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Alain Pérez Triumphs in Puerto Rico with a Confident Stride

The exclusive Tropicoro Club at the Fairmont El San Juan Hotel in Isla Verde was overflowing to welcome the multifaceted Cuban musician Alain Pérez, who performed in Puerto Rico for the first time as a solo artist. Before the dance concert, held on Puerto Rican soil, which closed Alain’s first solo tour of the United States, he had performed in New York, Los Angeles, Miami, and Tampa.

To open the concert, the Cubanísimo concept, led by Puerto Rican bassist and cuatrista Jesús Algarín, set the mood for the audience. The young musician made a confident entrance, accompanying himself with powerful interpretations on his instruments, skillfully directing his own orchestra. Prior to Alain Pérez’s show, the musicians of Cubanísimo—cuatrista, singer, and director Jesús Algarín, trumpeter Miguel Ortiz, vocalists Carmen Jiménez and Gilberto Félix, bassist Félix Juan Algarín, bongos player Freddy Camacho, conga player Jeren Guzmán, and flutist Juan Ortiz—brought to life songs like ‘El yerbero moderno,’ ‘Esa niña,’ ‘El bodeguero,’ ‘La rosa oriental,’ ‘El paralítico,’ ‘Así fue,’ ‘Parampampam,’ ‘Lo que fue no será,’ ‘Que te pedí,’ and ‘El cuarto de Tula.’ Once the musicians, directed by Algarín, finished their set, Alain Pérez made his triumphant entrance.

The singer, bassist, guitarist, percussionist, pianist, orchestra director, arranger, and music producer had been in Puerto Rico on a handful of occasions as a backing musician for artists of the stature of Issac Delgado and Chucho Valdés, to name a few. This time, of course, he arrived as a solo artist and with force, to the rhythm of ‘El cuento de la buena pipa.’ Once on stage, the “guajiro,” who confessed in an interview to having “converted to flamenco,” showed that he felt at home while singing, dancing, guaraching, playing the bass, soneando, and rumbando. Once Alain and his orchestra warmed up the luxurious venue, which was overflowing with people, the virtuous multi-instrumentalist performed songs such as ‘ADN,’ ‘El sabor de mi rumba,’ ‘Amor fugaz,’ ‘Son con moña,’ ‘Hablando con Juana,’ ‘Shorcito,’ ‘Modo avión,’ ‘Batilongo,’ ‘La lámpara,’ ‘Pa’ to’ la vida,’ ‘La moneda,’ the title track from his most recent production: ‘Bingo,’ ‘Andaba solo’—a duet with the “Caballero de la Salsa,” Gilberto Santa Rosa—and ‘Pistolero,’ the latter loudly requested by the elegant audience.

Alain Pérez acompañado de su bajista Mauro Cabrejas

Gilberto joined Alain to sing ‘Andaba solo’ as a duet, but not before giving a “welcome to this beast of music, with whom I had the opportunity to record and whom I had the opportunity to meet in person recently,” clarifying that he already knew him musically, adding that they would sing “without rehearsal, but with affection.”

During the show, the musician who defines himself as a guajiro, sonero, guarachero, and rumbero, delivered fusions characteristic of Alain’s great contribution to Latin music, within Afro-Cuban traditions influenced by his exposure to Hispanic folklore. Pérez built the show using a varied repertoire that included salsa, timba, son, and bolero in interesting fusions. Accompanied by his band—composed of Mauro Cabrejas, Josué Puig, Roberto Medina, Víctor Oliva, Alejandro Sosa, Robelis Arévalo, Julio Puig, Yunnier Stoker, Cristhian Díaz, Darío Andrés, Alejandro Fernández, and Isaac Cambar—Alain Pérez delivered on his promise: “a night full of Caribbean flavor, rhythm, and

energy.”

From the moment Alain started the dance, the energy did not wane. The audience connected with the artist and the person, who visibly emotional, repeatedly expressed gratitude “for the affection received and the nobility perceived,” adding that since setting foot on Puerto Rican soil he has “felt a lot of peace” and that he’s going to have to buy “a little ranch here.”

With the Puerto Rico performance, Alain successfully concluded his first solo tour of the United States with resounding success. That was the idea. Here in beautiful Borinquen, the audience while demanding makes sure the artist feels the love and respect with which they are received and celebrated. Congratulations!

Also Read: Bella Martinez, the irreverent Salsa writer

Adrián Joel Rodríguez Rivera is a musician with extensive experience as a Bassist

Adrián Joel Rodríguez Rivera (a.k.a. “AJ”) had his first experiences with the electric bass at 14 years old.

He began formal studies at the Antonio S. Paoli Specialized Music School in Caguas, Puerto Rico, that culminated with a Bachelor’s Degree in Music in Jazz & Afrocaribbean Music Execution with a major in Electric Bass from The Conservatory of Music of Puerto Rico.

Throughout his career, he has played and recorded with musical groups in diverse music genres, e.g. reggae, rock, jazz, urban and tropical music.

He’s had the pleasure of collaborating with artists like Calma Carmona, Yaire, Auudi, Brytiago, Raquel Sofía, Jean Carlos Canela, Galé, among others.

Adrián Joel Rodríguez Rivera (alias “AJ”) gained his first experiences with the electric bass at the age of 14

Presently works from Puerto Rico and has performed in the United States, Colombia, and Ecuador.

The History of the Electric Bass

The history of the electric bass is intrinsically linked to the need for a more practical and amplified alternative to the bulky double bass, especially as musical bands grew larger and louder.

The Early Steps and Paul Tutmarc (1930s)

Although there were some earlier experiments, the first functional electric bass is considered to have been developed by Paul Tutmarc in the 1930s. In 1936, his company, Audiovox, launched the Model 736 Bass Fiddle.

This instrument featured a guitar-like design, with a solid body, frets, and an electromagnetic pickup, making it easier to transport and play compared to the double bass. However, Tutmarc’s invention was not a great commercial success at the time.

Leo Fender’s Revolution (1950s)

It wasn’t until the early 1950s that the electric bass truly took off, thanks to Leo Fender. Seeking to solve the problems of size, volume, and tuning of the double bass, Fender applied his expertise in electric guitar manufacturing to create an innovative instrument.

In 1951, Fender launched the Precision Bass, the first mass-produced and commercially successful electric bass. Its design was robust, with a solid body and frets (hence the name “Precision,” for the tuning accuracy the frets offered). This bass quickly became a standard, used in a wide variety of musical genres, from soul and R&B to rock.

Later, in 1960, Fender introduced the Jazz Bass, which offered a slimmer neck and two pickups (one near the bridge and one near the neck), providing greater tonal versatility and a sound that many jazz musicians found closer to the acoustic double bass.

Expansion and Evolution (1960s Onward)

Throughout the 1960s, other brands like Gibson, Höfner, and Rickenbacker also began manufacturing their own electric bass models, flooding the market with new options. The popularity of the electric bass grew exponentially, solidifying its place as a fundamental element in modern music.

The 1970s saw further experimentation. Preamplifiers began to be integrated into instruments to expand the tonal range, and multi-string basses emerged. In 1974, bassist Anthony Jackson and luthier Carl Thompson collaborated to create the first six-string bass, with the goal of expanding the instrument’s sonic range.

From the 1980s onward, innovation continued. 5 and 6-string basses became popular, as did active circuits and “boutique” basses from specialized luthiers. Designers like Ned Steinberger introduced headless basses and experimented with materials like carbon fiber. Influential musicians like Jaco Pastorius brought the fretless bass to the forefront, and techniques like “slap” and “double thumb” were developed and popularized.

Today, the electric bass continues to evolve, with a vast range of designs, configurations, and sounds, adapting to the needs of the most diverse musical genres and the creativity of bassists worldwide.

He began formal studies at the Antonio S. Paoli Free Specialized School of Music in Caguas, Puerto Rico.

Also Read: Charlie Haden was an extraordinary double bassist and composer who was a key figure in the history of modern jazz

Tito Nieves’ concert “50 Años, La Historia” made it clear that ‘Salsa Lives

On Saturday, May 17, 2025, Tito Nieves celebrated half a century of a successful musical career at the Coliseo de Puerto Rico (El Choliseo) with a massive concert titled “50 Años, La Historia,” part of his “Mi Último Tour” (My Last Tour) tour.

Tito Nieves smiles in front of a packed coliseum

Music started powerfully around 9:00 p.m. with “Señora Ley” (Lady Law), followed by “Mañana es Domingo” (Tomorrow is Sunday). This led into a medley of songs Tito popularized before going solo: “El Pregonero” (The Town Crier), “El Piragüero” (The Shaved Ice Vendor), and “Panadero” (Baker), all penned by Ramón Rodríguez. In this first segment, the honoree was joined by Rodríguez and Norberto Vélez, setting the theme for the show, where Nieves was accompanied by various guests.

Tito Nieves bid good evening shortly before asking the audience to record the concert, asserting it would be the first and last time he would perform solo at the Coliseo de Puerto Rico for a historic concert that the singer declared was “sold out.”

The soloist demonstrated the evolution of his career, moving to the next stage of his journey, which included the songs “Quiero Perderme Contigo” (I Want to Get Lost with You) and “El Amor Más Bonito” (The Most Beautiful Love). Before starting “Perdido en la Oscuridad” (Lost in the Darkness), Tito stated that during one of the most difficult stages of his life, he asked José José for permission to record it. “Un Tipo Común” (An Ordinary Guy) preceded Tito’s spoken interlude, during which he requested “a big round of applause for Ismael Miranda ‘the eternal handsome boy,’ who is with us tonight.”

For the next segment, Gilberto Santa Rosa and Gerardo Rivas joined Tito Nieves for the song “Soy” (I Am). Gilberto explained that he and Tito Nieves have been musical brothers for over forty years, shortly before saying, “Tito and I are family,” a phrase that led into the performance of “La Familia” (The Family).

The next stage featured a medley of hits including “Sueño” (Dream) and “Lo Que Son Las Cosas” (What Things Are Like). From this same solo period, “Manías” (Obsessions) and “No Me Queda Más” (I Have Nothing Left) stood out. Tito Nieves’ voice was recorded on several of the few salsa lyrics in English. For the concert, Tito brought to life “I’ll Always Love You,” “Celebration,” and “I Like It Like That,” with which he later bid farewell.

Tito paused during the concert to dedicate the song “Gracias Madrecita” (Thanks, Little Mother) to his late mother, Victoria Nieves.

The next guest, Rey Ruiz, “the salsa heartthrob,” performed “Almohada” (Pillow) with Tito, then sang “Mi Media Mitad” (My Other Half) to a bolero rhythm before transitioning to the same song in its usual salsa tempo, which is how it became popular. The turn of also invited Carlos García brought him to the stage to sing “No Me Vuelvo a Enamorar” (I Won’t Fall in Love Again) as a duet with Tito.

Shortly after, Tito Nieves continued singing his most notable hits, including “Déjame Vivir” (Let Me Live) and “Tuyo” (Yours). When it was José Alberto “El Canario”‘s turn, he sang “Le Gusta Que La Vean” (She Likes to Be Seen) with Tito Nieves and “Baila Que Baila” (Dance, Dance) solo. For this particular performance, dancers and choreographers Flavia Tamara Livolsi and Tito Ortos Gutiérrez were in charge of the dance that connected with the guest’s music, who also performed his characteristic “flute” solo, without a flute.

The super orchestra accompanying El Pavarotti de la Salsa

For the song “Fabricando Fantasías” (Manufacturing Fantasies), Tito Nieves took the stage accompanied by 9 child choristers; both the singer and the choristers were dressed in white. Tito sang alongside a hologram of his deceased son, whose passing preceded the song’s release; for the concert, this led into “Un Amor Así” (A Love Like That) and “Soy Cantante” (I Am a Singer).

Continuing with the idea of being accompanied by his guests, Tito Nieves welcomed Tony Vega to the stage to perform their duet and give voice to “Tú Por Aquí, Yo Por Allá” (You Here, Me There), shortly before Tony performed “Aparentemente” (Apparently). Once Tony’s participation concluded, Tito returned to the stage dressed in blue to perform “Te Amo” (I Love You) and “Más Que Tu Amigo” (More Than Your Friend).

Immediately after, Tito Nieves commented: “In salsa, we’ve had Celia, La Lupe, Graciela, India…”, as he welcomed one of the new salsa promises: Daniela Darcourt. With her, he sang “Si Tú Te Atreves” (If You Dare) shortly before suggesting his “musical daughter” perform the soloist’s new single, titled “La Sinvergüenza” (The Shameless Woman).

The concert’s peak was reached during the performance of “De Mí Enamórate” (Fall in Love with Me) and “Sonámbulo” (Sleepwalker), songs with which the artist demonstrated that the voice that earned him the title of “The Pavarotti of Salsa” remains intact.

Next, Tito and his wife—Janette Figueroa, the self-proclaimed “toxic one”—showcased their influencer skills, leading into a theatrical interlude of their interaction with the public during the COVID-19 lockdown: “Conversa con Tito” (Talk with Tito). For this, the couple was accompanied by the new talents Daniela Darcourt and Christian Alicea. Once the micro-theater segment concluded, the production celebrated the sold-out status by presenting a plaque indicating the exclusive status, after congratulatory greetings to Nieves from Víctor Manuelle, Rubén Blades, and Marco Antonio Solís were projected.

It was at this moment of various congratulations that it was demonstrated that ‘Salsa Lives’in the key of fierce salsa. For this, Christian Alicea joined Tito Nieves’ vocal and stage mastery, contributing with his voice and an energetic conga solo.

At 12:40 a.m. on May 18, the concert hosted by “The Pavarotti of Salsa,” accompanied by his super orchestra, concluded with the same power it began, though in English and to the beat of “I Like It Like That.” For the closing, the dance corps, made up of Tito Ortos, Tamara Livolsi, Christina Reyes, and Yadiel Carrasco, complemented the interpretive energy with which Humberto “Tito” Nieves once again demonstrated the connection he has maintained with the salsa audience, regardless of the language he sings in.

Photographs By: Francisco J. Rivera Rosado Photographs

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Oscar D’León’s La Crítica was founded in Caracas in 1978

La Critica by Oscar D’León

We had just returned from New York when “Chiquitín,” Oscar D’León’s longtime secretary, called us at the office to let us know there was a commotion in the “Faraón de la Salsa’s” office.

Oscar D'León's La Crítica was founded in Caracas in 1978 — Oscar D’León’s La Crítica was founded in Caracas in 1978

It was about the defection of some musicians from the Orquesta La Salsa Mayor. Indeed, Leo Pacheco, Felipe Blanco, and other musicians had decided to leave for financial reasons.

The news caused a stir; Oscar had already achieved a very special sound. He had moved away from the trombones that characterized his style and had incorporated a brass section with trumpets that made a difference. Suddenly, he was without his powerful machinery. Leo and his group formed what was called Nuestra Orquesta La Salsa Mayor, and Oscar, without a second thought, reassembled his group alongside Enrique “Culebra” Iriarte.

La Crítica

No one should doubt that Oscar had a tough time, but the prestige he had gained and the popularity of the sonero allowed him to come out on top.

Paul González, the son of “El Guajiro” González, a veteran guarachero and who at the time served as manager for the now-called “Sonero del Mundo,” devised the orchestra known today as La Crítica to avoid future setbacks and to have an orchestra on hand to alternate in scheduled dances.

The project’s formation brought together pianist and arranger Mauricio Silva, percussionist Radamés Pimentel, and Teo Hernández, who would serve as vocalist.

Since 1978, La Crítica emerged as an exceptional group. The jazz influences infused by Mauricio Silva from the very beginning were crucial for the public to accept the band as a favorite. In that “beginning,” other significant names included “Cheo” Navarro and Gustavo Quinto, who were already known from their time with Grupo Mango.

It could be said that Teo Hernández was the newest to the scene, as he had only been “toiling” in the world of salsa for five years, although he already had a “summa cum laude” after recording with maestro Ray Pérez and his Dementes. A female voice would debut with the orchestra: Gladys Torres.

40 Years of La Crítica

There have been many setbacks and successes over 40 years.

The musicality of this successful group is to be celebrated this Saturday, June 16, at the BOD Cultural Center. The event is at 5:00 in the afternoon, when the salsa public will gather en masse.

La musicalidad de esta exitosa agrupación ha de ser celebrada este sábado 16 de junio en las instalaciones del Centro Cultural BOD.

Jorge Collazo, who was Oscar D’León’s press chief and now is La Crítica’s on their return, tells us that a spectacular night is being prepared, “an evening to remember, a show that no salsero should miss.

The original singers will be there: the sonero Teo Hernández and Gladys Torres, who will take the stage accompanied by top-tier musicians and luxury guests to celebrate, dance, and sing the well-known hits of the moment, we are talking about ‘Se necesita rumbero,’ ‘Amada ven,’ ‘La merenguita,’ ‘Madre,’ ‘Rumba rumbero,’ ‘No lloraré,’ ‘A él,’ and ‘Cruel desilusión,’ among others.”

The prestige gained by La Crítica allowed it to accompany great international soneros such as Justo Betancourt, Héctor Lavoe, Ismael Miranda, Ray de la Paz, Daniel Santos, and the legendary Celia Cruz.

This is part of La Crítica.

Also Read: Cheo Linares is a Singer, Composer, Sonero, Poet and Caraqueño

Ignacio Piñero Septeto Nacional has played an important role in Cuba’s music for more than seven decades

Founded by Havana-born bassist and vocalist Ignacio Piñero in 1927, the Septeto Nacional De Ignacio Piñero has played an important role in Cuba’s music for more than seven decades.

Fundado por el bajista y vocalista nacido en La Habana Ignacio Piñero en 1927

Pioneers of son, a rhythmic blend of African and Cuban music that evolved into salsa, mambo and Latin jazz, the group was the first son band to incorporate the trumpet as the main instrument.

Ignacio Piñero’s Septeto Nacional gained worldwide recognition with its performance at the 1928 Universal Exposition in Seville, and was reportedly the first group to mention “Salsa” in a song “Echale Salsita” recorded in 1933. The song composed by Piñero, was adapted by George Gershwin for the opening theme of his “Cuban Overture”.

Since Piñero’s death in 1968, after 41 years at the helm of the band, the Septeto Nacional De Ignacio Piñero has been led by a series of leaders.

Guitarist and composer Rafael Ortiz, who took over after Piñero’s death, bequeathed the position to vocalist Carlos Embale in 1982.

After leaving the group due to illness in 1998 Embale’s leadership was inherited by guitarist Richard Aymee Castro. True to their original musical roots, Ignacio Piñero’s Septeto Nacional continues to offer a danceable blend of montano, merengue, bolero, rumba and cha cha cha. Craig Harris.

Ignacio Piñero was one of the Pioneers of Son Cubano

In 1906 he already knew and had assimilated the different toques of the African cabildos that existed in the neighborhood of Pueblo Nuevo, which he later incorporated into some of his creations.

He began his artistic career with the group claves and guaguancó El Timbre de Oro, later he directed Los Roncos de Pueblo Nuevo, in which he developed as a decimist and director, at the same time he took his first steps as a composer.

From this stage are: Cuando tú, tu desengaño veas, Dónde estabas anoche, El Edén de Los Roncos, Mañana te espero, niña. Later he joined the group Renacimiento de Pueblo Nuevo.

To the folkloric values that Piñeiro cultivated in these groups, he contributed a wider melodic-harmonic development and a greater depth and poetic flight.

In 1926 he was one of the founders, together with María Teresa Vera, of the Sexteto Occidente, with which he made his first tour to the United States in order to record an album with this group.

In 1927 he founded the Sexteto Nacional, formed by Ignacio Piñeiro, director and double bass; Alberto Villalón, guitar; Francisco González Solares, tres; Abelardo Barroso, lead vocals; Juan de la Cruz, tenor; Bienvenido León, baritone and maracas, and José Manuel Carrera Incharte (El Chino), bongo; that same year trumpeter Lázaro Herrera joined the group. With this septet he traveled to New York, where he recorded his first works.

In 1929 he participated with the Septeto Nacional in the Fair-Exposition of Seville, Spain; in that country they were hired as exclusive artists by the company SEDECA, and toured other cities of that country: Vigo, La Coruña, Santander, Madrid and Valladolid; in addition, they performed in the theaters Torero, Jovellanos, the Cine-Teatro Grado, and the cabaret Maicú, all in Madrid. In 1930 he was one of the founders of the National Association of Cuban Soneros.

Pioneros del son, una mezcla rítmica de música africana y cubana

They performed at the Sans-Souci cabaret (1930); in 1931 they performed at the Lavín and CMCG radio stations; in 1932, at the Dos Hermanos Hotel, he premiered Buey viejo; that same year the American composer George Gershwin came to Havana, at the CMCJ radio station he listened to Piñeiro’s son Échale salsita, from which he later used the theme played on the trumpet in his Cuban Overture.

In 1933 he performed at the Fair-Exhibition A Century of Progress, held in Chicago, United States.

In 1934 Piñeiro retired from the septet, which from 1935 was directed by trumpeter Lázaro Herrera. In 1954, Piñeiro reappeared as leader of the septet, with which he appeared on the television program Música de Ayer y de Hoy.

As a composer, Ignacio Piñeiro broke, although he took elements from the form of the oriental son, in which its creators used the quatrain and the tenth; an example of this break is his son Buey viejo, from 1932:

Carretero no maltrates a ese pobre buey tan viejo, que ya doblbla la cabeza por el peso de los tarros, y por senda de guijarros va tirando la carreta, y nunca llega a la meta, término de su dolor.

Piñeiro was one of those synthesis cases that managed to capture, develop and express the full richness of the son.

The structural modifications, the cadence, the rhythm and the use of refined melodies and lyrics, achieved by this creator and interpreted by the Septeto Nacional, make it possible to say that the work of this singular artist, although he did not mark the boundaries of son (which corresponded to the Sexteto Habanero), he did turn it into a son that today we can call classic, which became a model for its further development.

When Ignacio Piñeiro founded the Septeto Nacional, his purpose was to be a high exponent of the Cuban son and its various variants, he himself made use of those variants, composing guajira-son, canción-son, afro-son, so he worked with the elements offered by the oriental son, to which he gave a broader treatment, both musically and literary.

According to Miriam Villa: “If we analyze the organization of the literary text, we observe in his work the formal use of metrically heterogeneous links subjected to rhythm, characterized by the presence of accented and unaccented elements within the system of units that are repeated at intervals between them.

Piñeiro must not have been concerned about the meter in the text as a pattern, since through the rhythm of the composition he achieves the contrast relations, making the change of meter express a change in the thematic movement, either from intermittences or accentuations or sometimes both, which give it different semantic nuances and alternations of tensions and distensions.

And elsewhere Villa states: “Another aspect that in relation to the literary text is reflected in Piñeiro’s creative work is that of the thematic contents; these are shown from a diversification with greater scope in relation to his contemporaries.

His work can be divided into multiple themes among which are love, homeland, philosophical reflection, politics, the bucolic, the infantile, expressed in a variety of forms: satirical, apologetic, humorous and with greater depth than in the sonorous production that preceded him and even with which he shared.

With the Septeto Nacional, Piñeiro appears in the musical short El frutero, and in the film Nosotros la música, by director Rogelio París.

Ignacio Piñeiro Septeto Nacional

Septeto Nacional de Ignacio Piñero El Son de Altura

El Son de Altura (1998)

Tracks:

Mayeya – No Juegues Con Los Santos (Son) (I. Piñeiro)
Bardo (Bolero-son) (I. Piñeiro)
Lejana Campiña (Guajira-son) (I. Piñeiro)
Canta La Vueltabajera (Guajira-son) (I. Piñeiro)
Guanajo Relleno (Guaracha-son) (I. Piñeiro)
Esas No Son Cubanas (Son) (I. Piñeiro)
Suavecito (Son) (I. Piñeiro)
Alma Guajira (Guajira-son) (I. Piñeiro)
Castigador (Son) (I. Piñeiro)
Échale Salsita (Son-pregón) (I. Piñeiro)
EI Viandero (Son-pregón) (Ernesto Muñoz)
Son De La Loma (Son) (Miguel MGllamoros)
Trompeta Querida (Boleró-son) (Lózoro Herrera)
La Mujer De Antonio (Son) (Miguel Matamoros)
La Cachimba De San Juan (Son) (l. Plñeiro)
EI Alfiler (Son) (l. Plñeiro)
Noche De Conga (Son) (l. Plñeiro)
EI Paralitico (Son) (Miguel Matamoros)

By:

EcuRed

Dj. Augusto Felibertt

L’Òstia Latin Jazz

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