Album & Concert Review, Dos Santos Anti-Beat Orquesta

By Don Macica

I first heard Dos Santos Anti-Beat Orquesta almost by accident. I was at a street festival in my neighborhood to check out a few other bands, but managed to get there earlier in the day. I saw that a band playing “psychedelic cumbia” was on at 2pm. It’s hard not to be curious with a description like that, so I was sipping a cold beer on a July afternoon when a stripped down quintet hit the stage and poured through an energetic 45 minute set of mostly instrumentals. Its vintage Latin groove was irresistible as it rocked and snaked through a set list of covers and a few originals. I had never before heard anything quite like it.

In a kind of ‘neighborhood pride’ post on my Border Radio blog about the festival, I wrote the following about them: “I’m told that the band has only been together a couple of months, but they were remarkably tight, and I’m very eager to hear what they do as they write more songs.” I made it a point to keep track of them. They’ve written more songs. It’s a good day for Chicago.

Flash forward less than two years and the band has just released a full length self-titled CD along with a vinyl only 7” single through Sonorama Discos , a brand new label created by the crate-digging DJ crew of the same name. Their vinyl-only vintage Latin aesthetic was a great match for Dos Santos’ sound, prompting them to work together to put out their first ever record.

On March 20, Dos Santos and Sonorama unleashed the new record with a live concert celebration at Martyrs’. I saw Dos Santos at Martyrs’ once before, when they opened for the Brooklyn hipsters Chicha Libre. As is typical for an opening act, they turned in a solid set, determined to add a few more souls to their fan base. And although that appearance was less than a year ago, the band that took the stage last Friday night seemed miles beyond what I had previously heard from them.

Sonorama, Dos Santos and friends at the Punch House Private Listening Party.
Sonorama, Dos Santos and friends at the Punch House Private Listening Party.

Simply put, Dos Santos owned the stage, pouring out everything they had in a tightly scripted hour and a half set. Everything was on the line, and the band met the challenge head on. What was different? Well, for starters, they have fully integrated Puerto Rican conga player Peter “Maestro” Vale into their sound. A salsa and Latin jazz veteran, Vale’s effortless swing fully tropicalizes the band’s sound. A bit of history – Dos Santos’ original inspiration was not Colombian cumbia, but its variants as it migrated across Latin America (including, but not limited to, Peru) and encountered other influences, including a 70s electric rock sound. Make no mistake, Dos Santos is still a rock band. The twin guitar attack of Alex Chavez and Irekani Ferreyra soars, hums and slashes (Chavez also doubles on vintage 96 Tears-style Tex-Mex organ runs) while the fluid rhythmic foundation of drummer Daniel Villarreal-Carrillo and bassist Jaime Garza moves everything forward. But now there is also a pronounced feel of Afro-Cuban son and Puerto Rican bomba in the mix.


The new CD features two guest artists, and Dos Santos wisely invited them on stage as well. The sonic and visual touches that they brought were unmistakable. Accordion player Mercedes Inez Martinez approaches her instrument something like a harmonium, providing a floating, echo-laden drone that to these ears brings to mind the Pakistani devotional music of Nusrat Fatah Ali Khan. Meanwhile, vocalist Ana Santos harmonizes with lead vocalist Chavez, rounding off his dry sound for a different feel and texture. She also, on the more tropical numbers, provides smooth salsa dancing moves like a one woman front line from an old school mambo orchestra.

The new songs that they’ve written benefit greatly from these new elements as well as the band’s increased confidence. Corre Caballo does indeed gallop along briskly. Los Discipulos and Guerra Fria benefit greatly from Carlos Santana like intensity on Ferreyra’s solos. El Sabotaje starts out with a funky groove before abruptly switching gears into a classic cumbia rhythm. Roberto’s Lament and La Cumbre del Apogeo slow things down a bit but keeps the insistent pulse of a heartbeat. (todos somos), listed on the CD as track number 43, is evidently the band’s meditation on Ayotzinapa, and it carries a feel not unlike that of Cuban ritual chants to the saints. Martinez’ ghostly accordion textures are especially well deployed here. Finally, Division 66 comes on like heavy metal funk before it dissolves happily into a cha-cha.

The CD ends with two songs that the band recorded well over a year ago, and while they are very good (this is, after all, the sound that captured my attention at that street fair), they also point to how much the band has grown in the meantime. There’s no telling what the future holds, but if the saints have anything to do about it, Dos Santos will have a bright one.

About the author: Don Macica is the founder of Home Base Arts Marketing Services and a contributing writer to several online publications, including Agúzate and Arte y Vida Chicago. He is the author of Border Radio, a blog about music, migration and cultural exchange.

Cumbanchero! A Big Band Tribute to Rafael Hernández

by Don Macica

Segundo Ruiz Belvis Cultural Center is presenting Cumbanchero! A Big Band Tribute to Rafael Hernández this Saturday, March 21st at 7pm. It will feature his son, Alejandro ‘Chalí’ Hernández, on vocals and is led by one of Chicago’s most respected bandleaders, Edwin Sánchez.

To a non-Puerto Rican, or perhaps even to a mainland born Puerto Rican under a certain age, it might be hard to comprehend how major a musical figure Rafael Hernández was. Even if you are familiar with the rise of mambo, salsa and everything that came after, you might not know Hernández’s music, as the bulk of it pre-dates that era, consisting of mambo, guaracha, danzon, boleros and other classic forms.

That was the case with me. While I was familiar with the Cuban masters of that age like Ernesto Lecuona and Perez Prado, Hernandez had escaped my notice until saxophonist Miguel Zenón released his Alma Adentro, The Puerto Rican Songbook album in 2011, which focused exclusively on this golden age of Puerto Rican composers. That’s where I first heard Silencio. Even with the jazz liberties taken by Zenón’s modernist arrangement, it pulsed with the heart of one of the most exquisite boleros I had ever heard.

That was all I needed to start a little research into Rafael Hernández, who wrote that gorgeous song. He is perhaps the towering figure of Puerto Rican popular music. Dozens of his songs, including Silencio, Preciosa, Perfume de Gardenias, Lamento Borincano and, of course, Cumbanchero, are considered classics, but they are just a few of the over 3,000 that he wrote. Hernández was born at the end of the 19th century in Aguadilla, Puerto Rico (the airport there is now named after him) and, as it turns out, was not only part of Puerto Rican music history, but also present at the birth of jazz as a member of James Reese Europe’s 369th Infantry Military Band.

Rafael Hernández
Rafael Hernández

When I contacted Miguel Zenón to get his assessment of Hernández, he had this to say:

“Rafael Hernández is perhaps the most internationally relevant Puerto Rican in history. His accomplishments are almost too many to mention: he was part of James Reese Europe’s ‘Hell Fighters’, lived in Puerto Rico, Mexico and Cuba, where he’s considered a national treasure. He was an incredibly prolific and versatile composer, who wrote some of the most legendary songs in the history of Latin American music. A musical giant, in every sense of the word.” 

Alejandro ‘Chalí’ Hernandez, of course, has a more personal take. Now 67 years old, he remembers his father, who passed away when Alejandro was 17, as a gentleman who treated his mother with great respect. “He was a beautiful personality,” he remembers. “He showed me that whenever I heard a bird sing, I could see the presence of God and the beauty of creation.” This is not to say that he isn’t appreciative of his father’s musical and cultural accomplishments. Quite the contrary, Alejandro tours the Americas performing tributes and still enjoys a career on the Island singing this classic music with Trio Bohemia Caribe. He is also the director of the repository of Rafael Hernández’s archives and museum at the Interamerican University of Puerto Rico at its Metropolitan Campus in San Juan.

Alejandro "Chalí" Hernández
Alejandro “Chalí” Hernández

Pianist, composer and arranger Edwin Sánchez, on the other hand, was born in Chicago. He received his early musical education in the 1970s through the programs of the Puerto Rican Congress, a social and cultural organization in Humboldt Park that trained dozens, perhaps even hundreds, of “at risk” Puerto Rican youth how to play music via a program led by Carlos ‘Caribe’ Ruiz. Groups that emerged from the program like La Juventud Tipica, La Solucion and La Justicia received some measure of local fame and even got to record with the likes of Mongo Santamaria and Machito. A very young Edwin Sánchez was among them. A collection of 15 tracks from this era exists on the terrific and lavishly packaged CD Salsa Boricua en Chicago from the Numero Group. Seek it out, it’s worth it.

Edwin Sánchez
Edwin Sánchez

Sánchez has since gone on to an extensive musical career, leading several ensembles and salsa orchestras in Chicago and as a pianist and arranger on many others, including international artists like Jimmy Bosch, Ralphy Irizarry, Ray Colon, Oscar Hernandez and many more. He’s comfortable in many genres, including jazz and funky R&B in addition to salsa, and has been the bandleader for Agúzate’s Tribute to the Improvisational Singer for the last several years. This versatility can be traced to his Humboldt Park youth. “Musically you got a certain ‘street’ edge in your playing living in the city at that time,” he said when I asked him about it. “There was some amazing music back then being played all over the radio stations and clubs! So, what was being played on the radio influenced me at that time and it came out of my heart and fingers when I played. Those were awesome times for music lovers!”

Edwin Sánchez’s appraisal of Rafael Hernández is similar to Miguel Zenón’s, but perhaps carries even more emotional weight for the Chicago-born Puerto Rican. “Rafael Hernández compositions, to me, exemplify the spirit of a pure Puerto Rican culture and people proud of their heritage and roots—not only with Puerto Ricans on the island, but Puerto Ricans all over the world as well.” he says. “It helps us share our common love and nostalgia for our families, the Island and our culture.”

Sánchez concludes, “It’s so important for our young PR community to know where their passion and pride comes from.  It is the true pioneers such as Rafael Hernández that culminated an art form like no other.”  This statement strikes me as something born out of Sánchez’s own youth and the values and history he was exposed to through the efforts of the Puerto Rican Congress, much like SRBCC does for the youth of today.

Finally, I asked Sánchez how he could begin to select a program for the tribute concert from Rafael Hernández’s vast catalog of songs. “Well, you choose a few key and prominent compositions that were some of the peoples’ most favorite and popular songs,” to which he quickly added, “Lucky thing is that all of his compositions were so good that whatever you play will be pleasing to the ear.”

For tickets and information, visit:

About the author: Don Macica is the founder of Home Base Arts Marketing Services and a contributing writer to several online publications, including Agúzate and Arte y Vida Chicago. He is the author of Border Radio, a blog about music, migration and cultural exchange.


Jazz Showcase: Where (Latin) Jazz Lives in Chicago

by Don Macica

If you take it at face value, Jelly Roll Morton’s statement about the “Spanish tinge” (by which he meant Caribbean rhythms, specifically the Cuban habanera) being essential to the way jazz swings could serve as a convincing argument that all jazz is “Latin jazz”. As an art form, jazz is barely 100 years old, and when pioneers like Dizzy Gillespie met the Cuban rhythms of Machito, Mario Bauza and Chano Pozo three decades later, they were in a sense bringing something to the fore that was there all along.

Chicago’s Jazz Showcase is easily the city’s longest running and most established jazz presenter. Club owner Joe Segal started booking jazz in 1947, and he was recently honored with a Jazz Master designation by the National Endowment for the Arts for his efforts. Now joined by his son Wayne, the Showcase remains one of the best jazz clubs in the country. Joe Segal came of age during the height of Be-bop, and of course Gillespie was a pioneer there too. Segal’s heart remains there, but the club has never confined itself only to players in the bop tradition.

Panamanian pianist and composer Danilo Pérez, for example, is an artist who at this point plays as many concert halls as he does clubs, but he makes a point to return to the Jazz Showcase every few years. “It is important to me to keep experimenting, mentoring and reworking my craft.” Pérez said when I interviewed him last fall during a Showcase engagement, “The Jazz Showcase is an institution of jazz music that provides me with all these opportunities to keep developing.”

Latin jazz (and that very designation is not exactly embraced by some of today’s practitioners) makes a frequent appearance on the Showcase stage, and the next few months will see five distinctly different Latin American artists come to the legendary room.

Photo by Elías Carmona

First up is the Puerto Rican tenor saxophonist David Sánchez, who began a weekend engagement last night. Sánchez’s work is imbued with his Puerto Rican heritage, but he plays thoroughly modern mainstream jazz with incredible range and technique. He hasn’t released an album under his own name in a few years, but he has toured and recorded with the Ninety Miles collective that includes vibraphonist Stefon Harris and trumpeter Christian Scott. He is also featured prominently on the terrific El país de las Maravillas by pianist Harold Lopez-Nussa, who was part of the Cuban half of the Ninety Miles equation.

Opening night was a near quintessential example of why the Jazz Showcase is special.

Sánchez faced a challenge yesterday. Arriving in Chicago yesterday afternoon, he quickly learned that his band would not be following because of airport conditions back in New York. Fortunately, Chicago has a deep bench of talent, so a pianist, drummer and bassist were quickly rounded up, recruited from the thick Rolodex of contacts the Showcase has acquired over the decades and demonstrating the eagerness with which musicians will drop everything to get on that historic stage.

It would be understandable if the musical result was less than spectacular, but quite the opposite happened. Sánchez brought plenty of sheet music with him, and the quartet boldly opened up with three original compositions. It was almost as if he were laying down a challenge: Can you play this stuff? Things were a little tentative at first, but the cylinders started to fall into place, and by the end of the first set Sánchez was making jokes about firing his regular band. For the second set, the band was ready and came out smoking. Sánchez kept throwing curveballs at them, including a radical reworking of Eddie Palmieri’s Adoracion, and they kept knocking them out of the park. At some point I realized that I was witnessing a true one-time-only event: These four musicians would never play together like this again.

Assuming the airport reopened, Sánchez’s band will arrive today. I know I’m going back to hear them, as I can’t wait to find out how the same material is approached by different hands.

I’m heading back in two weeks as well, when a more easily recognizable form of Latin jazz returns in the person of Cuban pianist Chuchito Valdés, (son of Chucho, grandson of the legendary Bebo) brings his trio beginning March 19. Chuchito has never been an especially innovative presence, but he plays the hell out of the piano and his debts to Duke Ellington are as strong as those to the Cuban masters that preceded him. Chuchito swings hard, but his playing can also embody the delicacy of a Chopin nocturne.


April 23 sees the Jazz Showcase debut of another Cuban pianist, Omar Sosa. In contrast to Chuchito, Sosa is a restless innovator whose many inspirations draw from African roots, Lucumí rituals, electronic experimentation, flamenco, neo-classical chamber music and even hip-hop. A mark of this restlessness can be found in the sheer number of records he has released. By my count, he has put out 26 albums in the last decade and a half. His most recent, Ilé, is from May 2014 and features his Quarteto AfroCubano, which he will bring to the Showcase.

Chilean-born tenor saxophonist Melissa Aldana brings her Crash Trio to the Showcase beginning May 14, which includes bassist Pablo Menares and drummer Francisco Mela. Aldana possesses a voluptuously round tone reminiscent of Joe Lovano. The trio is fairly straight ahead, but Mela propels things along with Afro-Cuban flourishes.

Last but certainly not least, Puerto Rican alto saxophonist / composer / conceptualist Miguel Zenón, another artist that could bypass clubs for concert halls, returns to the Showcase beginning June 25. “I feel honored about the fact that we have become part of the musical family at The Jazz Showcase for so many years now,” says Zenón. “Joe and Wayne have a long history of supporting younger bandleaders, especially Latin American musicians such as Danilo Pérez and David Sánchez, both of whom have already become such an integral part of the history of the club. I look forward to performing at this great venue for many years to come.”

Photo by Scott Pollard
Photo by Scott Pollard

Like Pérez, Zenón returns to the Showcase every couple of years, and he even brought his Rhythm Collective here in a rare U.S. appearance. This time around it will be his outstanding quartet and likely feature music from his ambitious Identities are Changeable project. I can’t be sure of that, though. When I saw him at the Showcase in May 2011, he almost exclusively focused on his not-yet-released Alma Adentro album instead of the (at the time) current Esta Plena. The only exception was a work in progress peek at Identities, which was a full three-plus years from being released.

This brings us back to Danilo Pérez’s comments and why musicians love the Jazz Showcase. It is a place that they can experiment, take chances and develop their craft in front of an audience, confident that something valuable will emerge. Likewise, for the audience, it’s an intimate view of an artist at work, the opportunity to be present at the creation of something new.

Now, how can you pass up something like that?

All weekend engagements at the Jazz Showcase run Thursday – Sunday, two shows a night plus a Sunday matinee. Advance tickets are available at

About the author: Don Macica is a marketing consultant to the performing arts community and a contributing writer to several online publications. When not traveling, he lives a stone’s throw from Lake Michigan in Chicago’s Rogers Park neighborhood. He is the author of Border Radio, a blog about music, migration and cultural exchange.


An Afro-Mexican Blues Encounter

When you think about the African element in Latin music, you’re mind usually goes straight to familiar places: Cuba, Puerto Rico, Colombia, Brazil, the Dominican Republic. The folkloric traditions of all of these places were formed out of some combination of European, African and indigenous music. Why is it, then, that we don’t generally think of Mexico in these terms?

The conditions are roughly the same: Spanish conquest, indigenous populations, African slaves. The short answer lies in Mexican identity, one that favors the mestizo blend of Spanish and indigenous while downplaying and obscuring the African contribution. Yet Spain imported upwards of 200,000 slaves to Mexico, and just like in the Caribbean and South America, there was considerable blending between the three peoples.

This African root was largely unacknowledged up until a few decades ago. Meanwhile, of course, the English and French were also busy bringing slaves to North America. Culturally, African music here took a similar path, evolving into the blues and everything that came after. Thus, if you compare salsa to rock and roll, you can easily trace each back several centuries to their common African roots. Why not, then, Mexico?

Sones de México is a Chicago based organization made up of talented musician who are also musical anthropologists. They have studied and mastered the roots of Mexican popular music, and it is no surprise that Africa is present there. Mexico is a huge country, of course, so that presence is more diffuse. It’s more dominant, though, in areas like the semi-isolated Costa Chica region in the state of Guerrero or the Caribbean facing state of Veracruz.

Sones de México has been researching, preserving and performing Mexican roots music for over 20 years, and they have always been very upfront about Africa’s role in its development. Last year, they performed a huge concert in Chicago’s Millennium Park that included guest musicians drawn from the city’s diverse musical culture.

Sones de México Ensemble

One of these was bluesman Billy Branch, who had his own Mexican-African epiphany while visiting Veracruz several years ago. Billy, a master of the blues harmonica, has led his band the Sons of Blues for over 30 years, and when he stepped onstage to join Sones de México to perform a traditional son jarocho from Veracruz, “La Bruja”, the crowd went nuts.

Sones and Branch then forged ahead with a full collaboration to explore the thematic and musical commonalities between Mexican son and American blues. The fruits of that exploration will take place Saturday, February 21 at the Old Town School of Folk Music with a concert that features all six members of Sones de México and the entire five piece Sons of the Blues. Dancers are likely to take part as well.

While the last few decades have seen an acknowledgement of the African presence in Mexico and its effect on music, to my knowledge this is the first time the music will be presented in this particular fashion. And, of course, there will be a considerable helping of Chicago-style electric blues.

Sons of Blues
Sons of Blues

Not that the blues are at all unfamiliar to Latinos. After all, before they made global hits of Tito Puente’sOye Como Va” and Willie Bobo’s “Evil Ways”, the band led by Carlos Santana, himself the son of a mariachi, called themselves the Santana Blues Band.


Sones de México and Billy Branch: Son Jarocho Meets the Blues. Saturday, February 21 at Szold Hall of the Old Town School of Folk Music, 4545 N. Lincoln Avenue, Chicago. Tickets at or call (773) 728-6000

Eddie Palmieri Concert Preview – Symphony Center Jan. 16

By Don Macica

Eddie Palmieri is certainly no stranger to Chicago. Fortunately, El Maestro has lately brought a different game on every visit. He opened 2013’s World Music Festival at Millennium Park with his salsa orchestra and brought the house down with driving dance grooves wedded to sophisticated big band arrangements, giving both the jazz heads and salseros a night to remember (Read Agúzate’s review and view photos here). The year before that, he presented a pair of sold out Sound Culture Chicago shows at Mayne Stage that emphasized open ended jazz improvisation over tight charts and featured trumpeter Brian Lynch in a scaled down version of their multiple Grammy-winning Simpático album.

Eddie Palmieri_2009

His Symphony Center appearance is his first in Chicago since being named a NEA Jazz Master and will feature the Eddie Palmieri Latin Jazz Band, a tight septet consisting of congas, bongos, timbales and bass plus alto sax and trumpet. From the beginning, Palmieri’s playing has fused the rhythm of his Puerto Rican heritage and Cuban piano masters with the harmonic complexity of jazz influences like Thelonious Monk, Herbie Hancock and McCoy Tyner. If recent shows (including this one from NPR’s JazzSet) are any indication, it will be a real treat to hear this focus on the maestro, even as we are equally likely to hear virtuosic playing from the rest of the band.

Opening the show is a quintet led by bassist Carlos Henriquez. Although only in his mid-30s, Henriquez has been a member of Wynton Marsalis’ Quintet and the Jazz at Lincoln Center Orchestra for over a decade. He has played with artists as diverse as George Benson, Celia Cruz, Danilo Pérez, Carlos Santana, Steve Turre and Palmieri himself. Though he is yet to release a recording under his own name, he’s appeared on over 60 straight ahead, Latin jazz and salsa albums over the last 20 years, so it will be interesting to hear this diverse background channeled into his approach as a leader.

If I were you, I would not arrive late to this one!

Eddie Palmieri Latin Jazz Septet, Friday January 16, 8pm at Symphony Center. Tickets at

About the author: Don Macica is a marketing consultant to the performing arts community and a contributing writer to several online publications. When not traveling, he lives a stone’s throw from Lake Michigan in Chicago’s Rogers Park neighborhood. He is the author of Border Radio, a blog about music, migration and cultural exchange.