Tag: Latin music

Single Review by William Ruben Helms

New Audio: El Dusty, Ace1, Ratchetón and Harlay Team Up on a Flirty Banger

JOVM mainstay El Dusty is a Corpus Christi, TX-born and-based electronic music producer. He has developed a global following as the pioneer of nu-cumbia, which meshes the rich heritage of Latin music with hip-hop and electronic music. El Dusty’s unique sound is deeply rooted in his upbringing on the American-Mexican border, where Tejano anthems and Chicano soul frequently met the heavy bass lines of reggae and house music.

Renowned for his innovative use of the MPC2000 sampler and for his knowledge and love of deep cut Latin classic, the Corpus Christi-born and-based JOVM mainstay has collaborated with an electric array of artists and producers including Santa Fe Klan, Mexican Institute of Sound and Erick Rincón.

When he’s not in his studio at Americano Label, El Dusy is busy performing on stages around the world and working on major brand projects for Pepsi, Jack Daniels, Red Bull and others.

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Bilingual Salvadoran artist Ratchetón exploded into the Latin music scene with his FKi 1st and Isvir Beats co-produced debut single “Que Lo Que,” which amassed over 350,000 streams while jumpstarting a growing fanbase. His sophomore single “Callate” continued the momentum of his debut, while seeing him spit fiery Spanish bars over a hip-hop club bounce.

The rising Latin artist is currently working with FKi 1st and a collection of top-tonic producers and musicians on his highly-anticipated full-length debut.

Ratchetón and Harlay recently teamed up on the El Dusty and Ace1 co-produced “Aye Papi,” a swaggering banger that’s a loving tribute to the city’s vibrant cumbia scene and the city’s beautiful women that pairs El Dusty’s Tejano-infused nu-cumbia with Ace1’s Larry Levan-like keyboards to create a song that will make you approach that pretty young thing and try to dance with them.

singer/songwriters by William Ruben Helms

New Video: Maga Córdova Shares Sultry “Lluvia (LIKE YOU)”

María Gracia Córdova, best known as Maga Córdova is a Guayaquil, Ecuador-born singer/songwriter, who can trace the origins of her career to her childhood: Her parents taught her that music was arguably the most genuine form of human expression.

Back in 2016, Córdova was a participant on La Voz Ecuador, where she acquired a number of valuable tools both professionally and personally, which helped her to start a solo career, which led to signing with a local record company.

Córdova released a handful of singles, including 2018’s “No Me Dejes Sola,” “Te Lo Buscaste,” “Amor Camuflado,” her hit “Error Tras Error,” and the 2021 international collaboration with Martina La Peligrosa “Cuando Nos Encontremos,” have helped her win a dedicated fanbase in Ecuador. Adding to a growing profile, she has shared stages with Morat, Greeicy, Gian Marco, Noel Schajris, Piso 21, Sebastián Yatra, Mau y Ricky and Luis Miguel.

After a years’ long hiatus, the Ecuadorian artist released three singles last year “Mil Gracias (KARMA),” “Vuelvo a Volar (HIGHLIGHTER)” and “Soy Otra,” which reflected her own evolution as a person and artist, while highlighting female empowerment. Those three tracks topped the Ecuadorian charts, demonstrating both her talent and the connection she has with her fans.

This year, the Ecuadorian artist plans to release a batch of new material that includes her latest single “Lluvia (LIKE YOU),” a slick, dance floor friendly synthesis of Larry Levan-like house, Latin music and Afrobeats anchored around the Ecuadorian artist’s sultry delivery.

The single is accompanied by a gorgeous visual shot at lakefront party that features some incredibly sexy dancing.

Video by William Ruben Helms

New Video: Combo Chimbita Shares Trippy and Meditative House-like “Dímelo”

Acclaimed New York-based Latinx group Combo Chimbita — Carolina Oliveros (vocals, guacharaca), Prince of Queens (synths, bass), Niño Lento (guitar) and Dilemastronauta (drums) — features members of New York-based Colombian folk collective Bulla en el Barrio, and in some way is a sort of related side project.

Combo Chimbita have publicly cited Sun Ra‘s Afro-futurism as a deep influence on their work and overall aesthetic — with the New York-based Latinx group crafting their own take, one, which they’ve dubbed Tropical Futurism. “The idea that the future doesn’t necessarily have to be this super white Western high-tech Star Wars stuff; that the indigenous ideas and culture of people of color, people of Latin America, can also represent a magical and substantial future,” Combo Chimbita explain. “It’s a vision that maybe a lot of people don’t necessarily think about often. The old and deep knowledge that indigenous people have of the land has been neglected for many years as part of capitalism and colonization.”

The band can trace the origins of their genre-defying global sound, which features elements of cumbia, electro pop and Afro-futurism to their late night, experimental jam-driven, year-long residency at renowned, Park Slope, Brooklyn-based world music club Barbés.  Those exploratory jam sessions eventually lead to their self-recorded full-length debut, 2016’s El Corridor del Jaguar. 

2016’s Lily Wen-produced sophomore album Abya Yala found the band further establishing their Afro-futurism-inspired take on cumbia and other traditional Colombian folk styles. Eventually, the acclaimed New York-based outfit caught the attention of ANTI- Records, who signed the band to the label and released their third album 2019’s Ahomale and their fourth album 2022’s IRE.

Recently Combo Chimbita signed to New York-based label Wonderwheel Recordings, who released their latest single “Dímelo,” their first release on the label, and the second in a series of recordings they did with renowned producer Victor Axelrod, a.k.a. Ticklah. “Dímelo” is a dreamy and mediative bit of Larry Levan era-like cumbia featuring a glistening cumbia-influenced rhythm guitar, jazz-influenced hi-hat driven drumming and a strutting bass line, shimmering synth arpeggio bursts and a remarkably catchy hook seemingly guided by Oliveros’ hypnotic wailing.

“Dímelo is an internal dialogue, a sonic representation of what it feels and sounds like to choose yourself. ‘Cuando por fin yo me elegí (I finally chose myself)’ is a phrase that repeats consistently throughout the track. “It’s an honest song,” says Carolina Oliveros, “that speaks on what it means to understand that for however much you may love someone, you can’t force them to love you the same way- that that is love you have to give yourself.”

For the band, in many ways, it’s the first trade in a return to the band’s roots and a hint of what’s to come from them sonically.  

The track will be available on 7″ alongside a remix by Busy Twist in March.

Directed by Andrea Buritica, the accompanying video for “Dímelo” features th members in front of the band in front of projections of VHS fuzz, New York, lighting storms, flowers and more. It emphasizes the trippy yet meditative nature of the song.

Single Review by William Ruben Helms

New Audio: Josbel Figurita Shares Soulful “Qué Difícil”

Josbel Figurita is a Cuban-born, European-based singer/songwriter, composer and performer, who has amassed a highly accomplished career: His full-length debut, En Cuerpo Y Alma, an effort dedicated to French artist Grégory Lemarchal received over 100,000 streams. Adding to a growing profile, Figurita has collaborated with Tito Nieves, Jerry Rivera, Tony Succar, Charlie Aponte, José Alberto El Canario, Willy Garcia, Lalo Rodriguez, Ray Sepulveda, Ismael Miranda and a growing number of beloved Latin music artists.

Figurita’s latest single “Qué Difícil,” is a soulful tune that reminds me of warm, summer afternoons in Corona, East Elmhurst, Bushwick, Spanish Harlem hearing familiar — and beloved — salsa rhythms and big horn lines from car stereos, barbecues and house parties, anchored by a star vocal turn from the rising Cuban vocalist.

Single Review by William Ruben Helms

New Audio: Jupiter & Okwess Teams Up with Flavia Coehlo on a Globalist Banger

Jean-Pierre “Jupiter” Bokondji is a Kinshasa, Democratic Republic of the Congo-born and-based bandleader, songwriter and percussionist, who can trace the origins of his music career to his childhood: Bokondji’s grandmother was a traditional healer, who got introduced him to music by having him attend religious ceremonies and funerals, which he later would play percussion.

His father was a Congolese diplomat, who received a post at the Congolese embassy in East Berlin — and as a result, the family relocated to Germany. While in Germany Bokondji started his first band Der Neger, an act that meshed the Mongo music of his native Congo with the European rock of his German-born bandmates.

When his father’s post ended, the family returned to Kinshasa in the 1980s. Upon his family’s return, Bokondji traveled around the country listening to the music of the country’s different tribes, eventually developing and honing his own style and sound. In 1984, he formed a band called Bongofolk — and in 1990, he formed his best known and longest running band Okwess International, which currently features Staff Benda Bilili’s Montana (drums), Yendé (bass), Eric (guitar), Richard (guitar) and Blaise (vocals). 

In the years immediately after their formation, the members of Jupiter & Okwess toured across Africa, playing a crowd-pleasing mix of Afropop, traditional Congolese rhythms, funk and rock paired with strong sociopolitical messages that Bokondji has dubbed “bofenia rock.” But unfortunately, as they saw increased popularity, a bloody civil war broke out in the Democratic Republic of the Congo. Some of the band’s members fled to Europe as a result of the war; however, Bokondji remained in Kinshasa. And as the war died down, the Congolese songwriter, bandleader and percussionist saw a resurgence of his popularity. 

Bokondji was featured in the 2006 documentary film Jupiter’s Dance. The film brought him to the attention of British producers and musicians: The following year Blur‘s and Gorillaz‘s Damon Albarn and Massive Attack‘s Robert Del Naja first visited Kinshasa. That first trip spurred various collaborations with Jupiter & Okwess opening for Blur and guesting on Albarn’s 2012 album Kinshasa One Two. Bokondji and his bandmates also joined the Africa Express tour and made the rounds of the global festival circuit, including sets at Glastonbury Festival and Way Out West. Adding to a rapidly growing international profile, the act released their then-long-awaited full-length debut, 2013’s Hotel Univers.

In 2013, Massive Attack remixed “Jupiter (Battle Box).” As a result of this breakout success, the band toured across the UK, Mexico, Japan, New Zealand and France.

The Kinshasa-based act’s sophomore effort, 2018’s Kin Sonic saw the band drawing from sounds outside of their homeland, incorporating elements of modern, contemporary music to the mix. The Afropop outfit supported the album with 180 dates across the globe, including performing in the Paris production of Abderrahmane Sissako and Damon Albarn’s opera Le Vol du Boli.

Their third album, 2021’s Na Kazonga saw the Congolese outfit meshing an array of sounds from across the African Diaspora including traditional African music, disco, jazz, New Orleans brass, samba and soul while still remaining committed to conscious, sociopolitical lyrics and a strong sense of purpose.

The acclaimed Congolese outfit’s fourth album, Ekoya is slated for a February 7, 2025 release through Airfono. The album represents a new chapter for the band, as the material sees the band blending their signature mix of soulful Congolese funk, rock and soukous with influences from Mexico and across Latin America, informed by cross-cultural encounters and drawing from the shared history of African people in two continents.

Ekoya was conceived in 2020 when the Congolese band were touring across South America, a tour shaped by the specter of lockdowns and interruptions. Once the tour was finished, the band was forced to pause in Mexico for a period of time, before returning home. For the band, it was a transformative experience, as they found themselves immersed in Latin American culture. “Latin America has influenced us a lot… but our music hasn’t changed, it has just been given a new dimension,” Bokondji says. “When we were there, we discovered things that pushed us to think differently. Because it’s like a continuation of Africa. There are people there who have African roots, Congolese roots – they are part of the story of Africa. They are part of us, and they are a part of our music.” 

Recorded in Mexico rather than the band’s hometown, the album explores themes of change and resilience, of Indigenous peoples’ issues and the joys and struggles of everyday life. The 12-song album features guest spots from Brazilian singer Flavia Coelho, Mexican Zapotec rapper Mare Advertencia and Congolese singer Soyi Nsele — and lyrics in eight different languages. The album sees the band as both proudly Congolese and profoundly global.

The band explains that when it came time to record the album, Mexico was a natural destination with the band recording material in studios in Guadalajara and Mexico City, while working with a series of producers including Mexican Institute of Sound’s Camilo Lara.

Ekoya’s latest single “Les Bons Comptes” is a collaboration with Brazilian vocalist Flavia Coelho that’s anchored around a driving soukous-meets Kinshasa funk rock groove, punchily delivered shouted call-and-response vocals and a soulful contribution from Coelho. While being a soulful and effortless mix of Africa and South America, the song is rooted in the conscious, sociopolitical charged lyrics and warm welcoming spirit the Congolese outfit is known for. But the song is also underpinned by a desire to be the connective tissue and soul of the global African Diaspora.

Video by William Ruben Helms

New Video: Kris Cari Shares Breakneck Banger “No Pasa Na”

Carlos Luis Arroyo Cruz is a Juana Diaz, Puerto Rico-based singer/songwriter and Latin Pop artist, best known as Kris Cari. HIs work simultaneously reflects his Puerto Rican heritage and a diverse range of influences, from Miles Davis to Bad Bunny. Back in 2020, Cruz began working with the production crew at 1Face Music, which paved the way for his debut EP, 2022’s Platinum Waves, an effort that was praised for its unique sound, while helping him gain a devoted following.

“A Donde Fue,” a collaboration with Tunon received airplay from SiriusXM’s Viva Channel.

Last year was a big year for the Puerto Rican artist. “Ojos Tristes” was featured at the San Antonio Film Festival and received praise for its emotional depth. Summertime hits “Invoca” and “Un Verano Mas” managed to captivate audiences with catchy hooks and infectious energy. While “Una Carta Pa Ti” addressed driving under the influence, aiming to raise awareness within the Hispanic/Latino community about a serious issue through powerful lyrics and visuals. His sophomore EP, Arca touched upon love, heartbreak and resilience while drawing parallels with the biblical flood allegory.

The rising Puerto Rican artist’s latest single “No Pasa Na,” is a breakneck and free-wheeling merengue banger featuring a looping, twinkling keyboard figure paired with a chugging rhythm, skittering beats, a remarkably catchy hook and Kris Cari’s swaggering and punchy delivery. It’s the sort of song that would turn a small family gathering into a sweaty dance party that has your neighbors coming to join in.

Directed by Maico Jimenez, the accompanying video for “No Pasa Na,” begins a prototypical Latin family gathering: Some of the women are playing with a baby. Grandma is serving plates of food. Others are playing dominoes. The TV is on, featuring a video within a video. Suddenly, the staid gathering becomes a sweaty party.

Video by William Ruben Helms

Throwback: Happy 66th Birthday, Gloria Estefan!

JOVM’s William Ruben Helms celebrates Gloria Estefan’s 66th birthday.

Video by William Ruben Helms

New Video: Yeisy Rojas Shares Lush and Reverential “A Mis Ancestros”

I’m currently in Philadelphia for the fourth installment of Asian Arts Initiative’s Sound Type Music Festival and Music Writers Workshop. Of course, the show must go on as much as humanly possible. JOVM is very much like the saying engraved on the James Farley Post Office, which now comprises Moynihan Train Hall, “Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds.”

So let’s get to it.

Yeisy Rojas is a Cuban-born, Oslo-based, classically trained, jazz violinist, singer/songwriter and composer. Back in her native Cuba, Rojas received a classical education and performed as a violinist with the National Opera Orchestra in Havana. Her passion for jazz led her to relocate to Norway, where she pursued her Masters studies in jazz violin at Kristiansand‘s University of Agder‘s Conservatory.  The cross-cultural experience allowed Rojas to deepen her understanding of the African influences in Cuban music.

As a solo artist, Rojas’ work frequently sees her blending Cuban music, Latin jazz, funk and more with powerful social messages — in particular, she boldly speaks up against racism in her homeland and elsewhere. Her full-length debut, last year’s Gaston Joya-produced A Mis Ancestros featured the previously released “Mama Ines,” an adaptation of Nicolás Guillén’s 1930 poem “Ayer Me Dijeron Negro” (Yesterday They Called Me Black) that pairs the poet’s words with a breezy and soulful arrangement that meshes elements of Latin soul, funk and jazz in a way that reminds me very fondly of the sounds of parties in the South Bronx, Lower East Side, Corona, East Elmhurst and so on.

Rojas has picked up work as a freelance violinist to support her career, playing events across Norway, Sweden and Denmark while earning multiple invitations to perform on Norwegian national radio. Back in 2022, she opened the International Jazz Day Gala at Oslo’s Nasjonal Jazz Scene, playing in front of a full house. The success of that performance inspired the Cuban-born, Oslo-based artist to create her own international jazz celebration, A Vision for Unity which aims to bring together artists from diverse nationalities to promote unity and peace through music. “We all are a family, and no matter where we come from, the only thing we want to do is to live in peace,” the Cuban-born, Oslo-based artist says. “Not because someone came from a dictatorship means that person is the enemy.”

In just its second edition, Rojas’ Vision for Unity has become a highly-anticipated event on the music calendar for local audiences while garnering increased attention from artists’ organizations across the country.

Earlier this year, the Cuban-born, Norwegian artist was highlighted by Billboard as an emerging start and by Rolling Stone en Español as an artist you need to know. Building upon a growing profile within the international Latin music scene, Rojas shares A Mis Ancestros‘ latest single, album title track “A Mis Ancestros” is a gorgeous and soulful synthesis of bebop-era jazz, salsa, son cubano that not only showcases Rojas’ prodigious talent, but proudly and unabashedly displays a deep, reverential pride for her homeland and her ancestry. The song is a fairly autobiographical story that will be familiar for countless immigrants across the world. The nostalgia for the homeland — the language, the dear ones, the smells, the food — not only sparks memories and comparisons, it also sparks a much deeper appreciation for their culture.

Directed by Marcus Støren, the accompanying video for “A Mis Ancestros” follows a young woman, who has bravely made the journey from her homeland to Norway to make a new life for herself. While looking at an old photo of her mother, she manages to travel back in time to reunite with her mother, who reminds her that she’s beautiful and should be proud of herself; that her skin coloring and her curly hair come from the Motherland; that Black is always beautiful. Through his journey, she meets her ancestors, who welcome and guide her.

Video by William Ruben Helms

New Video: Fort Myers, FL’s La Vibra Norteña Shares Aching “Adios Amor”

Fort Myers, FL-based Mexican music outfit La Vibra Norteña formed back in 2019. And since their formation, the band has specialized in norteño sax — or norteño with saxophone and accordion. Their debut single, last year’s “Mil Veces,” showcased their contagious energy while establishing a distinct take on norteño.

Building upon a growing profile within the regional Mexican music scene, the Fort Myers-based outfit released “Bachata Rosa” earlier this year. “Bachata Rosa” showcased their versatility and growth as musicians while showcasing material that paired emotional lyrics with captivating melodies.

La Vibra Norteña’s latest single “Adios Amor” is a gorgeous bit of norteño that pairs with traditional oompah oompah-like groove the genre is known for with a gorgeous melody and achingly earnest vocals in a heartfelt, bittersweet ballad. If you’re leaving your lover for a period of time — and maybe you’re a bit uncertain when you might reunite, this song will express the hurt and longing you may feel right now.

Single Review by William Ruben Helms

Formed back in 2016, the Austin-based outfit Superfónicos — Jaime Ospina (vocals, gaita, percussion), Nicolás Sanchez Castro (bass, melodica, vibes backing vocals), Nick Tozzo (Congas, tambor alegre, timbales, percussion), Daniel Sanchez (drums, percussion, backing vocals), Chris “Zumbi” Richards (trombone, bombardino), Evan Marley Hegarty (keys), Erick Bohoroquez (guitar, backing vocals), and Andreas Villegas (guitar, backing vocals) — have specialized in a sound that features elements of Colombian funk, cumbia and Afrobeat, informed by the fact that most of the band’s members have deep roots in Colombia.

While highlight the country’s Caribbean coastal sounds, it is also a celebration of the human spirit, telling stories of the displaced, folkloric tales form the countryside, and the reminder to let go and embrace experiences that are more connected to the earth and our ancestors.

The band has played Austin City Limits Festival twice — in 2018 and 2021. They’ve also shared stages with the likes of Ozomatli, Aterciopelados, Jungle Fire, Grupo Fantasma, Brownout, Meridian Brothers, Sudan Archives and Allah-Las.

2018’s Suelta EP was recorded with Black Pumas‘ founder Adrian Quesada, 2019’s Cumbealo EP was record with Spoon‘s Jim Eno, and their full-length debut, the recently released Renaceré was recorded with Grupo Fantasma’s, Caramelo Haze’s and Money Chicha‘s Beto Martinez.

Renaceré translates into English as “I will be reborn” and thematically, the album’s material touches upon rebirth resilience and the cyclical nature of life through the lens of their unique take on Colombian Roots fusion, which owes as much to Africa and the Americas, as it does to Colombia — and the bandmembers’ Colombian heritage. According to the band’s Jamie Ospina, “This record is a celebration of the resilience of the human spirit and life. We all went through hard times in the last 4 years but here we are; breathing, singing, dancing and what not.” Nicolás adds, “The cycle of life and the concept of rebirth play heavily into the theme of the record. Many ups and downs happened during this period, for the band and society as a whole, but ultimately we came out of the process stronger, like a blade forged in the flames.”

The album’s recording process spanned several years, beginning just before COVID-19 lockdowns and concluding earlier this year. Most of the album was recorded at Beto Martinez’s Lechehouse Music, where Martinez captured the sounds and textures of Colombia’s Caribbean Coast with gaita flue and tambor alegre. “We also use the Bombardino (Euphonium) on many tunes. It is commonly used in Colombian Cumbia arrangements but is not as common stateside,” the band says. Additional recording took place at Public Hi-Fi with Spoon’s Jim Eno and Electric Deluxe with Aaron Glemboski.

Renaceré latest single “La Verdad” is a lush and strutting bit of psychedelic cumbia anchored around buzzing and twinkilng keys, shuffling rhythms, expressive horn bursts paired with an incredibly catchy hook and chorus. The song’s narrator tells a tale about a juglar (a troubadour) searching for his lost love and losing his mind. Ultimately, the song — and its narrator — suggests that those who are deemed crazy often hold the truth.

Video by William Ruben Helms

New Video: Miami’s CENCA Shares a Sultry and Buoyant Feminist Anthem

Initially starting her career in earnest back in 2015 under the name Cristina E, emerging Miami-based Latin music artist CENCA released her debut single “Recommitted,” before joining a local band by the name of Lovechild. After a four year stint as Lovechild’s frontperson, CENCA decided to step out into the spotlight as a solo artist.

As a solo artist, the emerging Miami-based artist found and gradually transitioned to a new sound that features elements of Reggaeton, Latin pop and Afrobeats. CENCA’s latest single “Tequila” is a buoyant, sultry and summery bop that reveals a grown and sexy, club and lounge friendly quality — but as the Miami-based artist explains, the song is anchored around a defiantly feminist anthem, featuring a message about freedom and inner strength.

“‘Tequila’ is a song that reflects the struggle to free oneself from a dead-end relationship and find the courage to go against the current.” The song encourages the listener to trust themselves, recognize that they’re enough and leave anything behind that no longer serves them. And the song also encourages the listener to have the courage and clear-headedness to see dysfunctional and repetitive cycles and to break them, in order to achieve significant change.

Directed by Andre Nagle, the accompanying video for “Tequila” sees CENCA recognizing that she’s in a dead-end, dysfunctional relationship and finding the courage to leave it for the comfort, emotional sustenance and support of her friends.

Video by William Ruben Helms

Throwback: Happy 77th Birthday, Linda Ronstadt!

JOVM’s William Ruben Helms celebrates Linda Ronstadt’s 77th birthday.