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Search Results for: orchestra

Hector Rivera ‘‘Riverita’’ tells the story of how he created Riverita Y Su Orquesta Noche Caliente

After several attempts, we finally managed to meet with bandleader and saxophonist Héctor Rivera, known in the industry as Riverita, and ask him all kinds of questions about his artistic career and his current group, Riverita y Su Orquesta Noche Caliente.

Here are some of the most important issues we touch with the artist during our pleasant conversation:

Riverita posing for the camera

Riverita’s inspiration to become a musician

Despite not having musicians in his family, Riverita remembers growing up in an environment where music was always very present. He was born in New York, but spent long periods living with his grandparents in Puerto Rico while his parents settled down and eventually moved to the “Island of Enchantment” to give their son greater stability.

At his grandparents’ house, he used to listen to great artists of the time performing their unforgettable hits on the radio and one of them was Mon Rivera Y Su Orquesta performing “Karakatis-ki,” a song he never forgot, along with so many other musical pieces that gradually got him interested in this world. When his parents returned to Puerto Rico and he returned to live with them, he started listening to Cheo Feliciano, Pete “El Conde” Rodríguez, Felipe Rodríguez, and many others.

All these rhythms led the boy to play a sort of percussion on the table, a biscuit tin, or anything else that served as an instrument for him at the time.

His passion for music grew to the point that he began studying music education at the Escuela Libre de Música in Ponce and, subsequently at the Inter-American University of Puerto Rico in San Germán, where he studied for only about two years. Although he did not complete his studies, this helped him to understand even more the profession and apply what he learned during those years.

Danny, Riverita, and Jose
Riverita with two maracas

Being in Puerto Rico, he played with a merengue orchestra whose name he does not remember, but with which he learned to play alto saxophone professionally. After that, he moved to the United States permanently.

Year 2013

As he moved to Virginia, he took a long break from music until 2013, which is when his cousin, Michael Valladares, asked Riverita to found an orchestra, which was not in his plans. However, he accepted the challenge and carried forward the project.

Back then, the artist worked as a mailman at a post office, making it difficult for him to reconcile his previous professional activities with the direction of an orchestra. Still, he did not allow that to discourage him and chose to give priority to this new ensemble.

It all started when Michael was looking for an orchestra to perform at a gala event to celebrate 500 years of the city of Melbourne, Florida, so he contacted Riverita and proposed him to create an orchestra in which he would serve as musical director for the sole purpose of performing there. That was when the saxophonist set about finding musicians and producing a repertoire, which was not easy, since he did not know any professional musicians and did not have any arrangements he could use.

Danny, riverita, and Jose
Danny Rivera Jr., Riverita, and Jose Reyes

He was so distressed that he spent sleepless nights thinking about how to proceed to complete the mission entrusted to him. With three months to go, he had no time to spare. That is when he managed to make contact with a group of musicians of different nationalities, of whom only the singer, José Reyes, continues to work with him.

Finally, he relaunched the project with a new group of musicians—since the previous ones had left and called it Orquesta Noche Caliente, a name that it still bears today.

Among the most frequently recurring members, we can mention singer José Reyes, singer Danny Rivera Jr., pianist Kevin Figueroa, and trombonist Derick Harris.

To date, they have recorded three CDs and 26 songs. Some of them are “Noche Caliente,” “En Tiempos de Bolero,” and “Mi Linda Música.” They are also preparing their Christmas song several months in advance and will name it “Rabito de Lechón.”

Read also: Cuban-American dancer and actress Jessica Pacheco presents us her own dance company Flamenco Tropical

First Huelva Salsa Festival

Europe / Spain /

First Huelva Salsa Festival. Afro-Cuban rhythms make their debut in Huelva’s nightlife

First Huelva Salsa Festival - Photo 1
First Huelva Salsa Festival – Photo 1

By Javier Corrales García: Salsa is synonymous with joy and delight; it is a collection of sensations evoked by the drum. Salsa is beauty; it is youth within experience—like the wood of an old tree with buds constantly sprouting. Salsa is a world unto itself; Salsa is a syncopated beat in the heart.

Last August, in a corner of southern Spain, a stage was set up facing a monument sculpted by Miss Whitney—a monument representing the spirit of discovery, specifically the European discovery of the wondrous lands of the Americas. This location in southern Spain is none other than the very spot from which Christopher Columbus and his crew set sail 525 years ago in search of new routes, only to stumble upon unknown lands—the port of Palos de la Frontera.

 

In the wake of that “accident” came a series of events, tragedies, and invasions, but also *transculturation*—a term coined by Fernando Ortiz to define the complex process of reciprocal communication between cultures. These mutual influences blended various cultures into one—rich like few others, and musically unparalleled.

August was the month when those three ships set sail, and August was also the month chosen to celebrate a magnificent festival featuring the music born of that transculturation: the First Huelva Salsa Festival. Seven orchestras showcased diverse styles—ranging from traditional *son*, *nengón*, and *changüí* to repertoires featuring sophisticated jazz arrangements that were both elegant and powerful, as well as the sounds of the genre known as salsa that dominated the Latin music scene in New York City during the 1960s and 70s.

concert - collash 1
concert – collash 1

Sessions by DJ Corr and Wally DJ before and after each concert.
Sessions by DJ Corr and Wally DJ before and after each concert.

pre - concert
pre – concert

Salsa Festival

A look at the festival’s orchestras:

 

SON DE CUBA

A group of Cuban musicians led by *tres* player Leo Cabezas, featuring traditional *son* music as the main attraction. They opened the concert lineup on the first day in a stunning setting—the only concert held in Punta Umbría right on the beach sand—amidst the fabulous atmosphere typical of “El Mosquito” (a bohemian beach bar that champions live music and boasts what are likely the best sunsets in the province of Huelva).

In addition to the opening performance, they played the closing concert on the final day, inviting musicians from Troveros de Asieta to join them on stage.

Troveros de Asieta invitando a Proyecto Mambo
Troveros de Asieta invitando a Proyecto Mambo

LA CANDELA

Gilberto Miguel Calderón Cardona—known first as Sonny and later as Joe Cuba—would be proud of the legacy evident in the excellent work of La Candela. This young group has achieved a sound that stays true to the cadence and flavor of the famous “Big Apple” sextet—a feat that is notoriously difficult to pull off.

Rafa Richie Rodriguez, sonero de la Candela
Rafa Richie Rodriguez, sonero de la Candela

Dancers worldwide were fans of Joe Cuba, and La Candela—his worthy successors—are now gathering their own following within the dance community. They perform fantastic covers of Joe Cuba songs alongside original tracks packed with danceable flavor. This magnificent group from the Canary Islands comes highly recommended for music lovers, dancers, radio broadcasters, and—above all—organizers of dance congresses around the globe.

 

SEPTETO NABORI

After listening to their album *20 Años*, one could easily predict that their live show would be powerful; indeed, after the concert ended, they were the talk of the audience. It was a marvel to see these Cubans—long based in Italy—delivering the true flavor of *son* and giving it their all on stage.

Septeto Nabori with their audience
Septeto Nabori with their audience

Tracks from their album, such as “Ni pa ti ni pa mi” and “Santiago si la lleva,” lifted spirits during a magical night of salsa, *son*, *guaracha*, and mambo.

Cinta Lopa at the percussion workshop, with Santiago Reyther behind her.
Cinta Lopa at the percussion workshop, with Santiago Reyther behind her.

Their two *soneros*—Iván Antonio Rodríguez and Yoelis—were fascinating, possessing the distinctive voices of seasoned, old-school *son* singers. Luis Alberto Danger was sublime throughout the entire show.

Bandleader Alejandro Morcate kept the musical machinery running on guitar; bassist Raúl Cardoso added flavor with his syncopated swing; Monchi laid down the grooves on the *tres*; and Yoandy Armenteros and Jose Alberto Ávila handled the percussion, providing the rhythm and spice. A marvelous septet that captivated everyone present.

Ivan Antonio Rodriguez and Yoelis soneros from Septeto Nabori
Ivan Antonio Rodriguez and Yoelis soneros from Septeto Nabori

SONORA LIBRE

Mauricio Ochoa was missing—not because the replacement conga player lacked quality, but because Ochoa is the mastermind behind this superb work and deserved to witness the audience’s appreciation firsthand.

Sonora Libre ensured everyone had a fantastic time, serving as the perfect finale for the festival’s Friday night. Sebastián Cabra handled musical direction, showcasing magnificent arrangements—track after track—that infused the horn section with a strong jazz essence without losing an ounce of swing or flavor.

Salsa Ecstasy with Sonora Libre
Salsa Ecstasy with Sonora Libre

With lyrics ranging from upbeat *guarachas* to thought-provoking verses, and salsa played at full intensity, kudos to this stylish group based in Barcelona.

They wrapped up the night by mingling with the guys from Septeto Nabori—a *sonero* face-off filled with great vibes.

 

JÓVENES CLÁSICOS DEL SON

Led by bassist Ernesto Reyes Proenza, this Cuban group—with over 20 years of history—won awards right from the start. With “El Nene” on vocals, they achieved success that established them as a benchmark in reviving the importance of *son*—the quintessential Cuban popular genre.

Jóvenes Clásicos having a great time on stage
Jóvenes Clásicos having a great time on stage

During the concert, *sonero* José Antonio Rodríguez (“Pepitin”) kept the audience constantly engaged, making them dance non-stop to one song after another. They played with *son*, *changüí*, and even *nengón*—traditional tracks from their new album, *El Bar de Paco*, which is highly recommended for lovers of majestic *son*.

Pepitin on the maracas
Pepitin on the maracas

César Hechavarría delighted the crowd time and again with his mastery of the *tres* guitar, delivering rich improvisational solos that we wished would never end. José Manuel Rodríguez Arias radiated joy, dancing while playing the cowbell with great flair and rhythm.

ORQUESTA DEL SOLAR

The guys from Orquesta del Solar threw a fantastic *rumba* party—pure, authentic salsa. They mixed original songs with tasty classics like “Fulanito Malanga,” “Conciencia y Guaguancó,” and “Abran Paso,” as well as a crowd favorite among the night’s dancers: “Ahora Sí.”

Jaime Vazquez, conguero del Solar
Jaime Vazquez, conguero del Solar

Our sincerest congratulations go to Julio Mena for leading this superb orchestra for so many years as a national and international salsa reference point. They hold the prestige of having accompanied legends like Meñique, Jimmy Bosch, Cheo Feliciano, and Adalberto Santiago—a sheer delight for dancers!

The orchestra is highly appreciated by dancers and is a regular fixture at congresses and events catering to the dance community.

Naty Georgiades Guaguancó workshop
Naty Georgiades Guaguancó workshop

TROVEROS DE ASIETA

We wrap up our musical review of this fantastic event with the *son*-loving Canary Islanders. Returning to Huelva for the second consecutive year, they showcased their tight, cohesive quality—delivering an elegant, powerful *son* sound. Their exciting repertoire featured the *conjunto* style, including tracks like Arsenio Rodríguez’s “Mulence”—a song with quintessential *rumba* lyrics. A treat for both the ears and the feet—and on a personal level, they are humble, down-to-earth, friendly, and charming. The perfect finale to this magnificent festival!

Troveros revolucionando al publico
Troveros revolucionando al publico

ADDITIONAL ACTIVITIES – FIRST HUELVA SALSA FESTIVAL

The concert series was complemented by dance, percussion, and history workshops, offering a wide range of activities designed to bring the worlds of music and dance closer to the audience.

Percussion workshop offered by Santiago Reyther and Lázaro Chino Acebal.
Percussion workshop offered by Santiago Reyther and Lázaro Chino Acebal.

In short, a delightful festival offered free of charge thanks to the Huelva Provincial Council and organized by Música Fundamental, under the leadership of Carlos Ferrer. We are eagerly looking forward to the second HSF!

Audience attending the Sonora Libre concert
Audience attending the Sonora Libre concert
After the "Proyecto Mambo: From Changüí to Mambo" workshop in New York.
After the “Proyecto Mambo: From Changüí to Mambo” workshop in New York.

Alexander Masucci endorses The Salsa Museum and our work

We have been blessed to be supported by great artists over recent years, but on this very special occasion, we have won the support of music executive, producer, composer, and promoter Alex Masucci, the brother of legendary lawyer, businessman, and co-founder of the Fania All-Stars, Jerry Masucci. 

Now, we will talk a little about the story of this great Latin music figure for everyone to know him beyond his family ties.

Producer Alexander Masucci
Music executive and producer Alexander Masucci

Who is Alex Masucci, and how were his beginnings?

Alex Masucci was born on November 11, 1949, and grew up in Brooklyn, New York, along with his parents, Urbano and Elvira Masucci, and his brother, the renowned music executive Gerald Masucci, better known to all as Jerry Masucci. He worked part-time for Fania Records still in his teens, attended the University of the Americas in Mexico City and graduated in business administration. Years later, along with Ray Aviles, he founded A&R Film Distributors in the early 1970s, the same year they distributed of “Our Latin Thing.”

Participation in Fania Concerts

Continuing with his activities with the Fania All-Stars, he also supported the production of several of their most important live concerts, among which we can mention the one at Yankee Stadium on August 24, 1973, which received more than 45,000 people. Another of the great events in which Masucci participated was a Celia Cruz concert together with the Fania All Stars at the Stade du Hain in Kinshasa, Zaire, which received about 80,000 people who were able to enjoy “La Guarachera de Cuba” and her companions of that night.

Subsequently, he produced a few performances on big stages such as Madison Square Garden and throughout the United States.

Alex Masucci and William Stewart
Alex Masucci and former drummer of the internationally renowned Third World band William Stewart

Island Records and Boardwalk

Alex also had a very fruitful journey at Island Records, where he was called upon by its founder Chris Blackwell to be part of the special projects division, a time during which he managed to sign and produce successful albums by Invisible Man’s Band, Third World Band, and Bob Marley himself. In fact, the Jamaican artist managed to get his music heard on American urban radio.

As for Boardwalk Records, he was also able to work with the aforementioned record label thanks to music entrepreneur and filmmaker Neil Bogart, who urged Alex to join the company and deal with great artists of the stature of Ringo Starr and Joan Jett.

Masucci and Cruz
Alex Masucci next to Johnny Cruz

Return to Latin Music and Newer Projects

After the very pleasant experience of having worked together in previous years, Blackwell contacted Alex again and proposed once more that they join in a new project that he would name Island Miami, to which Alex gladly said yes. Sometime later, Blackwell left Island, which led him and Alex to partner their recently created company Palm Pictures with Masucci Entertainment. Thanks to this alliance, they managed to sign the Cuban orchestra Carlos Manuel Y Su Clan.

Currently, the executive founded his own company Haz-Mat Entertainment, with which he created music and film projects, among which we can include the documentary on the history of Fania Records.

Read also: Puerto Rican singer Héctor Luis Pagán greets us and supports us

Fernando Lavoy The Montunero of Salsa and Son

The Indelible Footprint of a Masterful Voice in the Golden Era of SAR Productions.

Introduction and Musical Legacy, Fernando Lavoy was one of the best-kept and most dazzling secrets of 20th-century Afro-Cuban music.

Born on May 6, 1950, in Havana, Cuba, he possessed an exceptional mastery and vocal quality that quickly caught the attention of the era’s biggest icons.

It was the legendary trumpeter Alfredo “Chocolate” Armenteros who, blown away by Lavoy’s innate gift for traditional phrasing and improvisation, affectionately dubbed him “El Montunero” (The Montuno Master).

Fernando Lavoy El Montunero de la Salsa y el Son
Fernando Lavoy El Montunero de la Salsa y el Son

Throughout his career, Lavoy showcased his talent as both a singer and songwriter in heavyweight ensembles, including:

  • The celebrated Sonora Matancera
  • Chocolate Armenteros’ orchestra
  • Conjunto Dinastía Diez
  • Roberto Torres’ mythical SAR All Stars

He also led his own group, “Los Soneros.” His tragic murder in 1992 in Miami, United States, cut short the life of a brilliant artist, but left an indelible mark on the heritage of tropical music.

The Rise in New York and the Alliance with SAR Productions

After emigrating to the United States in 1980 in search of new artistic horizons, Lavoy immediately immersed himself in New York’s effervescent Salsa and Son scene.

His first big break came courtesy of Chocolate Armenteros, contributing masterfully to the album “Y sigo con mi...” under the SAR Productions record label.

Sar All Stars La India de Oriente,Jorge Maldonado Y Fernando Lavoy y en el tres Charlie Rodriguez
Sar All Stars La India de Oriente,Jorge Maldonado Y Fernando Lavoy y en el tres Charlie Rodriguez

Founded by Roberto Torres, this record label was characterized by a unique musical aesthetic: it championed the classic texture of Cuban son, extending song lengths to allow generous space for instrumental solos and pure improvisation.

In 1981, Lavoy solidified his place as a member of the SAR All Stars, catapulting his voice into the spotlight of the most demanding music lovers.

Unlike other commercial acts of the era (such as Fania Records) that leaned heavily into crossovers with the English-speaking market, SAR Productions stood firm in direct Cuban roots. While they injected subtle nuances of jazz, they preserved that traditional, deep, and organic cadence that captivated Hispanic audiences.

Fernando Lavoy y Los Soneros: A Distinct Identity

Between 1981 and 1982, Fernando Lavoy recorded two foundational albums under his own name: “Los Soneros” (1981) and “Fernando Lavoy y Los Soneros” (1982).

Los Soneros Canta Fernando Lavoy 1981.
Los Soneros Canta Fernando Lavoy 1981.

Although the norm at SAR was to use the talented house band to back soloists, Los Soneros presented themselves as an autonomous group with their own identity, produced by the infallible Roberto Torres.

The ensemble stood out for its solid instrumentation led by trumpeter Juan González, who served as director and arranger, accompanied by his son Juan González Jr. on piano and the virtuoso Juan Méndez on bongo.

The band was formally structured as a classic, old-school conjunto: four powerful trumpets, bass, conga, bongo, and three backing vocalists stylishly led by Norman Rodríguez.

Analysis of a Masterpiece: The 1982 Album

The 1982 record is absolute proof of Lavoy’s musical maturity; he composed 50% of the repertoire.

  • “No voy a dormir”: The album opens electrifyingly, where a powerful trumpet introduction gives way to Fernando’s entrance, followed by a masterful trumpet solo by Juan González and an explosive bongo breakdown by Juan Méndez that builds into a montuno climax.
  • “Cóquela suave”: A son montuno penned by Lavoy that, true to its name, begins with a smooth, gentle cadence before transforming into a hard-hitting, danceable son, enriched by a sublime piano solo from Juan González Jr.
  • “Pegaditos”: A famous composition by Miguel Matamoros who, along with Arsenio Rodríguez, stands as one of the pillars of son is reinterpreted while respecting the purity of its traditional structure. The track shines with a high, piercing trumpet that floats above the Cuban singer’s vocals, experimenting with tempo variations that gradually increase the rhythmic intensity alongside flawless backing vocals.
  • “Juana la sin goma” & “No vuelo contigo”: The album closes with the former, a track packed with playfulness, dance energy, and high-octane lyrics, and the latter, a more laid-back son that, without quite becoming a bolero, maintains the majestic structure of Cuban son with a vibrant closing montuno.
Fernando Lavoy Y Los Soneros 1982
Fernando Lavoy Y Los Soneros 1982

Ultimately, Fernando Lavoy’s work remains a foundational pillar that vindicates the sabor, rhythm, and eternal essence of son montuno.

Text courtesy of Maida Lorena Lavoy.

Foto Museo De La Salsa, en Barrio Obrero, en su visita en 1991 junto al gran cantante puertorriqueño Yayo El Indio y Carlos Molina Castellanos, actual director del Museo De La Salsa
Foto Museo De La Salsa, en Barrio Obrero, en su visita en 1991 junto al gran cantante puertorriqueño Yayo El Indio y Carlos Molina Castellanos, actual director del Museo De La Salsa

Also Read: Alfredo “Chocolate” Armenteros: The Golden Legacy of the Cuban Trumpet

The Senior Mulato Jerry Rivas and His Half-Century Legend with El Gran Combo de Puerto Rico

From the chords of the Puerto Rican cuatro to the eternal voice of “Los Mulatos del Sabor”

Few names resonate with as much power, respect, and relevance in the salsa firmament as that of Jerry Rivas.

Born in Tampa, Florida, but with his soul deeply rooted in the heart of Orocovis through his parents’ heritage, Jerry Louis Rivas Díaz has carved his name in letters of gold into the history of Caribbean music.

El Mulato Mayor Jerry Rivas y su Leyenda de Medio Siglo con El Gran Combo de Puerto Rico
El Mulato Mayor Jerry Rivas y su Leyenda de Medio Siglo con El Gran Combo de Puerto Rico

Nearing 50 years as the lead vocalist for El Gran Combo de Puerto Rico, Rivas is more than just a singer; he is a living institution of salsa, a definitive sonero of his era, and the guardian of a legacy that continues to keep the entire world dancing.

Roots, Strings, and the Making of a Self-Taught Musician

Jerry’s history with Puerto Rico formally began in 1960, when his family moved back to the “Isla del Encanto” to settle in Bayamón.

There, the young Jerry began to breathe in the folklore and rhythms that defined the Boricua identity. What many do not know is that long before commanding microphones and international stages, Jerry was deeply passionate about string instruments.

As a fundamentally self-taught musician and singer, his first great love was the guitar. Over time, his musical curiosity led him to master the Puerto Rican cuatro, the island’s national instrument par excellence.

De los acordes del cuatro puertorriqueño a la voz eterna de Los Mulatos del Sabor
De los acordes del cuatro puertorriqueño a la voz eterna de Los Mulatos del Sabor

Not content with just that, he decided to delve deeper into the roots of Afro-Caribbean music, learning the secrets of the Cuban tres under the tutelage of the renowned professor Carlos Seguí.

This solid foundation as an instrumentalist not only shaped his ear but also gave him an impeccable sense of rhythm and timing that would later define his unique style for soneo (improvisational singing).

The Path to the Top: From Local Bands to a Historic Recruitment

Before the spotlight of El Gran Combo fell upon him, Jerry Rivas honed his craft throughout the island’s musical circuit, leaving his mark on every project:

  • Grupo Complicación: His teenage musical battleground, where he served as a guitarist for three years.
  • Conjunto Cojoba: A group he joined in 1972, sharpening his stage presence.
  • Conjunto Chaney (1974): Jerry was part of the select group of founding musicians of this project, which years later would become a powerhouse of romantic salsa.
  • Latin Brass (1976): The definitive showcase where his voice truly began to shine on its own.

It was precisely in 1976 when destiny knocked on his door. Following the shocking departure of the iconic “Niño de Trastalleres,” Andy Montañez who left the orchestra after 14 golden years to join Venezuela’s Dimensión Latina El Gran Combo found itself facing one of the most difficult transitions in its history. Replacing a legend seemed like an impossible task.

However, the keen eye of Don Quique Lucca (founder of La Sonora Ponceña) did not fail. Don Quique recommended the young Jerry to Don Rafael Ithier. After hearing him perform, Ithier didn’t hesitate: in 1977, Jerry Rivas officially joined the “University of Salsa.”

Nacido en Tampa, Florida, pero con el alma arraigada en las entrañas de Orocovis por la herencia de sus padres, Jerry Louis Rivas Díaz
Nacido en Tampa, Florida, pero con el alma arraigada en las entrañas de Orocovis por la herencia de sus padres, Jerry Louis Rivas Díaz

Nearly 50 Years of History at “The University of Salsa”

Joining such a demanding institution in the midst of an era-defining shift was a monumental challenge. Audiences initially viewed the new member with skepticism, but Jerry, armed with unwavering humility and immense talent, never tried to imitate his predecessor; instead, he forged his own legend.

Across nearly five decades, his voice has immortalized anthems of the global salsa songbook. Essentials on any dance floor like “Azuquita pa’ el café,” “Ojos chinos,” “Y no hago más na’,” “El menú,” “Cupido,” and “La clave” carry his unmistakable stamp.

His elegant performance style, combined with his sharp wit and deep respect for the dancer, solidified the orchestra’s golden age and ensured the transition was a resounding success.

“Joining El Gran Combo was a tremendous school and responsibility. Replacing Andy was no easy feat, but Don Rafael Ithier gave me the confidence to just be myself on stage.” Jerry Rivas, looking back on his beginnings.

Pocos nombres resuenan con tanta fuerza, respeto y vigencia en el firmamento de la salsa como el de Jerry Rivas.
Pocos nombres resuenan con tanta fuerza, respeto y vigencia en el firmamento de la salsa como el de Jerry Rivas.

The Present and Vibrant Legacy of an Eternal Sonero

Now in 2026, the tropical music landscape has changed drastically, but El Gran Combo de Puerto Rico remains unshakeable at the top.

Jerry Rivas stays incredibly active, leading the vocal front of “Los Mulatos del Sabor” alongside the orchestra’s newer generations, Anthony García and Joselito Hernández. This blend of Jerry’s veteran wisdom and the energy of the new vocalists has injected a refreshing vitality into the group.

Jerry Rivas is not just a survivor of salsa’s golden age; he is the living bridge connecting the rich traditions of the 20th century with contemporary audiences.

From his days tuning strings in Bayamón to packed stadiums across Europe, Latin America, and the United States, his journey stands as a testament to discipline, passion, and love for his culture.

We wish lifelong health, inspiration, and continued success to this eternal maestro who, besides being one of salsa’s most beloved voices, has never ceased to be, in every sense of the word, a complete musician. Long live the music of Jerry Rivas, and let the drums keep rolling!

 

Jerry Rivas y Papo Rosario
Jerry Rivas y Papo Rosario

Also Read: The Gran Combo of Puerto Rico “Los Mulatos del Sabor”

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International Salsa Magazine (ISM) is a monthly publication covering salsa activities around the world and has been publishing since 2007. It is a worldwide network of volunteers coordinated by ISM Magazine. Together, we work to strengthen salsa events around the world.