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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.

By:

Omar Valen

Gaby Alvarado

Dj, Augusto Felibertt

Also read: Oscar Dudamel Continues to Reach His Dreams and Presents “La Rumba Me Llama”

Venezuela violinist and former musician in El Sistema Ali Bello has many interesting things to say

Venezuelan musician Alí Bello has become one of the best Latin music violinists in New York, so we could not miss the opportunity to talk to him and learn as much as we could about his fascinating story. The young man has given his best to become a true icon of Latin Jazz in his current city of residence, so do not miss this great conversation.

Ali playing the violin — Venezuelan musician Ali Bello playing the violin live

Alí’s beginnings in the world of music thanks to El Sistema

From a young age, Alí became interested in music, which led him to join the National System of Youth and Children’s Orchestras and Choirs of Venezuela, where he studied classical music as an extracurricular activity. This in order for Alí and his classmates to be busy in any activity until their parents came to pick them up after work.

This was when an orchestra or school of music was formed clase to his father’s work, so Bello was enrolled in these classes from 2 to 5 p.m. after school. So it went for him since he was in kindergarten, and he learned to play the xylophone and the recorder. When the boy was seven years old, the school orchestra located in La Rinconada, Caracas, was officially created, but due to how small Ali was, the only instrument the school could assign him according to his size was the violin, which he keeps playing diligently to this day.

After many years of being part of the National Youth Orchestra, he got ahead with his musical career and decided to go to the United States to continue his university studies and train as a professional musician.

Other instruments besides the violin

In addition to the violin, Alí also plays a lot of percussion, since he considers it very important. He thinks every folk and Latin musician must handle percussion as efficient as possible and each of its rhythms in order to internalize the style they want to play on any instrument.

“Percussion and singing have always fascinated me, so I try to devote myself to both even a little bit, but it is undeniable that the violin has always been my main instrument. I’ve tried to focus all styles and everything I work on towards the violin to turn it into the main element,” the musician added on this subject.

Ali and Gustavo — Ali Bello, his son and maestro Gustavo Dudamel

How the opportunity to study in the United States came about

Initially, Alí was supported by his violin teacher Margaret Pardee, who taught at the Juilliard School and went to Venezuela to give master classes. It was Pardee who encouraged Alí to continue his education in New York, which he finally achieved thanks to the Gran Mariscal de Ayacucho scholarship fund and the Simón Bolívar Musical Foundation.

This is how the Venezuelan artist obtained his bachelor’s degree, master’s degree, and PHD.

At college, he met Johnny Almendra, thanks to whom he discovered genres other than classical music, in which he was not only the performer of melodies but could also create his own music. He then discovered styles of Venezuelan and Latin music that inspired him to explore more varied rhythms different from what he had known before.

He played regularly with Johnny Almendra and his modern charanga group Los Jovenes del Barrio for a time and subsequently played for La Típica Novel and other orchestras. As Alí gained experience in the world of charanga and Latin music in general, he started having opportunities to learn and explore other genres such as Brazilian music, Afro-Cuban music, Latin jazz, and many more.

Collaborations with major artists in the industry

All this hard-won ground gave Alí the opportunity and the honor to collaborate with great artists in the industry such as Tito Puente, Eddie Palmieri, Johnny Pacheco, Rudy Calzado, Pedro Cortés, José Fajardo senior, Pupi Legarreta, and many more. All these figures helped him not only to have a better understanding of the Afro-Cuban style and tradition, but also of the influence of New York on music.

Ali and Pupy — Maestro Pupy Legarreta and Ali Bello

Thanks to this knowledge base, he had the courage to release a record album, La Charanga Syndicate, in which, as the name suggests, he uses charanga and all the influences coming from the musicians he has known and continues to know. For this reason, he feels he now has something to say and bring to the style.

Another important thing for his career was his participation in Jay-Z’s concert to celebrate the anniversary of the release of his first album. The rapper wanted to mark the occasion by playing with a symphony orchestra, so hired many musicians of all kinds to make a great show at Radio City Music Hall in New York. Fortunately for Ali, he was well-known in the music scene at the time, so he was contacted to participate in the event.

In that sense, the violinist is very happy to be in New York, as the world’s greatest artists always take this city into account for their concerts, which gives musicians like him the opportunity to have access to these great figures in the industry.

Ali as an arranger

In addition to being a percussionist and violinist, Ali has also ventured into musical arrangements quite successfully thanks to all the academic training he had received up until then. However, as he became a more experienced professional, he began to notice that his own ideas and thoughts came to life in his work. So, having the theory in his head, he could take those ideas he had had and develop them within the rhythmic and stylistic elements which are willing to use on each occasion.

In addition to that, the artist also works on production and mixing a bit to achieve the necessary sound. He even has his own studio where he plays for his own productions and other artists’ records as a freelancer.

Ali and Juan — Ali Bello and Juan Carlos Formell from Los Van Van in Poland

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

Born in Havana on September 14, 1918, and passing away in Coral Gables, Miami, on March 22, 2008, Israel “Cachao” López, often known simply as “Cachao,” was a Cuban musician and composer.

Israel Cachao López musico y compositor cubano, ha sido definido como el Inventor del Mambo

He became a legend in Cuban music with his masterful handling of the double bass and was renowned for his performances in mambo and Latin jazz.

His talent earned him two Grammy Awards (in 1995 and 2005), a Latin Grammy in 2003, an honorary doctorate from Berklee College of Music, and a star on the Hollywood Walk of Fame.

He has been described as “the inventor of mambo” and is considered a master of descarga (live improvisations).

He began by playing various instruments until he settled on the double bass, which allowed him, as a teenager, to join the Havana Philharmonic Orchestra, where his father and older brother also played.

“Cachao” left Cuba in 1962 with a long list of successes and stated in a 2007 interview that if it weren’t for his compatriot and colleague Dámaso Pérez Prado, “mambo would not have been heard worldwide.”

Israel Cachao López nacido en La Habana, un 14 de septiembre de 1918 y falleció en Coral Gables un 22 de marzo de 2008 en Miami

His first stop was Madrid, where he stayed for a year before emigrating to the United States. In the U.S., he resided in New York City, Las Vegas, and Miami.

López also played acoustic bass with his brother, the multi-instrumentalist Orestes López. They literally composed over 3,000 songs together and were highly influential in Cuban music from the 1930s to the 1950s.

They created the “nuevo ritmo” (new rhythm) in the late 1930s, which transformed the danzón by introducing African rhythms into Cuban music, ultimately leading to mambo.

He won several Grammy Awards for both his own work and his contributions to albums by Latin music stars, including Gloria Estefan. In 1995, he won a Grammy for Master Sessions Volume 1.

In 2003, he won a Latin Grammy for Best Traditional Tropical Latin Album alongside Bebo Valdés and Patato for El Arte Del Sabor. He won another Grammy in 2005 for his work ¡Ahora Sí!

His nephew, Orlando “Cachaíto” López, became one of the pillars of the famous Buena Vista Social Club.

Cachao performed with artists such as Tito Puente, and his music has been featured in films like The Birdcage and the soundtrack of the video game Grand Theft Auto: Vice City.

The Actor Andy Garcia produced a documentary titled Cachao… “Como Su Ritmo No Hay Dos” in 1993 about his music. He also shared stages with Celia Cruz and her husband Pedro Knight, as well as with trombonist Generoso Jiménez.

Leyendas de Nuestra Musica Latina Pacheco, Puente y Cachao

His last musical collaboration was with Gloria and Emilio Estefan on the singer’s album titled 90 Millas.

López passed away on the morning of March 22, 2008, in Coral Gables, Florida, at the age of 89, due to complications following kidney failure.

Cachao y Su Ritmo Caliente – Monte Adentro (2000)

Tracks:

Monte Adentro (Cógele el golpe) (A. Castillo Jr.)
Goza Mi Trompeta (O. Estivill)
Guajeo de Saxos (E. Peñaver)
Estudio en Trompeta (I. López)
Gozar Timbero (O. Estivill)
Trombón Criollo (O. Portillo)
Malanga Amarilla (S. Contreras)
Controversia de Metales (I. López)
Descarga Cubana (O. Estivill)
Pamparana (A. López)
Sorpresa de Flauta (O. Estivill)
Oye Mi Tres Montuno (A. Echevarria)
La Floresta (O. López)
Avance Juvenil (B. López)
Redención (O. López)
Descarga Mambo (D.P.)

Musicians:

Israel López “Cachao” (Double Bass)
Guillermo Barreto (Timbales)
Tata Güines (Tumbadora)
Rojelio “Yeyo” Iglesias (Bongos)
Gustavo Tamayo (Güiro)
Alejandro “El Negro” Vivar (Trumpet)
Armando Armenteros (Trumpet)
Generoso “El Tojo” Jiménez (Trombone)
Oreste López (Piano)
Enemelio Jiménez (Alto Sax)
Emilio Peñalver (Tenor Sax)
Virgilio Lisama (Baritone Sax)
Richard Egües (Flute)
Niño Rivera (Tres)
Roliyo y Reyes (Chorus)

Recorded in Havana, 1957-1958

Cachao y Su Ritmo Caliente - Monte Adentro (2000) — Cachao y Su Ritmo Caliente – Monte Adentro (2000)

The tradition of being musicians comes from grandparents and great-grandparents, all the Cachaos are musicians.

By:

Dj. Augusto Felibertt

L’Òstia Latin Jazz

Also Read: Israel “Cachao” Lopez Sobrado in fame and respect in the seventies was dedicated to maintain the tradition at the highest level

Caesar Vera Y Su Sexteto NuevoSon, traditional Cuban music with a touch of modernity

It is very important for us to show and provide coverage to the most important Latin music artists of today in the United States and now it is the turn of Chicagoan musician Caesar Vera, who very kindly accompanied us in this edition of International Salsa Magazine.

Caesar is the current director of Caesar Vera Y Su Sexteto NuevoSon, which we will talk about later along with other equally important issues for the musician’s career.

Caesar with a bongo — Caesar Vera with his bongos some years ago

How Caesar began his journey in music

Although Caesar has developed his professional life in Miami and currently lives there, he was actually born in Chicago and spent the early years of his life there. His parents arrived from Cuba in 1966 in the freedom flights and, once in the United States, the Catholic Church helped them and placed them in Chicago, where he was born and lived until 1978. Later, the couple divorced and his father went to live in Miami, so Caesar spent long holiday periods together with him in that city.

The path with music for Caesar began in high school, when he became very interested in rock music, to the point of creating a band with some of his classmates. He played the drums and was a huge fan of Led Zeppelin, Kiss, Van Halen, and other groups of that style.

The only connection the young man had with Latin music was his grandfather, who loved to dance danzón and always played Orquesta Aragón records so that they could both move to the beat music in the living room of his house. Although these moments with his grandfather were very pleasant, he did not yet like this kind of music, but that would change over the years.

In Miami, there was a time when there were many Latin bands playing, and every corner had a nightclub with orchestras playing. Caesar and his friends used to attend these places a lot, which led the young man to finally become interested in these genres. This coincided with the arrival from Cuba of his uncle who was a musician and had a band there, which they talked about constantly, and he even taught his nephew to play instruments such as the tumbadora, bongos, timbales, and all minor percussion.

In 1987, what happened was a turning point for Caesar musically speaking, as he finally decided to take Cuban music more seriously and study its history to understand it better.

Caesar Vera and Luis Bofill — Singer and bandleader Luis Bofill and Caesar Vera

Groups prior to Caesar Vera Y Su Sexteto Nuevo Son

Before creating his own group, the wife of a friend who had a group invited him to play percussion with them, a proposal Caesar accepted, and he started playing the tumbadora with the orchestra. Something new in this case was that he had never played with an established band in formal performances, so it was something new for him.

By 1992, he had met the famous Cuban bongo player Juan Méndez, who had played with the Roberto Faz Orchestra, Roberto Torres, and Luis Santi Y Su Conjunto. Méndez told him that he needed a bongo player in an orchestra he was forming at the time and asked Caesar to fill the vacancy, to which he answered yes and remained in the group until 2003, that is, for around 11 years.

In addition to that, he was a replacement in various orchestras in Miami for a while, one of which was Gilberto Díaz Y Su Conjunto Los Profesionales. He was with them for two years, but by then traditional Cuban music, more specifically Cuban son, had captured his full attention. It just so happens that one of his orchestra fellows told him that Norberto from the group Norberto Y Marcela Y El Septeto Caribe called him because they needed a bongo player and asked if he was interested in the vacancy. Caesar did not think twice and went to play with the orchestra even though he did not have much experience with the bongos, but he took the risk anyway. It was with this group that he started playing traditional Cuban music and prepared to do the same once he became independent.

Caesar and his bandmates — These are the band members from left to right: bongo player Caesar Vera, singer Billy Velazquez, tres player Roberto Acosta, bassist Arturo Senti, conga player Hebert Garcia, and trumpet player Orlando Fraga

Foundation of Caesar Vera Y Su Sexteto NuevoSon

Still playing with Norberto and Marcela, Caesar started having his own creative ideas on how to lead an orchestra, but he could not carry them out because he was only a musician who collaborated with the orchestra, which started to bother him and cause him enormous dissatisfaction. One day, his wife saw him stressed and frustrated by the situation, leading her to ask him why he did not become independent and create his own project.

That is when he started thinking about it seriously until, in early 2007, he finally founded the group Fusión 4 with Carlos Alberto “El Flaco”, who had previously sung with Fajardo Y Sus Estrellas, Larry Harlow, and La Fania. They managed to play every Saturday at the Deauville Jazz Club for a year.

However, the sextet as we know it today was created just two years ago because it was costing to Caesar much to find work for such a large orchestra, especially after the pandemic when much of the live music scene fell off a cliff.

Today, some of its members are tres player Roberto Acosta, bassist Arturo Santi, conga player Hebert García, trumpeter Orlando Fraga, and singer Billy Velázquez.

Adrián Joel Rodríguez Rivera is a musician with extensive experience as a Bassist

Adrián Joel Rodríguez Rivera (a.k.a. “AJ”) had his first experiences with the electric bass at 14 years old.

He began formal studies at the Antonio S. Paoli Specialized Music School in Caguas, Puerto Rico, that culminated with a Bachelor’s Degree in Music in Jazz & Afrocaribbean Music Execution with a major in Electric Bass from The Conservatory of Music of Puerto Rico.

Throughout his career, he has played and recorded with musical groups in diverse music genres, e.g. reggae, rock, jazz, urban and tropical music.

He’s had the pleasure of collaborating with artists like Calma Carmona, Yaire, Auudi, Brytiago, Raquel Sofía, Jean Carlos Canela, Galé, among others.

Adrián Joel Rodríguez Rivera (alias “AJ”) gained his first experiences with the electric bass at the age of 14

Presently works from Puerto Rico and has performed in the United States, Colombia, and Ecuador.

The History of the Electric Bass

The history of the electric bass is intrinsically linked to the need for a more practical and amplified alternative to the bulky double bass, especially as musical bands grew larger and louder.

The Early Steps and Paul Tutmarc (1930s)

Although there were some earlier experiments, the first functional electric bass is considered to have been developed by Paul Tutmarc in the 1930s. In 1936, his company, Audiovox, launched the Model 736 Bass Fiddle.

This instrument featured a guitar-like design, with a solid body, frets, and an electromagnetic pickup, making it easier to transport and play compared to the double bass. However, Tutmarc’s invention was not a great commercial success at the time.

Leo Fender’s Revolution (1950s)

It wasn’t until the early 1950s that the electric bass truly took off, thanks to Leo Fender. Seeking to solve the problems of size, volume, and tuning of the double bass, Fender applied his expertise in electric guitar manufacturing to create an innovative instrument.

In 1951, Fender launched the Precision Bass, the first mass-produced and commercially successful electric bass. Its design was robust, with a solid body and frets (hence the name “Precision,” for the tuning accuracy the frets offered). This bass quickly became a standard, used in a wide variety of musical genres, from soul and R&B to rock.

Later, in 1960, Fender introduced the Jazz Bass, which offered a slimmer neck and two pickups (one near the bridge and one near the neck), providing greater tonal versatility and a sound that many jazz musicians found closer to the acoustic double bass.

Expansion and Evolution (1960s Onward)

Throughout the 1960s, other brands like Gibson, Höfner, and Rickenbacker also began manufacturing their own electric bass models, flooding the market with new options. The popularity of the electric bass grew exponentially, solidifying its place as a fundamental element in modern music.

The 1970s saw further experimentation. Preamplifiers began to be integrated into instruments to expand the tonal range, and multi-string basses emerged. In 1974, bassist Anthony Jackson and luthier Carl Thompson collaborated to create the first six-string bass, with the goal of expanding the instrument’s sonic range.

From the 1980s onward, innovation continued. 5 and 6-string basses became popular, as did active circuits and “boutique” basses from specialized luthiers. Designers like Ned Steinberger introduced headless basses and experimented with materials like carbon fiber. Influential musicians like Jaco Pastorius brought the fretless bass to the forefront, and techniques like “slap” and “double thumb” were developed and popularized.

Today, the electric bass continues to evolve, with a vast range of designs, configurations, and sounds, adapting to the needs of the most diverse musical genres and the creativity of bassists worldwide.

He began formal studies at the Antonio S. Paoli Free Specialized School of Music in Caguas, Puerto Rico.

Also Read: Charlie Haden was an extraordinary double bassist and composer who was a key figure in the history of modern jazz