Hector 'Coco' Barez
Where are you from/where are you now/why did you move there?
The island of Puerto Rico, and I've been living in the DMV (Delaware/Maryland/Virginia) and now Richmond, VA for the past 10 years. I moved here for LOVE.
What is your current musical project and how did it come about?
El Laberinto de Coco. After moving to Virginia - despite performing with various bands like Bio Ritmo & Miramar, who have obvious ties to the island with their music- I felt I needed to go to my Afro-Puerto Rican roots. So, I decided to make an album that took me to 'that place' where I could experience that African connection. And that was through Bomba.
What is the driving force behind your work?
That connection with the island and my roots. Having been exposed to all this new music in Richmond, I felt the need to blend all the cultural aspects to fuse & create this sound.
How would you describe your music to someone who has never heard music like yours?
I'm gonna use a review from an album critic (who actually was not so nice in his critique): "The project is 'in your face' music'. And he wasn't wrong, because bomba drums are in your face. They are used to call people & community together.
Where does your inspiration to pursue music come from?
My inspiration to pursue music comes from an early age. I grew up with 3 brothers who played music; there was always music around in the house - violin, piano - that was one part that threw me in that direction. I wanted to pursue technical theatre also. I used to play cassettes and VHS tapes and synch Christmas tree lighting as a kid - so I always felt attracted to the stage. However, I used to play lots of sports as a kid, and that took my time away from pursuing music. So, in order for me to get closer to music, I started to play music on my off time (to retain that inspiration).
What musical artists inspire you and why?
I used to play with William Cepeda, a great jazz player, and he was one of the firsts who put Puerto Rican bomba together with jazz, making it sound so natural. He was one of the first people to say to me that I could do anything with this music. Also, Rafael Cortijo, who I feel was way ahead of his time.
You have an extensive career - playing with Bayanga, Calle 13, Bio Ritmo, Miramar, to name a few- that has allowed you to touch down in dozens of countries: what are some of your most memorable moments?
I had the opportunity to perform with lots of great artists. With Bayanga- we did tours without having a real album out, which was really interesting. It was really a full-time job: we used to rehearse every day from Monday to Thursday and then perform Friday Saturdays and maybe Sundays. Especially, because we didn't have a real musical education. Everything was played by ear. From that Bayanga project, came Calle 13. I toured with those cats for 8 years as one of the first members of the Calle 13 crew, and had the opportunity to record on 4 of their albums. It was an amazing experience to connect with my Latinidad, and see how the African diaspora had spread throughout Latinoamerica. To experience music that resembles bomba, the similarity of patterns, and the slight changes.. like how Africans that settled in those places recreated their drums. To see how those sounds blended with the culture, but had their own voice. Miramar and Bio Ritmo: those two projects are very important because they connect me to the island. To play (Bio Ritmo's) salsa in Richmond was like WHOA!, and to play (Miramar's) boleros was to honor the music my grandparents listened to.
Was there a specific moment while recording that you knew your music had a 'magical' effect on others?
Yeah. You get to observe the reactions of people when you're recording. First of all, the music has to give me goosebumps. If my music doesn't give me goosebumps, I don't think it's gonna have the same effect on other people. My body has to internalize it before I present it to the world. I don't expect people to feel the same way, but when I see people who do, that's that magic moment. That's my cue. I feel validated. It's good to feel that what I'm doing is moving you.
Did the quarantine inspire you creatively?
Totally. We had to reinvent ourselves to keep doing what we do. We had to learn how to record ourselves, through audio & video, and social media. So now, instead of just being a musician, it's now about being a sound engineer, editing...a lot. How are you gonna keep doing what you've been doing without getting out of your comfort zone? You have to push yourself harder to get comfortable again with new knowledge. So, from an artist point of view, it's been a creative push to keep working.
What's the greatest feedback you've heard in relation to your project, El Laberinto?
Someone compared El Laberinto to “The Time Machine” by Ismael Rivera. I don't think it's on that level, but that's an amazing compliment. Also, being invited to perform at SXSW was a great form of feedback and is a real honor. The only problem is that a pandemic arrived, so we couldn't go. That level of visibility is hard to get because there's so much good music out there, and there's so much bad music supported by a good marketing budget...it's hard to compete with that. But to be invited to share the lineup with acts like Lido Pimienta, Making Movies...that's a compliment.
What record label is releasing/distributing the album?
My own label. another reinvention from the pandemic: you have to run your own label too. it's not difficult, you just have to organize yourself. OBI Musica is my label. Obi means Coco in Yoruba language. I was playing bata drums at the time and that inspired the name.
What would be a dream collaboration for you?
I want to collaborate with everyone. It's a tough question, because there are a lot of artists I admire. From the pop scene, the jazz scene, etc. That was the beautiful thing with Calle 13: we were able to collaborate with a bunch of people we admired. Vicentico, Alejandro Sanz, Maria Rita, Susana Baca, Ruben Blades...we got a lot of those opportunities.
What's next for El Laberinto?
We just released a new single in April 2020, 'Las Condiciones' from El Laberinto. It's about the conditions you need to dance in the 'batey'. Just bring what you have inside, and let the drum lead the way. Another single will be released in a few weeks.
What advice would you give to a young person from the diaspora who wants to do what you do?
You have to connect with your heritage. Music and culture move people. Know where you come from, know your music. It helps identify who you are. That doesn't mean you have to play your own culture's music, but knowing your culture allows you to acknowledge and appreciate other people's cultures & music. The music that moves the people of the diaspora is organic, unique and very special because it's been there for generations. If you can take that music and place it in a contemporary setting, it can move the world.