So often, the annals of music seem to forget those that make the music- The Players-those musicians that are the creators and custodians of a backdrop that The Voices, the singers, need to be highlighted upon. These Players are charged with keeping the time and making sure that emphasis is placed where it should be, all while playing together, as one. The very best of these players do their jobs in such a way that they go almost unnoticed, because it is the overall product, the groups sound and timing, that is the real reward for their labor. Discipline, practice, and skill are the identifying features of these persons, and Luis Mangual is one of them.

A son of the renown Master Percussionist José "Buyú" Mangual, Luis is a native son of El Barrio, the Spanish Quarter of Manhattan, New York City. It was here that he grew up, watching and learning from his Dad, as the lessons of rhythm and time were slowly taught to him and his brother José Jr. Yet the lessons were more than the teachings and legacy of his famous family. They would also become a roadmap that this player would take to the top of his profession.

The lessons would become more polished and refined as Luis grew. His earliest chances to apply his lessons came in the streets of his neighborhood. By the early 1960s, a teen-aged Luis was already becoming a fixture at the Rhumbas in Manhattan's Central Park, where some of the best (and not-so-best) percussionists jammed. His earliest professional jobs were soon to follow, playing house parties with Louie Bonilla and The New Swing. There would be more gigs with local bands, including playing with his Dad's Conjunto Chevere.

Luis continued his growth in the only way that a musician can- by playing. It was a good time for a player on the New York music scene because there were many venues to work. Luis continued to grow as a sideman, working with Manolin Morelcampos' big band at El Teatro Puerto Rico in the early and middle 1960s. Here, Luis would play behind some of the legendary voices of Latin music such as Yayo "El Indio"(Eladio Perguero), Daniel Santos, Miguelito Valdes, and La Lupe.

In 1966, Luis was invited to play with Joe Valle's Orchestra as a Timbalero and a Bongocero. This association with Valle would further broaden Luis' horizons over the next two years, as he gained professional experience and started to travel.

The later 1960's would become an important time in Luis Mangual's growing career. He would join Hector Rivera's Orchestra, and continue his maturation in music. Here Luis states, "Hector had a discipline in his Orchestra. I learned many things from him, and became a more accomplished music reader during my time with his band". In addition, Hector Rivera became a friend, and that friendship lasts to this day. The hard work and lessons learned were definitely paying off for Luis. By 1970, he was easily recognized as one of the finer percussionists on the Latin scene.

The early 1970's brought Luis greater notoriety. He worked extensively with Ray Barretto's Orchestra, and caught the eyes and ears of many during this time. In 1974, Ralph Marzan recommended Luis as his own replacement with one of the finer bands of the day, Johnny Pacheco's Orchestra. This band was one of Luis favorites, and his association with it made it an even better one. It also brought Luis into the epicenter of La Salsa Dura, Fania Records. With Pacheco's orchestra, Luis would become the point man of a rhythm section that made the music for some of the giants of Latin music history such as Celia Cruz, Pete "El Conde" Rodriguez, and many others.

The end of the 1970's and the dawning of the 1980's would change many things in contemporary Latin music. These changes and the causes of them, would directly affect Luis' musical career, as well as his life. As the heyday of Fania began to fade, a void was forming in which money, radio airplay, and executives seemed to govern just which way Salsa was heading. In addition, many of the venues that had traditionally fueled the Latin music scene, especially in New York, were disappearing. At this point in his career, Luis decided that he would face the changes in music on his terms. He then pursued a new career working for the City of New York.

It is important here to note that Luis in no way gave up music. Quite the contrary, he improved his own skills, delving deeper into arranging and composition. A fine example of this is his contribution to a 1986 session with his father and brother on Caiman Records entitled, Una Dinastía. Luis continued to perform with his family throughout this period. (With his Dad and brother José, he electrified the crowd at El Poli de Caracas, Venezuela during their show-stopping performance of Tres Bongoceros in 1986.)

Luis vowed to return to music on a more regular basis, again on his terms. His terms were (and still are) governed by the lessons learned at his father's side. These terms are also governed by his love for music, especially el Son Montuno. By applying the lessons learned to what he loves, Luis Mangual has defined his terms, and dressed them up with his own originality.