Candido Fabre in Santiago de Cuba

Concert held by Candido Fabre in Santiago de Cuba for the recent harricane Sandy which destroyed much of the city.


With the completion of a Mega Concert Garzón Avenue in the heart of the city of Santiago de Cuba culminated Saturday recording a video clip to the song “We’re going to raise Santiago” written and orchestrated by master Candido Fabre dedicated to Santiago after Hurricane Sandy for the south eastern Cuban province.

The Clip recording … We’ll began on Thursday in the city locasiones different hero for filmmaking team convened for the occasion and led by experienced filmmakers and Alden Gonzalez Fonseca Aramys with VIDEOS LIA production.

The clip you’re going to … that has become the anthem of spirituality and to the people of Santiago after the unfortunate events in this city for over atmospheric, told this time with the participation of the multi Conga Los Hoyos. That with the master Candido Fabre endlessly overwhelmed by the central Avenida Garzon Coppelia until the Grove, where the Cuban sonero along the accompanying band offered a Mega Concert until after three in the morning, moments in which Fabre thanked the people of Santiago de Cuba and all the agencies and institutions who contributed to the realization of the audiovisual work.

Welcome to latin America and welcome to Latin Music

About Latin Music Downloads

Welcome to the Latin Music Downloads ( where you will find music from all corners of Latin America and of African roots.

The Latin American Download is one on many projects which comes under umbrella of Tumi Music Ltd.

Taking our name from a ceremonial Inca dagger called the ‘Tumi’ (one of the most important symbols of heritage for Latin Americans)

Since 1983 Tumi Music has been at the forefront of the vast and diverse field of Latin music. In that year whilst in Bolivia, Mo Fini, founder of Tumi Music, heard the music of Rumillajta and began to promote them. By organizing the first ever European tour by an Andean folk band and releasing City of Stone, Rumillajta’s groundbreaking debut album, Tumi Music was born. During that year, the band headlined all big festivals including Glastonbury Festival, Strawberry Fair, Royal Festival Hall and a sellout venue in Edinburgh Festival, selling over 100,000 cassettes during that summer.

Today Tumi Music is regarded with the utmost loyalty and respect by all its musicians in Latin America. By realizing the potential of various musical styles such as Andean folk music and Cuban music well before any of its competitors, Tumi Music has built up an enviable catalogue of over300 new recordings by some of the greatest artists in Latin American and Caribbean music.

Tumi Productions has built its reputation on active artist promotion, encouraging a large touring network, providing a long-term commitment to artist development, and producing unique and exciting recordings.

Every album is a carefully considered project, and today Tumi is regarded with the utmost loyalty and respect by all its musicians. By realizing the potential of the various musical styles of that vast continent, from Andean folk to Cuban son regardless of trends and well before any of its competitors, Tumi has built an enviable catalogue of recordings by some of the greatest artist in Latin America and the Caribbean. The label has also experimented with ‘cross-borders’ projects, like the excellent award-nominated ‘Banacongo’ collaboration between Papa Noel from Congo and Papi Oviedo from Cuba.

Tumi Music has built up a solid reputation based on pro-active artist promotion, a large touring network, exciting recordings, quality packaging and a long term commitment to A&R, regardless of trends or the latest musical fads. Every Tumi Music album is a quality recording, produced by artists expert in their fields and mastered in the highest quality sound studios. Furthermore every production is a carefully thought-out project in itself: expertly designed and beautifully packaged.

Latin Music downloads objective is to present you with not only all the Music we have been recording during the last 30 years but the very best of the popular sounds around today such as Son, Salsa. Bossa, Samba, Forro,Merengue,Andean and Cumbia but also to build up an eclectic selection of excellent artists in as diverse fields. and authenticity to the extent that some of our earlier Peruvian music was recorded using instruments used in the grave yard of cultures such as Chancay, Inca, Mochica and Chimu, some which could have been made from human bones and skulls.

Our aim is to build one of the strongest links among different cultures all over Latin America and build a platform where all independent musicians and music lovers come together and share and enjoy the Music.

Mo Fini (Founder and director January 2012)

Santiago de Cuba: Cradle Of Cuban Soneros

Benny More was the most important Sonero of 50's and early 60's

Benny More was the most important Sonero of 50′s and early 60′s

Santiago de Cuba: Cradle  Of  Cuban Son

It would be no exaggeration to say that Son is not only “the most sublime pastime for the soul” as

Fabre is one of the greatest Sonero of today in Cuba

Candido Fabre, the best Sonero in Cuba if not in the world!

claimed by the indispensable Ignacio Piñeiro, but also the musical face of Cuba before the world; the definitive consecration of its national music.

Regarding its origins, it is often said that señora Teodora Ginés came from Santiago de los Caballeros in the Dominican Republic to Santiago de Cuba, at the end of the 16th century.  Popular legends credit her with playing a mandolin down the streets of this eastern city accompanied by her sister, bringing joy to the lives of its citizens.

But the fact is that there is insufficient evidence to demonstrate even the existence of señora Ginés and the legendary Son de la Ma’ Teodora.

Tiburon Morales , the greatest sonero of Santiago de Cuba

Tiburon Morales , the greatest sonero of Santiago de Cuba

Now, without doubt, the town has gradually become something of a guitar-capital. However, all this atmosphere is due to a rather indispensable history.

Ever since French landowners first brought their wealth and servants to the hills and streets of Santiago no place has been left bereft of music. It didn’t take long before singers, guitars in hand, started to appear, always in the poorest neighbourhoods. These were mainly “Guitarreos ” (strummers) who used instruments made by a black carpenter named Rebollar.

Researchers confirm that in the middle of the 19th century, there was a proliferation of troubadours in the neighbourhoods of the outskirts of Santiago, and it was they who created the conditions for traditional bolero to emerge.

However, it wasn’t until the closing years of the century that, in Santiago, “La Trova Cubana”  (The Cuban Ballad) would evolve into its distinctive style, with Pepe Sanchez as the head of an historic generation of exponents.

But, just as important as the impact Franco-Haitian culture had on the eastern part of Cuba from 1791 onwards (as a result of the Haitian revolution), has been the prevailing influence of black Africans. They brought to the island a strong rhythmic component which spontaneously communed with European melodic richness giving rise to the most syncretic musical result of the Cuban national identity –the Son.

Many state that this richness – the fruit of ethnic interaction – facilitated Cuenca del Rio Cauto (a rural zone in the east) to give voice to the first manifestations of the Son style. We shouldn’t also forget the contributions from the hills of Baracoa, where the rustic tres became king and, later in the skilled hands of Nene Manfugas, came down to Santiago to gain acclaim.

Baloy is the great Sonero of Afro-Cuban all Stars

Felix Baloy, the great Sonero

In Santiago the Son co-habited with the Trova and became its brother, which in time produced marvels as interesting as bolero-son. It was the same Miguel Matamoros who aired them and, with his anthological Trio, presented this combination to the whole world.

But a little earlier, in the first ten years of the 20th century, the soldiers of the Permanent Army took the son to Havana where it was urbanized by the Havana Sextet. Later would come a long list: Maria Teresa Vega, Ignacio Piñeiro, Arsenio Rodríguez, La Sonora Matanacera, Conjunto Casino, Benny More… until more recently Elio Reve, Juan Formell y Adalberto Alvarez.

Since Benny More perhaps Cuba has not seen another sonero like Benny More , but the most important of all soneros commonly believed to be Candido Fabre,Tiburon Morales and Felix Baloy and ironically all come from Santiago de Cuba!

Susana Baca Ambassador of Peruvian Afro-Rumba Culture

Afro- Peruvian singer Susana Baca

Susana Baca on the Jazz stage during his 2008 Glastonbury Festival, UK

In July 2011, she was named Peru’s Minister of Culture in the Ollanta Humala government becoming the second Afro-Peruvian cabinet minister in the history of independent Peru.

In November 2011 she was elected for the OAS (Organization of American States) to be the President of the Commission of Culture for the period 2011 – 2013.

Our congratulation goes to Susan for her appointment as minister of culture, a long over due post for Peruvian cultural heritage. I do hope she pays attention to the indigenous people with their ever vanishing music, culture and their language. Only yesterday I had a call from one of my god children “Carlos LLamoca” in Cusco saying “padrino”, which is me “could you email Susana before she comes to Cusco next week and ask her to address our problems and try to promote our handicrafts particularly our Inca design jewellery and wear. I did email Susana and I hope she will respond to my friend’s request and other artisans which are similar to Carlos.

Susana Baca became popular and better known after Tumi Music secured a Grammy with our release of her album Lamento Negro (tumi CD 104-2001). Following her Grammy achievement Susana returned to Lima airport with the previous president putting red carpet upon her arrival. She went on to sell thousands of CD through National papers in Lima and most probably made her first fortune. Ironically she never thanked Tumi Music for all that but that is another story..
and when I met up with her in her dressing room in South Bank she apologised for her rather odd reaction towards her |Grammy.
Now read more about Susan’s life here and if you have not heard “Lamento Negro” then you can listen to it by going to

Ironically she recorded this CD in Havana Cuba early 1990s when she sympathized with Cuban Regime and communism.

“Born in Chorrillos, a black coastal barrio of Lima, Baca grew up surrounded by Afro-Peruvian music in its various forms, including the percussion-driven festejo; the melancholy, more melodic landó; and the “mother of them all,” as Baca tells me, the golpe tierra. At that time Afro-Peruvian music, with its history in slave culture, went unrecorded and neglected by mainstream culture. “Before, the record companies wouldn’t pay attention [to us], at least in my case they wouldn’t play us on the radio, much less on television.”

As a student, Baca became interested in researching the roots of her musical heritage, using her work as source material for her career as a professional singer. Eventually, she won grants from Peru’s Institute of Modern Art and the National Institute of Peruvian Culture. More recently, she and her husband, Richard Pereira, founded the Center for Black Continuum, dedicated to promoting black music and dance.
“I’ve gone all over Peru,” she explains, “recording in rural areas, gathering material from old singers, composers.” On her debut album, several of the songs, generally the more African-sounding, percussive numbers, have centuries-old roots, including “Énciéndete Canela,” “Zamba Malató,” and the aforementioned “Molino Molero,” which is based on a scrap of music originally discovered by an American ethnomusicologist.

“He didn’t even record it,” she recalls. “It was just a transcription. An elderly man sang it; he remembered hearing it sung by a woman who had been a slave. He just remembered this small piece, and from that we built the entire song.” Baca smiles, and she sings a bit of it. “You note the cultural mix (mestizaje) in the song,” she points out. “It has some Andean chords in it.” Such musical archaelogy can also be painful, though, bringing fresh realization at how much has been lost, at how few of the old musicians are still alive. Sometimes, too, the ones who are still living prefer not to be reminded of the past, and refuse to be interviewed. “We’ve lost so much of these roots, because the old don’t want to remember; they’d prefer to forget. ‘No,’ they say, ‘that was from slave times.’ ”

Despite her emphasis on roots, Baca wants to make clear that she is not producing the equivalent of a folk music museum. She rescues, but she also reinterprets and contemporizes. “There are traditional things that we do, but our interpretation is different. There are more risks in what we do.” Her album includes a number of contemporary compositions, and one can identify elements of jazz and even rap.

She has also worked with a number of contemporary poets on lyrics, of which she is justifiably proud. One example is “Heces,” a spare guitar-and-vocals track on her album whose words are from a poem by celebrated Peruvian poet Cesar Vallejo. “It’s about a man who is from the Andes,” says Baca, “where there is always sun. He comes to Lima to live, where there is a permanent mist over the city.” Vallejo’s first lines are ones that this Seattle resident highly appreciates: “This afternoon it’s raining like never before/And I no longer feel like living, my love.”

Live, Baca gives a performance that is as much visual as aural. Her voice, actually, is a bit disappointing, as rich and expressive as you’d expect from her recordings, but less powerful live. But the sum total is still stunning. She dances, usually barefoot, as well as sings, gliding across the stage with utter self-confidence. She is backed by David Pinto on bass, Rafael Muñoz on guitar, Juan “Cotito” Medrano on the all-important cajón, and a small, fast-moving man named Hugo Bravo who does time on all the other traditional percussion instruments needed to crank out the peculiarly intriguing rhythm of Afro-Peruvian music, kin to the Afro-Cuban son’s three beats against two, but usually played in 6/8 or 12/8 time.”

Visit to “Globo”, The Brazilian television network

United Kingdom Trade mission in Rio, Brazil

Some 50 UKTI delegates in creative sector visited the South Americanb biggest studios “Globo”, in Rio de janeiro, Brasil

Mo Fini of Tumi Music joined some 50 UK trade delegates to San Pablo and Rio de Janeiro,  Brazil organized by  the  “United Kingdom Trade Investment” known as UKTI.

During the week we participated in several seminars and meetings  with some of the key Industry figures both in San Pablo and Rio.

On Thursday 27th. September a visit to the studios of the media empire “Globo” was organized.

Rede Globo  or simply Globo, is a Brazilian television network, launched by media mogul Roberto Marinho on April 26, 1965. It is owned by media conglomerate Organizações Globo, being by far

One of the main street of the strudio of

One of the main street of the strudio of “Globo”

the largest of its holdings. Globo is the second-largest commercial TV network in annual revenue worldwide behind just of American Broadcasting Company and one of the largest producer of telenovelas.

It was fascinating to learn that each Brazilian watches on average five and half hour TV every single day and the amazing studios makes equivalent of three feature films of telenovela or soap opera every single day. One wonders what is left in a day for other daily issues!

The network’s main production studios are located at a complex dubbed Projac , located in

The UK Trade Delegates wondering around one of the main avenues in

The UK Trade Delegates wondering around one of the main avenues in “Globo”

Jacarepaguá, Barra da Tijuca. It is composed of 122 owned and affiliate television stations throughout Brazil plus its own international networks.

Celebrating ” Candido Fabre ” 19th. anniversary of “Candido Fabre y Su Banda band”

A hero even in his own house!

Candido’s poster the great baseball lover and Conchita

It is midday on Friday 19th October.   As I sat In Candido’s house in Manzanillo ,Conchita (Candido’s wife) kindly served us with my favourite food of all time;  Rice, Beans and freshly caught fish.

All morning I had been sitting  next to Travieso (Fabre jr.) in his studio/ bedroom and listening to the new recording that he has been putting together for the last year or so and now it was a relief to be away from the blasting sound of music for a while.  The house felt  more like Piccadilly Circus than a house with people coming and going and the news was coming in that Candido was finally getting up.   In the sitting room there were people queuing for interviews, video work..etc and meanwhile all the instruments had to be shipped from Manzanillo to Bayamo for the night event which quite to my surprise sounded a much bigger event than I had thought.

Travieso in the process of his debut album for Tumi Music

Travieso “Candido Fabre Jr.” during his recording session in the bedroom of their house in Manzanillo, Cuba. October 2012

Eventually I finished eating and Candido came down, after a big hug I left him to his interviews and went to the studio putting some trombone to one of the  Travieso’s song.

When we finished everything was rather quiet and once again the house converted back  into a family gathering with Candido Fabre’s grandson  from his daughter Muñeca  and his wife Conchita .  As we sat around we took lots of photos and talked about how 19 years had disappeared just like a night.

Mo Fini , Candido Fabre and his granson in his house in Manzanillo, Cuba

Mo Fini, Candido’s Grandson and Candido Fabre

Candido Fabre and his family in his house in Manzanillo, Cuba

Candido Fabre and his family in his house in Manzanillo, Cuba

I still clearly remember, our daughter Nina was around one year old and we had gone to Cienfuegos for our holiday.  It was early in the evening and I could hear music in the street.  I left my wife Lucy and Nina in the hotel and walked towards a crowd of people.  As I ploughed my way through mountains of people I saw this young charismatic black singer  communicating with his audience as I had never seen before, he was indeed improvising rather than singing. He went on for hours and I knew that he was very special indeed. As I had to go back I pushed myself behind the stage and left my name and Tumi Music details to his violinist who had come back for a glass of water and asked her the name of the singer and she said ” Candido Fabre” and I said please let him have my card and that moment was the start of a long and respectable relationship between one of Cuba’s greatest singers and myself and Tumi Music. We went on to record 4 CD’s, and he toured UK and mainland Europe more than a dozen times. Today I consider Candido more as a member of my family and a good friend rather than a musician on my label “Tumi Music”.

On the evening of Friday 19th. October 2012, we all turned up to Bayamo.  As we approached the venue “El guajiro natural” the police were chaining off the entire area. I was driving with Carlos who had been accompanying me during the journey on the Island. I drove towards the barrier and introduced myself with the passport in my hand. The officer in charge soon removed the barrier and provided us with a parking space. I was accompanied to the back stage when Candido Fabre received us  with lots of hugs and smiles.

We went to the back where special seats were reserved for us, but I wanted to be at the front and  after saying hi to many people I left the table and went to the front.  Arturo Jorge, the trova band was finishing their last song . They sounded really amazing too.

When the band finished Candido eventually appeared after his band played the first two songs and there they were all Candido’s old favourite hits as well as some new ones among them some of my favourite songs ” La Habana quiere guarachar contigo” and ” De Cuba vengo y Cubano soy”.

It was a truly memorable evening that I will never forget.

We stayed until the last song and then knowing we had a 10 hour drive to Habana, we left quietly!

Mo Fini (Managing Director)

Hijos de Agüeybaná, Agua del Sol (Tumi Music)

Cover of The CD Agua del Sol

Cover of The CD Agua del Sol

“Hijos De Agüeybaná “spreading bomba

CD Review: Taken from

Freegan Kolektiva

Genre: Bomba / Afro-latin / Roots / Puerto Rican folk
Region: Puerto Rico,
Artists’ Website: Hijos De Agueybana Facebook
Label: Tumi Music

Hijos De Agüeybaná spreading bomba
Agua Del Sol is the debut album of Hijos De Agüeybaná, however the band has been performing on stage and conducting workshops for more than a decade. Led by Otoqui Reyes, this 8-piece ensemble is committed to preserving their Afro-Caribbean heritage by researching their roots. Barril-Primo is played by Otoqui Reyes and his father and bomba guru Ángel Luis Reyes, subidor is played by Ramon Vazquez and Papo Aguilú while Naomi Vasquez, Minerva Rosa and Quique Hernández form the singing section of the group

The eternal vibration of African rhythms has enchanted the world. During the last years, more and more styles of music related to African percussions are coming to the fore – just think of kuduro, kizomba and afrobeat among others. Within this upsurge, Afro-latin music has been greatly exposed from Cuban and Afro-Peruvian artists to Colombian cumbia andlabels like Soundway, which specialize in tropical sounds. Now, it is the time of the Puerto Rican African community’s own music, Bomba, to reach all those world music lovers.
‘Agua Del Sol’ is loaded with percussions and group chanting, like in constant dialogue, a style of tribal origin. The multi-layered, recurring beats reinforce the message of the melodious voices and vice versa, delivering celebrated mantras to solidarity, community-life and local culture. Compared to its African counterparts, Bomba music is less rough, emphasising more the vocal harmonies and restricting tempo changes and rhythm shifts within a song.
Bomba – the language of freedom in times of slavery

Bomba, like it happened with other styles in other parts of the Americas, became the unique form of expression of the black slaves that were transported all the way from Africa to work in the sugar plantations of Puerto Rico. Working in slavery under dreadful conditions the ‘Bomba rituals’ (like during St. James festival) helped the people stay together and retain their African identity in the ‘new world’. Bomba’s drumming and dance became the common thread not only among all those different African peoples speaking different languages but also across generations to pass on the knowledge of rhythm and history to the youth.

This music thrived in communities like Ponce, Guayama and Loiza Aldea even after liberation and is still played with one large percussion, called buleador (or barril-primo) and a smaller one called subidor while it is accompanied by all sorts of rhythmic instruments like maracas and sticks thus three or more layers of percussions are woven together. However, buleador plays the main role of interacting with the dancers in a continuous ‘conversation’, where musicians and dancers challenge each other. Bomba is based on musical and lyrical improvisation, or ‘controversia’, which is the heart of much of Puerto Rican folk music. Songs often start with a ‘liana’, where the main singer is reinforced by the chorus in a call and response fashion before the drumming begins. Bomba groups are used to go from place to place performing in open air sessions on the beach, on the streets etc. in all night long rum-fueled sessions.

Hello world!

Welcome to  Latin Music Downloads  where you will find music from all corners of Latin & South America and African roots including the Andes, Cuba, Caribbean, Brazil, Argentina, Peru, Bolivia, Guatemala, Chile and Africa.

We will be blogging giving exciting news on Latin America on regular bases. Do come back and check us out.

As the founder and director of Tumi MusicI  have spent over 30 years recording, researching and writing on Latin America and It will be mostly myself bringing you first class news and blogs. Do give me your feed backs. I love to hear from you.

If you like to hear more about what I do and what I have done you can always check me out on my personal webpage. Music, Love and culture go in hand!

Mo Fini (March 2013)

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