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Anthony Carrillo The Legendary and Virtuoso Bongocero for Batacumbele and

Anthony Carrillo was born in New York City on 117th Street and Lexington Avenue, a neighborhood marked by significant complexities in terms of violence and drugs. This is why his father decided to move the family back to Puerto Rico in 1972.

“I remember that when I opened my eyes the second day, I heard the music of Willie Colón and Héctor Lavoe”.

Me opening my eyes, and the smell of the earth. It’s a scene I’ll never forget in my life.”

Once in Puerto Rico, his father continued to play music and was connected with musicians such as David “La Mole” Ortiz, who would later become a great mentor and collaborator for Anthony.

In the mid-1970s, Anthony and his brother began collaborating with the Areito Folkloric Ballet.

Anthony Carrillo: Master Percussionist

Master percussionist Anthony Carrillo comes from a proud Puerto Rican musical heritage. Although perhaps best known for his performances alongside his childhood friend and famous LP artist, Giovanni Hidalgo, Carrillo has performed with numerous renowned musicians throughout his career, including Eddie Palmieri, Gonzalo Rubalcaba, Paul Simon, and Harry Belafonte.

He was also an integral member of the outstanding percussion ensemble, Batacumbele, and, in contrast, the Puerto Rican metal band, PUYA. Piano legend Eddie Palmieri has referred to Carrillo as “the best bongocero in the universe.”

Under his own name, Anthony Carrillo has released three CDs, which include the historic first rumba recordings from Puerto Rico. His most recent performances include the off-Broadway musical “I Like it Like That” in 2017, and recording bongos with Puerto Rican artist Residente on his recent track “Hijos del Cañaveral.”

In April 2018, his Latin jazz group, AA team, released two original singles featuring Carrillo on bongos, drums, and vocals.

In August 2018, his dance orchestra, YÁMBAWA, released a four-track EP with originals and English-language pop standards infused with Spanish rap. He has stated that these two productions form his most prolific and inspired body of work in his career so far.

Musical Origins

Anthony Carrillo was born in New York City of Puerto Rican ancestry. From childhood, he expressed a special interest in music. His father, Mr. Roman “Don Nan” Carrillo, was his first teacher.

Through his father, Anthony Carrillo was exposed to the music of “Ramito” (one of the greatest exponents of folkloric music in Puerto Rico) and Rafael Cortijo.

Anthony’s earliest influences were “Papi Andino” (Ramito’s bongocero) and Roberto Roena (Cortijo’s bongocero).

When he was only nine years old, Anthony Carrillo’s family returned to Puerto Rico.

It was then that his father asked David Ortiz “La Mole” who was considered one of the best Rumberos in Puerto Rico to teach his son the techniques and patterns of Rumba. By age 13, Anthony was already part of the touring National folkloric group Areito, directed by Mrs. Irene Mcleane.

In the early 1980s, Anthony Carrillo became a member of the famous folkloric group, La Familia Cepeda, the foremost exponents and keepers of the traditional “Bomba” and “Plena” styles.

Collaborators:

Yova Rodriguez

Planet Drum

Also Read: Papo Vázquez the Pirate & Troubadour of Our Latin Music

“Promesa de Reyes” from the pen of Yova Rodríguez “The Jibarito of Mayagüez in New York”

International Salsa Magazine, through salsagoogle.com, has the privilege and immense honor of presenting the most recent musical work titled “Promesa de Reyes” from the pen of the Puerto Rican singer-songwriter Yova Rodríguez “El Jibarito de Mayagüez.”

Promesa de Reyes de la pluma del Yova Rodríguez “El Jibarito de Mayagüez en New York”

The most recent track, titled “Promesa de Reyes,” is something I’ve wanted to do for a long time. I have to tell you that producing a Christmas production is a bit difficult because the season is so short, and it’s hard to develop the theme as it should be. But I was determined to do it because it’s a gift or tribute to the memory of my mother, Doña Delia Ruiz.

The inspiration for “Promesa de Reyes,” in reality, when you listen to the song, what you’ll realize is that it’s a narration. That is, in this track, I’m going to describe, from when I was a child, how I used to watch my mom carry out the process of her “Promesa de Reyes,” from the time they sent someone to cut the palm leaves to make the altar, until that altar with the Three Wise Men was completed, and the next day, well, we knew we had the party.

I’ve been incredibly lucky because the track was arranged by Leo Morales, originally from Colombia. It turns out that Leo is influenced—he learned to play the trombone and became a musician because of Willy Colón’s Asalto Navideño records. So, he told me that since then, he started studying the authentic, folk music of Puerto Rico to find out where Willy got those kinds of ideas. This is a very special track because we managed to include Puerto Rican danza (dance), Puerto Rican bomba (drumming and dance), and salsa.

It’s a track that gathers a lot of little things, and obviously, we added the music of the Puerto Rican countryside (música del campo). It starts with different rhythm changes, and you’ll hear one part that has Puerto Rican danza, another that has Puerto Rican bomba, and another that has salsa.

I sing and I wrote the song. On piano is Vicente Báez, the current pianist for Sonora Ponceña. On bass is Puri Matos, a master based in New York. He was recommended by Anthony Carrillo and has been doing all my projects with me for two years. Anthony Carrillo did all the percussion. On trumpet is Agustín Someillan from the Cuban National Sextet. The chorus singers are Nino Segerra, Danny Dávila, and Caneca Rosa. Manny Trinidad, recommended by Nino Segarra, played the Puerto Rican cuatro.

The recording studio was Nino Segarra’s. This is about the fourth or fifth track we’ve done there in his studio with Nino.

Nino, besides being a singer, is a professional teacher. He’s an expert who knows how to guide you, how to explain things the way they should be; he doesn’t pressure you; he lets you develop. In other words, I feel extremely comfortable working with Nino; the experience of working with Nino is very satisfying.

People tell me, “Yova, you’re crazy. You get on a plane just to go record a voice track,” and I tell them yes, for two reasons:

First, because I feel secure. And second, because I know I won’t fail with Nino, so the sacrifice is worth it. Recording with Nino was thanks to Herman Olivera, my compadre, who told me, “Look, Yova, I’ve been recording with Nino for two years, and I’m not recording with anyone else.” And look, I got on the plane, I did it, and now I have five productions with Nino Segarra.

Nino Segarra y Yova Rodriguez en Puerto Rico

Yova, the time in the studio to make the track is very important. Talk a little about that.

Look, Augusto, remember that depends on the type of musician you have there, right? There are musicians who are sight-readers of the first caliber.

These musicians tell you, “Send me the charts two days before,” they skim them. When they get to the studio, they’re done with their part in half an hour, 20 minutes, 15. But there are others who you have to take at a slower pace. For example, in Anthony’s case, Anthony told me, “Send me the demo, and I’ll listen to it.”

But Carrillo is from another planet. I send him his demo; he listens for two days beforehand. And he tells me, “Let’s go to the studio.”

And Anthony recorded flawlessly. Anthony didn’t take three hours to do four instruments; he did it in about two hours, and everything was excellent.

The track’s release? The video will be released on Friday, October 31st. The track will also be launched on radio stations that same Friday, confirmed in Venezuela, Colombia, Peru, Florida, and Puerto Rico.

Danny Dávila, Yova Rodriguez y Caneca Rosa

Yova, you brought in a Venezuelan graphic designer for this, your most recent track. How was it working with that graphic designer? The good thing about Victoria is that she listens, right? Sometimes you work with not only the graphic designer—it often happens even with the arrangers; I compare them. They do something, and you tell them, “No, wait, wait, that’s not what I want, this is.” “Oh, but no, I think that’s what should be.”

Victoria listens to you and works with what you ask for. The experience with her was excellent, and I hope it continues to happen many more times.

“Promesa de Reyes”

Piano: Vicente Báez

Bass: Puri Matos

Puerto Rican cuatro: Manny Trinidad

Conga: Anthony Carrillo

Bongó: Anthony Carrillo

Snare Drum (Redoble): Anthony Carrillo

Puerto Rican güiro: Anthony Carrilllo

Cuban güiro: Edwin Caneca Rosas

Trumpets: Agustín Someillan

Chorus: Nino Segarra, Edwin Caneca Rosas, Danny Dávila

Singer: Yova Rodríguez

Studios: Sonority in New Jersey (Recording of all Percussion). Engineers: Nino Segarra

Mix: Héctor Mora, HM

Producción Medellín Colombia

Arrangement: Leo Morales

Video Production: Jhonatan Chávez

Composition: Yova Rodríguez.

Graphic Designer: Victoria Rivas Rojas.

Also Read: Yova Rodríguez. The jibarito of Mayagüez

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

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.