Who is Tony Vega?
By Sam Rodriguez.

To the salsa recording industry Tony Vega is a tropical music recording artist household name with several Grammy nominations and platinum records sold. To record pool specialists, DJs, program directors, promoters, and serious Latin music venue owners or representatives, Tony Vega is probably considered just another name in the pool.   To me Tony Vega is more than that because, I know a thing or two about salsa, and because in Puerto Rico Tony is a legend.  Every Salsero in the Caribbean basin has heard of or collects music recorded by Tony Vega.

Honestly, it took a lot of my convincing to bring Tony Vega to Washington, DC, no one would dare or tries to bring up these kinds of names.  Believe it or not a lot of people underestimate and have no respect for Puerto Ricans.
In Washington, DC there's still people bent over the fact that Tito Trinidad
beat Oscar de la Hoya inside Oscar's house and crowd. Throughout Washington,
DC there were restaurants filled with "de la Hoya" fans cheering, wishing,
and betting.  So to see this black-poor-hick from Puerto Rico chase the
Golden Boy in the fight of the millennium was not an easy medicine to
swallow.  That's not all, the American press is still mourning the loss of
the Golden Boy and is reluctant to comment on the issue and give credit to
Puerto Rican people. It is interesting to see how some people look the other
way and ignore the character of Boricuas. To me it seems that they won't
acknowledge that fact that this nobody from a tiny island came in and
snatched away the candies and sent a lot of gamblers home empty handed.

The point is that we (Puerto Ricans) are very diverse and like the Brazil,
Venezuela, Colombia, Perú, Panamá, Nicaragua, El Salvador, Cuba, and
Dominican Republic we too have beautiful people. So within this human fusion
and electrifying people now comes Tony Vega, really handsome, white-man with green-eyes singing salsa with a beautiful voice. Believe me, these miniscule
things mean nothing to you and me but they are complex, not everyone
supports Salsa and Puerto Rican artists here in Washington, DC.  At first, I
heard the comments...and they were not good mainly because some feel that
older artists can not pull people.   It's the kind of stuff I deal with on a
daily basis and it's not good for salsa music.  By showcasing this parade of
different talents and artists here in Washington, DC it will speaks volumes
for the Latin community.  When non-Latinos see us in action and see our
beautiful men and women they are astonished and all of sudden they want to
learn Spanish; and Latinos also want to get better at English.  Then the
communication process takes over and we become a better nation.  This is
what really motivates me in working to push Salsa.  Believe me, in my narrow
mind Salsa is the music and lifestyle that can help bring people together.
I'm a salsero and this music is more powerful than any other music genre
because it's a mixture of Afro-Caribbean, Spanish Language, and American
Jazz that entertains and makes people dance and interact.  And in Puerto
Rico there's practically a sea of artists and  Tony Vega with his voice,
recording career, and yes his looks is just more icing on the cake.  Just
wait until we present Tony Tun Tun and Nelida León.  In the process I want
to attract the kind of demand that keeps salseros interested and dancing to
fantastic music.   I also want to attract and educate salseros of all ages
and nationalities and with artists like Tony Vega there's we are headed in
the right direction.

For salsa baby boomers, passionate dancers, salsa elite's, and legends, Tony
is more than a household name; Tony Vega is an essential member of the
family.   Nearly all Puerto Ricans and older Washingtonian salseros would do
anything to sitdown and have a meal or mingle with Tony Vega because of his
kind and down-to earth personality.   By now the news is in the public
domain, Tony Vega is returning to Washington, DC and everyone is pulling out
their CDs and reminiscing.   But that's not all, just crank up any
Latin-music radio station and you will hear Tony Vega blasting away.  Not
just in Washington, DC but in New York, Miami and Puerto Rico. A lot
salseras would like to have a close one-on-one encounter of the third kind
and have Tony Vega sing to them in their ears.   It's a miracle that this
guy is still alive, Tony Vega has been chased all over the world by salseras
because of his looks, voice, and personality.

For me Tony Vega is much more than all of that.  Tony Vega is a singing
institution and has been through the best salsa recording schools.  Tony
Vega has recorded with the best of the business including: Raffi Levitt,
Willie Rosario, The Puerto Rican All Stars, Tito Puente, Dr. Eddie Palmieri,
Louie Ramirez, and The RMM Family.  In fact, one of Dr. Palmieri's music
Grammies features Tony Vega as the lead vocalist.  Today, in Puerto Rico the
number one best selling CD "Juntos de Nuevo" by Willie Rosario features Tony
Vega as one of the vocalists.  This is because of Tony Vega's cool voice and
success when he was a vocalist for the Willie Rosario Orchestra over a
decade ago. RMM is Tony Vega's recording label and he's for sure an asset to
that company.  His current production is titled "Hoy Quiero Cantarte" and
Washington, DC salseros will get an opportunity to experience and enjoy him
doing just that.

Raulin Rosendo
Salsa a la Chercha: Raulin
By Sam Rodriguez.

About Raulin I really don't know much him, my knowledge is based on what is
published on the web and that I have seen myself. Basically, Raulin Rosendo
was born in Santo Domingo. For those of you that don't know where that is,
Santo Domingo is the capital of the Dominican Republic, the island where my
hero Sammy Sosa comes from. The Dominican Republic (Quisqueya La Bella) is the home of the merengue groove. Merengue is at the heart of today's tropical music sales in the world, and in Washington, DC; Merengue in number one, bachata is number two, and Salsa is third.    I just so happens that I'm a salsero first but, I'm a Washingtonian and that means that my community will get the best of me. Yes, some might dare to say that only merengue music comes out of the Dominican Republic.  However, that is not the norm and I will share thoughts about the impact of several Dominicans as far as salsa and merengue is concerned.

Some of the very best salsa musicians and personalities have their roots and
blood from the soil of Quisqueya, and they are: Master of Masters, Johnny
Pacheco, Co-founder and Musical Director of the Fania All Stars. The Fania
All-Stars is the mother and father orchestra of salsa and only some of the
best and coolest musicians play on this band. Musicians and singers only get
a chance to rehearse each song two or three times before concerts.   El Gran
Combo is the only thing that comes close to Fania All-Stars music. Ralph
Mercado also of Dominican heritage is the current owner and director for the
Fania All-Stars, The Fania recording label, and the one and only RMM label.

These two salsa music labels are the absolute best in the world and
Dominican Ralph Mercado is right in the middle calling all the shots.
Another thing is that Ralph Mercado put Marc Anthony on the map. Cuco Valoy
"El Brujo" is my favorite Dominican Salsa-Merenguero.  Bomberito Zarzuela is
one of the best trumpet players of Fania he too is Dominican. José Alberto
El Canario (Dominican) and his tribe band is one of the best in all of New
York. This band is so good that Celia Cruz rarely leaves home without  it.
In Canario's tribe most musicians are Dominicans.

Amid this issues of astonishing Dominicans in salsa music we are going to
continue making history here in Washington, DC since we (1) Presented
Bombazo 99 which continues to stand as the best salsa and merengue dance jam
in 1999; next (2) We shall present the all salsa dancing jam with Tony Vega,
Raulin Rosendo, and Frankie Negrón on Friday Nov. 5th at the OMNI SHOREHAM HOTEL along with the Monsters Delta Max System; afterward the real bomb come (3) on Saturday, November 27th at Hall "A" of the Washington, DC Convention Center for the delight of all merengue lovers and dancers. Starting at 6:00pm until the wee hours* BOMBAZO 99* THE BIGGEST, LOUDEST, AND TOUGHEST MERENGUE DANCING JAM OF THE 20TH CENTURY IN WASHINGTON, DC. THE TM GROUP WILL PRESENT: ORO SOLIDO, FULANITO, BANDA GORDA, SANCOCHO, MALA FE, SANDRO Y SU GRUPO, ROBERT VARGAS Y SU MOÑOÑO RIPIAO, RAULIN RODRIGUEZ, AND TO SHUTDOWN THE NIGHT DIRECTLY FROM PUERTO RICO "THE BEATLES" OF MERENGUE MUSIC; GRUPOMANIA. Check it out, the price $40.00 There's a Latin music revolution in Washington, DC. This is no joke when you start seeing all the ads on Univision you will remember the Salsaweb and Sam Rodriguez.

Back to Raulin Rosendo.sorry about that I tend to get a little carried away.
Since Raulin went public in 1991, he has been on a recording fastbrake
including two greatest hits CDs. He has done it the hard way, reaching the
heart of the common people with his urbanite language and character; singing
to everyone from prisoners to teenage kids. Again, I saw him once in New
York everyone was euphorically energized with him. What makes him better
than most is that he acknowledges himself and is his humbleness. During his
performance Raulin thanks to public more than three times for the support.
This demeanor frees him and makes him feel good confident with himself and
performs to celebrate and have fun. In the Dominican Republic there's a term
called CHERCHA. CHERCHA is a slang term given to everyday- humorous laidback music. So I will safely say that Raulin is like a poster boy for Salsa a la Chercha.

By now all the Dominican people reading this commentary should be rolling
with my views. I'm willing to bet right now that Zabrina is on the floor out
of air crying and laughing with pride about all this information because she
really understand what I'm saying because on November 5th we will have a
Chercha reunion. Zabrina what do you think now?  Who's bad? As matter fact.
Since Wendell Robinson will recognize anyone or anything; except mua. I will
utilize the lack of power vested in me as the most dynamic, SOB salsero to
declare November 1999 the Month of Chercha. Que Comienze La Fiesta!

By the way Raulín is known as the angry sonero, the secret lover, Dominican
for the world, The maximum, The federal, The people's sonero, El Puqui, and
El Tartaro of Amsterdam Avenue. Raulin don't worry we will have La norsa
lista. All you Cherchas get ready for this November. Baranquilleros; que me
voy pa' catanga con Bombazo 99.


Frankie Negrón
Agua Pasada
By Sam Rodriguez.

Did you know that Agua Pasada was song of the year awarded by Univision at
the Premio Lo Nuestro; and was also selected as the male actor.  I have no
personal experience information to shed on frakie Negrón so I am as surprised as everyone.   In that respect it's best to not say anything it's a package surprise to us as well.  But he will meet road and reality of Washington, DC salseros.   Out of respect for music and salsa it's best to wait and see.    Frankie Negrón is backed by Sergio George and Cardenas Fernandez and Associates so there's money and good reputations behind this mask.  Frankie is a preview of that Salsa artists will be like in the future.  His productions are Con Amor Se Gana CD (WEA Latina 18730) and Released 1997, and No Me Compares CD (WEA Latina 24712) Released 1998 ; Anyway here's an interview by Salsaweb in August. check out this link done by
http://www.salsaweb.com/features/frankie.htm

WILLIE ROSARIO
(Mr. Swing, Mr. Afinque, El Rey del Ritmo)

Yes, there is a timbalero-bandleader who has never soloed and whose band is in great demand.  His name is Willie Rosario and he is a "rhythmic drummer", one who never deviates from the beats.

Born Fernando Luis Rosario-Marin on May 6th in Coamo, Puerto Rico. Willie started playing saxophone and guitar at the age of 12 in his hometown.  At sixteen, he formed Conjunto Coamex.  While still in his teens, Willie moved to New York City, where a revolutionary transition was occurring in Latin music.  The big bands of Tito Puente, Tito Rodriguez and Machito were creating a new musical direction for Latin music.   Their arrangements and instrumentation were broadening the texture, timbre and color of Afro Cuban music.  On his return from the Army, at age 22, Willie went to the Palladium Ballroom in New York to see Tito Puente perform.  That particular evening,
Tito played a regular trap drum set with his orchestra, which just knocked Willie out.   Shortly after that experience, Willie began studying trap drum with Henry Adler and veteran New York musician, Willie Rodriguez.

After playing with prominent bands like Johnny Segui, Joe Quijano and others, in 1958 Willie started his own orchestra.  One night he visited the Little Nick, Long Island home of vocalist-bandleader Tito Rodriguez, who taught him to administrate and direct a disciplined organization of musicians.  He learned to develop his own style of relaxed but fiery swing from Rodriguez.  In the spirit   of "helping one of our own", fellow Puerto Ricans Tito Rodriguez and Tito Puente helped the Rosario band to get started with charts from their books.

Al Santiago, the owner of Alegre Recordings, hired Charlie Palmieri to organize a series of Jazz tinged "descargas" for recording purposes.   Willie Rosario was selected drummer.  In 1962, he signed Rosario to record for his newly created Alegre Records.

During the "charanga" craze of the early 60s, Al Santiago kept the Rosario band working with club dates.  After Alegre folded and godfather Santiago was powerless, Rosario learned about the reality of New York's Latin music world.  He soon learned that the booking of dance bands for clubs dates was like Barnum Bailey Circus.  The same shows traveled from club to club and other acts, which had no agents, were not permitted to earn a livelihood.  Popular Latin music DJ Dick "Ricardo" Sugar got him in Atlantic recording date and on the back liner notes of the Arco label LP Boogaloo y Guaguanco.  Sugar wrote, "Success unfortunately is usually measured in monetary terms., if it were in terms of ability, then one of Latin music's most successful artists would be Willie Rosario.  He also wrote, He has one of those rate and refined cultured
personalities that rather forces you to seek him out, instead of his pushing himself to your attention."

In order to support  his family, Willie took on odd jobs, one of them as percussion teacher.  He also sold grocery store items for a food distributor during the daytime and at night was a mailroom supervisor.  In 1967 he hosted a Latin jazz radio program WADO.  The program in Spanish was about the history of Latin music, origins of rhythms  and anecdotes.  The format included guests like Tito Rodriguez, pianist-bandleader, Pete Rodriguez, Larry Harlow, Joe Quijano, etc.   Rosario had Latin New York listening to him.

Rosario just couldn't stay away from music.  He organized a band, looked for work and was told that without a current recording, it would be almost impossible to get gigs.  Pete Bonet, at the time Louie Ramirez's vocalist, who also booked band at the Corso Ballroom, gave Rosario 12 dates.  In 1970, a new Corso administration ended Rosario's contract.

The following year his attention improved after his Inca label recording of "El Barrio Obrero a las Quince" rose to the number one slot in Puerto Rico.   El Barrio Obrero is my biggest his, said Rosario.  He moved to Puerto Rico and a new world opened up for him.  After six months, his band was working steadily.

The Rosario orchestra is a college of music.  A few of current Salsa and Latin jazz stars graduated from Rosario's university and will tell you there is not a group on any bandstand in the world that out swings Willie Rosario orchestra.

Willie Rosario has his own musical production company in Puerto Rico names "Wilro".  Since its inception, Willie's orchestra has always been considered to be one of the tightest and swingest orchestras on the Latin scene.  To date, Rosario has recorded 37 albums, a few good enough to be Grammy nominees.  His latest release is "Back to the Future."

Willie Rosario's excellent reputation is largely due to his being responsible, punctual, well mannered, well dressed, and above all, respected by all in the music business.

WILLIE ROSARIO'S MUSIC IS SALSA AT ITS BEST.
  

Washington, DC.   I have just received the news from Willie Colón and Larry Harlow that Anibal Vázquez died last night of a heart attack while dancing on stage with his long time dancing partner Roberto Roena. Anibal and Roberto Roena had been  dancing partners since the early 70's with the Fania All Stars.  They traveled throughout many countries and danced to some of the biggest Salsa crowds ever gathered.  They were the Fania All Stars dancers.  In addition, Roberto Roena and Anibal Vázquez would perform with Roena's band.  The Salsa Industry will remember Anibal Vázquez as Fania's MC.  However, we at Salsaweb know better so that will change effecitive right now because Anibal died dancing and not MC'ing.  Dancing was Anibal's true passion...many in the Salsa Industry seldom recognize dancers not us and we will change that because we have the technical expertise to move this music into the 21th Century.   Salsaweb and the other young and innovative Internet Salsa Industry community will change all of that.   We are the real future of Salsa Music. We are the only ones in World recognizing Salsa dancing.  We never had a chance to recognize Anibal Vázquez...God knows that we would have loved to do it but we get very little support from the music industry.  That is why I truly applaud All Star Entertainment, Wepa Productions, and the others for their hard work.    I can only wish that I had more time, hands, and support to make it even better. 

In addition to the agony of losing this legendary Salsero dancer is that Roberto Roena will probably never be able to recover from the lost of his long time partner. Roberto Roena who resides in Puerto Rico went to New York City to give some shows.  Little did he know that this show would be his last with Anibal.  Anibal left us doing what he loved most which was Dancing Salsa,  he was having fun and that is the best way to go down.  Salsa is the absolute best music and lifestyle that I know and if my turn comes tomorrow I want it to be just like Anibal's departure.   I am trying my very best to improve and expand the movement here in Washington, DC.  Most of the time I don't sleep and make too many sacrifices that should not be but, it's happening only because I enjoy it.  God Almighty give me the strength, health, and support to continue; we need your support.  What we are doing is important because we are having fun and we are uniting people in ways that even the best scholars can not begin to comprehend.   We have to embrace it...Salsa Music and the Internet has changed our lives for ever.  Anibal had a good time and so should we.    Sam Rodriguez.

A note came in from Eddie Gua-Gua Rivera.  Eddie is one of my favorite bassists; when he talk I'm all ears. 
Shocking news about Anibal...He was a man who lived true to his convictions and God given talents.  He ran a great race and I'm sure our God is more than pleased with the dance legacy he leaves for us to cherish and to continue to learn from.  Of course we will miss him but on the same note, or I should say, on the same step we will celebrate the career of a Great Dancer. Gua-Gua

Continua el Sr. Ithier diciendo: "A los músicos se les exige que realicen otras labores adicionales que son típicas de cualquier empresa. Tenemos tesorero, secretario y un relacionista público; trabajando de este modo hemos creado un sentido de pertenencia y estamos enamorados de la empresa". Los mejores tiempos de bonanza económica para el grupo comenzaron en el 1981 y afortunadamente continúan hasta hoy".

Recordando a todos los integrantes de EGC, mencionamos primero a los originates: Rafael Ithier, Eddie Perez, Martin Quiñones, Miguel Cruz, Hector Santos, Quito Velez, Roberto Roena, Milton Correa, Micky Duchesne, Manenin, Chickey, Pellin Rodriguez. Luego Andy Montañez, despues Elias Lopez, Victor Perez, Edwin Cortes, Mike Marrero, Mike Ramos. Los actuales, aparte de Ithier y Perez, son Charlie Aponte, Jerry Rivas, Taty Maldonado. Victor Rodriguez, Freddy Miranda, Papo Rosario, Miguel Torres, Domingo Santos, Jose Miguel Laboy, Wilfredo Rivera y Moises Nogueras.

No cabe duda que El Gran Combo es parte de la historia musical de América Latina, y sobre todo dentro de la música tropical. El grupo que dirige Rafael Ithier tiene su lugar dentro el grupo selecto de las leyendas de la salsa, junto con Ruben Blades, Oscar D'Leon, Hector Lavoe, Eddie Palmieri, Tito Puente, Willie Colón, Celia Cruz, Larry Harlow, La Fania All-Stars y la Sonora Ponceña. "EGC ha hecho historia y ha cumplido su misión de llevar alegría y una buena imagen de Puerto Rico por todo el mundo. Y así debe ser hasta el final", termina diciendo Rafael Ithier.

In May of 1962 Mr. Rafael Ithier, along with comrade musicians, took the difficult decision of abandoning Rafael Cortijo's combo, at the time the combo was considered number one in its music genre in Puerto Rico and other countries. The decision was risky, according to the opinion of a lot people, but Itheir had a faith in the success. His objective was to see a group realized, with its' international transcendence. And that’s how EL GRAN COMBO (EGC) was born, a true musical salsa legend.

In Afrocaribean music, there are very few cases exists in which a band has been able to maintain a music identity without major changes for more than three decades, and at the same time continue to record and perform in public continuously and successfully; EGC is one of these rare exceptions. With more than 50 discography productions, EGC is perhaps the best example of these exceptional cases. Throughout more than three decades of prolific existence; the group that Rafael Ithier directs has been named as: "EL Gran Combo of the World", "The Mulattos of Flavor" [A mulatto is a person that is racially mixed between black and white - EGC is extremely proud of this title], and "The Music Ambassadors of Puerto Rico". These titles, describe the magnitud of the impact and the importance of EGC, in the musical spectrum of the Antilles. Rafael Ithier was born in Rio Piedras, Puerto Rico on August 29th, 1926.

MUSICAL IDENTITY

The group that the pianist Rafael Ithier directs, characterizes itself for: (1) Always exhibits the same musical identity, (2) projects an image of stability and harmony among its members, and (3) to have a busy itinerary of presentations inside and abroad of their country. EGC's music is brilliantly simple. The lyrics describe situations day-to-day life, and sometime just downright humorous that occur in any place. It's the type of music that the public can identify instantaneously. EGC has maintained a distinctive sound that does not reflect substantial changes throughout the time.

Little by little since May of 1972, they began reaching who they wanted to reach; the simple people that live and feel their music with international flavor. Their hit songs "La Calle Dolor" (Painful Street), "Los Ojos Chinos" (The Chinese Eyes) with Puerto Rican flavor, "Acangana" (The bang) thunderous, "Don Goyo" (Mr. Goyo), "Un Verano de Nueva York" (A Summer in New York), and the revolutionary "Jala Jala" (Pull Pull). All this combined with the originality of the group, the jokes and their magnificent and unique choreographies, could not go unnoticed to the point that they stole the hearts of the Puerto Rican people and the people where they performed.

Rafael Ithier is a great self-taught person that learn to play piano on his own, and while he admits been privileged for all the accomplishments that he has reached without a musical academic preparation, his musical gifted abilities make him worthy of that and much more. Director, pianist and arranger of the mayority of the musical top hits of the group have been carved by Rafael Ithier; sometimes he uses other arrangers to incorporate different musical structures but, without swaying out of their core musical concept that distinguishes the group. Probably, the major change has been the addition of the trombone to the original sound of two trumpets and two saxophones. Since 1972, after several rehearsals the trombone became a part of the sound of the Gran Combo. It must be said that by the 70's, the trombone was an integral part of the new born sound of the urban salsa (ex: Willie Colón, Eddie Palmieri and other), which could have contributed that public would accept the change in sound of the group.

Why doesn't EGC foray more into romantic (balad type) songs? Rafael Ithier comments the following: "We understand, accept, and believe that the music evolution has been healthy as seen during several years. However, we can not leave the music pattern established by EGC because that is how the public wants us. "Of course", he explains, "we also have evolved in terms of musical arrangements but always within the original concept watching ourselves of not changing the musical personality of the group". In addition to having uncalculated number followers, EGC has thousands of fans abroad. The Hispanic markets of Latin America, the United States, and Europe are some of the primary arenas that continue demanding the presence of "The Mulattos of Flavor". They have received a great number of awards and recognition citations in countries of the old and new continents.

After a season in which they went through hard times, they decide to search for new horizons. They traveled intensely to North and South America. These trips were favorable, apart from conquering all the countries they visited, it made for Puerto Rican to come together and consolidate. After their return from an extensive absence they became number one in Puerto Rico.

In 1992, they were honored in the concert dedicated to the Gran Combo, that took place in the Madison Square Garden in New York in front of 16,000 attendants, of the annual famous Salsa Festival. That night present were (Celia Cruz, Cheo Feliciano, Andy Montañez, Orquesta La Luz, Grupo Niche, and Patrulla 15), the admiration and respect for the Gran Combo was thoroughly manifested for their long and successful musical journey. In that occasion their rightly-so-conquered title: "THE UNIVERSITY OF SALSA" was confirmed. Another reason for the success of EGC has been the administrative formula of the group. Ithier points out the following: "EGC operates like a cooperative system. Here we work like an organization and the star of the group is El Gran Combo. The decisions are made as a team and everyone knows in which measure that things work well, major according to the opportunities of making money. And that is like that because there is no fix salary for anyone. We get paid equally depending on the income our presentations produce; and in the same way we share the bad time, if that were the case".

Mr. Ithier continues saying: "The musicians are expected to accomplish additional functions typical of any enterprise. We have a treasurer, secretary and a public relations spokesman; working in this way we have create of feeling of belonging and we are in love with the enterprise". The best time of economic bonanza for the groups started in 1981 and fortunately continues to this day.

Translator's comment: When El Gran Combo performs it becomes sort of a national unity day and most Puerto Ricans get involved and show-up to support their national symbolic band...

Remembering all the member of EGC, we mention first the originals: Rafael Ithier, Eddie Peréz, Martin Quiñones, Miguel Cruz, Hector Santos, Quito Velez, Roberto Roena, Milton Correa, Micky Duchense, Manenin, Chickey, Pellin Rodríguez. Then came Andy Montañez, Elias Lopez, Victor Perez, Edwin Cortes, Mike Marrero, and Mike Ramos. The current members a-part from Ithier and Perez are: Charlie Aponte, Jerry Rivas, Taty Maldonado, Victor Rodríguez, Freddy Miranda, Papo Rosario, Miguel Torres, Domingo Santos, Jose Laboy, Wilfredo Rivera, and Moises Nogueras.

There's no doubt that EGC is part of the musical history of Latin America, and above all within tropical music. The groups that Rafael Ithier directs has its place within the select group of the legends of Salsa along with Ruben Blades, Oscar D' Leon, Hector Lavoe, Eddie Palmieri, Tito Puente, Willie Colón, Celia Cruz, Larry Harlow, La Fania All Stars, and the Sonora Ponceña. "EGC has made history and has accomplished its mission of taking happiness and a good image of Puerto Rico throughout the world. And it should be that way till the end", finishes Ithier saying

.