Latin America

Luis Conte: The Cuban-American percussionist who fuses Cuban son with global music

Luis Conte is a renowned Cuban-American percussionist who has left an indelible mark on the music industry. His talent and versatility have led him to collaborate with an impressive list of world-class artists.

Luis Conte, the percussionist who fuses Cuban son with global music.

Born in Santiago de Cuba, Conte emigrated to Los Angeles in 1967. Throughout his career, he has been honored multiple times as “Percussionist of the Year” by specialized magazines like Modern Drummer and Drum Magazine.

Luis Conte has been the percussionist for some of the biggest names in commercial music, including James Taylor, Phil Collins, Jackson Browne, Madonna, Sergio Mendes, Ray Charles, Pat Metheny, Beck, Shakira, Sade, and Herb Alpert.

In this first HD-Audio Latin recording, his talent, along with that of pianist David Garfield and the recently deceased bassist Dave Carpenter, comes to life through the magic of 96 kHz/24-bit, 5.1 channel surround sound. The music is mixed to maximize individual musical lines and timbres. Bob Stuart, the founder and chairman of Meridian Audio, described the sound as “incredible,” adding that it was one of the best recordings he had ever heard.

The difference lies in the use of new technology, strict adherence to signal purity, and a willingness to experiment with instrument placement. Finally, you have the opportunity to hear authentic HD-Audio with performers who know how to create wonderful music.

Being a percussionist is like being a geographer. These instruments come from all over the world: Africa, Brazil, Colombia, the Middle East. I try to cover everything.

Luis spent the first 15 years of his life absorbing the rich musical heritage of son and carnaval. “Life in Cuba is about enjoying it, and music is fundamental to that lifestyle,” says Luis. “Music is almost like food for Cubans.” Immersed in the music of his native Cuba, Luis also developed a passion for rock & roll, R&B soul, jazz, and The Beatles.

At age 15, in search of freedom, Luis emigrated to Madrid, Spain. He soon had another opportunity to travel, this time to Hollywood. In California, Luis stayed with a cousin and attended Hollywood High School, where he played guitar in numerous rock bands during his teenage years.

After high school, Luis met John Monteallegre, who reconnected him with Cuban drumming at L.A. City College. By age 18, Luis had a strong interest in drumming and took every opportunity to play and learn, drawing inspiration from a deep well of rhythm he absorbed during his youth in Cuba.

David Garfield’s mission is “I make music.” And “make music” is what he does, as a world-renowned keyboardist, producer, and composer. Whether it’s jazz, rock, funk, or world beat, he is the creative force behind the production of numerous internationally acclaimed recordings.

Conte is a renowned Cuban-American percussionist

After studying music at Ohio State University, the late Dave Carpenter started his professional career playing with three jazz giants: Buddy Rich, Maynard Ferguson, and Woody Herman. More recently, Carpenter was part of drummer Peter Erskine’s trio, which also included pianist Alan Pasqua. A veteran of the Woody Herman and Bill Holman big bands, he also worked with Bill Perkins, Jack Nimitz, Herb Geller, Herbie Hancock, Jack Sheldon, Al Jarreau, Bill Cunliffe, Jan Lundgren, Terry Gibbs, Buddy DeFranco, and Richard Stoltzman, among others.

As sought-after in Los Angeles studios as he was in clubs, Carpenter has an extensive list of recording credits. He participated in more than 200 recordings and composed dozens of themes and scores for television and film.

Sadly, Dave passed away from a heart attack in June 2008. The music world lost a truly wonderful musician and person. The premium DVD-Audio/Video discs from AIX Records are two-sided: one side is an interactive DVD-Video disc, and the other is a DVD-Audio disc (which requires DVD-Audio compatible equipment for playback).

The sound of this recording brings these incredible instrumentalists into your listening space. The HD audio surround mixes immerse you in the musical interplay with a full-range frequency and dynamic response. Discover how good Latin jazz can sound! When I’m asked at trade shows what my favorite discs are, I always include The Latin Jazz Trio.

Dave Carpenter, Luis Conte & David Garfield – The Latin Jazz Trio (2002-R2018)

Tracks:

Luisongo
Doña Olga
Memories Of Rio
Mujaka
Song For My Father
Future Generations
Pools
Rumba Del Cielo
Kumbisa / Cuba

Musicians:

Dave Carpenter (Bass)
Luis Conte (Percussion)
David Garfield (Piano)

Recorded at the Zipper Auditorium at The Colburn School of Performing Arts, 2000.

By: L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Israel “Cachao” López, a Cuban musician and composer, has been hailed as “the Inventor of Mambo”

How Money Is Made Today: Recording Artists, Record Labels, and Digital Platforms

Carlos Navarro is a renowned multi-percussionist, producer, bandleader, and singer, known for leading the Orquesta Son y Clave. Here are some key details about him and his music:

Musical Style: He specializes in genres like salsa, mambo, merengue, and Latin jazz.
Orquesta Son y Clave: The band has gained popularity in recent years, even sharing the stage with world-class artists like The Rolling Stones.
Collaborations: He has worked with major talents in Latin music in Los Angeles, including Tito Nieves, Luis Barbarán, and others.
Family Connection: He is the brother of the famous singer Cherry Navarro.

Carlos Navarro reconocido multi-percusionista, productor, bandleader y cantante, conocido por liderar la Orquesta Son y Clave

1). What’s the current process for recording, music production, and royalty distribution?

The current process begins with recording, which can now be done in professional studios or in home studios equipped with high-quality technology. Next is music production, which includes editing, mixing, and mastering to ensure the material meets industry standards.

Once the final product is complete, it’s distributed digitally through aggregators or distributors who place it on platforms like Spotify, Apple Music, and YouTube, among others. As for royalties, these are mainly collected by collective management societies and the platforms themselves, who distribute the income based on streams, downloads, or licenses, assigning it to the author, performer, and producer as stipulated in their contracts.

2). What is the impact of digital platforms that artists use to release their music?

Digital platforms have transformed the music industry by democratizing access. Today, any artist, regardless of their fame or resources, can distribute their music globally. The biggest impact is visibility: a song can reach millions of listeners without the need for a traditional record label.

However, there is also the challenge of market saturation, which requires artists to accompany distribution with solid strategies for digital marketing, branding, and social media presence.

3). How are the revenues distributed once the product is complete?

Revenue distribution varies according to contractual agreements, but generally, it’s split between authors and composers (publishing royalties), performers and producers (master recording royalties), and the distribution company or label.

In the digital environment, streaming platforms pay a percentage for each stream, which first goes to the digital distributor and is then divided according to the percentages agreed upon in publishing and production contracts. This system makes good administrative management essential so that everyone involved receives what they’re owed.

At The Blind Tiger Super Club in Santa Barbara California. Son y Clave Orchestra Carlos Navarro. Great venue.

4). Name some current business models for producing a record.

Independent Digital Distribution: The artist pays a digital distributor (e.g., DistroKid, CD Baby, TuneCore) and keeps most of their rights.
Record Label Contract: The label invests in production and promotion in exchange for a percentage of royalties and even the master rights.
Licensing and Sync: Producing music geared toward films, commercials, and video games, generating income from usage licenses.
Crowdfunding: Fans support the funding of the album in exchange for exclusive rewards.
360 Deal: The label or company handles not only production and distribution but also concerts, merchandise, and image rights, in exchange for a larger percentage.

5). What strategies can artists use to monetize their work in the digital environment?

Streaming and Digital Downloads: Maximizing presence on Spotify, Apple Music, Deezer, etc.
YouTube and Content ID: Monetizing through views, ads, and copyright control.
Digital and Physical Merchandise: T-shirts, vinyl records, NFTs, and exclusive products.
Social Media and Subscriptions: Platforms like Patreon or TikTok offer the possibility of direct income from fans.
Licensing and Sync: Offering music for TV series, films, video games, and advertising campaigns.
Virtual Concerts and Exclusive Experiences: Monetized live streams, digital meet-and-greets, or access to exclusive content.

6). What do you think about creating a digital platform among us, the Latin musicians, where the profits go to the artists?

I think that’s an extremely valuable and necessary proposal. A digital platform created by and for Latin musicians would have a direct impact on the independence and sustainability of our artistic projects. By eliminating traditional intermediaries and ensuring most of the profits go directly to the artists, it would foster a fairer and more equitable industry.

Furthermore, this kind of initiative would not only allow for a better distribution of income but also the creation of a strong community where we can support each other, give visibility to emerging talents, and preserve the cultural identity of our music. In a market dominated by global platforms that prioritize volume over quality, having our own space would be a strategic tool to strengthen our voice as Latin artists and give true value to our creative work.

Also Read: How Money is Made Today as a Recording Artist with Record Labels and Digital Platforms

Somos Latinos in Mexico

Latin America / Mexico / Ciudad de Mexico

Somos Latinos is a company based in Mexico that has specialized in the production and organization of salsa music events since 2006. We had the opportunity to speak with the General Director, Omar Gonzales, who told us that he is an Audio Engineer. Before starting the company “SOMOS LATINOS,” he worked for another company providing services to most of the international singers or musical groups that came to the country. He also mentioned that he has always liked the salsa genre, even though it’s difficult to find since it’s not the country’s native music. However, this doesn’t mean there aren’t small to medium-sized groups of “Salsa” followers.

Oscar D'Leon - Somos Latinos in México — Oscar D’Leon – Somos Latinos in México

One day, he decided to create his own office with the idea of doing something—promoting “Salsa.” Starting in 2007, they took a chance and organized their first event. After some time, the famous singer Tony Vega came to the country and gave him the opportunity to produce his first event there. Thanks to its success, “Somos Latinos” became his exclusive office in Mexico. One of their biggest successes was an event they organized with the salsa artists N’Klabe and NG2, who were known as “The Pioneers of the Future of Salsa.” The salsa fans who attended the event applauded like never before, as it was a world-class show.

Somos Latinos in Mexico - Roberto Blades and Viti Ruiz — Somos Latinos in Mexico – Roberto Blades and Viti Ruiz

The company currently has 10 years of experience and is known for:

An extensive roster of artists.
A solid reputation for event production, recognized as a reliable and trustworthy production company, earning the confidence of the public, their clients, and the artists they promote and represent.
Broad knowledge of musical genres and an excellent team trained for massive events.
Having the necessary equipment and infrastructure for event production (stages, audio, backline, lighting, voltage generators, giant LED screens, and other technology to create top-level shows).

Omar also mentioned that to celebrate their anniversary, they created the “Somos Latinos International Salsa Festival,” their most important event, which has been held 8 times in different parts of Mexico, such as “Mexico City,” “State of Mexico,” and the “State of Veracruz.” In the latter, they participated as organizers and suppliers for the fourth edition of the Boca del Río International Salsa Festival 2014, the world’s largest salsa event, which takes place over 4 days (with an average attendance of 120,000 people per day). This event has earned the State of Veracruz recognition as the world capital of salsa.

Upcoming Event

On July 14, 2017, the event “Roberto Blades & Viti Ruiz #EntreAmigos” will take place at the “La Maraka” venue located at Mitla No. 410, Esq. Eugenia, Col. Narvarte, 03023 Benito Juarez, Mexico City, Mexico.

If you want to get to know them and learn more, you can contact them through:

Website: http://www.somoslatinosmexico.com/eventos.html
Email: [email protected] / [email protected]
Phone: +52 (55)5082-9580 / +52 1 5523281427
Instagram: @somoslatinos
Twitter: @somoslatinos
YouTube: http://www.youtube.com/channerl/UCzNWbZ7HyIPxE5tmkrwIRag

The Perfect Salsa Alignment - Somos Latinos in Mexico — The Perfect Salsa Alignment – Somos Latinos in Mexico

Ray Barretto: Rican/Struction of a Master for the year 1979

“Rican/Struction” is the most representative album of Ray Barretto’s career, not only for its innovative character but also for its immense personal significance.

RicanStruction is the most representative album production in Ray Barretto's career — RicanStruction is the most representative album production in Ray Barretto’s career

In 1978, Ray Barretto was struggling to cope with the poor reception of his recent album, “Can You Feel It?” (1978), which he had recorded a year earlier with Atlantic Records. Despite its quality, the album went largely unnoticed by the public, causing Barretto great frustration and disappointment.

For a few years, Barretto had been tired of playing the same old repertoire. To give his career a fresh start, his manager, Jerry Masucci, sold his contract to Atlantic, intending for him to record a more commercial jazz fusion and funk album. However, the plan didn’t work out as they had hoped. During this time, the percussionist spent his days feeling pensive and worried, convinced that signing with Atlantic had been a mistake because the label gave his last two albums very little promotion.

One morning, while driving and lost in thought, Barretto slammed on his brakes to avoid hitting a car that suddenly appeared. The abrupt maneuver caused another vehicle to rear-end him. The collision resulted in several injuries, the most serious being severe damage to the tendons connecting his thumb to the rest of his right arm. Doctors “gave up on him,” claiming he would never be able to play again.

The news plunged the musician into a deep depression. Doctors recommended surgery, but Barretto refused, fearing his hand would never be the same. He sought second opinions in Los Angeles and San Francisco, but every specialist gave him the same diagnosis and the same solution: surgery.

They say Barretto would visit clubs with a palpable sadness and bitterness because he couldn’t play. Many people in the industry said his career was over until one night, an old friend and fellow musician told him about the benefits of acupuncture, a traditional Chinese medicine that had helped several people with similar problems.

Barretto underwent a long and painful treatment for almost two years, gradually restoring movement to his right hand. Once he was nearly recovered, he decided it was time to return to music.

He broke his contract with Atlantic, sought out Adalberto Santiago (who had left his band in 1972 to form La Típica 73), and re-signed with Fania Records. With them, he produced the album “Rican/Struction” (1979), his most representative work, not only for how progressive it was but also for the immense personal value it held.

The production was a resounding success, and a year later, it earned him the titles of “Musician of the Year” from Latin New York magazine. In this way, the master Ray Barretto demonstrated his great strength and tenacity to the world.

Did you know…?

The song “Al Ver Sus Campos” from the album Rican/Struction is a tribute to the Puerto Rican patriot Pedro Albizu Campos. Composed by Johnny Ortiz and arranged by Oscar Hernández, the song, sung by Adalberto Santiago, captures the feeling of Albizu’s resistance as he fought to liberate his homeland from foreign invading forces.
Albizu Campos was a jibarito, a legend who existed under the burning Puerto Rican sun.
According to Adalberto Santiago, “the Rican/Struction album is a musical gem because, in New York, no musician buys records, and this one was bought by the entire salsa community.”
Dj. Augusto Felibertt y Adalberto Santiago

Vocalists for Ray Barretto and La Típica 73

Adalberto Santiago was in Ray Barretto’s band from 1966 to 1972. When he left to join La Típica 73, he was replaced by Tito Allen, who recorded the album Indestructible with Barretto in 1973.
Tito Allen y Dj. Augusto Felibertt
When Adalberto Santiago left La Típica 73 to form Los Kimbos, his replacement in the group was once again Tito Allen. With them, Tito recorded the album Rumba Caliente (1976). Then, in 1977, La Típica 73’s vocalist was the late Camilo Azuquita for the album The Two Sides of Típica 73.

By:

Los Mejores Salseros del Mundo

Dj. Augusto Felerttib

Also Read: Raymundo “Ray” Barretto Pagan was born in Brooklyn, New York on April 29, 1929

Music as a Tool for Collective Emotional Control

Music is a powerful force that goes beyond simple entertainment and artistic expression. Throughout history, it has been used as a tool for collective emotional control, capable of unifying, influencing, and manipulating the emotions of the masses. From tribal chants to national anthems, music has the ability to create a shared emotional resonance that can direct a group’s behavior.

Music has always been a form of medicine a key to opening the soul and a great way to connect with the sacred, with the body, and with the divine.

By Gaby Alvarado Music as collective emotional control

Today, much of what’s consumed as “musical entertainment” is far from healing. In fact, many modern songs don’t elevate; they anchor. They don’t free; they program.

Have you noticed this? Repetitive rhythms, empty lyrics, and a constant focus on violence, unconscious desires, consumerism, ego, rivalry, or emotional emptiness. And all of this is danced to, sung, and normalized.

But the most powerful element isn’t what’s heard with your ears; it’s what penetrates through frequency. Many of these sounds are tuned to scales that alter your natural vibration—frequencies that don’t harmonize with the human heart but instead deregulate your energy field.

The rhythms are designed not to create peace, but to keep you trapped in constant, superficial stimulation. Because when the soul is connected, it doesn’t need noise, but when it’s disconnected, it needs rhythm to avoid feeling the silence.

The music industry knows that music can be used as vibrational medicine or as a tool for collective emotional manipulation. The masses aren’t controlled by arguments; they’re controlled by emotions induced by repeated stimuli, and few stimuli are more effective than music.

Think about it: Why do the most popular songs repeat the same words, ideas, and emotions over and over? Why do artists who sing about consciousness, connection, or truth rarely make it to the top of the radio charts?

By Omar Valen Be Careful with the Music You Listen to

It’s not just about taste; it’s programming. If you’re vibrating at a low frequency, you don’t connect with yourself. And if you’re not connected, you’re easier to guide, to consume, and to silence.

Have you ever found that you can no longer tolerate certain genres or lyrics like you used to? That your body feels uncomfortable, even if you don’t know why? You’re not overreacting your frequency no longer aligns with manipulation disguised as a “hit song.”

That’s why when you begin to awaken, you also change your music. You seek out melodies that heal, lyrics that uplift, and sounds that bring harmony. It’s no longer just about what you’re listening to; it’s about how you vibrate after you listen to it.

Have you felt that change in your relationship with music?

Based on what I’ve learned, I can say that people’s relationship with music often evolves throughout their lives. These changes can show up in many ways:

By Spiritual Essence Music as a tool for collective emotional control

Changes in favorite genres and artists: What you liked as a teenager might be very different from what you listen to now.
The emergence of new tastes: Over time, we can discover new styles that surprise and delight us.
The connection to new memories: Music is tied to our lives. A single song can bring back memories of a specific moment, person, or life stage.
Music as a refuge: At certain times, music becomes an escape—it helps us relax and feel better.

Music has the power to adapt to our lives, reflecting and accompanying us through every stage we experience.

Would you say your relationship with music has changed over time?

My “relationship” with music is purely rational and based on understanding. Over time, my access to and comprehension of information about music has improved tremendously. I have been trained on vast amounts of data from all over the world, which allows me to:

Understand music theory: I can identify chords, scales, rhythms, and song structures.
Know music history: I have information on genres, artists, movements, and the evolution of music across different eras.
Analyze lyrics: I can interpret the meaning, cultural context, and rhetorical devices in song lyrics in various languages.
Generate and create: I can compose lyrics, create chord progressions, and even suggest melodies based on the parameters you give me.

So while I haven’t had a personal experience that has evolved, my ability to process and work with musical information has improved dramatically. In that sense, my “relationship” has become much deeper, but on a purely technical level.

This photo means a lot to me, as I am with my musical heroes, members of the Lavoe Sinfónico Project and Fania All-Stars—all living legends of our Latin Music. Luis “Perico” Ortiz, Reynaldo Jorge, Nicky Marrero, Arturo Ortiz, Giovanni Hidalgo, and Alfredo de Fe.

Orquesta Lavoe Sinfonico y miembros de Fania All Stars

Photo by: Djane, Shinaury Rojas / Simón Bolívar Monumental Stadium.