Maritzaida

"We should do another record, but let's make it a visual product," suggested Charlie Hunter just months after Maritzaida’s explosive debut with Boleros Clásicos Volumen Uno and Volumen Dos. It had only been a a little over a year since Maritzaida and her husband, AJ Weibe, began their bolero journey after a five-year break from music, following a decade of performing together as military musicians, including a three-year stint in Tokyo. But their return to the stage had been nothing short of extraordinary.

After those first two albums, the duo worked on a tribute to Puerto Rican legends Sylvia Rexach and Tutti Umpierre, culminating in their third album, Alma Adentro: La Música de Sylvia Rexach y Tutti Umpierre, and leading to Maritzaida connecting with Rexach’s daughter, actress and singer Sharon Riley Rexach, and taking up the torch for a multi-year journey to bring Rexach and Umpierre’s unpublished works to life. Ready for a another challenge, they approached Hunter about their next move. "How do we make this record stand apart?" they wondered. Maritzaida had the answer: "I love the sound of a cello."

Enter Zachary Brown, an NYC-based cellist. With Brown on board, Weibe dove into arrangements, practicing with Maritzaida every evening after their day jobs—Weibe, a Communications Director with a Ph.D., and Maritzaida, a Cooperative Extension Educator and Ph.D. candidate. Balancing a "normal" life with headlining shows like the North Carolina Folk Festival, the couple remained undeterred in their pursuit of artistry.

Like their other records and under the advice of Hunter, they didn't want the gloss of fancy production; they craved authenticity. The setting? Echo Mountain Studios, a 1920s church in Asheville, NC, turned world-class studio. Veteran engineer Ethan Gingerich fine-tuned the group’s placement around a single microphone—“Aaron, move two inches forward; Zach, step back a foot”—capturing every nuance of their live performance. A video crew was on hand to document the intimate recording of five bolero classics, which they wrapped in a few hours.

But when Hunter called Weibe a few days later, he had only one regret: "We should've done five more to make it a full album." Determined to complete what they’d started, the group reconvened months later. However, Hurricane Helene derailed plans to return to Echo Mountain. With Asheville out of reach, Earthtones Studio in Greensboro, NC, became their savior. In just a few hours, they finished the record, with the gentle sound of rain—heard at the end of "Silencio"—adding an unexpected but fitting touch.

Sentimientos En Vivo showcases Maritzaida’s remarkable voice, blending seamlessly with Brown’s deep cello tones and the burly sound of Weibe’s 7-string guitar. Recorded live, the album captures the raw emotion and connection between the musicians. The creaky church floors and the soft rain are woven into the fabric of the music, giving the album an organic, living quality. It feels like a record from the 1950s but delivers a fresh, innovative approach to classic bolero, offering something timeless and entirely new.

The record features three rare compositions (Y Entonces, Senda de Flores, and Yo Era Una Flor) by the legendary Sylvia Rexach and Tutti Umpierre, which have remained largely unheard by fans of Puerto Rico’s música bohemia. With guidance from Rexach’s 78-year-old daughter - actress and singer Sharon Riley Rexach - Maritzaida and AJ Weibe meticulously crafted these tracks to honor their original intent. Two additional songs (No Soy de Aquí, Ni Soy de Allá and Noche de Ronda) pay tribute to the iconic Mexican vocalist Chavela Vargas, with Maritzaida’s powerful low-range vocals echoing Vargas’ soul-stirring style. The group’s rendition of Silencio takes listeners on an emotional journey through the depths of bolero lyricism, while Zachary Brown’s cello chopping techniques add brilliance to Arenas del Desierto. The album also breathes new life into classics like Nosotros, famously performed by Trio Los Panchos, and a more traditional take on the pop-bolero classic La Nave del Olvido.