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Dafnis Prieto Sí o Sí Quartet To Release New Album: “3 Sides of the Coin”
Celebrated drummer and composer Dafnis Prieto commemorates his 25 years in the US with 3 Sides of the Coin, a return to his legendary Sí o Sí Quartet that explores perception of reality – out September 27, 2024
25 years after his arrival in New York, the GRAMMY-winning and Latin GRAMMY-nominated drummer, composer, and MacArthur Fellow Dafnis Prieto has utterly shifted the sonic landscape of the jazz and creative music scene. With Prieto’s appearance on the NYC jazz scene likened to “an asteroid hitting the city” (The New York Times), and a reputation that rightfully lauds him as “one of the most multidimensional artists working today” (JazzTimes), the Cuban drummer is poised to strike once again with his upcoming 10th album, 3 Sides of the Coin. This album marks the studio return of Prieto’s acclaimed Sí o Sí (“Yes or Yes”) Quartet, a rightfully jubilant cohort comprising Peter Apfelbaum on woodwinds, Martin Bejerano on piano, and Ricky Rodríguez on electric bass, brought together to commemorate both the bandleader’s quarter century in the United States and his 50th birthday.
3 Sides of the Coin began as a series of musings on the eternally undulating concept of one’s interpretation of the world and how each person’s view may dramatically differ. “The concept of the album was born from the intriguing and puzzling concept of ‘perception of reality,’ of how different people can perceive and interpret a specific circumstance or a simple object,” Prieto says. Using the analogy of a coin, Prieto explores how in addition to the two objective sides that are always evident on a coin, there is an unspoken third, which is an individual’s interpretation of the physical fact of the coin. “This album is about that third side: the side that looks, observes, and interprets in a personal way a reality that might not coincide with others – your own perception of life,” Prieto says. He further expands on this idea of the tangible coin: “The coin brings a quality of ‘solid physicality,’ yet even it can be interpreted in so many ways. Therefore, the meaning that we give to those objects and/or circumstances is completely relative to how we are able to interpret them, whether collectively or individually.”
Prieto’s musical style is a deeply personal amalgamation of his artistic development and individual experiences. Each track on this album is an original composition that embodies a concept or character that adds to Prieto’s exploration of perception. The end result is a comprehensive mosaic of vignettes that captures different angles on the idea of interpretation itself. To achieve this effect, Prieto draws on a variety of musical influences. Ranging from strong roots in his native Cuban styles and the firm foundation of Jazz and Funk to lesser-represented styles within cultural fusions of South Indian and European Classical music, Prieto masterfully paints with each of these palettes to portray his vision with a perfect variety of perspectives.
Each of the timbres and soundscapes present on each song directly ties its respective character and concept. The album opens with “Caprichos Cubanos,” a strong opener that is dedicated to the people and culture of Cuba. This is immediately followed by “Conga Ingenua,” a nostalgic piece that harkens back to Prieto’s infancy and his first experiences interacting with and listening to the music of Cuba. The title directly evokes this and translates as “Naive Conga.” The album continues with “Two Sides of the Coin,” a nod to the album’s title that plays with the idea of interwoven themes and perception. In this piece, two different themes coexist and interact complementarily without ever subverting the other, like two sides of the same coin. The third – the element of perception – is subtly present here as well. This track is chased by “Naive,” a piece that acts, as Prieto describes, as “a lovely and spiritual reflection on that state of existence.” Later in the album, listeners encounter the paired tracks “Humanoid” and “Funky Humanoid.” The former is a take on the contemporary overlap of science and fiction as they overlap and shape the future of humankind. The latter is based on the same ideas as the former, but is presented in a funk-driven groove and expression. “Alba” continues this musical exploration of science and is inspired by the existence of Alba, a genetically modified green rabbit. The penultimate track on the album, “Temptation,” is a quartet arrangement of the bandleader’s 2022 piece, “Tentación,” originally composed for the timba band People of Earth, accompanied by string orchestra, and was performed across the United States by the Louisville Orchestra, the L.A. Philharmonic, the New World Symphony, and the Britt Festival Orchestra. The album concludes with “The Happiest Boy in Town” and is a perspective on that cornerstone of jazz history, Charlie Parker, inspired by a picture of him smiling.
In a quartet, the contributions of every member are vital. Of the Sí o Sí Quartet, who first recorded together in the 2009 album, Live at Jazz Standard NYC, Prieto is quick to express gratitude for the role each member played in shaping the music. “Peter, Martin, and Ricky have mastered their instruments, and they all have their own personal sound,” Prieto says. “That chemistry in the band is well documented in this album. The synchronicity and the connection had to be there, otherwise we would not have been able to play this music the way we did.” Prieto cites the band’s 15-year span together in various iterations as a primary reason the album is executed with such authenticity and precision. “You can hear this connection during the beautiful and challenging melodies, but also during the different sections in the song, including the solo sections,” he says. Also present on this album are two key collaborators: GRAMMY and Latin GRAMMY-winning producer Eric Obserstein, who is Prieto’s longstanding co-producer, and GRAMMY-winning engineer Mike Marciano, who recorded, mixed, and mastered the album.
With 3 Sides of the Coin, Prieto goes above and beyond even his own reputation. By taking the compositional and performance brilliance for which he is rightly beloved and marrying it to such a bold and pensive concept, Prieto shows that not only is he a musician of the highest caliber, but a thinker, storyteller, and sonic orator of the heart.
Source: Lydia Liebman Promotions
Brazilian mandolin virtuoso Hamilton de Holanda opens a new creative chapter with Nova, a wide-ranging album that brings the traditions of Brazilian instrumental music into conversation with contemporary jazz and sounds from Africa, India, the Caribbean and the Middle East.
Released by Sony Music Brasil on May 20, 2026, the 14-track, 56-minute recording was produced by de Holanda and Marcos Portinari. Recorded in different parts of the world, Nova draws inspiration from the people, places and musical encounters that have marked de Holanda’s extensive travels.
At the heart of the album is the Hamilton de Holanda Trio: de Holanda on 10-string mandolin, Salomão Soares on keyboards and synthesizers, and Thiago “Big” Rabello on drums. Their six-year musical partnership gives the project its central identity, balancing rhythmic precision, melodic freedom and intuitive ensemble interaction.
The trio is joined by an impressive international cast that includes Indian sitarist Anoushka Shankar, French-Lebanese trumpeter Ibrahim Maalouf, Cuban percussionist and vocalist Pedrito Martínez, Angolan singer-songwriter Paulo Flores and Brazilian percussion legend Paulinho da Costa. Other guests include Pedro Martins, Michael Pipoquinha, Pretinho da Serrinha, Mestra Zélia do Prato and Larissa Umaytá.
Opening with “Nova Alvorada,” the album imagines a new dawn rooted in African and Afro-Brazilian traditions. Pedrito Martínez contributes vocals and percussion, Michael Pipoquinha adds electric bass, and singers Tatiana Parra, Vanessa Moreno and Dani Gurgel form the supporting chorus.
Elsewhere, “Som de Baile” channels the energy of Brazilian dance bands, drawing upon the spirit of Banda Black Rio, Jorge Ben Jor and Gilberto Gil. “Frio Lá Fora,” composed during a bitterly cold stay in New York, features Maalouf and Pretinho da Serrinha, while “Pras Crianças” combines an ijexá-based foundation with the resonant sound of Shankar’s sitar. “Luanda (Unidos)” creates a bridge to Angolan semba through the voice and text of Paulo Flores.
Among the album’s most reflective compositions is “Mono no Aware,” which has received an official visualizer. Written by de Holanda and Soares, its title comes from a Japanese expression describing an awareness of life’s impermanence—and the realization that beauty becomes more meaningful because it is temporary.
Recorded at producer and engineer Mario Caldato Jr.’s Los Angeles studio, the piece features Paulinho da Costa on percussion and Pedro Martins on guitar alongside the trio. The gathering connects three generations of Brazilian musicians in a performance that is sophisticated, spacious and emotionally restrained.
The visualizer complements the composition’s contemplative character through imagery evoking delicacy, transition and constant transformation. Rather than presenting a literal storyline, it creates an intimate visual environment in which the music’s mixture of quiet joy and underlying sadness can unfold. The official visualizer is available through Hamilton de Holanda’s YouTube channel.
Now entering his sixth decade, de Holanda remains one of Brazilian instrumental music’s most innovative figures. By expanding the traditional eight-string bandolim into a 10-string instrument, he developed a broader harmonic and melodic vocabulary that has allowed him to move naturally among choro, samba, jazz and global musical traditions.
With Nova, that spirit of invention is guided by gratitude, generosity and an enduring belief in music’s ability to connect people. Tradition and experimentation are not treated as opposites; they become complementary parts of a living musical language.
As de Holanda explains, creating original music with such an extraordinary community of artists is his way of affirming that, regardless of the world’s uncertainties, “the music will continue.”
Nova — Complete Track Listing
1. Nova Alvorada — Hamilton de Holanda
2. Presente pra Sempre — Hamilton de Holanda
3. Nasci — Hamilton de Holanda
4. Som de Baile — Hamilton de Holanda
5. Mono no Aware — Hamilton de Holanda and Salomão Soares
6. Frio Lá Fora — Hamilton de Holanda and Gabriel de Holanda
7. Carrossel — Hamilton de Holanda and Gabriel de Holanda
8. Pras Crianças — Hamilton de Holanda
9. Luanda (Unidos) — Hamilton de Holanda
10. Por Essa Eu Não Esperava — Hamilton de Holanda and Gabriel de Holanda
11. Forrozin de Mestra Zélia — Hamilton de Holanda
12. Choro Fado — Hamilton de Holanda
13. Sol da Noite — Hamilton de Holanda
14. Até Amanhã — Hamilton de Holanda and Salomão Soares
Album Credits
Hamilton de Holanda Trio
Hamilton de Holanda: 10-string mandolin
Salomão Soares: keyboards, synthesizers and Moog
Thiago “Big” Rabello: drums and percussion
Guest Artists and Additional Musicians
“Nova Alvorada”
Pedrito Martínez — percussion and vocals
Michael Pipoquinha — bass
Tatiana Parra — backing vocals
Vanessa Moreno — backing vocals
Dani Gurgel — backing vocals
“Nasci”
Eduardo Neves — tenor saxophone
Aquiles Moraes — trumpet
Rafael Rocha — trombone and horn arrangement
“Som de Baile”
Eduardo Neves — tenor saxophone
Aquiles Moraes — trumpet
Rafael Rocha — trombone and horn arrangement
Larissa Umaytá — percussion
“Mono no Aware”
Paulinho da Costa — percussion
Pedro Martins — guitar
“Frio Lá Fora”
Ibrahim Maalouf — trumpet
Pretinho da Serrinha — percussion
“Pras Crianças”
Anoushka Shankar — sitar
Leander Motta — moringa percussion
“Luanda (Unidos)”
Paulo Flores — voice and spoken text
“Forrozin de Mestra Zélia”
Mestra Zélia do Prato — voice
Production
Producers: Hamilton de Holanda and Marcos Portinari
Executive producer and editing engineer: Marcos Portinari
Assistant producer: Fellipe Cabral
Mixing: Thiago Rabello and Da Pá Virada
Mastering: André Dias
Assistant engineer: Vitor Nery
Photography: Nando Chagas
Label: Sony Music Brasil
Release date: May 20, 2026
Format: Digital album
Duration: Approximately 56 minutes
Craft Latino will reissue Willie Colón and Héctor Lavoe’s landmark 1969 album, Cosa Nuestra, on September 25, bringing one of salsa’s most influential recordings back to vinyl and CD. The new edition pays tribute to the late Willie Colón while celebrating an album that helped define the sound, image, and cultural force of New York salsa.
The vinyl edition has been mastered entirely in the analog domain and pressed on 180-gram vinyl. A limited Metallic Blue pressing, restricted to 300 copies, will also be available through Fania, either separately or bundled with a retro-logo T-shirt. A newly remastered version of the album is already available on digital platforms in standard and high-resolution audio.
Colón and Lavoe began working together in the mid-1960s after meeting at Fania Records. Colón was only 16, while Lavoe was 21. Their 1967 debut, El Malo, introduced an unusually compelling partnership: Colón’s raw, trombone-driven arrangements combined with Lavoe’s distinctive phrasing, streetwise personality, and exceptional command of the sonero tradition.
Following The Hustler and Guisando, the duo moved beyond the boogaloo sound that dominated much of the era and began developing the tougher, more sophisticated musical language that would become closely associated with salsa. Their fourth album, Cosa Nuestra—“Our Thing”—marked the moment when all the elements came together.
The album’s now-iconic cover reinforced the gangster imagery established on their earlier recordings, portraying Colón as a mobster preparing to dispose of a body near the Hudson River. The theatrical concept was more than a marketing device. It reflected the rebellious identity, urban atmosphere, and youthful attitude that made Colón and Lavoe central figures in the emerging Nuyorican music scene.
Produced by Jerry Masucci and overseen by Fania co-founder Johnny Pacheco, Cosa Nuestra introduced a revitalized ensemble featuring trombonist Eric Matos, timbalero Little Louie Romero, conguero Milton Cardona, bongó player José Mangual Jr., bassist Santi González, and pianist Professor Joe Torres.
Its songs offered vivid portraits of barrio life, betrayal, romantic disappointment, and everyday conflict. “Te conozco” focuses on a familiar neighbourhood freeloader, while “Tú no puedes conmigo” addresses the sting of a friend’s disloyalty. “Juana Peña” tells the story of a woman known for deceiving her lovers who eventually experiences heartbreak herself.
The bolero-son “Ausencia” gives Lavoe one of the album’s most emotionally resonant performances, expressing the anguish of a man unable to escape the memory of a failed relationship. In contrast, “Sonero mayor” celebrates improvisation and the art of soneo, one of Lavoe’s defining gifts.
The album’s greatest commercial success came with “Ché ché colé,” inspired by an African children’s game. Blending African and Caribbean rhythmic traditions, the infectious recording reached an international audience, helped propel Colón and Lavoe to stardom, and contributed to Cosa Nuestra becoming their first gold-selling album in the United States.
More than five decades later, Cosa Nuestra remains a cornerstone of salsa. Its combination of musical sophistication, Afro-Caribbean roots, urban storytelling, and unmistakable New York attitude established a model that shaped the genre throughout the 1970s. This reissue offers longtime admirers and new listeners an opportunity to rediscover the album in a format worthy of its enduring historical importance. Pre-Order Now!
Craft Latino is celebrating the legacy of Puerto Rican singer and composer Chamaco Ramírez with the first vinyl reissue of Alive and Kicking, his acclaimed 1979 solo debut. Originally released by Inca Records and unavailable on vinyl for more than 45 years, the album will return on September 18, 2026, in conjunction with the beginning of Hispanic Heritage Month.
Although Alive and Kicking was Ramírez’s only album as a solo artist, the nine-song recording remains a powerful demonstration of his talents as a sonero, songwriter and bandleader. The album includes enduring favourites such as “San Agustín,” “Adivínalo” and “Así son Bongó,” supported by an exceptional ensemble of musicians from the New York salsa scene.
The new 180-gram pressing was produced using an all-analog process. Dave Polster and Clint Holley of Well Made Music cut the lacquers directly from the original master tapes, preserving the energy and clarity of Ramírez’s voice and the album’s richly arranged instrumentation. A limited-edition Rumba Amarilla pressing, restricted to 300 copies, will also be available through Fania, either separately or as part of a bundle with a collectible Inca Records T-shirt. The newly remastered album is already available digitally in standard and high-resolution audio.
Born in Puerto Rico in 1941, Ramírez emerged as one of salsa’s most admired improvisational singers. He was only 16 when he joined Tommy Olivencia y Su Orquesta as co-lead vocalist alongside Paquito Guzmán. During his 13 years with the orchestra, Ramírez appeared on eight albums and developed a reputation for his command of the sonero tradition and his ability to create spontaneous verses.
Ramírez also performed with the Alegre All Stars and Kako y Su Orquesta before leaving Olivencia’s band in 1976 and relocating to New York. Three years later, he recorded Alive and Kicking for Inca Records, a Fania subsidiary. The album was produced by Cuban pianist and arranger Javier Vázquez, widely recognized for his association with La Sonora Matancera.
The program opens with “San Agustín,” a memorable son montuno composed by Catalino “Tite” Curet Alonso. The song pays tribute to the working-class San Agustín community in San Juan’s Puerta de Tierra district. Ramírez then turns toward New York’s urban rumba tradition with an updated version of Cuban percussionist Justi Barreto’s “Rumba moderna.”
Among the album’s most popular selections is Ramírez’s own “Adivínalo,” an upbeat composition whose spirited delivery contrasts with its controversial references to drug use. “Así son Bongó,” written by Cuban composer Joseíto Fernández, is another highlight. Its story of an incarcerated man mourning a forgotten romance is transformed by Ramírez and the orchestra into an energetic guaguancó designed for dancers.
The album’s formidable personnel includes trumpeter Alfredo “Chocolate” Armenteros, bassist Elpidio Vázquez Jr., percussionist and vocalist Jorge Maldonado, saxophonists Manolín González and Mario Rivera, and percussionists Alberto Valdés, Edgar López and Mike Collazo. Adalberto Santiago and Tito Allen strengthen the coro, while producer Javier Vázquez also contributes on piano.
The memorable cover, designed by Ron Levine, depicts Ramírez emerging from a coffin into a beam of sunlight—a visual interpretation of the title that later acquired tragic significance. Ramírez was killed by gun violence in 1983 at the age of 41.
More than four decades later, Alive and Kicking remains a vital salsa recording and a lasting testament to Chamaco Ramírez’s commanding voice, improvisational brilliance and enduring artistic legacy. Pre-Order Now.
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