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Colors & Notes

Amanda Shaw's New Joie

Amanda Shaw's New Joie

Para español hacer clic aquí ->La Nueva Alegría (Joie) de Amanda Shaw

By Ana Isabel Gil

Louisiana's favorite Cajun fiddler Amanda Shaw releases her new album at a time when everything is on hiatus. The situation of the city, the country and the world move between uncertainty and constant fear, both for the present and the future. Music and art have historically been a tool to connect, to complain, to give our opinion, and share our feelings. And this time is not going to be the exception. We were used to moving in our world so fast that we did not stop to smell the roses, look out the window, listen to a song, read a poem. We were used to just producing. Now there is no other way to do all those things for which there was no time before. Amanda Shaw knows that our life in these moments without art would be up in the air, so she has released her new album to remind us that music and joy are siblings and our allies in times of uncertainty. Here is a letter from Miss Shaw herself:

Bringing joy to Summer 2020 with NEW Cajun music 

Hey y’all,

With so much uncertainty, now, more than ever is the time we come together as a community. While navigating through this unfamiliar space, one thing is for certain – we must continue supporting one another.

As a musician, I know firsthand the healing power of music. I have often reflected during times like these, thinking, “What can I do?” For me, the answer is simple – I can start where I stand by sharing my gift with others.

NEW Summer Music that brings you JOY

The start of summer 2020 is a time of transition, and to me, it feels like a great time to release Joie, my first ever traditional Cajun album! Joie, which simply means JOY, is filled with soul-stirring Cajun music that brings me back to my roots as an artist and gives fans a taste of the Cajun culture we all love about Louisiana. Joie is now available for pre-order by clicking here today. I sincerely hope that Joie brings you the JOY you need in your life!

Mariposas Movement

If you would like to support an amazing cause and add more style to your summer, check out the Amanda Shaw Foundation’s newest initiative, Mariposas Moradas, a beautiful purple butterfly jewelry collection, created by renowned jewelry artist Cristy Cali, and inspired by me. Click here to browse the special pieces that benefit the Mariposas Grant Program, an initiative supporting small businesses with grants through the Hispanic Chamber of Commerce of Louisiana.

 

 

I can’t thank you enough for the support you’ve shown me through the years, and I always strive to give love back to this community with my music. My wish is that we continue getting better and growing stronger by supporting one another.

We are so looking forward to Amanda's LIVE performance during the drive-in concert at Bucktown Harbor on July 4th with friends Flow Tribe and Brass-A-Holics. It's definitely going to be a fun one!

A Conversation with Cristina Perez. Musician, Mother, Activist

A Conversation with Cristina Perez. Musician, Mother, Activist

By AnaMaría Bech

Click aqui para español- >Una conversación con Cristina Pérez. Música, madre y activista.

Cristina Perez is a firm believer that while life is complicated, that is what makes it beautiful. As a New Orleans-based singer and mother to three-year-old special needs son Oscar, she is dedicated to creating authentic music inspired by female empowerment, untraditional motherhood, positivity and inclusivity for all.

With an artists’ drive, she is focused on using her original music to bring light, love and awareness to her community and to give a louder voice to mothers of children with disabilities and rare diseases.

Following the release of her single, “The Sweetest Thing,” written as a love letter to New Orleans, Cristina set her music career aside to care for Oscar full-time. Oscar, or “Oskie,” has endured a one-and-a-half-month stay in NICU and six surgeries. His routine consists of thrice weekly physical, occupational, and speech therapies; he is also globally delayed and tube-fed.

As a result, Cristina and her husband’s lives are forever affected, and she now uses her voice to promote pediatric disability and rare disease awareness. She is Oskie’s champion in proving that he is much more than his medical diagnoses and inspires other mothers in her community to raise awareness, as well.

Cristina returned to her music career last year and released “Lessons I’ve Learned” on August 22, 2019, as an uplifting anthem for special needs mothers to turn to when things get rough – a motivation to remain strong despite what life throws at you. The music video includes four other local mothers who have overcome hurdles like Cristina’s.

Cristina also authors a popular blog called “It’s Not Too Complicated,” where she breaks down the trials and tribulations of motherhood, marriage and everyday life with a special needs child.

Currently splitting her time between New Orleans and Washington, D.C., Cristina sat down with VIVA NOLA to talk about her music career:

VN: Your biography mentions Miami and New Orleans being your two homes. Tell us about your connection to both cities.

CP: I was born in New Orleans and lived there until I was 12, when we moved to Miami for my dad’s new job. Although my dad is Cuban, he spent most of his youth in Puerto Rico and eventually went to undergrad and law school at Loyola New Orleans. I also attended Loyola University

VN: When did you start your music career?

CP: I asked for music lessons at six or seven years old — the first time I touched a piano, I just knew that’s what I was going to do. Music was everything to me. Music and volleyball. I joined the schools’ chamber ensemble in high school. It was the experience of playing in the orchestra pit that made me realize that I had to do music for the rest of my life. I ended up choosing a path in Music Therapy at Loyola University, which is what brought me back to NOLA in 2006.

VN: Which artists have influenced your music?

CP: Growing up, I was obsessed with Alicia Keys, John Legend, and Christina Aguilera. I used to learn their songs on piano and belt out singing my favorite songs when no one was home. I also listened to Norah Jones, Diana Krall, and

Michael Bublé. My favorite singer of all time is Ella Fitzgerald - period. She’s everything to me. In college, I was exposed to a lot more jazz — Esperanza Spaulding, Gretchen Parlato, Nina Simone, Nancy Wilson, Django Reinhardt — to name a few. My primary instrument in school was Classical Piano, and I took Vocal Jazz lessons from the famous Leah Chase.

VN: What about your Latin music influence?

CP: In New Orleans, I didn’t get the exposure to Cuban culture like I did in Miami.

I learned Spanish visiting with my grandparents in Puerto Rico and my dad taught us a bit as well. Most of my childhood exposure to Cuban and Latino culture was through music. Every weekend, my dad would drive us out to the pool or to the movies, and he’d play Gloria Estefan, Ricky Martin, Albita, Gypsy Kings, Thalia — all the greats. I would study the lyrics in the CD inserts (written in Spanish) and sing along, learning phonetically how to pronounce all the words. That’s probably the most effective way of learning languages for me — music. When we moved to Miami, we couldn’t help but to be immersed in Cuban culture. It was there that I learned the most about my heritage — Noche Buena, pastelitos, Celia Cruz, Buena Vista Social Club, Carlos Vives, reggaeton — these were all new to me! I was able to build a network of friends through playing music and playing volleyball, mostly with other Cubans. To them, I was the Southern girl — and in New Orleans, I’m the “Latina”. Honestly, I identify as a little bit of both.

VN: How did you start performing in New Orleans?

CP: I was neighbors and good friends with trumpet player Gordon Au, who introduced me to my husband. They played in a traditional jazz band called the New Orleans Moonshiners. There was a period where I started performing that style of music as well. Then, in 2012, I landed the lead female role in Jump Jive and Wail! - the Louis Prima tribute at the National WWII Museum. When I wasn’t performing at the museum in one of their shows, or as a “Victory Belle”, I was performing for private events with my own band. I have a huge place in my heart for music of the 1940s. Louis Prima, Duke Ellington, Count Basie, Glenn Miller — the music is timeless and downright legendary. It’s my favorite era of music.

VN: Tell us how your album “The Sweetest Thing” turned into a love letter for New Orleans?

CP: Most of the songs on the album were love songs written and performed in the style of Diana Krall and Norah Jones. It was very representative of what you would get from my live performances. I love that album. For the video for the title track, “The Sweetest Thing,” I was working with a creative team — and we figured turning the song into a love letter to the city would bring about positivity and connect our community through their love of the city. I’m all about connecting people through music.

VN: Any memorable local performances you want to mention?

CP: I’ve had some really fun experiences sitting in with my husband’s band at French Quarter Fest, and I finally performed with my own band in 2015. I also really love performing at City Park’s music series — the audience is super attentive and appreciative. I was really honored to sing the National Anthem at a Saints Game once with the Victory Belles for the Veterans Day game. That was intense - 70,000 people in the stands and another 20 million watching on live television! The first run of “Jump, Jive, and Wail!” was so much fun. It was my breakout role for theatre — and because Louis Prima was a NOLA native, we were sold out every night for the three-month run.

VN: How has music empowered you for coping with the challenges presented by your son Oskie’s special needs?

CP: While I was pregnant, I thought I would get so inspired to write new music after giving birth. Things were so hectic and challenging the first three years — I didn’t write a single thing. I mostly listened to music as a coping mechanism, a way to process what I was feeling when I didn’t have the words yet. When I was angry, I’d listen to “Break Stuff” by Limp Bizkit. When I was in the NICU with my son, I listened to “Bedroom Fans” off of local guitarist’s Russel Welch’s “Mississippi Gypsy” album. It was so soothing — and not too stimulating for my preemie. I had it on repeat for a long time. My background in Music Therapy definitely came in handy in implementing therapy techniques I learned from Oskie’s physical, occupational, and speech therapists, and also has given me skills in interpreting nonverbal communication — which is crucial for my son who is (at least currently) non-verbal.

VN: You finally got back into writing and singing. Tell us about your latest single.

CP: My latest single, “Lessons I’ve Learned” was the first song I wrote after having Oskie — three and a half years after giving birth. It’s the musical version of what I would tell myself to get through tough hospital visits or bad news. “Lessons I’ve Learned” is an anthem to others who have faced adversity and have or are working towards overcoming them. These last three years with my son, have made me a stronger mother, wife, and a woman, and I want to use my creativity and art to give a louder voice to those with loved ones with disabilities.

VN: How has motherhood changed your music?

CP: As far as my songwriting approach goes, I’m writing more in detail about my personal experience. Now, I’m letting it all out. My new music has more variety in styles and moods. I’m also doing some co-writing, letting others help me turn my ideas into a reality. It’s very reflective of my experience as a mother — knowing when you’ve done what you can, knowing your strengths, and then knowing when to ask for help. It takes a village. I’m also toying around with some electronic music and branching into more contemporary and pop styles — although my music will always have some sort of jazz influence.

VN: Are you ready to move permanently back to New Orleans?

CP: NOLA is still home to me, but we have bounced around the past few years for my husband’s clerkships in Birmingham, AL, Wyoming, and now we are in Washington, DC. We are planning on moving back to New Orleans! September 2020 is our projected return date.

VN: Are there music related plans for when you move back?

CP: I’ve been doing a bunch of songwriting and would love to release some new music. I’m hoping to make another music video and get back to performing. I’d also really love to write songs for other artists and focus on doing more collaborations. I know I will always use my voice, my music, to advocate for my son and for other parents in similar situations. The beauty of music is that it transcends language, age, race, ethnicity — it’s the ultimate universal language. I can’t wait to share what I’ve been working on.

Stream “Lessons I’ve Learned” and support Cristina by following her on Instagram @CristinaPerezEdmunds, on Facebook, Cristina Perez Music, or read her blog itsnottoocomplicated.

Doctor Nativo de Guatemaya

Doctor Nativo

By Jorge Fuentes

Click aqui para español- > Doctor Nativo

Imagine an explosion of music so powerful that, as soon as the first beat plays, the entire audience begins to dance. That happened on a Thursday night last month here in New Orleans when Doctor Nativo gave his live performance at the Hi-Ho Lounge.

Doctor Nativo suddenly appeared on stage accompanied by his four band members, and after lighting a candle, he began to play, sing, dance, and tease with gestures and hand motions that made those in his presence immediately give in. Before half of that first song, we were already bewitched, dancing, jumping, sweating with the same freedom and joy as children playing in a field.

Doctor Nativo is originally from a beautiful Central American country that he calls Guatemaya. He earns his audience one by one, pulse by pulse. He overflows an impressive energy and infects us with his subtle smile during a performance forged with such care that it appears spontaneous.

This is the way Juan Martinez, the artist behind the Doctor Nativo character, has achieved the artistry that singles out the masters: he makes us believe that what we are seeing is reality, and that any of us could do what he does. He knows how to take his audience where he wants. He integrates lyrics and music with his and the band’s attitude on stage, leaving nothing to chance, but nobody notices.

“Doctor Nativo knows how to take his audience where he wants. He integrates the lyrics and the music with his and the band’s attitude on stage, leaving nothing to chance.”

At least half of the audience present that night did not speak Spanish. It was my impression that many of us in the audience were seeing him perform live for the first time, yet we all had the feeling of being amongst friends.

Martinez had the guts to confess to his parents at a very young age that he will drop out of school to devote himself to music. In a surprising turn, they decided to support him, on the condition that he dedicated himself to music with determination. “They said they wanted to see me practice until my fingers bled,” he tells us. So, he did just that, and began participating in events known as “kermeses” in his homeland, playing in recognized bands in Guatemala like Mariposa Negra, and later on, performing outside Barcelona with the band Barrio Candela he formed in the Spanish city. It is around that time when his emblem song “Guatemaya” got released.

Living outside of his home country, he kept running into the same scenario. “Every time I introduced myself to someone, when I told them I was from Guatemala, they answered me with the usual saying, ‘Ah, from Guatemala to Guatepeor,’ and I didn’t like that,” said Doctor Nativo. [Meaning “from Guatebad to Guateworse,” a wordplay of the ending syllables of the country’s name.] “It never seemed positive to me, so I decided to give it a spin and honor our Mayan ancestors with the word Guatemaya. And that’s how it stayed,” he tells us.

“The amalgam of reggae and cumbia with a touch of hip-hop in a high-dance acoustic performance” is what made local promoter John Driver bring the band into the city.  “He’s very charismatic,” added Driver.

The most recent album is precisely titled Guatemaya and was finally released in 2018. The tour in support of the album has taken Doctor Nativo through several cities in the United States and Canada and culminates on December of this year.

Doctor Nativo’s band is currently comprised of four more members, including his wife, and his cousin. “I hope I am known as someone who gives himself without asking for anything in return,” says the Doctor who shares his time between Guatemala and Miami.

Driver, the local promoter, has been convinced of the power of Doctor Nativo. “My hope is to bring him to New Orleans again in January,” he hints.

Margie Perez

Margie Perez

Click aqui para español- >Margie Pérez

By Jorge Fuentes

Margie Perez gets to do what she loves in many ways. As a singer and songwriter, she performs around town in different settings and sings in several genres.

She likes to perform her own songs accompanied by a guitarist or a small group, she enjoys singing back-up vocals when her musician friends invite her, and she loves to make people dance when she’s leading her Latin band, Muévelo. 

“I don’t come from a musical family, but my mom had music around me all the time,” she says.  

Born in Washington D.C. to Cuban parents, Margie came upon her calling one night when an acquaintance heard her sing and told her about a band that needed a vocalist.  

Shortly after that, she ended up traveling to New Orleans for Jazz Fest and began visiting the city regularly. She was invited by Marva Wright, a famous local blues singer, to be one of her back-up singers, and Margie moved here permanently. 

Margie survived Hurricane Katrina. She has recorded two albums, and now performs a few times a week all around the city, enjoying the camaraderie of her fellow musicians. “I love it when a musician takes one of my songs and adds something distinct to it,” she says, smiling. “I love the writing process, I love to write with other people, I love to sing, and I love to sing with other people,” she said.  

Muévelo started about three years ago, when presented with the opportunity to play a tribute to Celia Cruz.  “That first gig was unforgettable,” she says, “I had no idea that there was this other side of me that came out when I sing in Spanish.” The 10-piece band has musicians who come from all over Latin America and they perform every month at a local venue in the CBD.  She explains that the music business can be difficult, but it is also rewarding.  

“As a musician, you have to wear a musical hat, but also a business hat,” she said, adding “music is so healing for me.  I love it when people dance, I love to see a dance floor full of happy people.”

YOCHO Band

YOCHO Band The New Orleans’ Salseros 

By Jorge Fuentes 

Click aqui para español- >YOCHO

The creation of the salsa band Yocho took place in New Orleans like many things tend to happen around here: by coincidence.

Th e band was formed two years ago by a group of friends who are all fans of Latin music. Some of its members had visited Colombia recently and had discovered salsa music, so they decided to form a band to expand their love for this genre. All seven members use an alias name, which is interesting. Their founder, who goes by Gigante, says that once they realized they had a strong interest in common, putting the band together resulted very organically.

The peculiar name for the band comes from the counting of times, in Spanish, before the music starts (and one, and two, and three), or something like that. They prefer to leave that name, and their own names, in the murkiness of legend.

What we know clearly is their love for playing and creating music from their own point of view, but without getting too far from the established patterns. And the dancing public supports them, since they have fans who follow them faithfully each time they play live.

During a recent radio interview, they presented their first original song, titled “Marisma,” in which, according to Grillo the vocalist, “we try to illustrate the tension in love before the moments of tenderness.” But it’s not a tender song, it’s rather a rush of energy typical of young age.

Their immediate plans include several gigs around the city and a festival in June. Yocho wants to keep on playing and creating music that brings joy to people. 

More information about Yocho Band is available on their Facebook page at facebook.com/yochoband

Los Cenzontles

Los Cenzontles

By Jorge Fuentes

Click aqui para español- >Los Cenzontles

If music reflects the soul of a people, then the band Los Cenzontles is one of the clearest representations of Mexican identity in the U.S. Eugene Rodriguez is the director; he began the band as part of an artist-in-residence program he was working on in Richmond and San Pablo, California, north of San Francisco, where his family has lived for three generations.

“We started to share traditional music and dance with the kids and teens in the area,” Rodriguez said, and made it clear that having good results was important. “We were in a tough neighborhood at the time, and we began to see a huge influx of Mexican immigrants,” he said, so he founded Los Cenzontles Cultural Arts Academy to promote traditional Mexican music, and in this way “the cultural work was helpful.”

The band became the focal point for the rest of the work carried out by the academy, which keeps a strong sense of community. The other members of the band began as students at the academy. They share their work with the rest of the world online, where they feature a collection of hundreds of videos of their performances.

Even though they don’t tour much outside of San Pablo, they have recorded 29 albums and bring a lot of musicians as guests, and have also collaborated with artists such as Ry Cooder, Linda Ronstadt, Taj Mahal, and The Cheftains.

This month, they are the artists in residence at Preservation Hall here in New Orleans. “I’m excited about New Orleans,” said Rodriguez. “It’s really a special opportunity for us. We want to maintain our links to Mexican traditions through music, so that people realize that we are all connected. We love to share the beauty, the pride and the quality of our music, and we want people to understand the historic and current connections that bring us together; that is important to us,” he said.

Caroling in Jackson Square

Caroling in Jackson Square

By Jorge Fuentes

Click aqui para español- >Villancicos en Jackson Square

One of the brightest traditions for the Christmas holidays in New Orleans turns the French Quarter into a huge choir of people who get together to sing the songs of the season illuminated by thousands of candles.

It works like this: The crowds start showing up on the evening of the event at Jackson Square, usually about 10 days before Christmas, and wait for the gates to open. Once there, each person is provided with a free candle and a songbook and after a brief ceremony on a stage in front of the cathedral, the music starts. You do have to be there early ready to wait in line since the singing begins right on time, and the whole thing is over within the hour.

“Imagine a sea of people you just see candles,” said Sandra Dartus, a member of the group that organizes the event. “It’s such a wonderful feeling, a sea of humanity and all these candles, singing and smiling together,” she said.

Patio Planters of The Vieux Carré is the official name of the 350 volunteers who work all year round to raise the funds that cover the cost of the candles, the songbooks, and all of the expenses for security and the logistics that allow from 8 to 10 thousand people each year get together in peace, and this has happened continuously since 1946.

In one of those occasions, with bad weather threatening, the Archbishop at the time offered to host the singing at the cathedral to shelter the crowd and that has been the rain plan for a few times already.

This year, Caroling in Jackson Square is taking place on Sunday, December 16 at 7 pm.

Photo credit Vieuxcarreplanters

The World of Alexey Marti

The World of Alexey Marti

Click aqui para español- >El Mundo de Alexey Marti

The presence of Alexey Marti is impressive. He has a thunderous voice, he is a robust man with a guarded but kind smile, a sincere handshake, and a pleasant and entertaining conversation.

He arrived in New Orleans 10 years ago from Havana with the music of Cuba in his arms. Alexey is a percussionist and composer, and currently in high demand in the city.

He started playing the conga drums when he was a child within his family environment, sharing with his uncles, but he plays any percussion instrument placed in front of him.

He knows in depth the African traditions that are passed from person to person on the island. "I'm self-taught," he says. "I studied with Oscar Valdez, ex-vocalist and percussionist of Irakere." As if that training wasn’t enough, part of his education came by witnessing the rehearsals of the members of the renowned Afro-Cuban fusion band, and to rehearse by himself 10 or 12 hours per day. "The virtuoso becomes," he says with great confidence adding the saying "to eat fish you have to get wet."

Marti further studied in the jazz program at the University of New Orleans (UNO). At the close of this edition, he is putting the final touches to his second album, entitled "Mundo."

When asked about the focus of his new work, Alexey says that "it is an album of reuniting with the spirits. This work is more accessible, more folkloric, and it shows how many different things can be done with the root of music," he explains.

The 14 singles that comprise Mundo include compositions influenced by genres such as ballad, samba, bossa nova, and salsa, as well as traditional African, Haitian and Cuban rhythms.

"Anthropology plays a very important role for the musician," he emphasizes. The making of the album also reflects its cosmopolitan aspect, since it was recorded in New Orleans, Miami, New York, Havana, Brazil, Puerto Rico and Spain. The album is being published this November.

When saying goodbye, Alexey tells us that he has another album to come. It will be a salsa one this time, coming in January of next year, which clearly shows that he is a prolific creator. "A piece becomes universal when it can be played in different genres and cultures," he concludes by adding "and when it produces the same feeling in different people," Marti concludes.

 

 

Commemorating

Commemorating

By Jorge Fuentes

Click aqui para español->Conmemorando

In view of the U.S. celebration of Hispanic Heritage Month, we ran a sort of poll with several local artists to find their answer to a single question.  For the chosen interviews, we used as criteria that the interviews came from professional artists who were not born in this country but who have strong roots in the local community.

Here is the question:  

As a Hispanic living in the U.S., what does October 12 mean to you personally, and in general, what does the celebration of Hispanic heritage mean?

 

Roberto Carrillo. Mexico.  Musician, teacher, and activist. 

In Mexico, it is quite traditional, we grow up hearing the history versions, that we were discovered, that we should be grateful. As I grew up, I realized that I could not celebrate a genocide. How horrible to celebrate our own conquest!  We’re presented with it as if they came to share their culture with us and it became a tradition, it’s like Thanksgiving, we really don’t know what it’s about. I really have mixed feelings because we’re talking about a crime that we used to celebrate with the family during your childhood, and it shouldn’t be celebrated, it’s like celebrating the day Hitler came to power, except the Spaniards were indeed successful.  But here in the U.S., I think it is important, I support the celebration of Hispanic heritage, I have to support everything that gives us a presence, since we have otherwise been erased, dismissed, deported.  We are creating an organization to promote Mexican culture here in the city, and I am going to bring everything I can to support our culture, that is how we’ll protect our roots.

 

 

María José Salmerón. Spain. Choreographer and dancer. 

My mother is Nicaraguan and my father is from the Middle East. I was born in Barcelona, where I lived until I was five, and then I lived in Nicaragua until I was twelve, and I’ve been living in New Orleans ever since.  I think of myself as a Spanish New Orleanian, like a New Orleans transplant. October 12 was always very present, because it signals the time when the Spaniards came to “discover.”  Starting in 1760, our city’s culture changed with the formal rule of the Spanish crown, which influenced our identity, New Orleans wouldn’t be what it is if during those 40 years the Spaniards hadn’t governed here.  We wouldn’t be the same if we were only one race/ethnicity, here we see the mixture of people from Africa, from the Caribbean, from the Mediterranean.  The first record of the word tango, for example, comes from when Gov. Miro used it to refer to the African music that was heard around the city. Here we see an explosion of cultures where everyone can express their identity.  We are all united because we were part of the contribution to who we are today.  October 12 signals the beginning of this country, and the beginning of New Orleans, which is the most special city there is, and that is why I am organizing a social aid and pleasure club, to represent all the facets of Hispanic culture in the city.

 

Hernan Caro. Colombia. Sculptor and visual arts 

My immediate reaction is full of mixed feelings.  When I was in school, it was like a headache, because in Cartagena there were a lot of abuses, history is very clear, the Spaniards forced themselves, they abused the indigenous community. When I was in Colombia, I saw it with a lot of resentment.  Now, I feel it is my duty (to protect) our language, we have to protect it, and I promote Hispanic culture with pride now, Spanish (language) is not appreciated as it should be, and I hope the chance (to represent it properly) iis not wasted.

 

 

José Torres-Tama. Ecuador.  Artist, writer, and activist. 

It’s undeniable that our Latin American people are going through a time of brutal persecution here in the U.S. now.  This makes me think about what it really means to celebrate our Latin heritage, when our people are filling up detention centers, because Latin immigrants are now classified as terrorists for simply trying to escape political persecution.  I don’t see this month’s celebration as a party but as an opportunity to use our voices to rebuke a system that is oppressing our immigrants.  I have no patience for people without conscience, and if we remain quiet before this hypocritical system we’re furthering a new way of supporting colonization. We shouldn’t celebrate Christopher Columbus on October 12 because he began the genocide against our indigenous people.  My next book will talk about the crude reality of being an immigrant.

 

 

José Fermín Ceballos. Dominican Republic. Musician, composer and singer.

Christopher Columbus first landed on the island of Hispaniola, and since then, the Dominican Republic celebrates the colonization, there’s reenactments in the schools, lectures, and memorials in cultural centers where historical points are reaffirmed.  That is how they teach it at school, a manipulated history, not only in the Dominican Republic but in all of our countries.  I have a lot of problems with that, I have a different opinion, I have basic reasons to disagree and I also know the facts. Many of the details presented as facts are refuted by the records, nothing fits, it is the history of abuse and the taking advantage of the indigenous people by the Spaniards. But October 12 here means the recognition of Latinos in the United States, it is the biggest party where I have the duty to celebrate and remember, a time that all Latinos should use to reflect on the power that we have, whether in politics, culture, cuisine, the arts; we must think about the power we already have, and that it is a month in which we must represent the best we can offer.

Photo credit: Facebook

A Blast from the Past

A Blast from the Past

Jose and Jorge Colon from The Almas Band, formerly Almas Gemelas, were visiting town in September.  They’re pictured here with drummer, Gabriel Velasco, on Frenchmen Street.  You can download their latest album, “Funk Defender” at www.almasband.com

Musica Latina

Musica Latina

Por Jorge Fuentes

Click aqui para español->Musica Latina

The record store Música Latina is on its 43rd year of operation in the City of New Orleans and it is probably the oldest Hispanic-owned business that has remained opened and still operates in the city.

The owners of Música Latina are Juan Suarez and Yolanda Estrada. Their store has always been on Magazine Street, although in different locations. Of how his business took off, Suarez said, “I ran into a friend while I was in Los Angeles who gave me a large amount of records and told me ‘here you go, you can sell these’”. Suarez also added, “I told my sister and my sister-in-law to help me and they began to make some phone calls”.

The news about the availability of music in Spanish in the city had such a huge impact among the Spanish-speaking community that all the records immediately sold out. The store officially opened its doors in July 1969 at 2035 Magazine Street, only a few steps from the Happy Hour movie theatre.

Mrs. Estrada, who already knew the Suarez family, began working with them soon after they opened. During its climax, the record store was the main entertainment reference for the local community. The first musical event Música Latina sponsored took place in December 1972 when musicians Los Chavales de España performed at the Rivergate, the most prominent venue at the time, located at the foot of Canal Street, where Harrah’s Casino is currently located.

Música Latina also organized children’s parties during King’s Day. They were so big that the owner of the neighboring theatre began helping by aiding in organizing the party and by showing free movies in Spanish. After the 1976 earthquake in Guatemala, the owners of Música Latina mobilized a network using a shortwave radio transmission with WMJR radio station.

Suddenly, there was a line of people waiting to make a phone call to their relatives that stretched beyond the small radio station studio. After a short recess following a fire, Música Latina opened its door again at 4226 Magazine Street where they remained for a long time.

Música Latina has kept an enviable national and international clientele, even before the advent of the Internet, with fans of all music genres that came from all over the United States, and even in other countries like Germany and France. The owner of a French radio network would travel to the store yearly to buy dozens of records.

When asked about her biggest satisfaction with the record store, Mrs. Estrada responded, “knowing so many people and listening to so much music. It is not just a business, it is a great family”.

Música Latina is  still operating and has been relocated to
1522 Magazine Street, New Orleans, LA 70130
(504)299-4227
(behind Nola Mix Records)

Mofongo

By Jorge Fuentes

Click aqui para español->Mofongo

If you are craving new live performances of Latin music in our city, just order Mofongo!

Mofongo is the most recent project of Spanish singer, Corina Hernandez. Corina visited New Orleans for the first time during her honeymoon a few years ago. Since then, her visits have been more frequent, and her stays lasted a bit longer. Her longest stay resulted in her permanent residence in New Orleans when she, together with her husband, also a musician, decided to move into the city.

Their decision was presumably an easy one. After living in different parts of Europe, Brazil, and New York, Corina discovered a musical gem, stating “I have never been in a place that appreciates music as a part of life so much like here”.

Since their relocation, Corina and her husband, Coyote Anderson, a guitarist and composer, have devoted their craft to performing exclusively live.

First, they created the duo The Co and Co Traveling Show, with the intention of refining their musical abilities in a style that dates back to the earliest decades of the 1900s. In their duo, Corina plays u-bass and sings, while Coyote plays the guitar and a suitcase-made drum. 

Their latest project focuses on the salsa genre. Corina said, “[we] wanted to contribute; we noticed how Latin music is well-received here”. She also added that there are eight members in the band and that Mofongo plays themes from Hector Lavoe, El Gran Combo de Puerto Rico, Ruben Blades, and Celia Cruz, among others.

“I grew up surrounded by this music and I always dreamed of having this kind of band”, says Corina. Anderson plays the base and composes for the band. He notes that “[it] is an ongoing challenge because we keep ourselves very busy, but we are musically fulfilled”.

Mofongo Latin Band started booking regular gigs on Frenchmen Street and the dancing crowds have followed. Dancers prefer to dance to live music as opposed to pre-recorded music, so Mofongo draws large crowds.

And why the name “Mofongo”? Corina explains that this namesake Puerto Rican food staple represents a mixture of flavors, which fits the principle of New Orleans’s culture.  But the ultimate reason may very well be revealed when she says, “I think [it] is so much fun to say it out loud: MOFONGO!”

It is tradition for musicians to have a catchy word or phrase to yell as they are playing their music. A famous example of this is demonstrated by the legendary Celia Cruz in the salsa scene from the popular movie Celia Cruz - Azúcar! Corina honors that tradition with her musical talent and affirms there is no better way to do this than by choosing “a word that means something delicious”.

To find updates on where to find Mofongo’s live performances, you can follow Mofongo Latin Band on Facebook.

Media

Zopli2

Zopli2

By Jorge Fuentes

Click para español - Las Coincidencias

I suppose coincidences do not exist. The duo Zopli2 [so-plee-dohs] visits New Orleans from Spain after a layover in New York on their route to Mexico. Clara Gallardo and Joaquín Sánchez, the artists in the duo, began playing the clarinet at the age of 8.

Both have a passion for the flute and wind instruments in general, and they also share a passion for folkloric music from all over the world. Though they were both born in Malaga, they only met in December last year, when Clara returned to the city after culminating her studies at the conservatory in Holland. Right after they met, Joaquín and Clara began intense work sessions, practicing for 12 hours per day to get ready for their first performance in the city of Granada in January. A person from the audience at that first show approached them to tell them she was also a professional musician, and that she knew the perfect place where they could go and play their improvised pieces in New Orleans, where she lived. This is how the duo ended up with a booked performance at the Sidebar Nola, just before Jazz Fest. Joaquín is a recognized multi-instrumentalist. Among his many projects, he plays in the band Vibra-Tó, an ensemble dedicated to making music with hollow recycled materials.

Referring to the fact that improvisation in their pieces fits perfectly with the improvisation that characterizes jazz--our folkloric music. Joaquín assures “it’s a challenge improvising in a duo" as they need "to accompany and fill the gaps" while it is only the two of them creating all the sounds. Usually, they get most of the attention when performing a piece where they play one flute together!

It was no coincidence that we got to enjoy the talent of Zopli2 at the SideBar Nola in our musical city around the Jazz Fest, a time that brings us amazing music from all over the world.

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