Home Archive Pianist, Cellist, Vocalist, Composer Yaniel Matos releases CARABALI

Pianist, Cellist, Vocalist, Composer Yaniel Matos releases CARABALI


Yaniel Matos had his first contact with music through his family. At the age of eight, he began to study cello and piano at Conservatorio Estevan Sala, in Santiago de Cuba until 1994, when he moved to Havana to study Cello and Composition. He graduated at Instituto Superior de Artes in Havana.

He played with Isaac Delgado, Orlando “Maraca” Valle, among others, having done several international tours. He moved to Sao Paulo, Brazil in 2000 and became a member of the Department of Popular Music at Escola Superior de Musica d Faculdade Cantareira responsible for piano-related courses.

In 2003, he founded the Mani Padme Trio, recorded Um Dia de Chuva, Later and Vuelo. The first two with the Italian record label, Red Records. He released his first solo album, titled En Movimiento in 2008. In 2014 Matos released La Mirada, where he finds in the notes and words that bind him to Cuba and Brazil.

La Mirada was named by Music Resource Group (MRG) as a nominee of the 14th Independent Music Awards, the influential awards program for independent artists and releases in the category of jazz with Vocals. Also, in 2016 he became a member of the jury of the Independent Music Awards.

Carabali showcases songs based on the rhythms of Santiago de Cuba, such as Tumba Francesa, Bembe, Conga, and Rumba, that represent the African heritage in Cuba. The music in Carabali does not conceal its flirtation with European music and jazz. The influence of musicians such as Cecil Taylor, Elgar Varese, Alejandro Garcia Caturla, and Amadeo Roldan can clearly be heard and felt against this new background.

En Movimiento (2008)
La Mirada (2014)
Carabali (2017)
Mani Padme Trio – Voo (2017)

A graduate of Empire State College with a dual major in journalism and Latin American studies, Tomas Peña has spent years applying his knowledge and writing skills to the promotion of great musicians. A specialist in the crossroads between jazz and Latin music, Peña has written extensively on the subject.


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