Artists

Andrés Cepeda & Mike Bahia Artists in November of HTV

North America / USA/ Miami

With a history of over 15 years, Colombian singer- songwriter Andrés Cepeda and Mike Bahia, representative of the urban genre, exclusively relate their experiences with each of their productions and the musical genres for which they have traveled.

Andrés Cepeda

The Colombian singer Andrés Cepeda, has been one of the most renowned artists of Latin American music scene. This Latin Grammy winner has been wowing his audience with his successes year after year since he began his career. The Colombian began his single career in 1999 releasing a first album: “Sé morir” disc in just one month received platinum status, framing in nearby rhythms like pop, bolero and the ballad.

In 2001 he released his second production, “El Carpintero”, for which he received double platinum.

In 2002 he published “Para amarte mejor”. This production was the first of that kind in Colombia. In 2005 he presented his work “To better love”. This album received platinum disc for sales in Colombia.

In 2007 he released a remake of “Para Amarte Mejor” in which two new songs he composed with master Jorge Luis Piloto included: “Pronóstico” and “Si fueras mi enemigo” songs that gave him international recognition and won him Latin Grammy nomination for Best Male Pop Album … “Día tras día” became after its launch in 2009, one of the most successful albums of his career, receiving gold and platinum discs.

This gave rein to that was nominated this year in three of the most important categories of the Latin Grammy Awards: Song of the Year, Album of the Year and Best Male Pop Vocal Album.

In 2012 Andrés Cepeda presented to the public his seventh album “Lo major que hay en mi vida.” Cepeda received four nominations for this album by The Latin Recording Academy, taking for the first time Latin Grammy in the category “Best Traditional Pop Vocal Album”.

He was joined for this award three prizes that gave the Nuestra Tierra 2013 Awards in the categories Best Album of the Year, Best New Artist and Best Pop Performance. Additionally, he received double platinum. In 2015 he released his latest production, “Mil Ciudades” album that featured the participation of leading industry figures.

Mike Bahia

Meanwhile, in the second installment of HTV En La Mira of the month arrives on Thursday, November 17 the reggaetonero, Mike Bahia, one of the great musical promises of the moment.

Bahía had already begun his career by participating in the reality show “La Voz Colombia” (second edition), where he was a pupil of Fanny Lu. Then he debuted as a soloist in 2014 with the single ‘Buscándote’, a song produced by Montana The Producer (who worked for J Alvarez and Chris G), Juan Jhail (who collaborated on projects Kevin Roldan and alkylated) and Ronny Watts (alkylated and Hernán Saraza).

Later in his still brief career, Mike Bahía launched four singles: “Estar Contigo” (2014), ‘Buscándote (remix)’, ‘Tarde’ and ‘La Muñeca’ (all 2015). The latter will integrate the first album of Mike, which will be called ‘Soy Yo’. Mike himself wrote ‘La Muñeca’ in collaboration with Juan Jahil and Juan Gálvez, alkylated vocalist.

For his part, the director Nuno Gomez, who worked with alkylated in several videos, directed the clip in various locations in Venezuela. So you know, do not miss these two artists and enjoy their confessions in HTV because HTV it gets good!

Ismael Miranda

North America / USA / New York

Ismael Miranda was born in the village of Aguada, Puerto Rico, on 20 February 1950. At an early age he moved to New York, where he began his passion for music. In 16, he recorded his first hit song “Rumbón melon” with Joey Pastrana. Then, he became part of the Orchestra Harlow in 1967, with which he achieved success of the song “Abran Paso”.

Ismael Miranda - Photo — Ismael Miranda – Photo

Ismael dabbled solo in 1972, with a new production called “Opportunity”. He also formed his own band called “The Revelation” and recorded another CD called “Así se compone un son”. In addition to having other notable songs, the title track was a resounding success in Latin America, the United States and Europe. The next year saw the light the album In Fa Menor, appearing again the song of the same title, “In Fa Menor”, among other successes.

Miranda continued producing hits, with songs such as “Borinquen tiene Montuno”, “La Cama Vacía”, “La Copa Rota”, “Como Mi Pueblo” y “Las Cuarentas; all were widely broadcast radio media. His compositions also achieved success with pieces like “Señor Sereno”, “Abren Paso”, “Lupe, Lupe” and “Pa ‘Bravo Yo” song made famous by the Cuban salsero, Justo Betancourt.

Ismael Miranda - Collash — Ismael Miranda – Collash

In 1974, the founders of the Fania, Jerry Masucci and Johnny Pacheco, asked Ishmael to form part of the Fania All Stars, where he was dubbed “El Niño Bonito de la Salsa” by being the youngest of all members. In the 80’s, he found success with the Fania, such as “No me digan que es muy tarde” and “Galera tres.”

Also, Ismael created his own label, under which he recorded several productions, including “Por el buen camino”, of which the theme “Careta” was a hit in 1985, plus two holiday productions. The early stage salsa enjoyed its best, and the debut of Miranda with his own band, Orquesta Revelation, could not be timelier.

Ismael Miranda - Photo 1 — Ismael Miranda – Photo 1

For 2000, Ismael recorded several productions under the direction of Gilberto Santa Rosa, titled “Vengo con todo”, “Tequila and ron” (which was nominated for a Grammy in 2003), and “Special Edition”. At 2005, reached #1 on the Billboard chart, with the theme “Se fue y me dejó” with Andy Montanez and Cheka, produced by Sergio George. In 2007, he recorded his first Christian production called “Buscando el Camino” in which the theme “Como el Águila” achieved great success. In 2008, he launched the production called “De regreso al son”. For 2011, Ismael recorded his second Christian production “Aferrado a ti”, which issues “Francotirador” and “Sabes que te amo” were big hits.

Ismael Miranda - Photo 2 — Ismael Miranda – Photo 2

In 2014, after a successful tour to mark its 45th anniversary in the Salsa, Ismael met with Victor Manuelle, to whom he delegated the production of his latest album “Son 45”. This production is very modern, but retains the classical influence of salsa, and has proven to have the support of the whole public salsero. From his first days on the market, this new album, started climbing positions in the lists of the prestigious music magazine Billboard, with the theme that gives the name to the album “Son 45”.

Ismael Miranda - Photo 3 — Ismael Miranda – Photo 3

Entered 2015, The Pretty Boy of Salsa positioned in the first place with the same subject, under the category “Air Play” magazine, the second member of the Fania All-Star to reach the #1 position for the second time, place before conquered only by the Guarachera del Mundo, Celia Cruz. Ismael made history again when launching his second promotional theme of this production, “Bajo, piano and bongo” again ranked at #1 on the Billboard charts in the same category, becoming the most #1’s has reached among members of Fania. As if that were not enough, this production has also been nominated for a Latin Grammy in the category “Best Salsa Album”.

Ismael Miranda - Photo 4 — Ismael Miranda – Photo 4

During the course of his great career, Miranda has recorded more than 20 albums and has performed with notable artists such as Nicky Marrero, Hector “Bomberito” Zarzuela, Reinaldo Jorge, Ismael Quintana, Willie Colon, Ray Barreto and Luis ‘Perico’ Ortiz.

Ismael Miranda - Flyers — Ismael Miranda – Flyers

How Artificial Intelligence changed the music biz forever

Since very recently, there has been a tool that gives machines and systems the ability to mimic many of the things humans do, such as writing texts, drawing, analyzing data, recognizing information, making decisions, among many others. Of course, we are talking about Artificial Intelligence.

One of the areas in which artificial intelligence has definitely impacted is music, reaching the point where it may even compose entire songs, write lyrics, and generate voices so realistic that they could easily be confused with those of humans. Because of the impact this set of technologies has had on the art world, we cannot stop talking about such an important issue that, whether we like it or not, has significantly changed and will continue to change the music landscape significantly.

Imagen created by Artificial Intelligence — This is an image about AI in music created by AI

AI and Music

Even when this could cause discomfort, it is not a secret for anyone that every day there are more facilities for those who make music without having the necessary knowledge to produce something of high quality in many cases, so they ride on all possible resources to make their job easier and simpler.

Artificial intelligence makes producing, composing, mixing, and mastering much less complex processes, and in many cases, human intervention is not necessary. Artists and all kinds of music professionals now have a much wider range of possibilities with which they can cross boundaries technology did not allow before. For this reason, it is imperative that they are trained as best as possible in these tools so they can get the most out of them, but trying to keep the human touch that every artistic product needs.

Benefits of using Artificial Intelligence in music

As we have made quite clear, artificial intelligence offers numerous advantages to all those who learn to use it, but what would be some of them?

Less chance of making mistakes: by limiting to the minimum human intervention, the chances of making a mistake that could harm the final result is very slim, delivering greater levels of confidence throughout any process.
Speed and efficiency in the processes: anyone who has had the opportunity to compose or knows someone who does understands that it can be a rather slow and arduous process, but artificial intelligence can make things easier beyond imagination. Something that usually lasts days or even weeks can suddenly happen in seconds, making this technology a huge draw for any music creator.
Greater creative possibilities: Because AI offers the ability to mix up styles and genres that an artist would not consider by himself, opening up a wide range of creative possibilities and helping to create unique and experimental songs.
Highest adaptability: another of the virtues of AI is the ability to create lyrics, adjust them, and adapt them to existing melodies.

AI has some disadvantages — AI offers many advantages, but also some disadvantages artists take into account

Challenges facing artists with artificial intelligence

So as we mentioned some of the virtues of AI, it is needed to be honest and admit that it can bring some problems when not used correctly. For an artist, there are certain things that can be harmful if he does not have the right training and a clear idea of what he/she wants to achieve:

Little originality: this is one of the aspects that most concerns those who criticize excessive use of AI in music, since this technology is based on pre-existing data. While it is true that AI can generate new things, its production only comes from previously made content.
Low emotional depth: one of the main criticisms against AI in the realm of artistic creation is the lack of emotional depth it sometimes offers. Music has been understood as one of the most emotional and human expressions an artist can convey, but unfortunately AI is occasionally unable to replicate it with the same intensity. These platforms cannot always grasp this emotional component, which is so necessary to create music with the level of authenticity and depth required to touch the hearts of audiences.
Concerns about job security of musicians: due the legal gray areas over which AI still navigates, there are many worries about job security of artists. Because this technology is capable of reproducing vocals and compositions that may well compete with those of humans, this could mean that the livelihoods of many workers of the music industry could be seriously affected.

Copyright law in relation to Artificial Intelligence

One of the most common doubts regarding AI is how the matter of copyright is handled, especially in the music industry, where there have been more than one scandal involving this topic. According to Intellectual Property Law, any copyrightable work should be completely original and created by a natural person. Could we say that an AI-powered song is original? Well, let’s see.

Given that originality has no clear definition in the law, the courts and the legal literature have set up the term, which results in the objective approach and the subjective approach.

Cover created by AI — Cover of NostalgIA with the voices of Daddy Yankee, Bad Bunny, and Justin Bieber. The song was made by the artist prototype Flow GPT

The subjective approach holds that a work is original if it is a true reflection of its author’s personality, while the objective approach makes references to creating something that did not exist before. The predominant approach in most countries that have enacted appropriate legislation on this matter is the subjective one, making it difficult for works created using AI to be protected by law. However, companies that provide this technology generally point out that the rights to the material created by their AI belong to them.

In view of the above, the law is very clear that the author must be a natural person, making it impossible for a work created with AI to be legally protected. It is for the same reason that, even if the objective approach predominates at some point, it would still be very difficult to protect this material.

What can we conclude from all this?

It is clear that Artificial Intelligence is here to stay and change the music industry forever, so struggling against it and its use is absolutely useless. For this reason, it is important to see it as an ally in improving what was done and not as an enemy to fight.

Although these platforms may have some disadvantages that have already been mentioned, proper training of artists can lower the chances of falling in the lack of human sensitivity and help integrate them into their work as effectively as possible, since AI is a reality with no turning back.

The Elegant One of Salsa Life and Legacy of Tito Allen, one of the most refined voices in our Latin Music

The world of Afro-Antillean music celebrates the birth of one of the genre’s most distinguished and sophisticated voices Roberto Romero Caballero, universally known in the music scene as Tito Allen.

Born on May 1, 1946, in the iconic neighborhood of Santurce, Puerto Rico, this pillar of salsa has left an indelible mark on the history of Latin music throughout a career spanning over four decades of artistic excellence.

The Origin of a Name with Tumbao

The stage name of this renowned sonero holds a curious history split into two parts. The first part, “Tito,” stems from a deeply rooted custom in Puerto Rican slang: the double diminutive. From Roberto, people began calling him “Robertito,” a nickname that over time affectionately evolved into “Tito.”

On the other hand, the surname “Allen” has a much more urban and accidental origin. The singer himself has confessed that during his youth, he saw the word painted as graffiti on a wall. The visual impact and the sound of the name pleased him so much that he decided to adopt it on the spot as his signature trademark for the entertainment world.

The Beginnings of a Multifaceted Star

Tito Allen’s musical journey formally began in 1962, when he was just a 16-year-old teenager. In his early days, the young Roberto showed a strong inclination toward rock and roll, a genre that was causing a frenzy among the youth of the 1960s.

During this formative period, Allen stood out as a bassist and guitarist, forming part of various musical trios that emulated the great bands of the era. These groups even enjoyed successful appearances on Puerto Rico’s Channel 4 television.

Fortunately for lovers of Caribbean rhythms, destiny guided him toward tropical music. His powerful voice, characterized by impeccable tuning and elegant phrasing, quickly made him a highly sought-after singer.

Dj. Augusto Felibertt, Orlando Watussi, Tito Allen y Jesus Torres

Among his major aesthetic influences, Allen has always expressed a deep admiration for Cheo Feliciano, whom he listened to with devotion during Feliciano’s era with the Joe Cuba Sextet. Likewise, he has repeatedly pointed to the Bobby Valentín Orchestra as one of his favorite bands of all time.

Conquering New York and the Big Leagues of Salsa

Determined to take his career international, Tito Allen traveled to New York in 1972. Although he initially tried to join the orchestra of the “King of the Timbal,” Tito Puente, Puente had no vacancies at the time. Far from discouraged, Allen joined forces with the prominent Colombian pianist Eddie Martínez to form a quintet that performed successfully in Big Apple nightclubs.

The true turning point came in May 1973. After a brief return to his native Puerto Rico, Allen went back to New York and, thanks to a recommendation from Eddie Martínez, scored an audition at the famous club El Corso. There, maestro Ray Barretto was looking for a vocalist to replace none other than Adalberto Santiago.

Allen rose to the challenge masterfully, recording the acclaimed album Indestructible (1973), a work that instantly enshrined him in the pantheon of salsa royalty.

A Legendary Journey: Following his successful run with the Ray Barretto Orchestra, Tito Allen fulfilled his dream of working alongside Tito Puente. Later, he joined the ranks of the legendary Típica 73 before launching a solid solo career.

His impeccable reputation also led him to become a fundamental part of the Puerto Rico All Stars, participating in two of their most iconic album productions. Additionally, he collaborated closely with the virtuoso Louie Ramírez, leaving an indelible mark thanks to his versatility.

The Golden Backup Singer of the Latino Neighborhood

Beyond his brilliance as a soloist and bandleader, Tito Allen’s career stands out for his generosity and professionalism in the recording studio.

His trained, melodious voice graced countless productions for artists of the stature of Pupi Legarreta, Ralphy Santi, and Conjunto Clásico, among many other representatives of “the ultimate expression of the Latino neighborhood.” His work as a backup vocalist was essential in defining the sound of New York and Caribbean salsa during the ’70s and ’80s, solidifying his status as a complete artist and a gentleman of music who today, more than ever, deserves the applause of his audience.

Also Read: Our friend Tito Allen supports the Salsa Museum

The Flavor of Barrio La-33 and the Urban Salsa Revolution

The Birth of Swing in Chilly Bogotá

Bogotá, a city nestled more than 8,600 feet above sea level, cold and prone to drizzle, did not seem in the early 2000s like the most obvious birthplace for one of the 21st century’s most influential salsa orchestras.

El Sabor del Barrio La-33 y la Revolución de la Salsa Urbana

However, in 2001, in the heart of the Teusaquillo neighborhood, La-33 was born. Breaking the stereotype that salsa only flourishes on warm coasts, this band proved that Caribbean flavor (sabor) also runs through the veins of the Colombian capital.

Founded by brothers Sergio and Santiago Mejía (musical director/bassist and keyboardist, respectively), the orchestra took its name from the street where they held their first rehearsals: 33rd Street (Calle 33).

From its inception, the project had a clear identity: to rescue the raw, urban, and gritty sound of 1970s salsa brava, evoking legends like Héctor Lavoe, Willie Colón, and the Fania All-Stars, while injecting it with the attitude, energy of rock, and Bogotá’s gritty street vibe. To finance their first album, the band members saved money earned from their gigs in local bars and nightclubs.

The “La Pantera Mambo” Phenomenon

La-33’s rise to international stardom was no accident, but rather the result of a brilliant recording masterstroke. In 2004, they released their self-titled debut album, La-33. The record included a track that would become their ticket to the world: “La Pantera Mambo.”

This piece a spectacular mambo-rhythm version of Henry Mancini’s cinematic classic, “The Pink Panther Theme” fused jazz, suspense, and a powerhouse horn section.

The song instantly became a radio hit and an essential anthem on dance floors from Cali to Berlin, proving that salsa was not a genre of the past, but a living language capable of reinventing Western pop culture.

El año 2001, en el corazón del barrio Teusaquillo, nació La-33

Dynamic Evolution and Discography

Unlike the salsa romántica orchestras that dominated the commercial hit charts in the ’90s and 2000s, La-33 bet on an organic sound heavily influenced by mambo, jazz, pasodoble, and ska.Their music dispenses with excessive synthesizers, prioritizing instead the raw power of percussion, the brilliance of the horns, and lyrics that narrate daily life, urban chaos, and bohemian nightlife.

Throughout their career, they have built an impeccable musical catalog across several studio albums:

La-33 (2004): The debut album featuring “La Pantera Mambo” and “Qué Rico Boogaloo.”
Gózalo (2007): Nominated for a Latin Grammy, it solidified their success with tracks like “Bye-Bye” and “Soledad.”
Ten Cuidado (2009): A more mature record exploring fusions with ska and jazz.
Tumbando por ahí (2013): A tribute to the band’s street-smart, party-loving spirit.
Caliente (2016): Their fifth studio production, released to celebrate fifteen years on the scene.
Si tú quieres salsa (2019): A return to their roots with a powerful, mature, and refreshed sound.

Global Ambassadors of Colombian Salsa

What began as a group of friends rehearsing in a Bogotá house transformed into a global phenomenon. La-33 has toured all five continents, performing at prestigious international events such as the Sziget Festival in Budapest, the Cali Fair (Feria de Cali), and various jazz and world music festivals across Europe, Asia, Africa, and the Americas.

Their ability to get audiences who don’t even speak Spanish dancing is a testament to the universal power of their horn section and rhythmic core.

La 33 El nacimiento del swing en la fría Bogotá

Today, La-33 is not just an orchestra; it is an institution of Colombian alternative music. They proved that salsa can be played wearing leather jackets and a punk attitude while maintaining absolute respect for Afro-Latin roots making it clear that to have swing, all you really need is passion.

Band Members

Sergio Mejía (Bandleader and electric bass)
Santiago Mejía (Keyboards)
Guillermo Celis (Vocals)
David Cantillo “Malpelo” (Vocals)
Edison Velásquez (Vocals and flute)
Alejandro Pérez (Congas)
Juan David Fernández “Palo” (Timbales)
Diego Sánchez (Bongos)
Vladimir Romero (Trombone)
José Miguel Vega (Trombone)
Adalber Gaviria (Saxophone)
Roland Nieto (Trumpet)
Javier Galavis (Sound engineer)
Ray Fuquén (Field producer)

Also Read: Colombia’s legendary Grupo Niche and its founder Jairo Varela