Artists

Antonio Adolfo: The Indelible Master of Brazilian Music

From Classical Cradle to the Jazz and Bossa Nova Revolution

That musical heritage is essential to understanding the greatness of Antonio Adolfo.

Being born into a home where the violin from the Rio de Janeiro Municipal Theater orchestra was part of the daily landscape shaped his sensibility from the cradle.

Although he grew up surrounded by the classical discipline of his father, his destiny lay within the keys, jazz, and the revolution of Brazilian popular music (MPB).

De la Cuna Clásica a la Revolución del Jazz y la Bossa Nova

The son of a classical violinist, Antonio Adolfo was born in the bohemian neighborhood of Santa Teresa, Rio de Janeiro, under the sign of Aquarius in 1947. At the young age of 16, the young pianist was already part of the exclusive bossa nova club brewing in the famous Beco das Garrafas alley, leading ensembles that stood at the forefront of the scene, such as Conjunto Cinco and the Samba Trio 3-D.

Shortly after, he participated in the iconic musical Pobre menina rica by Carlos Lyra and Vinicius de Moraes, beginning to make a name for himself in the industry.

Starting in 1967, by forming a creative partnership with lyricist Tibério Gaspar, Adolfo became one of the great catalysts of modern melody in Brazil, composing massive hits like “Sá Marina” and “Juliana.”

Antonio Adolfo El Maestro Imborrable de la Música Brasileña

At the same time, leading the group Brazuca, he established an electronic pop tone that was highly sophisticated for its time (with tracks like “Teletema” and “Ana Cristina”), culminating in the blistering musical highway of “BR-3″—a song that sparked great controversy and shook the core of the era’s music festivals.

A Pioneering Spirit and International Acclaim

After playing as a member of the backing band for the legendary Elis Regina on two European tours, and refining his technique in Paris with the renowned classical maestro Nadia Boulanger—in addition to studying in Brazil under masters Guerra-Peixe and Esther Scliar Antonio Adolfo was ready to take another giant leap.

In 1977, in an act of bravery and pioneering spirit, he released the album Feito em Casa (Homemade) under his own record label, Artezanal.

This was the opening kickoff for a liberating movement: the independent record industry in Brazil, triggering the rise of artistic dynamics that diverged from traditional market rules. Under this self-managed system, Adolfo recorded both original material (including children’s music that promoted free play) and foundational revisions of pianeiro classics, transforming the works of Ernesto Nazareth and Chiquinha Gonzaga for the contemporary piano.

This versatility proved that, as a performer and creator, Adolfo had achieved a rare distinction: mastering contemporary language from a place of timelessness.

Since 1985, the maestro has focused much of his energy on his music school, the Centro Musical Antonio Adolfo, while also participating in international events as an educator, without ever setting aside his stage career.

His profound work with the music of Chiquinha Gonzaga and jazz has earned him prestigious awards and nominations. Furthermore, he is the author of seven textbooks on Brazilian music published by Lumiar, a video lesson, and two books published abroad. For eight years, he proudly served as the Latin American representative for the IAJE (International Association for Jazz Education).

In recent years, Antonio Adolfo has returned to the stage more frequently, performing either in a solo piano format or with a group. From one of his performances at a U.S. university alongside his daughter, singer Carol Saboya, came an acclaimed live album released both in Brazil and abroad: Antonio Adolfo & Carol Saboya Ao Vivo / Live. This success has been followed by recording productions highly praised by international critics, such as Here and There / Aquí y Allá.

Discographic Gem: “Chiquinha Com Jazz” (1997)

A perfect example of his genius for fusing Brazilian roots with the freedom of jazz is his 1997 album dedicated to the pioneer Chiquinha Gonzaga.

Tracklist:

Atraente

Cordão Carnavalesco

Lua Branca

Angu

Gaúcho (Corta-Jaca)

O Forrobodó

Corte Na Roça

Satan

Ismênia

Faceiro

O Abre Alas

Personnel:

Antonio Adolfo: Piano and musical arrangements

Gabriel Vivas: Double bass

Ivan Conti: Drums

Claudio Spiewak: Acoustic guitar

Contributor:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Carlos “Nene” Quintero comes from a family of musical prodigies

Héctor “Tempo” Alomar: The Scorching Voice and the Rhythm Blessed by “El Cantante de los Cantantes”

The Invaluable Legacy of an Afro-Antillean Percussion and Vocal Giant

Héctor “Tempo” Alomar was born on December 28, 1950, in Parada 19 of Santurce, Puerto Rico. A singer, percussionist, and true pedigree sonero, he became an essential figure in salsa music thanks to his outstanding contributions to world-class bands.

His resume included Orquesta La Conspiración, La Diferente, Conjunto Libre, La Charanga Afrocubana, La Charanga América, Orquesta Broadway, Charanga la Tapa, Casanova y su Montuno, Batacumbele, El Combo de Siempre, Zaperoco, Nacho Sanabria’s Orchestra, Grupo ABC, and, in a career-defining run, Roberto Roena’s Apollo Sound. He also led his own musical ensemble under the name Sexteto La 51, his last recording with the legendary and living legend of Fania All Stars Eddie Montalvo.

Héctor Tempo Alomar la Voz Candente y el Ritmo

The remembered former member of Apollo Sound passed away at the age of 70 in his native Puerto Rico on May 9, 2021, leaving a profound void in the world of music collecting and salsa culture.

A Rhythm That Ran Through His Veins

The son of Doña Isabel Román and Don Luis Alomar, young Héctor showed an innate connection with the clave from a very early age. His mother used to recall that the boy would strike the rhythm with any kitchen utensil he could get his hands on, even breaking several glass cups while trying to draw sound from them with silverware.

He made his first professional recording as a minor, at just 15 years old. It happened when producer Joe Blanco invited him to record percussion with Chacón y sus Batirrítmicos, capturing his talent on tracks like “Ahorita va a llover” and “Mi guajira.”

In 1968, he moved to New York City, and by 1970, he reunited with his great childhood friend, maestro Ángel “Cachete” Maldonado. Maldonado introduced him to the city’s music circles, providing the decisive push for him to develop as a lead singer.

Blessed by “El Cantante de los Cantantes”

“Tempo” Alomar joined Orquesta La Conspiración as a timbalero, staying with the band for about three years. Later, thanks to a recommendation from trumpeter and arranger José Febres, bandleader Rafy Val recruited him for La Diferente. This gave him his first opportunity to formally record salsa on the album Fuerza Bruta, produced by Larry Harlow.

During his time with La Conspiración, a legendary anecdote took place at New York’s El Hipocampo club, right after a Fania All-Stars concert. Héctor Lavoe, who was scheduled to sing at the club that night, was running late, and the band couldn’t start. “Cachete” Maldonado assured José Mangual Jr. that “Tempo” knew the repertoire and recommended him to step up to the stage.

Out of deep respect for Lavoe, Alomar hesitated but ultimately took the stage to perform “Juana Peña,” winning the applause of the demanding crowd. Halfway through the second song, “No me llores más,” he spotted Héctor Lavoe walking into the venue, and out of sheer awe, he stopped singing. It was Lavoe himself who, from the audience, gestured for him to keep going.

When the performance ended, “El Cantante de los Cantantes” went up to the stage, congratulated him warmly, and encouraged him to keep pursuing his singing career.

Setting the Big Apple Ablaze

Around 1973, once again recommended by “Cachete” Maldonado, he auditioned for maestro Manny Oquendo, who was looking for a lead vocalist for Conjunto Libre. He was accepted immediately. After six months of intense daily rehearsals, the group chained together memorable hits driven by “Tempo’s” voice, such as “No critiques,” “Tú no me quieres,” “Bamboleate,” and “El Changó de María.”

Tempo Alomar El legado incalculable de un gigante de la percusión y el canto afroantillano

These were five golden years with El Libre, a period during which he also recorded an album with Néstor Torres’ La Charanga Afrocubana.

As the 1980s arrived, he joined Charanga América. His versatility and high demand in the New York scene led him to collaborate and record with stellar figures, including Alfredo de la Fe, Johnny Rodríguez, Víctor Paz, Jorge Dalto, and the Latin Percussion label. He also worked with Orquesta Broadway and Casanova y su Montuno, played congas for Pete “Conde” Rodríguez, and played timbales for maestro Eddie Palmieri.

In 1985, he decided to return to Puerto Rico. On the Isla del Encanto, he contributed his talent to flagship ensembles like Batacumbele, Zaperoco, and Héctor Santos’ El Combo de Siempre, sharing the stage in the latter with Ismael Rivera Jr. (Maelito). Additionally, alongside Felo Barrios, he completed a prestigious one-month US tour with the legendary double bassist Israel López “Cachao.”

The Golden Era with Roberto Roena and Apollo Sound

In 1993, while rehearsing with Grupo ABC (where he worked alongside Nacho Sanabria and Roberto Angleró), the legendary Aníbal Vázquez Roberto Roena’s uncle invited him to participate as a vocalist in a special local television recording with Apollo Sound.

Roena was captivated by “Tempo’s” style and cadence, even though the vocalist hadn’t fully memorized the lyrics to some of the songs for that TV show. With his characteristic wit, Roena himself wrote the lyrics on large cue cards beneath the TV cameras and instructed the cameraman to avoid close-ups of Alomar, preventing the audience from noticing he was reading.

That chemistry sparked 16 uninterrupted years of back-to-back hits with Apollo Sound and a close, lifelong friendship between Roena and Alomar.

Together, they immortalized musical gems such as “Dale como es,” “El pueblo pide que toque,” “Atrévete conmigo,” “Sr. Bongó,” “Baila y goza,” “Mi mambo pide campana,” and the international smash hit “Cómo te hago entender”—a track that became a salsa anthem and took them to massive venues across Colombia, Panama, Peru, Venezuela, and all of Europe.

During his fruitful tenure with Apollo Sound, “Tempo” also took an active role in selecting session musicians and backing various artists. One of his most remembered cross-genre collaborations was with urban music icon Tego Calderón on his landmark album El Abayarde, where Alomar joined his voice to sing the classic “Planté bandera.”

Héctor “Tempo” Alomar lives on in the memory of music lovers worldwide as a bastion of syncopation, a street-corner sonero, and a true gentleman of rhythm.

Collaboration:

Historia Salsera

Augusto Felibertt

Also Read: It is indisputable that the most popular orchestra in Puerto Rico and South America during the 1970s was Roberto Roena’s Apollo Sound

Steel pan percussionist Brad Shores shows us the best of Caribbean music in Florida

Brad Shores is an American musician whose love for tropical music has led him to undertake some truly interesting and successful projects, so we know this article will be of our readers’ liking, so they cannot miss it.

Brad at a church — Percussionist Brad Shores at a church in Newton, KS

How Brad got his start in music

Brad began his story by explaining that his parents were musicians. His mother taught music, while his father loved playing the drums and had been in various bands throughout his life, which caused the boy to be exposed to that world from the earliest age and end up falling in love with it just as his parents did.

He tells that one day his mother used to lend him the sticks she used to play the drums and teach him to read and understand music when he was just in third grade, so from an early age, it was made easier for him to learn everything regarding music. Around the same time, he understood that music would quite possibly have a very special place in his life, since he had always enjoyed playing and loved it so much.

He was studying music theory in high school, and in college, he earned his degree in music education at Fort Hays State University in Kansas. He focused primarily on drums and percussion, but thanks to all the professional experience he has gained over the years, he plays almost all instruments competently. He also had the opportunity to teach others to play from very early in his own bands and now in a little more formal way, so he had to learn to play everything up to a certain level.

Previous experience to his current group Tropical Shores Steel Drum Band

Before starting his own project, Brad had the opportunity to play with groups in all genres and sizes, so he has a not inconsiderable background.

He remembers a jazz trio he was able to be part of in high school, which could be considered one of his first significant professional experiences, but that was just the beginning. He also remembers being part of many projects in college, such as an opportunity in which he played for some Germans and another in which he was in a rock band, showing that the artist was not limited to anything and was perfectly capable of crossing into all genres and adapting to them as it suited him.

Once he moved to Phoenix, he also played with many other bands and continued to experiment until he finally tried steel drums, which is primary instrument to this day and for which he is best known.

Contact with tropical and Latin music

Being already in Phoenix, Brad told us that he was in a band where there was a steel pan percussionist who played a kind of music Brad had never heard before in his life. It was Caribbean music that had really caught Brad’s attention, and he definitely wanted to learn to play it as skillfully as that guy, so he listened carefully to every note that came from his instrument. With his lack of training in those genres, it was a bit difficult for him, but he finally succeeded and got very good.

In the case of Erica, his current wife, her mother played the organ at a church in Chicago, where she grew up. Before he met Brad, she was a salsa, merengue, and cha-cha-cha dancer, so she had a very different background from her husband’s with regard to rhythms. She also had a master’s degree in music, so her education in this discipline was wide, even if she had not had plenty of practice yet. It is worth mentioning that she is his second wife, since Linda, his first wife and mother of his three children, died from lung cancer in 2014.

Brad teaching mini pans to grade school students

Tropical Shores Steel Drum Band

A handicap Brad and all the musicians of the day had to face was the impossibility of finding and repeating a lot of music, since there was still no internet. Therefore, he could only pay attention to what their peers and colleagues were doing at the time to be able to imitate them and learn how to play the steel drums.

When Brad and Linda moved from Phoenix to Kansas, they had to start looking for local musicians who could suit the project they were making and finding places to play, since many people in Kansas were not used to hearing the type of music they played. For this reason, they would start their sets by playing other genres to which the audience was accustomed to, so that they would be more open to their tropical songs.

Tropical Shores Steel Drums and Teaching

In addition to playing, the Tropical Shores Steel Drums Band has a very important component: teaching. Brad decided it was not enough just to learn to play steel drums and many other instruments, but rather had to share his knowledge with others, especially children. They love music and enjoy the challenge of learning to play an instrument they may never have heard before.

He has also taught at the university level. After having taught for a time at Collier County Schools in Naples, he accepted the assistant band director position at Ave Maria University in Florida, where he currently resides with his family.

Gafieira Rio Miami brings the best of Brazilian music to Miami

In this space, we have interviewed artists and groups from different countries of Latin America, but there have been a few times we had the opportunity to connect with talent from Brazil and not only that. They also sing and play typical music of their country, which makes them even more interesting, so we could not fail to speak with Diogo Brown and Isabelle Duarte.

Both have been very kind and shared with us some of their most significant experiences as Brazilian musicians in the United States and how that has shaped their way of making music.

Diogo playing live — Diogo Brown from Gafieira Rio Miami playing live

How Diogo and Isabelle got into music

The first to take the floor was Isabelle, who informed us that she started singing at a church in her home country, Brazil, when she was just six years old. Over time, she also got to sing at weddings, quinceañeras, local festivals, and events of all kinds.

About 10 years ago, she fell in love and married an American man, with whom she moved to the United States, where she met Diogo, a compatriot of hers who was born and raised in a city far from her own. However, their “Brazilianness” and love for music brought them together in the project they now share with other musicians, Gafieira Rio Miami.

In Diogo’s case, his passion for music awoke at 15, the age at which he knew he wanted to be a professional musician. His mother convinced him to enroll in a music school and an English academy, as she suspected that English would be extremely useful for his future career and this was indeed the case. His arrival to the United States was very similar to Isabelle’s, as he also met an American woman online; they eventually fell in love and moved there together. He attended a screening of a Brazilian film in which he had appeared, where he met her and finally live their relationship in person. That was over 20 years ago.

Since then, Diogo has worked with countless artists and companies such as Sony Music, Univision, and Warner. Among the stars he has collaborated with are Gloria Estefan, Ricky Martin, Lara Pausini, and many others.

Isabelle singing live — Isabelle Duarte singing at the Lincoln Cemter

How was the connection with Spanish and Latin Music

Something interesting that Diogo tells us is that, in his early years as a musician in Brazil, he spent listening to Latin music, and some of his favorite artists were Buena Vista Social Club, Cachao, Jimmy Bosch, and many others of this kind. By his own admission, this is uncommon for a Brazilian resident in Brazil, who usually only listens to music of their own country. Both he and Isabelle agree that, in Brazil, very little music in Spanish is consumed, among other factors, due to the language barrier.

Isa tells us that her connection to Hispanic music began to form in the United States, and her husband contributed a lot to that, since he is of Hispanic origen. In addition, they settled in Miami, where there is a mix of cultures of each country, so she started to be exposed to genres like salsa, cumbia, merengue, and other rhythms that are not usually heard in Brazil. For her, Gafieira Rio Miami is a golden opportunity to demonstrate that Brazil is not separate from the rest of the Americas.

In addition, he noted that globalization and major musical phenomena in Portuguese and Spanish have managed to break that language barrier over the years.

Gafieira Rio Miami

Gafieira Rio Miami was born from a much smaller idea that began with just seven musicians. As the project grew, the group managed to have a total of 11 members, including five brass players, the rhythmic part, and a singer. There are 10 musicians and one vocalist, Isabelle. The members include Brazilians, Venezuelans, and Americans, but they are all united by the passion for Brazilian music.

Diogo and Laura — Diogo Brown and Laura Pausini

In a music scene that pushes bands and orchestras to make themselves smaller, Gafieira Rio Miami has always chosen to remain intact despite the circumstances. Diogo has been perfectly clear that if he’s offered a gig with fewer musicians, he prefers to say no. He says there are 11 members and all are needed for every performance, since otherwise, the impact of the live music would not be the same.

The Latin Ensemble enchants the United States and Spain with its talents

Luis Manuel Rondón is a bandleader and composer with whom we have been able to talk about the most important details of his career in a conversation of a little more than half an hour. Rondón currently leads the group The Latin Ensemble, of which he spoke along with other important issues.

Lead singer Luis Manuel — Director and lead singer of The Latin Ensemble Luis Manuel Rondón

How Luis Manuel got into Music

Luis Manuel began in music as young as 12 years old, which means that he has more than 50 years of artistic career. His first job in the arts was as a percussionist for a Venezuelan gaita group known as Los Monumentales, when he served as a bongo player and bucket drummer. His role as a singer came about by accident, as it was not something he was looking for.

It turns out that the group had a singer nicknamed “El Cabeza” who had an amazing voice, but he had a big and unforgivable flaw. He was a drunk with misconduct who used to disappear and skip rehearsals and the most important performances. Luis Manuel recalls that they had a very important rehearsal in the days prior to a major event that weekend, so the band members tried to contact “El Cabeza” by all possible means, but they could not talk to him.

After several days of no news from him, they decided to test the vocal skills of the members to see who could “save the day” and fill the place of singer. That was when Luis Manuel started singing the famous song “La Grey Zuliana” and convinced his bandmates to make him the replacement. From there, he sang for various groups until, upon coming of age, he managed to join a fully professional group and began to be contacted to perform at dances.

He also played with Expresión Gaitera and Grupo Sancoson, from which Grupo Jarana originated. Many of the members of the latter ended being part of Guaco. The members of Sancoson attended the Liceo Aplicación, where Luis Manuel went to high school alongside the famous bassist Carlos Puche.

Some time later, he joined Grupo Cóctel Y Canela and became the owner of Grupo Cactus, which was very famous at the time. He was also a member of Dalila Show La Orquesta, La Orquesta Sibari, and La Billo Caracas Boys.

Luis Manuel and Ray — Luis Manuel Rondón and Ray Barretto

Move to the United States

In 1999, Luis Manuel moved to the United States and settled in New Jersey, where he recorded an album which had some success in the New York music scene and won the Association of Latin Entertainment Critics in 2007, also known as the ACE Award. After that, many important things happened in his career, such as signing with Sony Music, which released and distributed his work.

He lived a very good time until the famous economic crisis of 2008, which led many orchestras to lay off some of their staff and hurt him to some extent. However, that did not stop him from continuing to open up new paths to the music, and his persistence led him to collaborate with Oscar D’León, Gilberto Santa Rosa, Tito Nieves, José Alberto “El Canario,” Johnny Pacheco, Ray Barretto, and many others.

Listening to those artists as a child made him feel completely out of their league, so having collaborated with them was a dream come true for him.

How He came to start his own project

Until that point in his career, Luis Manuel got great professional and personal satisfaction, but there was something very important missing in his list of successes: having his own project. He gave shape to this idea when he began his relationship with the woman who is his wife today, Gabriela Caraballo, an economist by profession with an entrepreneurial mindset. Some day talking about it, she proposed him to create an organization, which they later named The Latin Ensemble.

Luis and Johnny — Luis Manuel Rondón and Johnny Pacheco

From that moment on, they began to be hired for private parties and corporate events of all kinds, to the point that they even performed at a Dolce & Gabbana event for the grand opening of one of their stores. They also performed for Donald Trump at Mar-a-Lago and put on big shows at important people and places.

He has also received important awards, such as the Estrella Music Award at the James L. Knight Center in Miami, alongside the likes of José José and Grupo Niche. He also received the Ángeles de Amor Award, which honors individuals who contribute to supporting Latinos in the United States.

We must also mention the Latino Magazine Award, which he won in 2019 and 2022.

Time in Spain

For about six years now, Luis Manuel and the group have also been based in Spain. It all began when they were hired to perform at the Carnival of Tenerife in October 2019, so he, his wife, and their young daughter traveled first and rented an Airbnb. They had a contract to perform at the party of the Candlemas’s Virgin, but the point is that the event was scheduled for March 2020, when the COVID-19 pandemic had already started.

Luis and Oscar — Luis Manuel Rondón and Oscar D’ León

Because they could not leave, Luis Manuel and his family rented an apartment where they had to stay until early 2021, which is when restrictive sanitary measures were finally relaxed and they could leave Tenerife. Fortunately, this was not a waste of time for them, as they saw the potential of what they could accomplish in Spain, so they moved to Madrid and tried their luck there.

Throughout this time in Europe, Luis Manuel and his group have performed throughout Spain, Portugal, France, and most recently in Belgium. In Belgium, The Latin Ensemble was hired to perform at a royalty party, and the group has done such a fantastic job that they will perform at another event for the same family, making it clear how talented the members are and how hard they have worked to make a name for themselves in the industry.

Unfortunately, because it is a royal family, they were not allowed to take pictures or record videos, but it is still a great event in the career of Luis Manuel and his bandmates.