Artist Category: Latin | Page 2

Alejandro Brittes Quartet

Chamamé – just like tango – has been declared as Intangible Cultural Heritage of
Humanity by UNESCO. Argentine accordionist, composer and researcher Alejandro
Brittes, who will tour in the U.S. this September and October, has been declared one
of the foremost contemporary chamamé ambassadors and innovators.

Born of the centuries-long interaction between ritual practices of indigenous Guaraní
and the Baroque music influences brought by Jesuits in the Mission period (16th to 18th
Centuries), chamamé can be conceived of as a ritual that seeks to communicate with
the Earth and the Universe and maintain harmony among humans, through music and
dance that lead participants to moments of trance. Often this ecstasy is viscerally
expressed by participants through a sapucay, a piercing, spontaneous ancestral yell to
release strong emotions pent up inside.

In Buenos Aires, chamamé was discriminated against and criminalized for decades
(much like other popular music such as tango). Alejandro Brittes ́s parents migrated
from the interior of the Province of Corrientes to Buenos Aires, where his father was a
pioneering chamamé event organizer and his mother a chamamé radio host, both
attending to the cultural needs of the rural migrant community in the city. It was in this
environment that Brittes was born and raised, amongst the most-respected chamamé
musicians and ensembles, beginning his professional career at 15 years old.
Chamamé has also been described as a “danced prayer”. Performed in 6/8 time, a
meter that is widely used in diverse human societies to enter into trance and
communication with the Universe, the musical elements of chamamé reflect its ritual
origins and spiritual values of its originators, forged in the context of the Missions,
crucibles of effervescent intercultural musical activity.

The chamamé guitar maintains a percussive mantra that is reminiscent of Guaraní
ritual music, and the accordion – with its expressive power – employs its low left-hand
to connect with the Earth and the human realm, and its piercing right-hand melody to
reach up to the Universe and the Divine. Embraced dancing couples circle around the
outdoor spaces where chamamé is traditionally performed, at times breaking into
percussive footwork to accompany the music. The accordion evokes the bellowed
Baroque organs constructed by skilled Guaraní artisans in the Mission period, a period
that was violently cut short by the imperial aspirations of Spain and Portugal in the late 18th Century.
Brittes ́s latest artistic work is focused on exploring, evoking, and innovating upon the
ancestral heritage of chamamé, which has survived great challenges throughout history
to flourish today. Interpreting historical repertoire created in the Missions, and original
compositions, Brittes collaborates with a Baroque orchestra on his project “(L)Este”,
and also performs chamamé classics and original material with his Quartet. Based in
Porto Alegre, Rio Grande do Sul, Brazil, the Quartet is composed of: Alejandro Brittes
(accordion), André Ely (7-stringed guitar), Charlise Bandeira (flute), and Carlos de
Césaro (contrabass).

For 2023 U.S. touring, Alejandro Brittes Quartet is supported by Iber Exchange, a
program of Mid Atlantic Arts with support from the National Endowment for the Arts in
collaboration with Ibermúsicas. In September and October of 2023 the Quartet will be
featured at prestigious U.S. venues and institutions such as: Library of Congress (DC),
The Trust Performing Arts Center (PA), Georgetown University (DC), Queens Theatre
(NYC), Creative Alliance (MD), Levitt Pavilion (CT), among others.

Kiltro

Years ago, Chilean-American singer/songwriter Chris Bowers Castillo moved to the port city of Valparaíso and became a walking tour guide. “I would dress up as Wally and give tours to families and kids,” he remembers with a laugh. “It was great, because I got to know the city incredibly well. I’d walk for hours, then spend the rest of the day partying and drinking, probably way too much. But I also wrote lots of new songs.”

Back in Denver, Chris looked for a moniker that reflected the evocative and subtly rebellious musical concepts percolating in his head, and settled on kiltro – a word used in Chile for stray dogs or mutts. He then teamed up with bassist Will Parkhill and drummer Michael Devincenzi, later inviting Fez García to join the band as an additional percussionist on Kiltro’s live gigs. “I wanted to do a project mixing different styles and aesthetics,” he says. “Valparaíso is my favorite city in the world and will always influence my music. There were street dogs everywhere, and I’m a mutt myself.” Titled Underbelly, Kiltro’s sophomore album crystallizes those dreams and experiences into a post-rock manifesto of dazzling beauty. Its songs combine touches of shoegaze, ambient and neo-psychedelia with the soulful transcendence of South American folk – the purity of stringed instruments, supple syncopated percussion and elusive melodies that define the works of Latin American legends such as Violeta Parra, Víctor Jara and Atahualpa Yupanqui. From the propulsive, chant-like groove of “Guanaco” to the art-pop panache of “All the Time in the World,” Underbelly is the kind of record that invites you to quiet down and listen, savoring every single detail. The album reaches an emotional pinnacle during its second half, when the majestic lament of “Softy” – seeped in exquisite cushions of reverb – segues into the hypnotic reverie of “Kerosene.” It also signals a new chapter in the fusion of Latin roots with mainstream rock, anchoring its sonic quest on a rare commodity: inspired songwriting.

“So much of this album is defined by the conditions that made it,” says Chris. “Our debut – 2019’s Creatures of Habit – has a social, almost communal feel to it, because we played it live time after time before recording. In a way, the songs were troubleshooted in the presence of an audience, then honed in the studio. Underbelly, on the other hand, was made in quarantine. It was just us obsessing in the studio, and we ended up following whatever thread seemed most interesting at the time, which made for an album that is more experimental and creative.”

“We’re trying to make sense of the process as we experience it,” adds Will, who returned to Denver and became part of Kiltro after a few years living abroad. “The way we make music, we’re definitely not interested in dropping singles. Something that Chris and I have in common is our interest in capturing ambient textures that evoke a sense of place. When we first played music together – years before Kiltro – we got microphones and tried to record the sound of water running down a bathtub. It didn’t work out then, but we revisited the same concept on this album.”

Quarantine isolation allowed Kiltro to obsess over every single loop and melodic turn. Now that the band is ready to tour again, presenting the songs in a live setting poses a beautiful challenge.

“We were mixing the album when the question came up: how the hell are we going to do this live?,” says Chris. “Live shows are a real important component of what we do – in a way, it’s the very reason of why we make music. There will be four of us onstage, and I do a lot of live looping. We have two drummers, which helps a lot when you consider the percussive element of this album. I’ve learned that we don’t have to favor a maximalist approach. People connect with melody and the concept. As long as the harmonic elements carry the emotional message across, you can take the songs into many possible directions.”

For now, the release of Underbelly marks a bold step forward in Kiltro’s extraordinary musical journey.

“When we first started the band, I was playing folk songs – focusing on my interior spaces and finding catharsis through melody,” says Chris. “I’ve always been attracted to music that is melancholy and personal. Then we added the rhythmic component, and I realized that having a bit of noise and chaos can add emotional depth. Underbelly reflects everything that happens inside your soul when the world stops on its tracks.”

“We tried a lot of new things on this record,” agrees Will. “We were living through unprecedented times and coming to terms with all of it. The album is a reflection of that. At the end of the day, we wanted to create the kind of music that we didn’t hear anywhere else.”

Eduardo Betancourt

Considered “one of the iconic harpists of this new age,” Eduardo Betancourt is a Grammy-award winning Venezuelan musician, producer, arranger, composer, instructor, and multi-instrumentalist with 30 years of experience in traditional and fusion Venezuelan music.

In 2010, Betancourt won a Latin Grammy Award for his participation on the album “Tesoros de la música Venezolana” by Ilan Chester, and in 2016, he was nominated on the album “Pa’ Tío Simón” with Rafael “Pollo” Brito. At the 2016 Pepsi Music Awards in Venezuela, Betancourt’s personal album, AD LIBITUM, was nominated three times for “Best Artist,” “Best Song,” and “Best Album.” His many accomplishments include more than 100 recordings, and performances with renowned international artists such as: Simon Diaz, Oscar D León, Gilberto Santa Rosa, Danny Rivera, Luis Salinas, Jorge Celedón, and artists from Venezuela.

Betancourt founded the duo Luna & Betancourt (piano and harp) with Gabriel Luna, classical pianist and Chairman of the Department of Folk Music of Argentina in the National Conservatory of Music in Buenos Aires.

As a guest instructor at Berklee College of Music in 2018, he offered a Master Class of Harp and Venezuelan music entitled “Eduardo Betancourt: Venezuelan Harp, from Traditional to Contemporary” through the Latin Minor Studies program led by Professor Oscar Stagnaro. Currently, Betancourt collaborates with the Venezuelan Project, a Latin Jazz group who have performed at the House of Blues and on National Public Radio (NPR), and solo under the name EduardoProject, giving workshops and teaching master classes throughout the world. His courses can also be found online at Harp School.

Betancourt plays on Electric Llanera and Camac EC harps (their design and construction he helped guide for the French harp company, Les Harpes Camac). With his instruments, he explores and applies new sonorities to traditional Venezuelan music, giving his work a refreshing contemporary sound.

“Eduardo Betancourt is undoubtedly a leader in his field… With his acoustic harp, he brings together traditional Venezuelan musical styles. With his electric harp, he expands the horizons of his instrument, carving out new identities for it in the twenty-first century.” -Jakez François, President, Les Harpes Camac

Maurizio Fiore Salas

Maurizio Fiore Salas is an accomplished performer, composer and arranger that has developed a unique style by combining elements of Latin American folklore, Jazz improvisation and Western Classical technique. He is most known for his work with Acoustic Nomads, an eclectic ensemble based out of New England that combines jazz, bluegrass and Latin folklore to produce original and unique music.

Throughout his career, he has performed and worked alongside diverse artists such as Leo Blanco, Paquito D’ Rivera, Eugene Friesen, Jamey Haddad, Mike Block, Nella Rojas, Eduardo Betancourt, Ali Bello, etc. He holds a masters degree in Jazz and Contemporary Music from Longy School of Music, and a bachelors degree in Jazz Composition from Berklee College of Music. He has also received multiple awards from the Latin Grammy Cultural Foundation.

The Iguanas

What if Americana actually encompassed ALL of the Americas? You’d have the Tejano and Conjunto sounds of the Texas/Mexico border region, as best exemplified by the accordion and bajo sexto, the American South’s Blues, Jazz and New Orleans R&B, and the lilting grace and fiery passion of the music of the Caribbean, Mexico and Colombia. You’d also have New Orleans’ premier distillers of this musical mélange, The Iguanas.

Taking their cues from all of the above influences and then some, the band’s music redefines the notion of Americana, crossing cultures, styles, eras… and even languages. It’s as if Rue Bourbon, Muscle Shoals and Plaza México were all within earshot of each other and The Iguanas were the musical conduit between them.

Based out of New Orleans for the past couple of decades — save for a short, Katrina-imposed exile in Austin — the members of the Iguanas have (collectively or individually) played or recorded with everyone from Charlie Rich, Alex Chilton, and Willy DeVille to Emmylou Harris, Allen Toussaint, and Pretty Lights. Their two-decade ride has taken them all over the map musically and geographically, yet the inescapable patina of their hometown infuses every note they play.

Through eight studio albums, countless tours and Jazz Fest appearances, and a flood in 2005 that did its best to take their adopted city with it, it’s a testament to the band’s endurance that the same four guys that started playing in the early 1990s are still together. Joe Cabral is philosophical about the band’s persistence in the face of challenges that would have felled — indeed have felled — lesser bands. “First of all, this is all we know how to do; we’re musicians. But more than that,” he continues, “we respect the power of the band as an entity, and each individual in the band steps up to play his part. When it’s good, that’s really what it’s all about.”

Rod Hodges agrees. “I don’t want to get all heady and mystical about this, but it’s not really an outward reward we’re looking for. We all enjoy playing music, we all get along, and finding a group of people who can say that after all this time is a rare thing.”

The Gaslight Tinkers

African, Caribbean, Funk, Reggae, and Latin grooves meet traditional fiddle music. It’s the genre-bending future of the music of the past. The Gaslight Tinkers’ blend of global rhythms creates a joyously danceable sound around a core of traditional New England old time and Celtic fiddle music, merging boundless positive energy with melody and song. Since its formation in 2012 the band has lit up the East Coast, the West Coast, and the Caribbean, headlining clubs, dances, and major festivals. Playing what The Valley Advocate describes as “Music that consistently fizzes and pops with unexpected textures and turns,” The Gaslight Tinkers’ shows are packed with delightful surprises, elated crowds, and exuberant musicianship.”

Since the band’s formation, they’ve lit up stages and dance floors from the east to west coast and the Caribbean, even debuting on national TV in Trinidad. Independently, Peter Siegel, Garrett Sawyer, I-shea, Joe Fitzpatrick and Emerald Rae have shared stages, played and collaborated with the likes of Pete Seeger, Soca Monarchs of the Caribbean, Noel Paul Stookey of Peter Paul and Mary, The Alchemystics, Alastair Fraser, and other recognized fiddlers around the world. Together, they are a force that will lift your feet and spirits.African, Caribbean, Funk, Reggae, and Latin grooves meet traditional fiddle music and American roots. It’s the genre-bending future of the music of the past.

Larry & Joe

Larry & Joe were destined to make music together.

Larry Bellorín hails from Monagas, Venezuela and is a legend of Llanera music. Joe Troop is from North Carolina and is a GRAMMY-nominated bluegrass and oldtime musician. Larry was forced into exile and is an asylum seeker in North Carolina. Joe, after a decade in South America, got stranded back in his stomping grounds in the pandemic. Larry works construction to make ends meet. Joe’s acclaimed “latingrass” band Che Apalache was forced into hiatus, and he shifted into action working with asylum seeking migrants.

Currently based in the Triangle of North Carolina, both men are versatile multi-instrumentalists and singer-songwriters on a mission to show that music has no borders. As a duo they perform a fusion of Venezuelan and Appalachian folk music on harp, banjo, cuatro, fiddle, maracas, guitar, upright bass, and whatever else they decide to throw in the van. The program they offer features a distinct blend of their musical inheritances and traditions as well as storytelling about the ways that music and social movements coalesce.

Larry & Joe estaban destinados a hacer música juntos.

Oriundo de Monagas, Venezuela, Larry es una leyenda de la música llanera. Proveniente de Carolina del Norte, Joe es un músico de bluegrass y oldtime que fue nominado para un GRAMMY. Larry tuvo que exiliarse a Carolina del Norte y es solicitante de asilo. Joe, después de una década en Sudamérica quedó varado en su tierra natal por la pandemia. Larry trabaja en construcción para llegar a fin de mes. Cuando el ascenso de su renombrada banda Che Apalache se detuvo, Joe pivotó para trabajar con migrantes solicitando asilo.

Actualmente basados en el Triángulo de Carolina del Norte, ambos hombres son multi-instrumentistas versátiles con una misión de mostrar que la música no tiene fronteras. Como dueto tocan una fusión de folklore de Venezuela y de los montes Apalaches en arpa, banjo, cuatro, violín, maracas, guitarra, contrabajo y cualquier otra cosa que decidan subir a la camioneta. Como músicos su programa ofrece una mezcla única de sus diversas herencias y tradiciones, y cómo cuentacuentos demuestran cómo la música y los movimientos sociales interactúan.

Acoustic Nomads

At the crossroads of South American folk music and Northern Americana you will find Acoustic Nomads, a band of rising stars taking the acoustic music scene by storm. Acoustic Nomads interweaves contemporary improvisation and newgrass with folkloric traditions from North and South America, with influences spanning from Appalachia to Argentina. The band’s unique sound is a result of the players harnessing these varied musical interests and joyously exploring uncharted musical territory together.

Since forming in 2019, Acoustic Nomads has headlined performances at WBUR Cityspace in Boston, Club Passim in Cambridge, Hartford’s Baby Grand Jazz Series, Arts at the Armory in Somerville, Barnarts’ Feast & Field Series in Barnard VT, and performed at major bluegrass festivals including Freshgrass, Grey Fox, and Joe Val. Following in the footsteps of world music giants like The Silk Road Project, Acoustic Nomads seeks to change the world through musical collaboration. Acoustic Nomads goal is to highlight the diversity within and commonality between musical traditions, creating curious, compassionate fans of global music all over the world. Their performances maintain the spirit of folkloric music while delving into modern jazz improvisation and sophisticated chamber music arrangements, showing how different cultures can come together and join in the celebration of humanity through art.

Clara Rose – Violin
Karl Henry – Cello
Noah Harrington – Bass
Maurizio Fiore Salas – Guitar

Sol y Canto

Sol y Canto is the award winning Pan-Latin ensemble led by Puerto Rican/Argentine singer and percussionist Rosi Amador and New Mexican guitarist, singer and composer Brian Amador. Featuring Rosi’s crystalline voice and Brian’s lush Spanish guitar and inventive compositions, Sol y Canto is known for making their music accessible to Spanish- and non-Spanish speaking audiences of all ages.

Sol y Canto’s original songs are distinguished by poetic, often quirky lyrics set in a framework of varied musical styles with surprising twists. They can make you dance, laugh, cry and sigh all in one concert. Their arrangements of classic and contemporary Latin tunes are always fresh and original. With Brian’s commanding, intricate guitar playing, Rosi’s rhythmic drive on cajón and bongos, and liberal use of vocal improvisation, the duo often sounds like a much larger ensemble.

Since 1994, Sol y Canto has brought audiences to their feet from the Kennedy Center to the California World Music Festival, Boston’s Symphony Hall, Puerto Rico’s Museo de Arte and the Philadelphia Museum of Art, as well as countless club shows and house concerts. The Boston Globe hails them as “sublime ambassadors of the Pan-Latin tradition”. Music critic Norman Weinstein of the Christian Science Monitor and Boston Phoenix observes:

“Every Sol y Canto album is a demonstration of what the poet Federico García Lorca identified as deep song. Always they evoke the sensual splendor of simply being vitally, vividly alive in a magical and mysterious universe. Brian Amador is a Spanish modernist poet in the guise of a musician…Together, Rosi and Brian Amador create a musical marriage made in heaven.”

Alisa Amador

Praised by NPR’s Bob Boilen as a “powerful voice whose tender performance commands attention and fosters connection,” Alisa Amador made history in 2022 with the first-ever Spanish language song to win the prestigious Tiny Desk Contest.

Now, two years later, the bilingual singer/songwriter has formally introduced herself with her stunning full-length debut, Multitudes. Recorded with co-producers Tyler Chester and Daniel Radin, the album is a bold, captivating self-portrait, one that serves not only as a testament to how far Amador has come (she’s earned dates with everyone from Hozier and Brandi Carlile to Lake Street Dive and Maggie Rogers), but also as a celebration of where she comes from (her roots span Puerto Rico, New Mexico, Argentina, and New England). Slipping effortlessly between Spanish and English and featuring appearances from Gaby Moreno, Madison Cunningham, and Quinn Christopherson, the collection is raw and vulnerable, at once steeped in devastating loss and uncertainty, but also laced with the hope and resilience of a young woman learning to find her voice and stand her ground. Certainly, Multitudes is a beautiful record—the way Amador’s crystalline voice cuts through the album’s lush synthesizers, dreamy guitars, and cinematic string arrangements is nothing short of spellbinding—but more than that, it’s a fierce work of discovery and affirmation, a profound, revelatory meditation on triumph and loss, endings and beginnings, identity and belonging.