| March 2026 – Festivals | ||
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Día Nacional de La ZalsaMar 22, 2026 Plaza de la Independencia $ 30.00 + ivu & c.s |
| DIRECTORY OF NIGHTCLUBS | ||
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Search Results for: salsa in venezuela
Andy Durán: The Architect of Mambo and Latin Jazz
If there is one name that embodies technical elegance and rhythmic passion in the contemporary Caribbean, it is Andy Durán.
A musician, arranger, composer, and conductor, Durán has spent over four decades serving as the guardian of the big band sound. He keeps the flame of legends like Tito Puente and Pérez Prado alive, but with a distinctive signature that fuses academic precision with popular soul.
Born in Caracas, Venezuela, on January 2, 1949, as Nelson Valor Ramos, this extraordinary artist is today an essential figure in music production and direction.
The Musician: Master of the Arrangement
Andy Durán is more than just a conductor; he is a scholar of musical structure. His academic background has allowed him to master the art of the arrangement the ability to transform a simple melody into a complex masterpiece where twenty musicians move as a single, unstoppable force.
- The Big Band Sound: He is one of the few directors who has kept the large orchestra format relevant in Venezuela. His ensemble, Andy Durán’s Latin Jazz Big Band, is an institution renowned for its rhythmic precision and powerful brass section.
- Stylistic Versatility: While Mambo is his backbone, his repertoire flows seamlessly through Jazz, Salsa, Mambo-Jazz, and traditional Venezuelan music.
- Cult Discography: Albums such as Tropicalia, Mambo 2000, and his acclaimed tribute to Tito Puente, Fidelidad, are essential pieces for any collector of the genre.
The Person: The Educator and Music Lover
Behind the baton, Durán is known for his humility and profound work ethic; he is frequently described as a “gentleman of music.”
- Relentless Researcher: Beyond performance, he is a historian of rhythm. His concerts often turn into masterclasses where he explains the origins of the pieces, always honoring the original composers.
- Generational Bridge: He has served as a mentor for young Venezuelan musicians, integrating new talent into his ranks and proving that classic Caribbean genres have no expiration date.
- Cultural Resilience: In an era dominated by commercial trends, Durán remains faithful to acoustic quality and the complexity of Latin Jazz, earning the respect of international critics.
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Si existe un nombre que personifica la elegancia técnica y la pasión por el ritmo en el Caribe contemporáneo, ese es Andy Durán
Career and Legacy
Andy Durán is one of the greatest exponents of Salsa and Latin Jazz in Venezuela. With 16 albums to his credit, he holds the most extensive discography of any Venezuelan jazz artist. Additionally, he is recognized as the country’s premier music copyist.
His beginnings date back to his youth with the group Nelson y su Sexteto. In 1978, he founded the Orquesta Palladium. Shortly after, he adopted the stage name “Andy Durán” to avoid confusion with other artists of the era and because it was easy to remember and write.
Since 1982, he has been fully dedicated to professional music, working alongside giants such as Aldemaro Romero, Eduardo Cabrera, the Billo’s Caracas Boys, Los Melódicos, and Soledad Bravo. In 1985, he released his first LP, Mambo Salsa. Among his most notable works are:
- Tropicalia Caraqueña
- Canelita y Andy Durán: Tribute to Celia Cruz
- Tito & Tito (A tribute to Tito Puente and Tito Rodríguez)
- Salsa Dura y Descarga: A Tribute to Fania
- Fiesta con Billo
Reflections by Andy Durán: Is Singing Easy?
The Requirements: Flawless pitch, breath control, phrasing, and diction; in addition, a strong memory for melodies, lyrics, and orchestral arrangements.
It is highly recommended to know how to dance according to the genre being performed (e.g., Salsa). It is also beneficial to have basic acting skills to handle dramatic themes when necessary.
Reading is mandatory to develop a rich vocabulary for improvisation or public speaking; it also prevents embarrassing spelling errors in written lyrics. Keeping the vocal cords healthy and trained is a vital matter. Music theory and sight-singing are the ideal, essential, and unavoidable tools.
Finally, a singer must define their style and repertoire with great care. One must invest in professional orchestral arrangements and have an arranger-director or advisor—this is an investment, just like stage attire.
Remember, my fellow singers: a director’s worst nightmare is a singer who is out of tune, off-beat, and forgetful.
Best regards to all vocalists and singers.
Maestro Andy Durán: Director, Arranger, and Composer
P.S. Vocalists must meet two more requirements: keep your nerves in check and sing from the heart.
Also Read: Víctor Cuica “The Eternal Breath of Latin Jazz and Venezuelan Identity“
Adriana Mosquea: Between Strings, Winds, and Spirituality
Vocal Excellence, Instrumental Versatility, and Artistic Training
Adriana Carolina Mosquea Santana, born on August 25, 1993, in Santiago de los Caballeros, Dominican Republic, is a multi-faceted artist who has built a solid career as a solo singer, bassist, stage actress, and vocal coach.
Early Training and First Steps
She began her musical journey at the age of five in school and church choirs. At nine, she entered the Centro de la Cultura de Santiago, where she studied singing, electric bass, and classical guitar. By age 17, she became the only female voice and bassist for the fusion group Oveja Negra.
After an accident that hindered the mobility of her hands for eight months, she defied medical diagnoses and achieved a full recovery through self-directed therapy, resuming her career with groups such as Sol Latino and La Piña Tá Dulce.
The Leap into Lyrical Music and Theater
In 2014, she received a scholarship from the La 37 por las Tablas school, joining the elite vocal group Les Cantatis. Under the tutelage of Roberto Guzmán and María Ligia Grullón, she performed pieces by Vivaldi, Pergolesi, and Tchaikovsky, and participated in the opera Carmen. In 2019, she was part of the choir for the opera La Traviata at the National Theater, conducted by José Antonio Molina.
Solo Career and National Projection
As a soloist, she has released tracks such as Humo y Humo and Zombie, performing at festivals like Arte Vivo and the Alliance Française. Her multidisciplinary project, Circo Imaginario, led her to open for the iconic Dominican rock band Toque Profundo.
Her appearance on Dominicana’s Got Talent in 2019 earned her massive recognition and excellent reviews from the judges. That same year, she joined Belkys Concepción y las Damas as a bassist and backing vocalist, sharing the stage with legendary figures like Johnny Ventura and Fefita la Grande.
Professional Background and Academic Formation
Adriana’s dedication goes beyond performance; she is an art scholar. She holds a degree in Art History and is currently pursuing a degree in Special Needs Education, focusing on music pedagogy.
Key milestones in her professional journey include:
- Oveja Negra: Her first professional group at 17, where she served as the bassist.
- Son Santiaguero & Sol Latino: Projects where she explored Cuban Son and alternative rock.
- Belkys Concepción: She performed as the bassist for the band led by “The Mother of Merengue,” highlighting Belkys’ overwhelming energy on stage.
Innovation During the Pandemic and Recent Collaborations
Between 2020 and 2021, she produced her album Arte, Magia y Libertad (Art, Magic, and Freedom) in collaboration with Venezuelan producer Daniela Yánez. Her singles have received nominations at the Indie Dominican Awards and Expo Cibao.
Additionally, she participated in the In Memoriam segment of the 2020 Soberano Awards and composed part of the soundtrack for the film La Soga 3. In 2025, she stood out in a tribute to Maridalia Hernández, performing the duet Te Ofrezco.
Pedagogical Work and Vocal Coaching
Currently, Adriana is a prominent vocal coach. She has been a key figure in the technical evolution of the artist Tokischa, working on projects nominated for the 2025 Latin Grammys and 2026 Premios Lo Nuestro. She is a graduate in Art History and is currently completing a Degree in Pedagogy at CESUMA University in Spain.
“Singing is a means of expression and healing. My focus is on a balanced life and technical discipline to set the voice free.”
The Multi-instrumentalist and the Winds of Communication
Although her primary instrument is the bass (and double bass in her early years), Adriana is proficient in guitar, piano, drums, and ukulele. her foray into woodwind instruments, such as the clarinet and saxophone, was born from a spiritual search:
“Wind instruments work with air, which is communication. As an artist, I needed to work on my ability to communicate what I was keeping silent.”
Identity, Flavor, and Spirituality
Proud of her roots, Adriana describes Santiago de los Caballeros as a peaceful “city-countryside.” Her palate travels between the Dominican Sancocho de siete carnes and the Venezuelan Mondongo, a dish she confesses has captivated her.
For her, music and spirituality are tools for self-knowledge. She defines spirituality as the acceptance of human duality—seeking balance between light and shadow, far from the pretensions of the ego.
Also Read: Dominican bandleader and singer Papo Ross is triumphing in Montreal
Caoba Y Bambú, Tito Rivera’s first discographic production
This month’s material is dedicated to the great arranger and trumpeter Ernesto “Tito” Rivera, who year after year has established himself as one of the most respected artists in the Puerto Rican music scene, especially in salsa. Below, we will mention some of the most important facts of his career to date and what he is doing presently.
Important facts of Tito Rivera’s career
One of the greatest contributions the virtuoso Tito has made to music in general has been his pen and the help he has provided to famous orchestras of all time, especially in the 1980s and 1990s. One of these is Roberto Roena y Su Apollo Sound, that to a large extent, is what fans remember today thanks to the Puerto Rican musician’s talented songwriting.
Another orchestra that was strongly influenced by Rivera was La Impacto Crea, which many remember as the group born of Hogares Crea and recorded for Vaya Records under the production of Bobby Valentín. Other groups we can mention on this long list include El Conjunto Borincuba de Justo Betancourt and Tony Yanz Y Su Orquesta Nacimiento.
Similarly, all this talent also gave him the opportunity to collaborate with many big stars, such as Marvin Santiago, who did not doubt to trust the trumpeter who lent his invaluable vision to a number of productions during those years.
And not only that because Tito also left his mark on several songs by Kim De Los Santos Y Su Orquesta, which achieved impressive success in countries such as Colombia and Venezuela.
Caoba y Bambú
Caoba Y Bambú is Tito’s first album as a leader, which represents a major challenge for the sonero’s career. Once again, he demonstrates all the experience he has acquired over decades through the work of other greats who trusted his judgment at the time. Now it is his turn to work on something of his own to which he could apply everything he has learned over the years.
Something very interesting to note about the album is that it brings to life great pieces such as “Musa Y Letra,” which was originally recorded by La Impacto Crea in 1981 for Vaya Records. What changes this time is that the song will be performed by Puerto Rican Jesús “Gumbi” Navedo and Venezuelan Marcial Isturiz. The soneros will also be accompanied by Danny Guzmán’s piano solo.
The fact that “Musa Y Letra” was chosen as the first preview of the album was not a random decision, since it shows that Tito seeks to build an immediate connection with the most classic salsa fans, which only a song as representative as this one can do.
Although this has been a much talked about piece, it is definitely not the only one worthy of mention. We should also talk about “Plaza Vacante,” which is one of El Gran Combo de Puerto Rico’s best-known songs. However, this time, it will be performed by José Luis “Papa Chu” de Jesús, who will, without a doubt, do a magnificent job like the rest of the vocalists.
Another important addition to the album is “Vete Pa’alla,” which was previously recorded by Bobby Valentín for his album “Rompecabezas,” but on this occasion, it will be performed by the talented Davian Raúl.
Don Perignon and La Puertorriqueña Release Classique et Savoureux
Timbalero, director, and music producer Pedro Luis Morales Cortijo, better known as “Don Perignon,” presents the 14th musical production from the “dancer’s orchestra” titled Classique et Savoureux. The leader of La Puertorriqueña features three guest vocalists on the album: Venezuelan musician and sonero Marcial Istúriz; Josué Rosado, one of the most iconic voices from La Puertorriqueña’s history; and “El Niño de Trastalleres,” Andy Montañez. With this record, Don Perignon reinforces his commitment to producing “flavorful” salsa with the dancer in mind.
In September 2025, Don Perignon and Andy Montañez reunited in the recording studio to reinvent “La Bikina.” The digital single fused the signature sound of Don Perignon’s La Puertorriqueña with the seasoned expertise of Andy Montañez. This alliance revives a nostalgic duo—the “dancing timbal” and the “singing compressor” that dates back to 1981. At that time, “Perín” took the reins as Andy’s musical director at the invitation of the legendary vocalist following his departure from Dimensión Latina. From that eight-year partnership, Andy Montañez still treasures Don Perignon’s participation in the 1988 recording of El Eterno Enamorado (TH-Rodven), where the latter not only played the timbales but also served as the album’s musical director. Regarding this, Andy says: “I remember him with great affection and appreciate his discipline in directing that recording, especially because every track became a hit.”
As promised in earlier press releases, that single was the prelude to Classique et Savoureux, where “La Bikina” is featured as the third track. Don Perignon released the song arranged by pianist and composer Domingo García 60 years after its original composition. The song, originally titled “The Beginning,” was penned by Mexican songwriter Rubén Fuentes Gasson.
Tracklist and Credits
The tracklist for Classique et Savoureux is as follows:
- “Ella Sigue Bailando”: Composed and performed by Joe González; arranged by Andy Guzmán.
- “Hay Que Quererlas”: Composed and performed by José Karlo Ribot; arranged by Roberto Pérez.
- “Pura Imagen”: A classic piece by Adalberto Álvarez, vocalized by Joe González; arranged by Juan C. Cardona.
- “Ayer Te Vi”: Written by Rubén Rada, featuring the vocals of Henry Santiago; arranged by Ramón Sánchez.
- “No Se Equivocan”: Written and performed by José Karlo Ribot; arranged by Carlos “Cuto” Soto.
- “Yo Soy Guaracha”: Written by Ángel Santos, performed by Marcial Istúriz; arranged by Carlos García.
- A Medley of Boleros: Featuring “Necesito Llamar Su Atención” (Roberto and Erasmo Carlo) and “Mírame Más” (Julio Gutiérrez), performed by Henry Santiago and Joe González; arranged by Juan C. Cardona with a flute solo by Roberto Calderón.
- “Será Mejor”: The closing track, written by Héctor Olmo and arranged by Juan C. Cardona, featuring vocalist Josué Rosado.
The Musicians
Leading his musical generation on the timbales and as director, Don Perignon was backed by the musicians of La Puertorriqueña and several guest artists. On the congas, Antonio “Coqui” Marrero, Jean Carlos Camuñas, and the late William “Kachiro” Thompson ensured the time and clave remained rhythmically precise. On the bongos, you can hear the distinctive touch of one of the original members of La Puertorriqueña, Miguel Aponte. On bass, the unmistakable Efraín Hernández interacts with Juan Rivera on piano. Other pianists on the recording include Luis Marín, Leni Prieto, and Ricky Rodríguez. The production is rounded out by the backing vocals of the incomparable Henry Santiago, Juan Bautista, and Joe González. The trumpet section featured Ángel and Richie Segarra along with Jesús Alonso; Sammy Vélez on baritone sax; and the trombones were handled by Juan C. Cardona, Gamalier González, César Javier Ayala, and Carlos “Cuto” Soto.
The album was recorded at the studios of Rolando Alejandro and Angelito Segarra, with mastering by Wiso Rivera.
This release “reaffirms Don Perignon’s commitment to the evolution of salsa in the digital age” without neglecting physical formats, as the album is available on CD and LP to ensure the music is accessible to everyone.
With the title Classique et Savoureux, Don Perignon honors more than four decades of using his stage name inspired by the French champagne Dom Pérignon. He expresses gratitude for the longevity of a concept that began without a clear goal but was built on heavy discipline and the firm purpose of making music for the dancer. In an interview, the bandleader stated that his musical project “is already a classic, thanks to the dancers who have appreciated and supported its sabrosura (flavor).”
