Latin Music

Ania Bartelmus from La Candela Flamenco talks about her performance at the Hispanic Heritage Celebration

For some time, Hispanic genres have attracted people from all over the world, who have been captivated by the rhythms and colors of our music and traditions. Such was the case of professional dancer and director of La Candela Flamenco Company, Ania Bartelmus, who despite her Polish roots, could not help but fall in love with these artistic expressions, prompting her to become one of the leading figures of flamenco in Atlanta, Georgia.

Ania was kind enough to take a few minutes out of her busy schedule to talk exclusively with International Salsa Magazine and treat some issues related to her beginnings and current career.

Dancer Ania Bartelmus performing live — Dancer Ania Bartelmus ”La Candela” performing live with Dave Holland and Juan Solas Machado in the background

How Ania’s interest in flamenco and Latin jazz was born

Although Ania was not born into a family of musicians or dancers, she has always been drawn to art and wanted to pursue one of its many branches as an adult. She started taking dance classes in different styles, including ballet, ballroom dancing, contemporary dance, and a little flamenco.

At that time, at 18 years old, the young woman recalls attending a flamenco show by Spanish composer and guitarist Paco Peña in her hometown. She was so fascinated by the musician’s performance that she wanted to focus a little more on that genre and, if possible, manage to professionalize.

Then, her dance classes began to fully focus on flamenco and at much more advanced levels than before. This appeared insufficient to her, so she decided to live in Seville, Spain, for a few years to learn directly from the source.

La Rubia de La Candela

Ania was fortunate enough to have great teachers who turned her into the professional she is today and one of them was Curro Fernández, who affectionately nicknamed her “La Rubia de La Candela” when she was his student. During her first year in Seville, the dancer enrolled in the school of Esperanza Fernández and Miguel Vargas, the first being her singing teacher.

Esperanza was originally Ania’s teacher, but she was constantly touring and could not always attend the scheduled classes. Therefore, it was her father, Curro Fernández, who took her place and taught the classes instead of her, which made him some kind of father and mentor for Ania and the rest of her classmates. His knowledge and good humor made him one of the best references for the girl on the way she had to go.

Ania posing — Dancer Ania Bartelmus posing for the camera

Creation of La Candela Flamenco

In 2014, Ania officially started her company, which initially received the name Ania Flamenco, but she later renamed it La Candela Flamenco in order to give more importance to Ania’s stage name.

At the beginning, the company was seeking to present Spain’s traditional flamenco, but this became a tough task to pull off in the United States, as many of the best flamenco singers are not based there. So Ania decided to change her strategy and opted for a more Latinized flamenco, since most of her musicians come from Latin countries and a large part of the public feels a much stronger connection to Latin genres than to traditional flamenco.

On this subject, he also said: “We continue to respect the main rules of traditional flamenco, but we do not include flamenco singers because of the difficulty in finding them in the city. Our shows focus on other flamenco elements where we can best showcase the tradition’s richness.”

Current members of La Candela Flamenco Latin Band

La Candela Flamenco Latin Band is the company’s main group and is made up of a wide variety of famous musicians, one of them being Venezuelan guitarist José Chirinos, who joined the band in 2018 and contributed greatly to expanding the company’s horizons thanks to his background and the rhythms he brought from his homeland.

Thanks to Jose, Ania met Cuban percussionist Juan Pablo Solas Machado, who brought a lot of experience in flamenco, having been part of a company that toured the world with a Cuba’s flamencoised repertoire. The other percussionist who more recently joined is American Dave Holland, providing great knowledge about rhythms from around the world and serving as a connection between the Latin and the Anglo-Saxon souls for the rest of his bandmates.

We also cannot fail to mention Venezuelan pianist José Manuel García, one of last year’s great additions to the team along with fellow pianist Tony Castillo.

Finally, we also have Bulgarian flutist Teodora Stoyanova, whom Ania met through Jerry Fields, the percussionist with whom she started the company in 2014.

Ania and the rest of the musicians — From left to right: Cuban percussionist Juan Solas Machado, Bulgarian flutist Teodora Stoyanova, Mexican guitarist Ricardo Sánchez “Ricardito”, dancer Ania Bartelmus, American multi-percussionist Dave Holland, and pianist Tony Castillo

Hispanic Heritage Celebration

One of the major events in which La Candela Flamenco Latin Band usually participates annually is the Hispanic Heritage Celebration, to be held on October 25 at the Emory Performing Arts Studio in New York. This will be the third time they have presented this show in Atlanta, although in previous years, the concerts were held at the Roswell Cultural Arts Center.

Ania was first contacted to participate in the event in 2023, as its organizers wanted a show that reflected flamenco in the context of Hispanic heritage. On that occasion, Jose Chirinos played a leading role in the concert, while for the second edition, La Candela Flamenco Band featured the great talent of Mexican composer and guitarist Ricardito Sánchez and the aforementioned Tony Castillo. All of these musicians helped La Candela Flamenco to become more diverse and expand much more into Latin jazz and other rhythms of this type.

Thanks to the great job done by the team, for the second edition of the Hispanic Heritage Celebration, Ania noticed much more interest in the band’s performance than the previous year, and thanks to past experience, the next show worked best.

For the third edition, in which the talented dancer and her group will perform once again, International Salsa Magazine wishes them all the best and we have no doubt that everything will turn out in the best possible way.

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”

Alberto Gonzalez talks about his book on Hector Lavoe and his experience with ‘‘El Jibarito de Ponce’’

As an artist, one of the most noble actions to be taken is to honor the great artists whose legacy inspired later generations, including those who pay homage to them today. Proof of this is the talented bandleader, composer, singer, and now author, Alberto González, whom we thank for sharing his story and various facets of his life with us, including his role as the author of a new book about “the singer of all singers,” Hector Lavoe.

Alberto and his book on Hector — Author Alberto Gonzalez with a version of his book ”Hector Lavoe and Associates”

Alberto’s initial interest in music

Alberto’s initial interest in music began with an aunt from Puerto Rico who went to live with him and his parents in Chicago. She loved the music of Raphael and Sandro, so her nephew listened to them practically every day and ended up falling in love with their music and how they sang.

Little by little, Alberto began to learn their songs and was unknowingly taking his first steps toward becoming a professional singer. However, it did not stop there; he also listened to the trio music that his parents enjoyed and eventually to the salsa albums that his older brother began bringing to the house. Those salsa albums really caught Alberto’s attention.

Among the artists his brother listened to were Eddie Palmieri, La Sonora Ponceña, El Gran Combo de Puerto Rico, Willie Colón, and the one who would become his greatest inspiration, Héctor Lavoe.

Eventually, his brother became a professional trumpet player and played with various salsa orchestras in Chicago. Since he always heard Alberto singing songs at home, in 1979, he suggested that he audition for a new band of young salsa musicians his manager was putting together. For the audition, Alberto was tasked with learning and singing the popular Willie Colón and Héctor Lavoe song “Voso.”

Fortunately, his audition was a great success, and Alberto was asked to join La Típica Leal 79. The story behind the band’s name is interesting: Carlos Caribe Ruíz, the manager of the group, decided on the name Típica Leal because most of the members of his previous band, La Juventud Típica, decided one day to quit; they left him. For that reason, he decided to create a new band, and he made sure to add the word “Leal” (loyal in English) to the band’s name. His hope was that the new band, made up mostly of teenagers, would be loyal and not leave, just like the previous band did.

Sometime later, Alberto would go on to sing with a band called La Inspiración Latina, and he also worked briefly with Orquesta Yambo. In 2001, he moved to Los Angeles, where he began working with Johnny Polanco y Su Conjunto Amistad, becoming one of their main vocalists and traveling the world with them and the band.

Alberto and Johnny Polanco — Alberto Gonzalez playing with Johnny Polanco Y Su Conjunto Amistad

Orquesta Salsa Caliente

When he left Johnny Polanco’s group, Alberto finally felt ready to form his own group, and that is how Orquesta Salsa Caliente was born. He has been leading the band for many years now and has even traveled with the band to Africa and Bermuda.

Over the past few years, Alberto has concentrated mainly on his work as an author. While he continues to perform, his primary focus has been on his debut book ‘‘Hector Lavoe and Associates.’’

Alberto’s Hector Lavoe Experience

In 1979, after auditioning and doing well with the song “Voso,” 15 year old Alberto officially became a member of La Tipica Leal 79.Caribe, the band’s manager, then asked him to learn a few more Hector Lavoe (and Willie Colon) songs. Since Hector was his favorite singer, he gladly learned the songs. Since his voice was somewhat similar to Hector’s, his bandmates began to affectionately call him “Baby Lavoe.”

In the fall of that same year, Alberto learned that Héctor and his orchestra were going to be performing in Chicago. Once he found that out, he asked Caribe to please take him to see Héctor, and, if at all possible, to introduce him to Héctor. Thankfully, he did get to go to that show, and he did meet Héctor. It was during that show, and during one of Héctor’s breaks, that he was able to take a photo with his favorite singer. Alberto still cherishes that photo to this very day. That night, he realized that Héctor was a “man of the people” due to his humility and how he treated others. The photo and his experience with Héctor were some of the main reasons why he decided to write a book about Lavoe. Over the years, many have criticized Héctor and have focused primarily on the negative aspects of his life. Sadly, many people are not familiar with the other side of Héctor, the humble, generous, and kind side of Lavoe. They will learn more about that side of Héctor in the new book.

Well, about a year and a half after first meeting Héctor, La Típica Leal 79 was booked to open for Celia Cruz and Héctor Lavoe. That show would take place at one of the most acclaimed dance halls in the city, where many of the greatest salsa artists performed over the years. That night, Alberto was able to share another conversation with Héctor, and he also took another photo with him. Héctor was generous with his time; he was kind and very accommodating. That’s something that Alberto never forgot.

This and other experiences are documented by the author in the book. Alberto actually interviewed about sixteen of Héctor’s former musicians, and eight of them are featured in the book. You’ll learn about their musical experiences, and you’ll be able to read about their experiences with “El Jibarito de Ponce,” Héctor Lavoe. These are the musicians that are featured: Gilberto Colon Jr., Eddie Montalvo, Jose Mangual Jr., Louie Romero, Eric Matos, Ray Feliciano, Danny Rosado, and Chino Núñez.

Alberto called the book “Héctor Lavoe and Associates,” and that title was somewhat inspired by Willie Colón’s 1978 compilation album “Willie Colón and Associates.”

Alberto and Salsa Caliente — Alberto Gonzalez and his orchestra Salsa Caliente

A few Lavoe stories from the book

Among the many anecdotes that can be read in the book, Alberto told us one in which, on one occasion, a couple of Héctor Lavoe’s musicians had their vehicle broken into, and all of their instruments were stolen. When Héctor found out what had happened, he bought them new instruments and told them not to worry about paying him back. He did not charge them a penny.

Here’s another story. During a show, one of Héctor’s trumpet players accidentally dropped his trumpet on the floor and damaged it beyond repair; the instrument was unplayable. What did Héctor do? Héctor gave him $1,000 to go buy a new trumpet and, once again, didn’t charge him a penny.

These are just a few of the many stories regarding Héctor Lavoe that you’ll be able to read in the more than 400 pages of the book. The book will be officially launched in the coming months. For more information, please visit: www.hectorlavoebook.com.

Alberto and Hector in Ponce — Alberto Gonzalez next to the statue of Hector Lavoe in Ponce, Puerto Rico

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

Creator of Afro-Rican Jazz William Cepeda talks about this subgenre

When we talk about the best characteristics of Puerto Rican artists, innovation is definitely one of them, and our guest is an excellent example of this. Grammy nominee and composer William Cepeda was born and raised in Loiza, known as the heart of “Little Africa” in Puerto Rico, so we can sense that this had much to do with his later artistic inclinations. We will talk about this and other things in the next paragraphs of this gripping story.

Musician William Cepeda — This is Puerto Rican Grammy nominee, composer, and musician William Cepeda

What got William interested in music

The environment in which William grew up had everything to do with his interest in music as a serious profession. In Loiza, Puerto Rican bomba was one of the most listened genres by the community, and cultural events based on it were passed down through generations. It was there that a very young William began attending the colloquially known as “bombazos” and connecting with this music from an early age.

Practically the whole town was involved in these traditions, including his family, so he could not escape all these activities carried out year after year. In fact, his grandparents and some of his uncles and cousins were musicians, so it was common for the young boy to see them play their instruments and know what that was about.

When he turned 14, he finally began seriously studying music, especially the theory part. Although one of his options to study was accounting, this career would never overcome his enormous taste for music, so he never materialized this interest.

How William got started professionally in music

While still an inexperienced teenage musician, William started playing percussion with some local groups, one of them being La Orquesta Zodiac, composed of a group of salsa veterans with more than 50 years of professional experience. Although these gigs were already paid, the young man still saw music as a side hobby.

However, long time later, he would completely change his mind after noticing that his skills and opportunities could take him further than he thought possible.

William Cepeda at the festival — William Cepeda at the Luminato Festival in Toronto

Afro-Rican Jazz

Having already a more or less consolidated career, William was part of the invention of Afro-Rican Jazz, which can be defined as a concept that celebrates Puerto Rico’s heritage and its African roots while offering a new version of the jazz that everyone knew, giving it a touch of modern flavor that was absolutely innovative for the time.

Growing up in an environment where traditional Puerto Rican music was so present and having experience only with local groups, he still had a long way to go as an artist. His outlook started to broaden by going to study at Berklee in Boston and then to do a master’s degree in New York, which in turn led him to play with American groups and musicians such as Dizzy Gillespie, James Brown, Miriam Makeba, and many other famous jazz musicians.

Gillespie became one of his biggest mentors when playing with him and his group The United Nations Orchestra, which included Cuban, Colombian, Dominican, Panamanian, and Brazilian musicians. It was precisely because of this great diversity of nationalities and influences that the orchestra received this name. However, there were no Puerto Rican musicians or music, so Gillespie gave William the opportunity to become the youngest member and create a subgenre product of a mixture of jazz and some styles from his place of origin.

William told us that many Boricuan musicians used to play Latin jazz based on Cuban music, but none of them had ever ventured to create a subgenre of jazz with a Puerto Rican base. That was when the artist realized that something had to be done about it, so he chose to fuse jazz with Puerto Rican music and later named his group Afro-Rican Jazz.

He also continued to experiment with genres until he found something he called “Plena jazz,” the name he used for one of his albums and the result of mixing plena, another traditional genre born in the neighborhoods of Puerto Rico, and jazz. He also made a symphonic rumba album at the time.

William Cepeda and his doctorate — William Cepeda receiving his honorary doctorate from Berklee College of Music

Dizzy Gillespie’s protégé

Although William was influenced by a number of artists, when we check out his story his history, there is no denying that the South Carolinian trumpeter was the greatest influence and role model for the young man.

With respect to this stage of his life, William recalls with affection that Dizzy was always very attentive to his development within the group, to the point that he came to see him as an artistic father. As we said before, he knew nothing about jazz or American music when he left Puerto Rico, but Dizzy and his musicians were “a second university” where he learned what no educational institution could teach him, something he thanks to them.

“Dizzy saw talent in me, so he always pushed me to be better every day. He encouraged me, protected me, and guided me in my development as a musician,” he said of his teacher.

Artists he has collaborated with

William has collaborated with countless great Latin artists such as Celia Cruz, Rubén Blades, Eddie Palmieri, Tito Puente, Marc Anthony, Oscar D’León, and many others. Most of these contacts came about thanks to references of acquaintances, combined with the percussionist becoming known to the public for some time, which generated many recommendations.

All the above artists also influenced him to a certain extent, but he also says that he liked and still likes other genres such as classical music, jazz, the folklore of other countries, and many others.