Proper now, Ileana Mercedes Cabra Joglar must be working feverishly at a recording studio someplace in her native Puerto Rico, including new songs to her much-anticipated fourth solo album.
However at 35, the artist often called iLe — one of the crucial luminous and visionary voices in modern Latin music — tends to get a bit claustrophobic about her inventive course of. But a handful of worldwide tour dates, together with Friday’s present on the Wallis in Beverly Hills, ought to present a much-needed breath of recent air.
“The concerts help me to escape whenever the seclusion of working on an album becomes too much,” she says in Spanish that sounds simply as melodious as her singing. “I’m working on the new record in small increments, trying to decipher a couple of things that I can’t quite verbalize at this point. It’s a process that requires a lot of energy, time and dedication. The challenge remains to continue learning and exploring, to get to know myself a little better through my own songs.”
ILe was nonetheless in highschool when she skilled international fame as PG-13, rapper and vocalist with Calle 13, the immensely profitable band based by her older brothers Residente and Visitante. In 2016, after the group had gone on an indefinite hiatus, she launched “iLevitable,” a sprawling, elegant debut that sounded extra soulful and complicated than something Calle 13 had ever achieved. The album would win the Grammy for Latin rock, city or different album in 2017.
“Working with iLe is incredibly rewarding,” says Cuban vocalist Daymé Arocena. Final November, she teamed up with iLe on the one “Por Ti” — a smoldering bolero brimming with old school analog heat. “She was a role model for me when I was living in Cuba, and I always saw her, and the Calle 13 phenomenon, as something that was so distant. Having the opportunity to collaborate with her was like a gift to my inner child. And a gift to music too, because iLe is music.”
Her second and third albums — 2019’s “Almadura” and 2022’s “Nacarile” — expanded the premise of “iLevitable.” ILe was bent on increasing the avenues of Latin music, however she was going to attain this by delving into the venerable genres linked to her heritage. She revisited the boogaloo explosion of late ‘60s New York, and studied the healing roots of Puerto Rican plena. She recorded a sumptuous bolero duet with salsa star Cheo Feliciano (“Dolor”), and invited radical keyboard whiz Eddie Palmieri to play piano on two “Almadura” tracks. In 2022, she channeled the hallucinogenic cloud of ‘70s psychedelic baladas on “Mentiras con Cariño,” a collaboration with the Black Pumas’ Adrian Quesada.
By the point she recorded “Nacarile,” the putting originality of her imaginative and prescient attracted a cadre of high-profile friends, from Argentine rapper Trueno and Chilean chanteuse Mon Laferte, to Mexican people priestess Natalia Lafourcade and boricua reggaetón legend Ivy Queen.
“We listened to a lot of salsa at home when I was growing up,” she remembers. “Eduardo [Visitante] started with a ska group, then formed a band that played reggae and batucada. René [Residente] studied visual arts, but he would spend his days improvising rhymes in his room. It made perfect sense to me that they would form Calle 13, because I grew up in the same house, and I knew what kind of music we were all listening to.”
In 2009, Calle 13 recorded “La Perla,” a now iconic observe with salsa pioneer Rubén Blades that combined hip-hop with Afro-Caribbean grit. However in her solo work, it was iLe who made a concerted effort to rescue the previous tropical codecs from oblivion.
“It surprised me that people of my generation didn’t know who Cheo Feliciano or Eddie Palmieri were,” she says. “Maybe they danced to their music — they knew a couple of songs — but they were not aware of the actual people who recorded them. It shocked me, and I feel motivated to rescue, or at least remember, our cultural history. These older musicians are incredibly talented, and we must know about them.”
A track that sums up the essence of iLe’s aesthetic — her daring mix of previous and future — is “Ñe Ñe Ñe,” one of the crucial revelatory tracks on “Almadura.” An ethereal plena, it combines a defiant anti-colonial message with call-and-response choruses and a virtuoso, retro-flavored piano solo. The bridge, nonetheless, makes use of compression and digital manipulation to conjure up a hypnotic impact, virtually like a loop. Nonetheless, the observe’s sole protagonist is iLe’s attractive vocal line.
“Everything feels so private and intimate at a recording studio, that it can also sound a bit cold,” she says when requested in regards to the particular qualities of the track. “The piano solo is by Julio Boria, a young player who sounds like an old guy. We recorded that using my own piano at home, and it added a layer of warmth. I wanted it to sound like a modernized version of a plena, without losing the essence of its origins. ‘Ñe Ñe Ñe’ has a presence to it — it pierces the coldness of the studio — and I just love that.”
“My sister is never preoccupied about running against the clock,” mentioned Visitante throughout a separate interview. “She is like an infinite hourglass, and in time, she will receive all the credit that she deserves for following her muse and selecting such an honest musical path.”
When Calle 13 stopped touring altogether, there was a generalized feeling within the trade that the band had imploded after so many sold-out excursions and Latin Grammys gained. I requested iLe if the group’s obvious demise caught her without warning.
“It was a natural development,” she says. “Too many things happened during those 10 years. I think we are still processing many of those experiences, because we didn’t have time to do it then. At one point, all of us shared the same need to explore different directions on our own, and I think that’s a healthy need to have. Sharing work and family leads to many beautiful moments. But it can also get a bit intense.”
Looking back, iLe realizes that her solo profession could not have taken off if Calle 13 had stayed collectively.
“An unconditional commitment to a family project can make you lose yourself,” she displays. “Obviously we continue spending lots of time together as a family, and it’s really nice to connect from a different perspective. My solo work gave me the opportunity to let myself go, and find a sense of liberation through music.”
