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“Choco Orta” Celebrates with New Single ‘Ahí na má’

The Puerto Rican sonera, percussionist, and producer “Choco Orta” is riding high with the release of her latest single.

“Choco Orta” de celebración con su nuevo sencillo ‘Ahí na má’

With this rendition of ‘Ahí na má’ penned by Cuban composer Zenón Abdón Suárez and arranged by Venezuelan pianist David Silva—“Choco” reaffirms her artistic identity, her interpretive power, and her enduring place in contemporary salsa.

In Puerto Rico, fans still fondly remember the triumphant concert celebrating the multi-talented artist’s three decades in salsa, held on April 6, 2019, at the Santurce Fine Arts Center (Centro de Bellas Artes). Throughout her impeccable career, the dancer and theater professor has earned numerous prestigious accolades.

In this latest recording, “Choco Orta” delivers a performance deeply rooted in the essence of salsa. The track has a storied history, previously recorded by legends such as Ismael Rivera with Cortijo y Su Combo, Frankie Vázquez with Los Soneros del Barrio, and Rico Walker with La Puertorriqueña, among others. According to the press release accompanying the release: “’Ahí na má’ captures the authentic language of the barrio, where the soneo becomes a narrative and a genuine connection with the audience.”

La sonera, percusionista y productora puertorriqueña, “Choco Orta”

This release was crafted specifically with the dancer in mind. The vocal tracking for the single took place at Willie González’s studio, under the expert engineering of Ceferino Cabán, while mixing and mastering were handled by José Guerrero at JosMastering in Venezuela. The cover art is the work of International Disseny.

Since her early days in Santurce, the seasoned soloist has carved out her own space in a historically male-dominated industry by focusing on her craft and growth. In an interview with Tele Once, “Choco” highlighted how her environment—steeped in a powerful salsa tradition—was instrumental in shaping her musical identity.

“Choco” dice reafirmar su identidad artística

“Choco Orta” stands as an exceptional example of the importance of soneo and improvisation as vital tools for communication and maintaining high-octane energy on stage.

Read Also: Choco Orta, The Queen of Flavor

Paoli Mejías A Talent Forged in the Streets and Discipline with a New Sound in Latin Jazz

From legendary sideman to the leader of a limitless musical vanguard.

Paoli Mejías is a pivotal figure in the evolution of contemporary percussion, renowned for his seamless fusion of Latin jazz with masterful conga technique.

Paoli Mejias: From accompanying legends to leading a musical vanguard without borders

While he is an exceptional multi-percussionist, his command of the congas has established him as one of the most in-demand soloists in the world.

He is distinguished by a melodic style; he doesn’t just keep time he makes the drums “sing,” utilizing precise tuning and astonishing speed.

After touring the globe alongside icons such as Eddie Palmieri, Tito Puente, Seis del Solar, Chick Corea, and Marc Anthony, Mejías has solidified his status as an international benchmark. His vast musical, folkloric, and cultural knowledge positions him today not only as a percussion virtuoso but as a visionary leading his own quintet.

With a career marked by success, Mejías has produced three high-caliber independent albums: Mi Tambor (2004), which received a Latin Grammy nomination, Transcend (2006), and Jazzambia (2008).

Paoli Mejías, a talent forged in the streets and through discipline

These works have placed the Puerto Rican percussionist at the forefront of the genre, earning glowing reviews in the world’s most influential publications, including JazzTimes, DownBeat, Jazziz, and Modern Drummer.

A Talent Forged in the Streets and Discipline

Born in Río Piedras, Puerto Rico, on March 7, 1970, Paoli discovered his calling at the age of twelve. Inspired by the records of Carlos “Patato” Valdés and Ray Barretto, and the innovation of groups like Batacumbele and Irakere, he bought his first conga and began a self-taught journey.

Without formal teachers, he learned the language of percussion by mimicking the sounds emanating from his favorite vinyl records.

Paoli Mejía with Nuevo Sonido en el Jazz Latino

His true training took place in the effervescent musical atmosphere of San Juan, absorbing the styles of his mentors in street rumbas.

His professional debut came via Rafú Wagner (former vocalist for Bobby Valentín), and while still a teenager, he was already collaborating with renowned local artists such as José Nogueras, Glenn Monroig, and Charlie Sepúlveda.

The Leap to the Global Stage

His impeccable technique and melodic sensitivity quickly made him the preferred sideman for the greats. For over eight years, he was a key member of maestro Eddie Palmieri’s orchestra, recording on historic projects like Masterpiece/Obra Maestra (with Tito Puente), which won a Grammy Award.

Paoli Mejías is a fundamental figure when discussing the evolution of contemporary percussion

His discography now exceeds 20 commercial productions, including the nominated Acuarela de Tambores.

This exposure to world music enriched his creative fire. As Elmer González noted in Latin Beat: “Through Mi Tambor, Paoli achieves a watercolor of rhythms and textures that make this album one of the best Afro-Latin jazz productions released as a leader, and he aspires to continue a career forged on the stages of the world’s most important festivals.”

Beyond the Traditional Genre

Today, Paoli Mejías’ group offers a style that transcends labels. His proposal fuses the “Salsa Gorda” of the big orchestras with Puerto Rican bomba and plena, incorporating nuances of Greek, Flamenco, Indian, and African music. The result is a vibrant experience where the audience ceases to be spectators and becomes participants.

His versatility was cemented at the Heineken Jazz Festival, where critics highlighted his absolute mastery of minor percussion, timbales, bongos, and ethnic instruments like the Nigerian Udu, hailing him as one of the most complete percussionists of our time.

Paoli was there: Eddie Palmieri, Tito Puente, Seis del Solar, Chick Corea and Marc Anthony

Beyond his role as a performer, the “Maestro” shares his knowledge by conducting clinics at prestigious institutions such as the University of Washington, the University of New Mexico, and the Puerto Rico Conservatory of Music.

Sponsored by leading brands like Latin Percussion and Sabian, Paoli Mejías continues to elevate the legacy of Latin jazz into exciting new dimensions.

Member of Santana

Paoli Mejías is a world-renowned percussionist who was a member of the band Santana, led by Carlos Santana.

Joining Santana: Paoli joined the group in 2013, taking over the conga chair. His arrival brought an impressive technical energy and rhythmic depth, establishing him as a fundamental piece of the band’s world tours for several years.

Source: Paoli Mejías

Photos: Paoli Mejías Archives / © Martin Cohen

Also Read: Carlos “Patato” Valdés: One of the Greatest Percussionists in Latin Jazz History

Ralph Mercado: The Visionary Who Turned the Rhythm of the Barrio into a Global Phenomenon

The Giant of New York Salsa

Ralph Mercado was a music promoter and an iconic figure of Salsa and Latin music in New York. More than just an entrepreneur, Mercado was the strategist who took Salsa out of local New York clubs and placed it on the world’s most prestigious stages.

Through his vision, the sound of Latin identity found a commercial language without losing its “street” essence, making him the most influential tropical music mogul of the 20th century.

Ralph Mercado, the visionary who transformed the rhythm of the neighborhood into a global phenomenon

Creator of “The Perfect Combination”; Early Days in the Bronx and Brooklyn

Of Puerto Rican and Dominican descent, Mercado was born on September 29, 1941, in Brooklyn. As a mere teenager, he was already organizing parties and dances as the president of a neighborhood social club.

He later founded the 3 & 1 Club on Atlantic Avenue, which hosted local bands and musicians such as Eddie Palmieri and Richie Ray & Bobby Cruz, among many others. Shortly thereafter, he created his first production and promotion company, Showstoppers, through which he promoted R&B acts of the caliber of James Brown, Aretha Franklin, Gladys Knight & the Pips, The Stylistics, and The Chi-Lites.

Expanding the Empire

He eventually ventured into Manhattan, where he helped expand the legendary Fania All-Stars, promoted dances at the Cheetah Nightclub, and presented Latin Jazz artists at venues like the Red Garter and the Village Gate. In 1972, Mercado established RMM Management, representing Palmieri and Ray Barretto.

Ralph Mercado was a music promoter and an emblematic figure of salsa and Latin music in New York

He managed the genre’s biggest stars, including Tito Puente and Celia Cruz, with whom he worked for 25 years. “I learned so much from her,” Mercado told the AP in July 2003, following the passing of the “Queen of Salsa.” “I witnessed the impact she had in every country we visited.”

Mercado credited Cruz and Puente with the internationalization of Salsa. “They were two artists with so much talent and such good hearts… something unrepeatable,” he expressed at the time.

The RMM Phenomenon

By 1987, his popular “Latin Tinge” nights at the Palladium attracted hundreds of salseros every Thursday. In 1992, he founded the independent label RMM, which branched into RMM Records, RMM Filmworks, and two publishing houses. With a catalog of over 140 artists, the label sold millions of albums annually.

Mercado brought Salsa to South America and to places as remote as Africa, Asia, and Israel. He personally discovered and launched the careers of talents like Marc Anthony, La India, Domingo Quiñones, Tony Vega, José Alberto “El Canario,” and Tito Nieves. For his work, he received numerous accolades, including the Billboard Lifetime Achievement Award in 1999.

Mercado creador de La Combinación Perfecta; RMM

The RMM Label: A Hit Factory

Mercado’s impact was solidified by his ability to adapt tradition to changing times. While others clung to the past, Ralph understood the potential of Salsa Romántica and the power of international collaborations. RMM didn’t just produce records; it produced culture, documenting the history of the rhythm through videos and massive concerts that redefined the concept of Latin entertainment.

His influence extended far beyond recording. As a promoter, he opened markets in Europe, Asia, and throughout Latin America, ensuring the tumbao was heard in every corner of the planet. He was a relentless negotiator and a protector of the legends’ legacies, ensuring that Latin Jazz and Salsa Dura maintained their academic prestige while dominating the pop charts.

An Indelible Legacy

“Without him, I don’t believe the Fania All-Stars would have achieved the success they did,” stated Eddie Palmieri. Meanwhile, promoter Leo Tizol remembered him as someone “accessible and noble” who never refused to share his knowledge with those starting out.

Ralph Mercado passed away on March 10, 2009, surrounded by his wife Cynthia, his five children, his siblings, and his grandchildren. His departure left a void that as the greats of music often say can never be filled.

Source: RMM / Photo: Ralph Mercado Archives

Also Read: Hector Maisonave Manager of the Greatest Salseros in New York

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

Orlando Santana, the bandleader and musical director of La Makina, has made room in his busy schedule filled with studio recordings to talk about the most interesting topics of his career and, of course, the group that has given him more fame.

The Dominican artist has built an interesting career that led to his aforementioned group, which was founded in Borinquén (the name given to Puerto Rico before the arrival of the Spanish). Naturally, the genre by which La Makina is best known is merengue, implying that the Dominican Republic is still present in mind and heart.

Orlando with his saxophone — Orlando Santana with his saxophone

Orlando’s Beginnings in Music

Orlando started his story by saying that music had a significant presence in his life because his father, Santiago Santana, was a music teacher who taught in their own home. He taught all types of instruments such as the saxophone, trumpet, flute, piano, bandoneon, clarinet, guitar, and many more. Additionally, he also knew about harmony, solfège (sung), and solfège (spoken).

This led to his son learning to play instruments at a very young age and being interested in this way of life.

Orlando’s Music Education

When Orlando moved to Miami, he took private piano lessons for a while, just as his father did with his students, but it was from Richie Ray and Bobby Cruz whom he really learned. He attended their church and took advantage of his visits to receive some piano lessons from Richie, while his brother David Santana, who was already a veteran musician, bought him his first saxophone and taught him many other tricks of the trade.

Early experiences as a paid professional

As for the beginning of his professional practice, Orlando, as a 15-year-old boy, started with the orchestra Dioni Fernández y El Equipo, from which the great Sergio Vargas emerged. In fact, they entered together a television channel (Color Visión, Channel 9) on the same day in Santo Domingo. This group is still active today, and Sergio Vargas’s own brother, Caqui Vargas, is currently part of it.

Bobby and Orlando — Bobby Valentín and Orlando Santana

Some time later, he had the opportunity to perform along with Wilfrido Vargas, which he describes as an incredible experience, since Vargas’s orchestra had a very challenging repertoire and he had to prepare himself very well in order to play along with the merengue exponents and his musicians. Orlando came on as a substitute replacing his brother on some tours, where he showed he had the capacity to keep up with their pace and improvise just like Wilfrido did so with ease on stage.

Among the most important things this time taught him, the artist mentioned discipline, the importance of always practicing his instruments, and a permanent focus on what he wanted to achieve. Another thing he mentioned was the significant improvement in his ability to improvise and release new material constantly.

He also learned a lot from Toño Rosario, Peter Cruz, Cuco Valoy, Ramón Orlando, and Elías Santana (Orlando’s first cousin and trumpeter for Conjunto Quisqueya). With all of them, he also came to play both merengue and other genres.

How La Makina Band was founded

Orlando met Fernando Colón in Toño Rosario’s orchestra, while he was a saxophonist, and Fernando entered as a bassist. At the same time, Orlando was writing some arrangements for Los Sabrosos del Merengue, and as it so happens that Fernando was also working with them, so they were always in constant contact.

When Orlando decided to found an orchestra, it was he who called him and accepted his proposal. That was when both artists founded La Makina in 1996, though the process started a year earlier when they set up a company for that purpose.

Orlando and Rafael — Orlano Santana and Rafael Ithier from El Gran Combo de Puerto Rico

His Role as producer and director

Regarding his role as producer and director of La Makina, he points out the importance of preparing and studying to exercise these areas of music. In his case, he had already spent many years working on important record productions, including those he did together with his cousin Cesar Cuesta, with whom he formed a small orchestra that covered songs by very famous bands. He created his own musical arrangements for these new versions to differentiate them from the original songs and wrote scores for other musicians.

In addition, he served as music producer for Grupomanía and wrote songs for artists such as Toño Rosario, Elvis Crespo, Oscarito, Manny Manuel, and many others.

Current Members of La Makina

Of the original members of La Makina, the only one left is Orlando himself, but he has been joined by other equally-talented musicians, including Carlitos Rivera and his own son, Anderson Santana.

Orlando and Johnny — Orlando Santana and Johnny Ventura in San Juan, Puerto Rico

Current projects

This conversation had been delayed a few times due to how busy Orlando was in the studio working on new music, so obviously we had to ask what it was all about.

He told us that he and the rest of the group were working on a remastering of La Makina’s greatest hits, but with other arrangements and a fresh color. They also plan to include songs recorded by other artists but written by Orlando for them. He did not want to say what these would be so they would be a surprise for the audience.

Rey Ruíz visits the Salsa Museum and talks about his prolific career

The Salsa Museum is celebrating the tremendous and valuable support of Cuban singer-songwriter Reinerio Ruíz Santiago, known to the world as Rey Ruíz, whom I had the pleasure to interview along with El Rubio Boris on our show Salsamania.

The artist was not only in our facilities to tell us important details about his career and share some of his time with us, but he also granted us the honor of gifting us one of the suits he used to wear for several of his most important shows. We are very grateful for the distinction he has made with us, and now let us mention some of the most important topics we discussed with the salsa singer.

Rey posing for the camera — Cuban singer-songwriter Rey Ruiz posing for the camera

Rey’s life in Cuba

Rey sang since his childhood to the point that his parents said he sang songs without words and started imitating the sounds his father taught him. He began to study music in sixth grade in his native Cuba, but his interest went far beyond simple childlike curiosity, so his parents enrolled him at the music conservatory in Havana so that he could have a more formal training.

Soon after, he appeared on Cuban television and sang for the orchestras “La Riverside” and “Los Dadas” at the then Habana Hilton.

Rey’s beginnings in music

Among many interesting things, Rey told us that he left his country at the age of 24, turned 25 in Miami, and arrived in Puerto Rico at 26. Shortly after arriving in Miami, he took a salsa demo to a record label, since Puerto Rican salsa was experiencing a long boom at the time, so they advised him to choose that genre.

Then, he got down to work with his producer Toby Villarini, recently deceased, to create the album.

Following the success obtained, the record label asked him to move to Puerto Rico, where they got him an apartment for about six months so he could make a life there and focus on his music. He then began working with musical director Guillermo Calderón’s orchestra, until Rey felt confident enough to say that the orchestra was his about a year later.

In 1994, he released his second album ”Mi Media Mitad” and the cover includes a very young Rey on a mountain of salt posing for the camera in a beige outfit and with a big smile on his face. The arrangements were made by Ernesto Sánchez, who also passed away recently at a very young age.

What Ray Ruiz is doing now

When El Rubio and I wanted to know what Rey is doing now, the singer confessed that he had chosen a career in which work never ends and that always makes him seek progress. “You’re always looking for ways to produce something new and show people what you’re doing at the recording and show production level.” In fact, the day after the interview, on February 14, he had a concert to celebrate Valentine’s Day at the Lehman Center for the Performing Arts in New York City.

Johnny and Rey — Johnny Cruz and Rey Ruiz at the Salsa Museum

He told us that it was the first time he performed as a solo artist at this venue, something he wanted to do for many years and finally got it. Never before has he performed in New York without the company of another artist or orchestra, so he was very happy and excited about living that new experience in his career.

Opinions about the Salsa Museum

Rey Ruiz had to leave soon to make final arrangements for the next day’s show, but we could not let him go without asking for his honest opinion about the Salsa Museum. When we asked him, he told us that he loved the place and that seeing what the museum exhibits was like seeing history. The history of salsa and all the artists who have been part of that genre. He also said that being here was like going to school because, even he who has been in this business for so many years, he has learned a lot from what he has seen.

He concluded by saying goodbye and thanking us for the opportunity to share with us and be on our platform.