night Pass (SUNDAY ONLY): $35.00 (USD)

www.houstonsalsacongress.com

Nano Cabrera Presents “Échate Pa’ Cá

North America / Puerto Rico

Renowned Puerto Rican singer-songwriter Nano Cabrera presents his theme for this holiday season titled “Échate Pa ‘Acá”. This song has mergers with urban music. It was written by Marinés Colón and can be downloaded for free via the Nano channel on the Sound Cloud digital platform.

“I present this song with a lot of humility and I hope you enjoy it, we did it with the purpose of downloading it and enjoy it at your parties.” Christmas is the best time of the year! It’s when forget the problems because the Christmas represents parrandas, joy and sharing in family, “said Nano.

The contagious joy to which we are accustomed, is demonstrated in the musical arrangement of the song “Échate Pa ‘Acá” that was created by the own Nano and counted on the co-production of Durand tla Elite.

Nano Cabrera - Echate Pa aca — Nano Cabrera – Echate Pa aca

Cabrera, responsible for successes such as: “Que le den, que le den” and “Este Pueblo tiene sabor”, is a graduate of the Conservatory of Music of Puerto Rico and dominates the execution of guitar, bass, piano, cuatro and percussion. In addition, it has participated in 65 record productions.

“The Christmas theme can be downloaded for free through the Sound Cloud digital platform”

Nano Cabrera

Date of Birth: March 1, 1952

Place of Birth: Puerto Rico

Nano Cabrera Biography

Nano Cabrera was born in the context of a musical family. In his childhood years he began to manifest his talent with the guitar and already in his adolescence he founded his first Latin rock group, “Dios, Madre y Patria”. In that stage of rocker that occurred in the years when the movement of the new wave reigned, Nano composed, arranged and played bass. Already in the late 60’s the young musician coincided with the arrival of the duo Nelly and Tony, with whom he worked for several years as arranger, bassist, composer and vocalist.

Graduated from the Conservatory of Music in the 70’s Nano was a founding member of the new group, Haciendo Punto en Otro Son. With this group, distinguished as one of the pillars of the new Puerto Rican trova, Nano remained for two years, thus polishing his knowledge as arranger and composer. In addition to playing the bass, Nano added to the group a singular falsetto that became the characteristic sound of Haciendo Punto.

Nano Cabrera - Nuevo Viejo — Nano Cabrera – Nuevo Viejo

After his work with the group, Cabrera began a career as a soloist popularizing the theme “Que le den, que le den” with which he won an exclusive contract with

Wapa Televisión (today Televicentro). At this stage comes his famous “Este pueblo tiene sabor” that brought so much popularity by becoming the jingle of a well-known soft drink.

In his career, Nano has recorded more than a dozen albums as a soloist, in which he has popularized songs such as “María Isabel” and “Ramito de azucenas”.

Part of his artistic career includes performances in the Dominican Republic, Colombia, the United States and Spain.

Since always his shows have been characterized by creating a fresh, original and full of positive energy. Today, along with twelve other musicians and some dancers, Nano Cabrera has managed to create a fusion of sounds and visual elements that allow spectators to make an imaginary journey through different musical genres.

Main Discography

A ella le gusta – 2000
Amiga de la luna – 1995
Con buena nota – 1997 (junto a Ismael Miranda)
Tropimusical – 1990
Caribe soy – 1986

Nano Cabrera - Exitos y algo mas — Nano Cabrera – Exitos y algo mas

“El Caballero de la Salsa” Kicks Off “Íntimo” in Puerto Rico

With performances on February 14 and 15, 2026, at the Coliseo de Puerto Rico, Gilberto Santa Rosa started the year “at home” with two sold-out shows and the successful launch of his “Íntimo” tour. That is always the goal. On the island, the audience is as demanding as they are generous and the singer knows it. Following the concerts, “El Caballero” posted on social media: “Puerto Rico, thank you for giving us two nights full of love, dancing, and so much music at home! What a thrill it is to sing at home!”

On January 30 of this year, the album that shares the tour’s title was released. In Puerto Rico, two shows were scheduled for Valentine’s Day weekend. The first coincided with Valentine’s Saturday; the second was added for the following day due to how quickly the first round of tickets sold out.

At exactly 6:46 PM on Sunday, February 15, 2026, the stage of the Coliseo de Puerto Rico welcomed Gilberto Santa Rosa’s orchestra to begin the second concert, marking the salsa singer’s long-awaited reunion with the Puerto Rican public. According to a press release from Edumil Ruiz’s agency: “These performances are part of a series of special concerts celebrating the month of love (…) and represent the long-awaited reunion of ‘El Caballero de la Salsa’ with his Puerto Rican audience after two years since his last performance on the island.”

A Night of Rhythms and Ovations

The performance began with high energy and impact from the very first track. The opening bars were seasoned with the sounds of the Puerto Rican cuatro, played by Fabiola Muñoz. “Déjate querer” featured a timbal solo by Pete Perignon, while “Cartas sobre la mesa” highlighted Saviel Cartagena’s saxophone. These were followed by “Ahora o nunca,” “Tú,” “Amor para la historia,” “Quiéreme,” and “Almas gemelas,” which featured Juan Carlos Vega on an aerophone solo; followed by “Yo no te pido” and “Conciencia,” for which the audience gave the artist a thunderous standing ovation.

Between songs, Santa Rosa took a moment to address the crowd: “I was born, raised, and live here. And it moves me to know that here in Puerto Rico, I am still dearly loved.” He added that he is a fan of singing to the brokenhearted with “scorned” lyrics set to savory, danceable arrangements. Addressing the contradiction of that combination, he stated, “We Puerto Ricans are capable of crying and dancing at the same time,” capping the explanation with: “That’s just how passionate we are.”

152 With the performances on February 14 and 15, 2026 at the Coliseo de Puerto Rico, Gilberto Santa Rosa began the year in "his home" with two sold-out shows. — 152
With the performances on February 14 and 15, 2026 at the Coliseo de Puerto Rico, Gilberto Santa Rosa began the year in “his home” with two sold-out shows.

After his remarks, “Gilbertito” explained he would welcome a beloved artist to sing “Misterio,” an urban salsa track with lyrics “about a relationship where you don’t know if it’s coming or going, starting or ending.” Gerardo Rivas took the lead in his solo role, which required Pete Perignon to fill in on the congas while Pedro Marcano took over the timbales.

Tributes and Special Guests

Later, Gilberto Santa Rosa dedicated a segment of the concert to a legend Puerto Rico bid farewell to last December. He stated that Rafael Ithier was a musical genius whom he considered a mentor and a father in music, dedicating the iconic “Las hojas blancas” to him. Notably, the production featured a team of sign language interpreters who translated the entire concert in real time.

The repertoire also included “Vino tinto,” “Cosas nuevas” highlighting Pedro Marcano on the flugelhorn and “No me dejes solo,” which kicked off with a mozambique rhythm and rumba clave on the drums, courtesy of Gerardo Rivas and Tito Echevarría. The most anticipated moment arrived when Santa Rosa asked the crowd to join him in a chorus that allowed “El Caballero” to pay his respects to special guests. The “Choliseo” vibrated as the crowd chanted: “Mira quien llegó / Quién está ahí / Qué bueno que te vino a ver” (Look who arrived / Who is there / How good they came to see you). The tenacious sonero greeted the following guests in perfect rhyme and with his trademark elegance: Don Perignon, Luisito Ayala, Luis Vázquez, Juan José Hernández, Elwood Cruz, Marilin Pupo, Cucco Peña, Lissette Álvarez, Willie Chirino, his wife Alexandra Malagón (whom he called “The owner of my heart”), and Ismael Miranda, among others.

The evening continued with “No pensé enamorarme otra vez” and “Para vivir,” for which he was joined by Yeika Álvarez and “a representation of the Arturo Somohano Philharmonic Orchestra of Puerto Rico.”

Gerardo Rivas (Hijo de Jerry Rivas el reemplaso de Jimmie Morales), Gilberto Santa Rosa y Pete Pergnon

A Monument to Nostalgia

“Tengo una muñeca,” followed by a fusion that progressed from boogaloo to cha-cha-cha and finally to salsa with Gilberto showcasing his skill on the maracas led us into a monument of nostalgia. The memory of the conga player Santa Rosa had worked with since their days in Willie Rosario’s orchestra until his passing in 2021 was honored with “Impaciencia.” The song showcased the Jimmie Morales Signature Series drums by Remo Percussion©, which sponsored “El Rey del Seco” (The King of the Dry Hit) from 2005 to 2016.

During this segment, “El Caballero” displayed his own skills as a talented conguero while singing, accompanied by Gerardo Rivas (the orchestra’s conga player) and Pete Perignon (the timbalero) on either side. While the audience was spellbound by the sight of the three musicians at their drums, this writer wondered if Gilberto was reminiscing about the days when he used to imagine he was a singer, using an upside-down trash can as a drum in the group led by Don Perignon.

The “Army of One”

This intervention was followed by “La agarro bajando,” which preceded the introduction of the band members, “musically directed by the master of the trombone,” Georgie Torres. The lineup included:

Backing vocals: Yeika Alvarez and Gino Ramírez.
Puerto Rican Cuatro: Fabiola “The one who holds her own” Muñoz.
Trumpet: Rebecca Zambrana (with the orchestra for 29 years) and Pedro Marcano.
Trombone: Anthony Rosado (also a ballroom dance champion).
Saxophone/Flute: Francisco “Paquito” Cruz and Saviel Cartagena.
Piano: Luis Marín.
Congas: Gerardo Rivas.
Timbales: Pete Perignon Morales.
Bongos: Rafael “Tito” Echevarría.
Bass: The legend Johnny Torres.
Keyboard/Aerophone: Dr. Juan Carlos Vega.
Vocals: Michael Pérez.

Santa Rosa also praised the technical and audiovisual teams, producer Rafo Muñiz, and Edumil Ruiz, noting that “all these people make this work.”

After identifying his team who gave a masterclass in what the military calls an “Army of One” the hits “Conteo regresivo,” “Perdóname,” “Que alguien me diga,” and “Que manera de quererte” rang out. Gilberto Santa Rosa celebrated Valentine’s weekend by once again proving why he holds the loyalty and preference of his Puerto Rican fanbase.

From the start, the energy never wavered. The crowd sang and danced along with the artist, the musicians, and the dancers on stage. The vast repertoire serves as a reminder of the countless hits “El Caballero de la Salsa” has collected throughout his prolific career.

Also Read: Bandleader and conga player Tony Rosa tells us how he built his career