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Search Results for: Son de Bolero

We interviewed IndiviDúo singers Tiffany Joy and Maqui Reyes

How it all started

Today we are going to talk with Tiffany Joy and Maqui Reyes from IndiviDúo, which is a famous and successful musical duo. Great to be with you. How are you?

Tiffany: super! Very well, thank you very much.

Tiffany Joy singing on stage
Tiffany Joy singing on stage

You two met in 2010 in Buenos Aires while both were recording your respective musical productions separately. How was that first meeting and conversation about music?

Tiffany: you are very well informed, Karina, I love it. We met at a musical party for Colombians living in Buenos Aires. We were introduced by a mutual friend, who is also from the US, but she was living in Buenos Aires at the time. Maqui had invited me to that event through Facebook, so I went with my guitar and a liter of beer. There was a moment when he started singing ohis riginal music and I do the same later. I think that’s where a connection and mutual respect began to be created, which led to us singing together later that night.

He sang Tabaco y Chanel by Bacilos and since I knew it by heart, I started singing the harmonies. The time when our voices found each other was very magical and everyone at the party thought something beautiful was happening there. Really, since that night we haven’t stopped singing and composing music together.

What did you see in each other to form a musical duo?

Tiffany: I think Maqui has a special sensitivity towards lyrics and I admire his role as a poet. In addition, he also has a musicality related to my tastes, so it is very common for us to be on the same page about some melodies with the guitar. Melodically, I feel that we get along very well.

Obviously we don’t agree on everything all the time, but I do think we have very similar taste in music, which makes us be attracted each other musically. Personally, my partner has a very powerful energy in terms of positivity, light, pushing forward and making everyone feel special.

Maqui Reyes singing and playing the guitar on stage
Maqui Reyes singing and playing the guitar on stage

What has been the biggest disagreement that you’ve had musically?

Tiffany: generally speaking, I tend to fall in love with ideas so fast. If I hear a chord, progression, melodic line or lyrics that I like, I don’t want us to change them. On the other hand, Maqui is super thoughtful and likes to try a lot of things before going back to the first thing and even make it better, but I think my anxiety about finishing it and singing it sets us at odds. He is very slow in terms of his process and that makes us different.

Considering that Maqui is Colombian and you are Californian, how did this influenced your musical styles?

Tiffany: Maqui is from Bogota while I am from right here in the Bay Area. I grew up listening to James Taylor, Kenny Loggins and the great singer-songwriters in blues, jazz and other typically American genres. I also did musical theater for many years, which led me to listen to the great Broadway plays. My love for Latin music began much later when I started listening to pop artists like Juanes, Shakira, Rocky Martin, Bacilos, among others. Then, I entered into the world of Latin music and started composing in Spanish. To that I must add that I loved dancing salsa and tango since I was really little.

On the side of Maqui, he comes from a completely different music background where he listened to salsa, bambuco, cumbia, merengue and many other Latin genres. Later, he moved to Argentina where he lived for 13 years and traveled throughout the country to learn to play chamame, samba and other Argentinean rhythms. This made him have a huge range of Latin American music, which we incorporate into our music. That is why our repertoire includes reggae, bolero, pop, salsa, rock, bossa-nova and much more.

Tiffany Joy and Maqui Reyes performing together
Tiffany Joy and Maqui Reyes performing together

How do you connect with your audience?

Your music talks about many positive and reflection messages. It talks a lot about all the important things we humans put aside because we are way too concerned with superficial things. In that sense, what kind of connection are you looking for with the audience?

Maqui: among the responsibilities of a singer-songwriter or a musician, we have to say some important things, so we believe and live the music like that. The subject treated in a song has always been important to us.

I think we have managed to connect with ourselves and people like you who, for some reason, get to listen to one of our songs and identify with it. Songs like Pelea invite you to fight against your own vices, your own demons and your own problems. It is a song that people of any age can identify with, which leads us to have a connection with them beyond music.

What are the age ranges of the people who listen to your music the most?

Tiffany: I would venture to say that those who listen to us the most are people between 25 to 55 years old.

Maqui: However, I must say that we get along very well with children. When we play in theaters or places suitable for minors, there are many families with children. In fact, we don’t rule out recording an album focused exclusively on them. Of course, we know that children don’t like the more traditional genres that we used to listen to and reggaeton is the current trend. Same way, we would include some traditional music so that little ones have the opportunity to listen to it in a fun way.

Tiffany Joy and Maqui Reyes during pregnancy
Tiffany Joy and Maqui Reyes during pregnancy

On that issue, a young salsa singer told me that what he does is a mix of rhythms, while still getting the essence of salsa. Do you plan to add urban genres to your music?

Tiffany: We don’t reject the idea of incorporating urban rhythms to our music because they are good to dance to, easy to defend live and attractive for a generic and large audience. We haven’t yet, but we are open to the possibility.

Maqui: this is a great question because everything has become polarized so much that just listening to the rhythm makes us qualify it as urban, but that’s not necessarily true. What I qualify as urban is attitude and lyrics, things that we know we will never adopt for ourselves.

It’s not our style, although we’ve got nothing against these rhythms. We would like to play them in a more elegant and familiar way.

Tiffany Joy, Maqui Reyes, and their daughter Melody
Tiffany Joy, Maqui Reyes, and their daughter Melody

You have been part of the soundtracks of several soap operas such as La Ley del Corazón and Si Dejo de Creer. How did this help you advance your careers?

Tiffany: It helped us get a little more exposure on Spotify, YouTube and other music platforms. It also gave us the opportunity to be much better known, as many people started to see what else we’ve done and listen to other pieces of ours.

What did you do during the pandemic?

Tiffany: because all the shows being cancelled, we dedicated ourselves to hosting a Facebook Live every Friday afternoon. At the beginning, it was very difficult because we didn’t know how to connect, but when we finally learned how to do it, we had a lot of people listening to us. We played original music, did a lot of covers, had a drinkie and toasted people from time to time.

During this time, we also found out we were pregnant, which was a surprise for us because we never thought about having children. We were composing at the time, so we ended up including a song for the baby on our album. Right when Melody (our daughter’s name) was born we did the official album release.

Read also: Story of achievement and dedication of Yoshie Akiba

Fasching Presents An Intimate Concert With Miriam Aïda

The only performance of the most influential Bossa Nova and Jazz singer in Sweden will be in September

Leyenda: Miriam Aïda sings in Portuguese, Spanish, English, and Swedish (her native language).

Miriam Aïda is one of Sweden’s most popular Jazz singers. She has an indisputable talent, a seductive and harmonic voice, and her outstanding appearances on stage always surprise the audience thanks to her impeccable fusion of Jazz and Latin rhythms.

On Thursday, September 29th, it will be the only concert that the Swedish singer will give at the imposing club Fasching https://www.fasching.se/miriam-aida/#2022-09-29T20-00 from 8 PM, and tickets are available from 120 SEK (persons standing) to 200 SEK.

She will create this intimate and exceptional show with the feature of five prominent musicians from the Scandinavian Jazz music scene: Mats Andersson (Guitars), Johan Olsson (Accordion and Keyboards), Simon Peterson (Bass), Finn Björnulfson (Percussion), and Ola Bothzén on Drums.

Miriam will navigate the music of the American coast, stroll along the Caribbean Sea, and descend to the magnificent beaches of Brazil to present the rhythms that took root in the New World: Bolero, Cuban Rumba, Samba-Soul, and Jazz, among other genres that together to the colorful voice of Aïda, they will perform the songs from their most recent production Loving the Alien released in 2018, in addition to their greatest hits compiled on eight albums.

This singer, leader of Bossa Nova and Latin Jazz in Sweden, has taken her show to the main cities of Japan, the United Kingdom, Brazil, France, Spain, USA, Turkey, Russia, Italy, and Germany as a soloist as with the band A Bossa Elétrica, and has had the good fortune to have shared the stage with great Brazilian personalities such as Hermeto Pascoal, Badi Assad, and guitar master Marco Pereira.

She is the Director of the record label Connective Records and radio programs.

The extensive career of Miriam Aïda www.miriamaida.com goes from her first album Jan Lundgren Trio Presents Miriam Aida & Fredrik Kronkvist released in 2002. This record production together with her husband Fredrik Kronkvist, the pianist Jan Lundgren, and two very talented young soloists performed for the first time the Funky-Soul-Jazz rhythm and standards with an American and Swedish touch.

Who is Fredrik Kronkvist? https://fredrikkronkvist.wordpress.com/bio He is a master of the Alto Saxophone and one of the established stars of Swedish Jazz. He has nearly 9 million views on digital platforms for his ballad hits Theme for Ernie. This saxophonist with extensive knowledge of the instrument and Jazz is currently releasing a new album in early 2022 with ten original ballads and directs his band made up of four musicians from the vanguard of current Jazz.

Miriam after a year of this successful album releases her debut solo album My Kind of World (2003) with classics like “Big City” and passionate Bossa Nova ballads. She continues with A Bossa Elétrica – Eletrificacao (2004), and Miriam Aïda & Fredrik Kronkvist with Monday Night Big Band – Live at the Palladium (2005) recorded live. This CD features moving, direct Jazz and Bossa nova. With this powerful Big Band, they covered great songs like Horace Silver’s Senor Blues, Nat Adderley’s Fun, Right Here, and Right Now, to name a few.

She also participated in the album Joe Spinaci and the Brookolino Orchestra-Too Darn Hot (2005) and continued with her solo album Meu Brasil (2007). The material is mainly in Portuguese and compiles great composers from different eras such as Baden Powel, Nelson Cavaquinho, and Jorge Ben. It contains a new Bossa Nova written by Miriam with Swedish lyrics and incorporated Swedish poet Nils Ferlin’s interpretation of the poem in Portuguese.

It is followed by Come on Home (2008), Letras ao Brasil (2009), Visans Väsen (2011), É De Lei! (2014) recorded in Sweden and Rio de Janeiro in collaboration with the Brazilian arranger Jayme Vignoli and the voice of one of the best singers from Rio, Marcos Sacramento, and Quatro Janelas (2015).

Michiel Braam: The Virtuous Pianist from Nijmegen

Two years after the creation of the Latin Jazz album XYZ with Son Bent Braam

Michiel Braam presented XYZ at the Music Meeting Festival. “The festival takes place in Nijmegen, where I was born (1964), grew up, and still live”. Foto: Marjan Smeijsters

Virtuous pianist, masterful producer, and surprising composer. Winner of the Podium award (1998) and Boy Edgar (1996/1997). Musician trained by conviction and at the ArtEZ Music Academy in Arnhem. His lifestyle is synchrony between freedom, creativity, teaching, and love. It is how he presents us his life and his works in Nijmegen, Michiel Braam.

This friendly artist with a protective childhood where love prevailed always had the support and freedom to develop and create everything he considered necessary to him. Michiel is the only one in his family who turned to music professionally, but the rhythm of melodies runs through his veins. His parents played the piano self-taught. His mother wrote notes while his father just improvised.

During high school, he participated in a band for which he wrote and arranged all the music. He studied at the conservatory and founded his more minor quartet Bentje Braam (“Little Band Braam”) in 1985. In the same year, he traveled with his band to Sweden to be the first Dutch group to open the EBU Jazz Festival and wrote his first composition for the Dutch radio “Cows and Beasts”. A year later, he created the band Bik Bent Braam.

“Music is, as long as I know, everything to me. I feel better with music. I dance when I’m happy, and music comforts me when I’m not doing so well… It seemed like a logical step to pursue what I enjoyed most.” Michiel Braam https://www.michielbraam.com/

By 1988 Braam had had no contact with Latin music until percussionist André Groen asked him to be the pianist for his Orquesta Europea de Danzón. In this regard, this wonderful pianist told us: “He wanted a pianist who had a wild free Jazz attitude and who didn’t only play the well-known Latin patterns because he thought that fitted better with the authentic Cuban music. That music immediately appealed to me, especially because of its rhythmic impact, but also because as a pianist, you have a lot of freedom to go in all directions during improvisations. I have touched on those Latin patterns to some extent and in the course of the 10 years that I played in that orchestra I managed to master them better, but it was mainly the combination of freedom and rhythm. That orchestra lasted ten years and we celebrated the thirtieth anniversary in 2018 with a couple of concerts. Great to do that again and I felt again exactly why I found it so appealing back then”.

In 1988 Michiel won the Podium Prize, an encouragement prize for Dutch Jazz music and in 1996/1997 he won the Boy Edgar, the highest prize for Dutch Jazz.

This pianist, the architect of great projects, built a party based on the Latin alphabet of Western culture on the album XYZ released in 2020, creating a danceable mix that includes Mambo, Rumba, Son, Danzón, Boogaloo, Calypso, Rumba, Bembé, Mozambique, Samba, Afro, Bolero, Cha-cha, Merengue, Bembé, and Samba. Michiel is also the Director of the Jazz and Pop department of the ArtEZ conservatory and founded a Danzón orchestra. Now, I leave you with the rest of this wonderful interview that I had the opportunity to do with the great Maestro Michiel Braam. Enjoy!

They have played on the ZomerJazzFiets tour, North Sea Jazz, and Bimhuis. Likewise, some of the members of the orchestra are fluent in Spanish.

– How did the idea of the Latin jazz album XYZ come about?

In 1995 I wrote “The XYZ of Bik Bent Braam” for my big orchestra at the time, Bik Bent Braam (phonetic Dutch for “Big Band Braam”). I thought it would be fun to make a festive version of it to celebrate the 25th anniversary. The XYZ was (and is) a 26-part suite, with a piece for each letter of the alphabet, starting with Aardedonker (English title Atramentous, Spanish Apagado, both not exact translations…) and ending with Zwoerdspek (Zaftig, Zafio). I revisited all the pieces in 2020 and paired various styles with the original material. In the 1995 original, they were mostly jazz-like styles (bebop, free improv, swing, jazz ballad, etc), but Chachachtig was a rumba even then. It is the only piece that has not changed its mood substantially.

– What happened to the previous members and how did the new members take hold?

The original orchestra Bik Bent Braam was composed of top musicians from the Dutch improvised music scene. The orchestra existed from 1986 to 2013 and had a number of lineup changes. In the final version of Bik Bent Braam there were only a few members left from the very beginning. That the musicians of Bik Bent Braam could read well was not really a requirement, the core was affinity with swing and great improvisational skills. For this new version, it was important not only that the musicians were excellent improvisers, but also that they had to have a feel for Latin music and also that they were outstanding readers, because I did not foresee that there would be very much rehearsal time and the notes are quite challenging. Bik Bent Braam was subsidized with government funding and I could then easily occupy a longer period with many rehearsals. Son Bent Braam, the current line-up, does not have its own subsidy, so we have to look at each concert and hope that everyone can make it. There have been quite a few subs, and they too have to be able to improvise and read well.

– Tell us about your Danzón orchestra.

André (André Groen – Percussionist) wanted to immerse himself in traditional Cuban music. There is so much richness in the danzón with its fixed forms that pass by in each piece with the most beautiful melodies and the wildest spaces for improvising on highly danceable rhythms. We found the instrumentation with violins, cello, flute, percussion, double bass, and piano attractive. After ten years I got too busy with my jazz ensembles, by then I was touring all over the world with Bik Bent Braam and other groups and especially with my Trio BraamDeJoodeVatcher. I could hardly combine it anymore with the Danzón Orchestra and the great pianist Peter van Marle took my place, which made me feel very humble. The European Danzón Orchestra then existed for another year or so. I honestly don’t know why it stopped then. In 2018 we did a couple of reunion concerts, great fun to do.

– How many years have you been in charge of the Jazz and Pop department of the ArtEZ conservatory and what do you teach the new generations based on your experience?

I have been head of the program since 1992. It is part of a broad arts university and is located in a building that also houses dance, theater, fine art, applied art, fashion, and creative writing. As a head, I don’t teach very much… only when students very specifically ask for it a few hours of individual lessons per year and a few group lessons, and I also regularly give master students some lessons. My message is usually quite short and clear: there are millions of people who play an instrument excellently, and you can probably teach an orangutan to play Keith Jarrett better than Keith does himself, but – apart from the fact that that would be a fun YouTube hit – there is no point; in our music, it is almost all about an authentic voice, including all the shortcomings that are in everyone, which also make you a unique musician. Obviously, you must have many skills as a musician, but my life motto is that one’s deficiencies are far more important for one’s personality than one’s skills, and that attitude underlies my whole vision of art education.

“With Nos Otrobanda have started to concentrate on the music of Noro Morales and have his composition Maria Cervantes (single) firmly in our program. His music will probably be the subject of our new album”. Foto: Marjan Smeijsters

– What are your next projects?

Everything is starting up again post-covid. I want to record a solo album on my grand piano, a so-called “Alurip”. That’s an aluminum grand piano made in the fifties with a specific sound. And the album of our trio Nos Otrobanda, which specializes in Antillean music, is almost sold out. That doesn’t matter obviously, if there are no more physical copies then you can always hear the music through iTunes, Spotify, etc, but it’s a great opportunity to make new recordings again and the intention is to go to Curacao and record music in the Fortkerk in Willemstad, the place where we did a couple of concerts in 2018. That was a great experience, what a nice place and sweet audience!

– How was the process to make a living from music?

I stuck pretty firmly to the rule that you have to do what you like and not let yourself be distracted too much from that. And I look for what it takes to make it happen. From 1996 to 2012 I received an annual government subsidy to realize my projects. I am also a real musician in the sense that I have a mixed professional practice (playing, writing, teaching, producing, almost every musician has roughly that mix) which means that it is always possible to make a living out of it and we never had to worry about bread and a place to live.

Michiel Braam & Son Bent Braam Orchestra.  Foto: Marjan Smeijsters

I make music mainly because I can’t do otherwise. Music is a way to communicate; it makes you a little better… Leitmotiv in everything is that in music, I am free to do anything I want. For example, I did play Purcell’s Dido and Aeneas with the exquisite reed quintet Calefax, also improvising on the various songs from that opera.” Michiel Braam

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In Barrio Marianao in Havana, Cuba was born Armando Peraza was a Latin jazz percussionist

Peraza (May 30, 1924-April 14, 2014) was a Cuban Latin jazz percussionist.

Thanks to his collaborations with guitarist Carlos Santana, jazz pianist George Shearing and vibraphonist Cal Tjader between 1950 and 1990, he is internationally recognized as one of the most important figures in the field of Latin percussion.

Known primarily as a conguero and bongocero, Peraza is also a skilled dancer and composer. He has appeared on recordings by Pérez Prado, Machito, George Shearing, Charlie Parker, Tito Puente, Cal Tjader and Carlos Santana. Performances with Santana, Shearing and Tjader brought him international fame.

He was inducted into the Smithsonian Institute and had three “Armando Peraza Days” from the city of San Francisco.

One of the most important and respected figures in the world of percussion.

He is a legendary master on both congas and bongoes, whose unorthodox style and story are an inspiration to countless young musicians.

He began his artistic career in the early 1940s, played with singer Alberto Ruiz’s Kuvabana ensemble where he played the bongo and moved to San Francisco in 1949.

At the New York World’s Fair he played congas in an African pavilion with a Nigerian.

This African arrives and says to me: “Man, what part of Africa are you from? I told him, I am from Cuba. He said: “Don’t tell me” He later worked with the orchestras of Paulina Álvarez and Dámaso Pérez Prado, and the Bolero group.

In 1947 he moved to Mexico, where he joined with Mongo Santamaría the ensemble Clave de Oro, and in 1948 they both traveled to New York as percussionists accompanying the dance couple Pablito y Lilón.

At the end of that year, Peraza joined Slim Gaillard’s jazz combo with which he traveled throughout the United States. After arriving in New York in 1949, Armando became a sought-after musician, especially in the contemporary Bebop and Latin Jazz scenes.

Armando built a reputation for impressively fast and complex hand technique, experimental techniques and great talent for entertaining. He flourished in progressive atmospheres that combined jazz with Afro-Cuban styles and was at the center of a new expression called “Cubop”.

He has played on more than 100 albums and is the composer of more than 40 songs. Some of these works include collaborations with Mongo Santamaria, George Shearing, Cal Tjader and Carlos Santana.

Settled in San Francisco, California, in the early 1950s, Peraza began working with pianist George Shearing’s quintet, where he demonstrated his mastery as a player of the tumbadora and bongo; also in this period he recorded several albums of Cuban folk music with Mongo Santamaria.

In the 60’s he joined the quintet of vibraphonist Cal Tjader, with whom he remained for several years and with whom he popularized Chano Pozo’s Guachi guaro. In the 1970s, he joined Mongo Santamaría’s orchestra, with which he participated in the Montreaux Jazz Festival in Switzerland.

Later he worked with Carlos Santana’s rock band, in which he remained for 17 years, until his retirement from artistic life in the 90s.

He possessed a great capacity to obtain the most unusual sounds of the bongo and the tumbadora, and distinguished himself for his extraordinary solos on both instruments.

He died on April 14, 2014 in California, United States, as a result of pneumonia.

 

Fuente: https://kripkit.com/armando-peraza/

This is Josean Rivera and his incredible talent in salsa and other genres

How it all started

Today we are going to talk with Puerto Rican composer and vocalist José Manuel Rivera Rivera, better known as Josean Rivera (https://www.facebook.com/unsoneroparaelpueblo). Pleasure to meet you, Mr. Rivera, how are you doing? It is lovely to have you here.

Thank you so much for the invitation. Thank heaven I’m fine and I hope you’re too.

This is Josean Rivera, Puerto Rican composer and vocalist

Your name is José Manuel Rivera Rivera, but you are known artistically as Josean Rivera. Where does this name come from?

That’s a nickname my parents called me since very early childhood. I don’t know where it came from because my name is José Manuel. Instead, Josean is almost always used for people named José Antonio or José Ángel, but I’ve always been called that and ot still is (chuckles).

And you are still called that way to this day.

Yes, to this day. This is so.

I understand that you knew your calling as a vocalist when you were 15 years old. How did this happen?

More or less. I became interested in music long before that, but I liked percussion instruments such as the conga or the timpani. Through some friends, I met Miguel El Pollo Torres from El Gran Combo de Puerto Rico and used to go to the patron saint festivities. When I saw the dynamic Charlie, Papo and Jerry had when singing with El Gran Combo, I said I like that, let’s see what can be done.

In one of your most recent songs, you paid tribute to Raphy Leavitt. What did this pianist and La Selecta represent for the rest of your career?

A very important stage because it was my first participation in a renowned orchestra. I had many experiences and learned a lot from him, Sammy, Carlitos and the rest of the membership. They were like a family.

I understand that you were in medical school and, later, in the army. How did you combine these activities with your role as an artist?

I started studying medicine and then I understood it wasn’t my thing, so I joined the army. Everywhere I went, I always found local orchestras playing traditional salsa or covers. Also, working in the U.S. Army is not like that of other countries where soldiers are not allowed to go out and spend locked up. In our case, it was a normal job like any other, so we were able to engange in other activities with no problem.

However, when we had to travel to other places, we had to get some time off of work, take a vacation and stuff like that.

Raphy Leavitt and La Selecta were very important for his carrer

Music and the army

Many of your Puerto Rican-born colleagues also followed the military path when they go to the United States. Did you find any of your colleagues in the army? If so, did that help you or influence you in any way?

By sharing some time and being part of many shows with people from the armed forces or international singers who were going to perform where we were, I was able to sing with them and do the chorus for them. I think that helped me a lot.

I read that it was in the year 2016 when you decided to found your own orchestra. What led you to that? What made you then become a soloist?

What happened is that I belonged to the orchestra of Raphy Marrero, so I recorded two albums with him. The thing is that I was moved from one base to another, which made it very difficult for me to meet with the orchestra and do my activities with them, so I decided to try something by myself and see how it went.

Do you feel that you have achieved your goals or still have a long way to go?

We have achieved a great deal. As a soloist, I have made four musical productions and am working on the fifth one. We have already selected the songs and the arrangements, so we are going to start recording very soon.

The dream of every artist is to be able to play on stage and, owing to the whole issue of Covid and quarantine, all the activity decreased, but little by little things are getting back to normal.

You have experienced everything from classical to modern salsa, which is the style you enjoy singing best?

Since I grew up with El Gran Combo, La Sonora Ponceña, Willie Rosario and Bobby Valentín, of course that kind of salsa is my strongest point. I grew up in that environment where salsa is a little braver, but you have to sing anything because you have to try to please everyone.

Josean Rivera loves salsa brava, but sing anything

With what other musical genres have you experimented or would you like to experiment?

In the different orchestras in which I was, I got to sing merengue, bolero, cha cha chá and things like that. I can sing anything. In fact, I’ve come to sing some boleros in my albums as a soloist.

Which of these genres attrack most people?

Merengue and bachata are very popular.

What did you do during the pandemic?

We decided to make a new abum and used all that confinement time to select the songs for the album.

Have you returned to the stage?

I’ve already toured two or three times. I went to Washington, Seattle, Florida, among others. God Lord willing, we’re going to go to Colombia, Peru, Panama, and Mexico. We’re promoting the latest album Esto No Es Secreto.

What advice would you give to young artists who want to devote themselves to these genres?

My advice to those who want to start an artistic career is to dare to do so. The means to get ahead are there. You have to be active, let people get to know you and make promotions in different countries because that is how your music will reach the world. You have to keep moving forward and never giving up.

The biggest problem that these young artists will have to go through, based on your understanding.

I think the biggest problem is that there are no record labels anymore. One of the biggest obstacles is the budget for an album, whether it is a complete production or just one single at a time. It costs money.

Since there are no record labels to support you financially, it’s hard for the newer artists to record their albums.

Josean Rivera singing on stage

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.