#Afro-Latin Music

[dustedmagazine]

Montañera — A Flor de Piel (Western Vinyl)

María Mónica Gutiérrez, who goes by the stage name of Montañera, sings softly, blurrily against a minimalist background of electronic and organic sounds. Obliquely, she considers the immigrant experience and her own journey from Colombia to London in pensive, Spanish-language lyrics and, sometimes fragmentary bits of Afro-Latin sound.

Her opening salvo, “A Flor de Piel,” makes a metaphor out of the Columbian adage, “a flor de piel” which describes the sudden rush to the surface of feelings, so that emotion, like the blush that can come from it, seems to erupt directly from the skin. It starts with just her voice, clear but somehow also remote, as she stretches the title phrase into a blues-y slide. Keyboards burble softly in the background, then some string plucks (she plays the kora). She finds her way through the melody tentatively, seeming, in the chorus, about to rear up into a crescendo, but aside from some doubled harmonies, the tune remains subded. The song feels spare—and it definitely gives her singing room to breathe—but there’s a lot going on in the details, a smattering of sharp and smooth sounds.  

There’s very little of her South American roots in the way that song sounds, nor will you find much in “Vestigios,” which follows. This one starts with an oscillating synth sound, long squiggly notes in alternation. Some keyboard chords land at critical moments for emphasis and skitter of perussion rattles to life. But despite these elements, the track is eerie and disembodied. Gutiérrez’s voice is very quiet but cuts right through to the center, like a whisper in one of those caves that directs the sound.

It is only with “Santa Mar” that we begin to feel centered, geographically. The cut is criss-crossed with the chants and cries of Las Cantadoras de Yerba Buena, an all-female vocal group from Colombia and punctuated by the gently syncopated melodies of marimba player Cankita. Even Gutiérrez’s own voice sounds rougher, warmer and more grounded in this cut, less the disembodied spirit more a member of a specific world that has shaped her musically and otherwise. “Como Una Rama,” later on, has the same kind of visceral impact, though its yearning vocals fray at intervals into electronic bleeps and squiggles. It’s also the most uplifting and buoyant of these songs, with lush, multi-voiced intervals that sweep you up in emotion. Which emotion? It’s hard to say. All these tracks have a tinge of melancholy, but also a wide-eyed ecstatic wonder, hurt and spiritual epiphany in uneasy balance.

Gutiérrez’s music traces the remarkable journey she’s made from a traditional, African-influenced, Latin culture to the digital age melting pot that is contemporary London. You might like the warmer, groovier, world-tinged cuts the best (I do) as they filter memory through a space-age skrim, but the electronics are just as real as the call-and-response and just as much a part of Gutiérrez’s art.

Jennifer Kelly

[sonicandvisualsurprises]

1948

[flossytiptin]

Cardi B courtside at The Bucks and The Knicks game

[g1rlmusicfm]

[voxvc]

Made a playlist that gives me Tuliyollal night life vibes

Consists of Latin Jazz & Afro-Cuban music.

[odinsblog]

Willie Bobo • Fried Neckbones and Some Home Fries

[odnel]

"African Fiesta" by The Mighty Odn is a vibrant tribute to Africa’s profound history and enduring contributions to civilization, celebrating cultural pride, heritage, and the powerful legacy of African descendants. 🌍🎶

[claude1966]

(Claude Forgues (dj/producteur))

[katiajewelbox]

Some music I've been enjoying lately.

[importantwomensbirthdays]

Eva Ayllón

Eva Ayllón was born in 1956 in Lima, Peru. Ayllón is sometimes called the "Queen of Afro-Peruvian Soul", and "Peru's Tina Turner". She has had a remarkable five-decade musical career and has released more than 30 albums. Allyón's achievements include 4 platinum records, a sold out Carnegie Hall performance, and a Latin Grammy Lifetime Achievement Award.

[dankalbumart]

Soul Sauce: Memories of Cal Tjader by Poncho Sanchez Concord Jazz 1995 Latin Jazz / Jazz / Cuban Jazz / Global Jazz / Afro-Cuban Jazz / Chachachá / Boogaloo

[cinnamoncee]

[sonicandvisualsurprises]

1947

[timmurleyart]

Mambo trio. 🎹🎻🥁🎺🪘(mixed media collage)🎵

[burlveneer-music]

Bosq & Kaleta - No Be Today - 12 blasts of Afro-Latin disco from Colombia

After 10 years of globally celebrated but only occasional collaborations, Bosq & Kaleta have their first full length album together. On No Be Today the duo is finally able to stretch out and explore their wide range of influences and musical histories. The album seamlessly melds styles from West Africa & it’s diaspora, Caribbean & South American sounds most prominently, with Disco, Funk, Soul, Hip Hop & House. Live Horn sections mix with a blend of acoustic and electronic drums, Kaleta’s effortlessly funky guitar, Bosq’s layers of keyboards, bass & synthesizers, and heavily layered percussion sections that tug at your waistline. Kaleta’s virtuosic melody writing ties the pieces together with infectious chants and socially conscious lyrics that span Yoruba, French, Goun, Fon & English. Kaleta, having played in the bands of both Juju music great King Sunny Ade & Afrobeat pioneer Fela Kuti, brings the first hand experience and authenticity seldom found in todays West African influenced fusions. Bosq, now on his 6th full length album, brings a 20 year run experimenting with updating vintage sounds in the most tasteful way possible, melding Disco & Funk with styles from around the globe. In that time he’s worked on adding his touch to records by Ray Barretto, Orchestre Poly Rhythmo de Cotonou, Toure Kunda, Poolside, Rawayana & more. The record is an ode to these musical histories, with the title No Be Today coming from a Nigerian saying, which explains that this did not just start and this did not happen by chance, there’s lifetimes of work behind this. It’s also a flag planted for a different way of doing things as technology makes the “perfect” & “clean” sound easier and easier to obtain, with AI art slapped on the front. This record is handmade, full of love and feeling, from the music to the incredible art by Brazilian muralist Amanda Lobos that graces the gatefold vinyl. The statement made by this record is that we should still take our time and delve deeply into projects with our whole soul.  Marco Fajardo - Sax (2, 3, 6, 7, 8, 9) Jose Miguel Vega - Trombone (2, 3, 6, 7, 8, 9) Leon Pardo - Trumpet (2, 3, 6, 7, 8, 9) Andres “Bongie” Giraldo - Timbales (4) FLORENTIN KOUDJOU - Trombone (1, 4) TCHANVOEDOU PARFAIT TADAGBÉ - Trumpet (1, 4) ANICET HOUNDONOUGBO - BARI SAX(1, 4) Erlyn Correa - Bass (1, 2, 3, 10) Yuki Kanesaka - Keys, Synths, Organ (2, 4) Wilton Bravo Tascon “El Towii” - Congas (1, 2, 3, 7) Luis Miguel “Papinm” Guerrero - Marimba (3, 11) Hemmy Shout - Trumpet (10) NOAH DREIBLATT - Tenor & Bari Sax (10) Thank you Josephine Ikudehinbu & Salomon Fassinou OROBIYI MOTUNRAYO ABIODUN - Backing Vocals (2, 10) Daniel Biodun - Backing Vocals (10) HORNS RECORDED AT OZANA TRINITE IN COTONOU, BENIN (1, 4) HORNS RECORD AT MAMBO NEGRO RECORDS, BOGOTA (2, 3, 6, 7, 8, 9) All songs mixed & mastered by Caserta

[cavalierzee]

Serpentine Fire