From the streets of San Juan to the lively neighborhoods of Cali, Medellín, Bogotá, and Barranquilla, few can deny the popularity and reach of their music in representing the diverse and complex identities of cities across Colombia and Latin America. El Gran Combo de Puerto Rico, founded in 1962 by pianist and musical director Rafael Ithier after splitting from Rafael Cortijo’s Combo with key figures like Roberto Roena (who would later form Los Megatones and then Apollo Sound), and Eddie “La Bala” Pérez, who brought his distinctive touch to Cortijo’s and then to the new Combo’s choruses, has been a lasting musical powerhouse.
For over six decades, this group has remained a symbol of classic salsa, leaving an indelible mark both in their native Borinquen and in Colombia, where their influence has spanned generations. Throughout its history, El Gran Combo has skillfully reinvented itself while maintaining its core essence, blending the flavor of son montuno, the strength of guaguancó, and the smoothness of bolero. Beyond their impeccable sound, the group has stood as a symbol of identity, cultural resistance, and joy during challenging times. The evolution of their sound reflects their search for a unique identity and adaptability.
In the 1960s, they were still heavily influenced by their roots in Cortijo’s band. By the 1970s, they had adjusted vocal patterns and joined the booming salsa movement. In the 1980s, their arrangements became more prolific, showing greater sensitivity and lyrical connection, and changes in lead singers further refined their sound.
A Musical Legacy Built on Iconic Voices
From the beginning, El Gran Combo was known for bringing together distinctive voices. The first standout vocalist was Pellín Rodríguez, whose versatility made him a central figure in the 1960s. Alongside him, Andy Montañez formed one of the group’s most legendary duos. They adapted to a wide range of musical demands, mastering montuno, guaracha, boogaloo, and jala jala. Montañez, nicknamed “El Niño de Trastalleres,” brought a unique tone that elevated songs like “Julia,” “Guaguancó de El Gran Combo,” “Un verano en Nueva York,” and “Achilipú.”
Andy’s departure in 1976 to join Dimensión Latina—one of the most significant and costly artist moves in salsa history—was a major shake-up, but also a turning point. Although he had already shared the stage with Charlie Aponte, who helped usher in a new era, the void was filled by the young Jerry Rivas. Aponte remained with the band for over 40 years, delivering flawless performances. Along with Rivas and the versatile Papo Rosario, they formed a second great vocal trio that upheld tradition while keeping the sound fresh and relevant. Today, the voices of Jerry Rivas, Anthony García, and Joselito Hernández continue the legacy with renewed energy and deep respect for the group’s history.
El Gran Combo has never relied on a single star, which is key to its longevity. Rafael Ithier, now over 98 years old, remains the project’s soul, steering its musical course with discipline and artistic vision.
Colombia and El Gran Combo: A Cultural and Familial Bond
Few foreign groups have found a place in Colombian hearts like El Gran Combo. In Cali—the salsa capital of Colombia—their albums have been staples since the 1970s. Radio stations competed to premiere their songs, and collectors eagerly hunted down Puerto Rican imports.
In the 1980s, the group visited Medellín and was greeted like superstars. Fans sang along to every song, and parades accompanied them from the airport to their hotel. During one such visit, Rafael Ithier declared: “If Puerto Rico is our mother, Colombia is our second home.”
Barranquilla has also witnessed historic moments. At the 1990 Carnival, over 100,000 people danced to El Gran Combo at Romelio Martínez stadium—one of the most memorable concerts in the city’s history.
In Bogotá, their songs have consistently topped the charts, and their live shows often draw massive crowds.
Colombia didn’t just embrace them—El Gran Combo responded in kind. Andy Montañez was the first to stand out in a folkloric Colombian song, adapting “La Mafafa” (originally by Eliseo Herrera) into a bomba version, and performing “Cabeza de Hacha” by Noel Petro (credited to G.F. Arango).
Thirteen years passed before the group recorded another Colombian track. In their album 7, they included a vallenato rendition of “Matilde Lina” by Leandro Díaz, sung by Andy Montañez with Paquito Guzmán’s striking backing vocals. Their next album Mejor Que Nunca (1976) featured “Pachito E’ Che” by Alex Tovar, again sung by Andy. In ¡Aquí no se sienta nadie! (1978), they paid tribute to vallenato icon Jorge Oñate with a salsa version of “Nido de Amor” by Octavio Daza, sung by Charlie Aponte and featuring Yayo El Indio in the chorus.
In 1981’s Happy Days, they included “Amor Comprado,” originally by Alberto ‘El Beto’ Zabaleta and popularized by Oñate. Charlie Aponte’s vocal interpretation blended Puerto Rican salsa with vallenato-style phrasing, adding a rustic, heartfelt edge.
By 1983, Diomedes Díaz Maestre was at the peak of his career, inspiring El Gran Combo’s album La Universidad de la Salsa, which featured “Simulación,” sung in clave by Charlie Aponte with interjections by Jerry Rivas and phrasing reminiscent of Díaz’s style: “un corazón flechao’,” “un hombre enamorao’.”
Another Colombian composer honored by El Gran Combo was Gabriel Romero. In 1984’s Breaking The Ice, Aponte delivered a stunning version of “Amigo Mío.” A year later, they did it again with Romero’s “Camino de Amapolas” on Innovations.
Their 1986 album El Gran Combo y su Pueblo features a photo of the band performing in Bogotá’s La Media Torta amphitheater. It includes a brilliant version of “Por Ella” by Esteban Montaño Polo, popularized by Los Hermanos Zuleta. Though the song hails from Colombia, Aponte shouts “¡Gózalo, Panamá!” during the break.
Vallenato’s rise in the ‘80s inspired more covers, such as “Carta al Creador” by Romualdo Brito, performed by Jerry Rivas in a full salsa arrangement with a powerful chorus.
Though they later paused their exploration of Colombian compositions, their connection to the country never waned. In 2010, with Sin Salsa No Hay Paraíso, Charlie Aponte paid tribute to Colombian music again with a salsa version of “Colombia Tierra Querida” by Lucho Bermúdez—a joyful reunion of their sound with our folklore.
Milestones in the History of the “University of Salsa”
El Gran Combo has done what few have achieved: staying relevant in a musical genre that has experienced highs and lows. Here are some of their most important milestones:
El Gran Combo de Puerto Rico, “Los Mulatos del Sabor,” “The University of Salsa,” evolved from being just an orchestra to becoming a cultural bridge that connects with different traditions beyond their own, successfully integrating elements into a musical language that feels familiar in any country where their music is heard. Their longevity is a testament to strong leadership, discipline, and a deep love for their craft.
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