Latin Jazz

Colombian producer, composer, and singer Alea: from the Guajira Colombiana to Boston

Colombian singer María Alejandra Jiménez, also known as Alea, has given us the honor of answering our questions to know a little bit more about her and her career, which has us satisfied. We do not always have the opportunity to work with such a versatile and talented artist.

Today the young woman from the Colombian Guajira is an artistic producer, composer, and singer who has experimented with genres such as jazz, Latin jazz, and Colombian folk music, among others.

Composer Alea — Colombian producer, composer, singer and VO actress Alea Jimenez

What drew Alea’s attention to music?

In her response to the same question, Alea said she remembers to be a two or three-years-old girl when she attended her first salsa party in her living room. She also remembers how that music that she heard for the first time put her into a pleasurable trance-like state that had her dancing for hours. It was the rhythms and the beat that she loved so much she would never forget them.

She was just about 15 years old when she played her first paying gig. She describes the process of making herself as an artist as funny and very creative. However, it was not until 2015, when she was already living in Boston, Massachusetts, that she decided to take “Alea” as her stage name.

It was there where she finally became professional in the field by studying music at Berklee College of Music with a special focus on jazz and vocal performance. It is also worth mentioning that, prior to that, Alea had already studied organizational communication at Colegiatura Colombiana in Medellín.

Alea’s First EP

While it is true that official sources indicate that Alea released her first EP, *Alborotá*, in 2010, which, by the way, was nominated for Best Latin Album of the Year, but it is not quite like that. The Colombian artist corrected us, saying that her first EP was actually her graduation project, which was a recording with a strong focus on jazz and some of the typical folklore of her country. However, she still had a lot to learn and discover about music.

When “Alborotá” was finally released, it was her first approach to the sound she truly wanted to achieve. Alea sought that her music served as tribute to her Latin American roots, to feminism, and to women’s empowerment in this era. Likewise, she wanted to propose a sound coming from the city that inspired her most at the time: New York.

It was a very contemporary acoustic sound produced by the independent vinyl record store, Jarana Records. The artist says she was carried away by how the music made her feel, and, to her surprise, the public welcomed the album incredibly well, much better than she initially expected.

She never in her life expected that her work resulted in one of the best albums in Rolling Stone and the broadcasting and media organization National Public Radio (NPR), but it indeed was so, which means that all her effort was completely worthwhile.

Being an independent artist without the necessary financial resources to invest in promotion or marketing, this triumph made her feel much prouder of herself than she could have ever imagined.

Voice Acting

In addition to singing, something that Alea loves to do, she has also devoted a large part of her career to acting and lending her voice to major productions while still living in Mushaisa, La Guajira, and later in Medellín. She would also do so in the United States, as she always liked this artistic branch.

Singer Alea Jimenez
Bassist Andres Fonseca Alfonso
Guitarist Gustavo Alfonso Diaz
Saxophonist D.J. Duffy
Trombonist Melisa Raquel
Choreographer Argelia Rossana
Musical director Felipe Fournier

While still in Colombia, she also had the opportunity to learn a bit about radio and television broadcasting when she was studying in her home country, so all these areas were very easy to learn for her. This also served as a second career for her, this in order to take the heat of her having to derive all of her income from music.

First, she worked as a production associate for a music and sound company, and then as a producer, which gave her a very clear visión about how to do things properly in this field.

She also told us that she has her own home studio where she pretty much does all her work and that she has taken workshops with SAG-AFTRA (the leading union of entertainment and communications professionals in the United States) as a member.

She has also lent her voice to various commercials for major companies such as Walmart, Nissan, Verizon, MLB Bobbleheads, LinkedIn, Pepto, Corona Refresca, Google’s Waze, Liberty Mutual, and Denny’s.

Percussion Design: Giovanni Hidalgo “Mañenguito” Revolution on the Congas

“A technical and historical analysis of the virtuosity, timbral hybridization, and legacy of one of the most influential percussionists in jazz and global Latin music.”

The Heir to “Mañengue”

Giovanni Hidalgo, born in San Juan, Puerto Rico, in 1963, is universally considered one of the most virtuous and innovative percussionists of all time.

Hidalgo uno de los percusionistas más influyentes del jazz

Affectionately known as “Mañenguito” because he is the son of legendary percussionist José “Mañengue” Hidalgo, he grew up in an environment where Afro-Caribbean rhythms were not only heard, but formed an everyday language.

Unlike many percussionists of his generation, Hidalgo’s training combined the rigor of empirical street-level learning with a methodical study of sight-reading (solfège) and formal technique.

From his early years, he displayed hand independence and speed that would redefine the global standard of conga (tumbadora) playing.

Technical Innovation: Rudiments Translated to the Conga

Giovanni Hidalgo’s major revolution within the percussion landscape lies in his adaptation of classic drum set rudiments to the congas.

Traditionally, conga execution relied on structured rhythmic patterns built around open tones, slaps, muted tones, and the heel-toe movement (marcha).

Hidalgo elevated this technique to an entirely new level:

Hand and Finger Independence: He developed finger and wrist speed capable of replicating five-stroke rolls, flams, paradiddles, and ruffs at blistering speeds on the drumheads.
Expanding the Set: He popularized the use of 4-, 5-, and up to 6-conga setups tuned melodically, transforming percussion into a harmonic and melodic instrument within the ensemble.
Multilimb Polyrhythm: The ability to maintain independent clave lines while improvising melodic solos of high mathematical complexity.

Musical Career and Key Collaborations:

Hidalgo combinó el rigor del aprendizaje empírico de la calle con un estudio metódico del solfeo y la técnica formal

“Mañenguito’s” career is defined by his ability to effortlessly transition between salsa dura, Latin jazz, Puerto Rican folk music, and world music.

Career Highlights:

Batacumbele: In the 1980s, alongside musicians like Ángel “Cuqui” Santos and Dave Valentín, Hidalgo was part of the legendary group Batacumbele. The band revolutionized Caribbean music by integrating elements of Cuban songo with bomba, plena, and jazz.
Dizzy Gillespie and the United Nation Orchestra: At age 25, he was recruited by bebop icon Dizzy Gillespie. This era catapulted him onto the international jazz stage, performing at the world’s most prestigious festivals.
Planet Drum: His collaboration with Mickey Hart (drummer for the Grateful Dead), Zakir Hussain, and other international percussion masters culminated in the Planet Drum project, which won the first-ever Grammy Award for Best World Music Album (1991).
Trio with Michel Camilo: His recordings and live performances alongside Dominican pianist Michel Camilo and bassist Anthony Jackson represent one of the pinnacles of contemporary Latin jazz due to the level of energy and technical precision executed.
Eddie Palmieri: The union of Giovanni Hidalgo and Eddie Palmieri stands as one of the most explosive and revolutionary partnerships in the history of Latin jazz and Afro-Caribbean music. When Hidalgo’s technical virtuosity and speed on the congas met Palmieri’s aggressive, dissonant, and orchestral piano style, the result forever transformed contemporary percussion.

The Clash of Two Worlds (Late ’80s)

In the mid-1980s, Eddie Palmieri already a living legend for his innovations with La Perfecta and his salsa dura and Latin jazz productions brought the young Puerto Rican Giovanni Hidalgo into his group.

The Impact: Hidalgo introduced a revolutionary language to the ensemble by adapting drumstick techniques to open-hand playing.
The Synergy: In Giovanni, Palmieri found a percussionist capable of matching the power, polyrhythmic complexity, and harmonic tension he delivered from the piano.
Highlights: The solidity of Giovanni’s conga work on tracks like “La Libertad / Comparsa” launched Hidalgo onto the international stage as the most influential conguero of his generation.
The Innovation: Giovanni Hidalgo led the rhythm section with solos that defied the physics of conga playing through sheer speed, subtle dynamics, and refined tuning adjustments.
Impact: Giovanni served as a generational bridge between the established masters of the Palladium era and the technical avant-garde of the new millennium.
Award: The album Listen Here! won the Grammy Award for Best Latin Jazz Album in 2006, crowning a golden era of collaborations.

In May 2010, Hidalgo was awarded an Honorary Doctorate of Music from Berklee College of Music and is widely considered one of the leading Latin percussionists in the world today.

Tito Puente (“The King of Timbales”) and Giovanni Hidalgo (“Mañenguito”) represent one of the most powerful intergenerational encounters in the history of Latin music. Puente adopted Giovanni not only as his principal conga player during several key periods, but also as a virtuoso soloist capable of matching his speed, precision, and stage presence.

Golden Latin Jazz Giants and International Projects, among others.

Fania and Latin Jazz Supergroups: Alongside Puente, Giovanni was part of various “All-Star” ensembles that toured the most important jazz festivals in Europe and Japan (such as the North Sea Jazz Festival and Montreux).

The Generational Bridge: Puente represented the golden age of the Palladium Ballroom in New York, while Giovanni contributed the technical avant-garde of the new millennium. This synergy kept Puente’s music relevant to new generations of percussion students.

Comparative Chart: Hidalgo’s Contributions to Percussion:

Technical Dimension	Traditional Execution (Pre-Hidalgo)	Giovanni Hidalgo’s Innovation
Finger/Hand Use	Based on wrist and hand weight	Individualized finger control for extreme articulation and speed
Setup Configuration	1 to 3 congas in a primary rhythmic pattern	4 to 6 congas tuned melodically in intervals
Rhythmic Vocabulary	Afro-Cuban claves and regional patterns	Integration of marching rudiments, bebop, and Indian polyrhythms

Conclusion and Resilience

Giovanni Hidalgo did not merely alter the physics of playing the conga he expanded the creative boundaries of the instrument itself.

Despite the health challenges he has faced over the years, including complications from diabetes that affected his hands, his dedication and technical adaptability have demonstrated the strength of his musical spirit.

Entrevista a Giovanni Hidalgo por Dj. Augusto Felibertt

His legacy extends far beyond his recordings: “Mañenguito” taught the world that the conga is not just an accompanying rhythmic instrument, but a solo voice with infinite melodic, dynamic, and expressive possibilities.

Also Read: Learn to Play Percussion with Giovanni “Mañenguito” Hidalgo

Añá The Divine Voice of the Batá Drums and Their Ancestral Heartbeat

In the vast universe of Afro-Cuban spirituality and Yoruba tradition, batá drums are not merely musical instruments: they are living, consecrated entities.

Tambores Añá La Voz Divina de los Batá y su Latido AncestralTambores Añá La Voz Divina de los Batá y su Latido Ancestral

The soul that resides within these sacred drums is known as Añá (or Aña), the deity (orisha) of divine sound and primordial vibration. To speak of the Añá drums is to enter a direct channel of communication between the earthly realm and the spiritual world.

Origin: The Secret Born in Yoruba Land

The presence of Añá dates back to the ancient Yoruba Empire (in present-day Nigeria and Benin). In Yoruba mythology, the deity Añá represents the divine voice and breath through which Olodumare (the Creator) ordered the cosmos.

To encapsulate this force, a sacramental trio of hourglass-shaped, hand-carved wooden drums was structured:

Iyá: The mother drum, lowest in pitch, responsible for leading the liturgy and performing improvisations.

Itótele: The medium drum, which engages in a direct dialogue with the Iyá.

Okónkolo: The smallest drum, responsible for holding down the rhythmic foundation.

Consecrating a set of batá drums with the fundamento (sacred core) of Añá requires strict liturgical rites involving sacred botany (omiero), prayers, and offerings so that the deity takes permanent residence within the wood. Only sworn priests, known as Omo Añá or Oluwos Batá, are authorized to play these sacred instruments.

Evolution: The Transatlantic Journey and the Cuban Flourishing

Through the transatlantic slave trade during the colonial era, Yoruba scholars arrived in the Caribbean primarily in Cuba under the Lucumí designation. Despite the oppressive conditions, practitioners fiercely preserved the secret of Añá.

Toward the second half of the 19th century, in the town of Guanabacoa (Havana), the first set of Añá drums consecrated on American soil was consecrated and baptized. In this new sociocultural environment, the ancestral rhythms remained intact within the liturgy of Regla de Ocha (Santería).

The drumming patterns evolved into a complex system of tonal languages where the drum does not merely accompany, but speaks to and summons each orisha through specific rhythmic phrasing.

Significance: A Tonal Language Between Humanity and Orishas

The importance of the Añá drums lies in their mystical function: they serve as the sacred bridge that harmonizes the Ori (an individual’s head and destiny) with the deities and ancestors.

In Lucumí cosmogony, Añá’s vibration possesses the power to alter the state of consciousness of the initiated, facilitating spiritual trance or possession through which the deity descends to earth.

“Añá does not play to entertain the human ear, but to summon the spirit and maintain cosmic balance through sound.”

Furthermore, on a musical level, it represents one of the most complex rhythmic legacies on the planet. Its polyrhythmic technique has had an immeasurable influence on the development of Afro-Cuban music, Latin jazz, and salsa.

Present Day: Preservation of Faith and Global Expansion

Today, the Añá tradition experiences a dual phenomenon: the rigorous preservation of its rituals and a remarkable global expansion.

Although the secrets required to consecrate a legitimate Añá remain closely guarded under strict priestly discretion, Santería worship and admiration for batá percussion have transcended the borders of Cuba and Nigeria.

Today, there are consecrated Añá drum sets established by babalawos and Omo Añá in countries such as the United States, Venezuela, Mexico, Spain, and Puerto Rico.

Los Tamborea Bata son entidades vivas y consagradas

While non-sacred batá drums (known as aberikuló, which do not carry the secret of Añá) are used freely on secular stages, true Añá drums remain reserved exclusively for private ceremonies, keeping alive the voice of an ancient deity.

To visually understand how the drum’s sound articulates the liturgical call within the tradition, check out the resource “The Function of Añá Within Batá Drums.”

Also Read: Pancho Quinto Is Considered One of Cuba’s Great Rumberos

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Añá Loógúnsi Fundamento Drum

It is a pleasure to welcome Erim Kardes and Gustavo del Pino from Los Calicubanos to ISM

We are very happy to share a little with musical director, Erim Kardes, and pianist, Gustavo Del Pino, of the band Los Calicubanos, from whom we had the pleasure to hear a bit about their individual careers and the foundation of their current group.

The interview, conducted in both English and Spanish, touched on some very interesting topics about music in general, and we hope all who read it will enjoy it.

Erim and the rest of the band — From left to right Jim Miranda on Congas, Arturo Ramirez on Timbales, Erim Kardes on bass, Mark Trejo on Trumpet, Andy Garcia on Trombone, Gustavo Del Pino on piano, Marisol Echegoyen on Vocals, Luis Jimenez on vocals

Erim and Gustavo’s beginnings in music

The first to take the floor was Gustavo, who told us that he started playing piano at the age of six. His father played the saxophone and his mother played the piano, but they saw music only as a hobby and were not professional musicians. Throughout his childhood in Peru, he listened to a lot of Latin music at family gatherings, so six years later, at about age 12, he was already performing in front of crowds. Among his family’s most loved artists were El Gran Combo from Puerto Rico, Héctor Lavoe, and Rubén Blades.

After that, he studied classical music in a conservatory, and when he finally moved to the United States and met Erim and the rest of his bandmates, he studied at Berklee College of Music in Boston.

In Erim’s case, he said he started playing the guitar when he was 14 years old in Turkey, the country where he grew up. Like Gustavo, no one in his family was a musician, but that did not stop them from listening to Turkish music all the time, and it was from there that he started to like it beyond entertainment.

By the age of 20, he became interested in Latin music and began experimenting with it. He was in graduate school studying engineering in Los Angeles, where he had been living for some time, and taking some jazz courses at the University of California. One of his professors was the one who finally introduced him to Latin music, and he liked it so much that he never separated from it again. One of his most important teachers was legendary bassist from the band Weather Report, Alphonso Johnson.

Erim and the band — From left to right: ERNESTO VALENZUELA on Congas, Joseph Dubois on Trumpet, Andy Garcia on Trombone, Marisol Echegoyen on Vocals, Arturo Ramirez on Timbales, Erim Kardes on bass, Gustavo Del Pino on Piano, Luis Jimenez on Vocals

Professional start for both

Coming back to Gustavo, he told us that when he completed his studies at Berklee, he began to get his first jobs as a professional musician. He started making small tours with some of the classmates alongside whom studied there and was involved in the recording of a few albums, but as a session musician. He did not yet have a formal band to be part of, but he did play with some Argentine, Colombian, and Peruvian artists and musicians. Some of them were Colombian singer Alejandra Jimenez “Alea” and the Peruvian band Perú Meztizo.

On the other hand, Erim told us that he first played bass in rock bands in college. He also played funk and jazz in Los Angeles for some time.

Foundation of Los Calicubanos

Erim created the idea of Los Calicubanos and eventually founded the band. The group, as it is known now, was officially launched in August 2025, i.e. that this month would be its first anniversary. Once he knew what he wanted, he placed online ads looking for a pianist to join him, which is when Gustavo contacted him and was tested until finally staying with the job.

At that same time, he met percussionist Arturo Ramírez, so the three of them got together in June 2025, and officially launched Los Calicubanos in August of the same year. They were later joined by conga player Jim Miranda, singer Luis Jiménez, singer Marisol Echegoyen, trombonist Andy García, trumpeter Mark Trejo, and trumpeter Joseph Dubois.

Musical director Erim Kardes — This is music director for Los Calicubanos Erim Kardes

Erim has been in California for the last 25 years and also traveled twice to Cuba, which led him to discover rhythms that fascinated him and changed his perspective on music completely. Therefore, he decided to combine “California” with “Cuba” because of the mix he wanted to make as a result of the music he discovered in both places.

Upcoming events

Los Calicubanos do not have any tours scheduled at this time, but they do have many important performances, such as the LA Jazz Festival, concerts at restaurants, and a few private events.

As for new releases, they are currently writing completely original music and making new arrangements, but they want to have a fair amount of material ready before entering the studio to record.

Hector Rivera ‘‘Riverita’’ tells the story of how he created Riverita Y Su Orquesta Noche Caliente

After several attempts, we finally managed to meet with bandleader and saxophonist Héctor Rivera, known in the industry as Riverita, and ask him all kinds of questions about his artistic career and his current group, Riverita y Su Orquesta Noche Caliente.

Here are some of the most important issues we touch with the artist during our pleasant conversation:

Riverita’s inspiration to become a musician

Despite not having musicians in his family, Riverita remembers growing up in an environment where music was always very present. He was born in New York, but spent long periods living with his grandparents in Puerto Rico while his parents settled down and eventually moved to the “Island of Enchantment” to give their son greater stability.

At his grandparents’ house, he used to listen to great artists of the time performing their unforgettable hits on the radio and one of them was Mon Rivera Y Su Orquesta performing “Karakatis-ki,” a song he never forgot, along with so many other musical pieces that gradually got him interested in this world. When his parents returned to Puerto Rico and he returned to live with them, he started listening to Cheo Feliciano, Pete “El Conde” Rodríguez, Felipe Rodríguez, and many others.

All these rhythms led the boy to play a sort of percussion on the table, a biscuit tin, or anything else that served as an instrument for him at the time.

His passion for music grew to the point that he began studying music education at the Escuela Libre de Música in Ponce and, subsequently at the Inter-American University of Puerto Rico in San Germán, where he studied for only about two years. Although he did not complete his studies, this helped him to understand even more the profession and apply what he learned during those years.

Danny, Riverita, and Jose — Riverita with two maracas

Being in Puerto Rico, he played with a merengue orchestra whose name he does not remember, but with which he learned to play alto saxophone professionally. After that, he moved to the United States permanently.

Year 2013

As he moved to Virginia, he took a long break from music until 2013, which is when his cousin, Michael Valladares, asked Riverita to found an orchestra, which was not in his plans. However, he accepted the challenge and carried forward the project.

Back then, the artist worked as a mailman at a post office, making it difficult for him to reconcile his previous professional activities with the direction of an orchestra. Still, he did not allow that to discourage him and chose to give priority to this new ensemble.

It all started when Michael was looking for an orchestra to perform at a gala event to celebrate 500 years of the city of Melbourne, Florida, so he contacted Riverita and proposed him to create an orchestra in which he would serve as musical director for the sole purpose of performing there. That was when the saxophonist set about finding musicians and producing a repertoire, which was not easy, since he did not know any professional musicians and did not have any arrangements he could use.

He was so distressed that he spent sleepless nights thinking about how to proceed to complete the mission entrusted to him. With three months to go, he had no time to spare. That is when he managed to make contact with a group of musicians of different nationalities, of whom only the singer, José Reyes, continues to work with him.

Finally, he relaunched the project with a new group of musicians—since the previous ones had left and called it Orquesta Noche Caliente, a name that it still bears today.

Among the most frequently recurring members, we can mention singer José Reyes, singer Danny Rivera Jr., pianist Kevin Figueroa, and trombonist Derick Harris.

To date, they have recorded three CDs and 26 songs. Some of them are “Noche Caliente,” “En Tiempos de Bolero,” and “Mi Linda Música.” They are also preparing their Christmas song several months in advance and will name it “Rabito de Lechón.”