La Vela y La Campana: Saso's 'COCOLO' EP is Ode to Blackness
‘Palo Santo’ BTS (2022) by Biviana Sánchez.
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On a cold autumn night this past November at Chela’s in Washington Heights, Alto Manhattan, dozens of Latino and Caribbean New Yorkers came together to celebrate the release of COCOLO EP: a seven-track body of work by Saso (nee Roosevelt Castillo), an Afro-Caribbean music recording artist who grew up between the Bronx and Dominican Republic. Through this seven-song journey, Saso and his team pay homage to Blackness–to our spiritual and musical ancestors who paved the way so we could soar.
In COCOLO EP, you’ll find dembow and house, Afro-Dominican palo music, and poetry. By blending genres, Saso and his creative team push us to contemplate all the ways in which Blackness shows up in musical spaces, and in our cultures as products of the TransAtlantic experience. Whether the bass lines in a dembow like ‘De Las Dos Ciudades’ or the polyrhythms in ‘Palo Santo’, Saso incorporates Afro-diasporic rhythms to create his unique sound and brand. It’s no wonder then, that his fanbase is growing steadily: it speaks to and resonates with so many. We spoke to Saso about COCOLO, his influences, and the importance of diaspora.
‘Palo Santo’ BTS (2022) by Biviana Sánchez.
This past Fall, you released COCOLO EP, your debut collective body of work. How did you and your creative team land on this name?
In 2019, I named my project COCOLO from a term I was frequently called in my youth. Unaware of its negative undertones towards my identity, I found it both empowering and derogatory. COCOLO became a means for me to delve into the intersection of Blackness in the Latin & Caribbean communities and to navigate and embrace my own identity in that context.
The body of work is an ode to Blackness. As an Afro-Dominican, Black Caribbean man, what does your identity mean to you?
Growing up black in the US and the Caribbean revealed stark contrasts in how each society tackles colorism, the clash between Eurocentric and Afro-Indigenous beauty ideals, and the corresponding socio-economic advantages. It was an eye-opening experience. I discovered that the Dominican Republic is deeply entrenched in racism disguised as classism. While in the U.S., these issues are more overt and conspicuous.
You were very intentional in who you collaborated with on this project. From Dos Flakos and Nas Leber to Yaissa Jiménez, can you speak to the process of choosing who you’d embark on this journey with?
Dos Flakos and I had an established partnership from our prior successful collaborations (like ‘Sazón’ and ‘Tu Suspiro’), which significantly shaped my musical evolution. Their contribution was indispensable to my sound, and this project wouldn't exist without their influence. Yaissa and I resonated musically and ideologically; she grasped the personal depth of the themes I aimed to provoke through this socio-political musical endeavor. Nas played a pivotal role in the technical aspect, and it felt natural to involve his multifaceted talent in my project—his skills deserved a spotlight.
Saso in his living room in RD (2022) by esemismoale
‘Palo Santo' is such a powerful track. In a time where there are many misconceptions around and appropriations of African Atlantic cultures and traditions, ‘Palo Santo’ is an intergenerational celebration of and homage to Afro-Dominican spirituality.
Palo Santo was my cherished secret for years within COCOLO. It marked the inception of my work in the project. Crafted specifically for Enerolisa Nuñez y Grupo Salve Mata Los Indios, it stemmed from deep research into salve music and Enerolisa's musical repertoire. The goal was an afro-futuristic fusion blending palo, electronic, and innovative sounds. Taking the demo to Enerolisa in DR, she immediately resonated with the song—unaware of the extensive research behind it. Connecting with the entire group, we recorded the track in DR, safeguarding it in the vault until its eventual release in 2023 amidst the pandemic.
Similar to so many across diasporas, your song 'De La Dos Ciudades' speaks to the experience of being from both aquí and allá, embracing the dual identities. How does being from both NYC and RD inform who Saso is?
Getting to The Bronx at 11 after growing up in DR? That was like stepping into a whole new world. Everything—how people talked, dressed, even what was on TV—was totally different. Had to learn, adapt and figure out how to navigate the city. But even though I was in NY, my heart was back home on the island. I made it a point to keep that connection strong, diving deep into DR's music and culture whenever I could. Mixing up the ways of New York with my roots and always keeping my island close? That's what shapes my sound, keeps it evolving.
Richard & Saso BTS for ‘Palo Santo’ (2022) by Biviana Sánchez.
'Diaspora 2' is a beautiful reflection on the power and resilience of the African Diaspora. Why did you choose to bring along the poetry of Yaissa Jimenez to tell this particular story?
Yaissa and I had this deep, real talk about why she'd be the missing piece for Diaspora 2. We dug into the economic struggles hitting black communities, talked about colorism, and how we gotta grind double just to get the same respect as folks with lighter skin. It was like our minds were totally in sync on these issues, so I knew she got exactly what I wanted to say in this song. Her talent, especially her way with words in Spanish, brought a whole new layer to this track that I couldn't pull off alone.
The EP culminates with 'Ya Veras', which is completely different genre wise than the rest of the album.
‘Ya Veras" is kinda special for me 'cause it's way different from what I usually do—I'm not much of a singer, you know? This track came from a breakup right before everything shut down with the pandemic. Breakups can get real messy, but after taking time to heal, I wanted to flip the script and make a breakup song with something positive—a lesson learned kinda thing. I've been wanting to make more Drum and Bass for a while now, and I'm still building on that vibe. So yeah, definitely keep an eye out for more tracks like this coming from me.
Listening to COCOLO from top to bottom, what did this work teach you?
This project taught me a ton. Like, patience? hell yeah, I learned that big time. And hard lessons? uff. But most importantly, it taught me to trust my gut. Been hustling for four years on this, and I believe the right people and platforms will vibe with it. I made this record for people like me—those unsure about where they fit in, both on the island and beyond. When I mentioned ‘Todo el mundo quiere ser cocolo,’ I meant that. People desire the cultural recognition that comes with resembling, dressing like, or sounding like a "Cocolo," yet they may not want to endure the discrimination that accompanies it. My hope is that this project encourages people to take pride in their skin, regardless of its shade, and to embrace their hair, no matter its texture. Furthermore, I hope it sparks conversations about race, particularly in Latin America and the Caribbean, but certainly across the rest of the world as well.
COCOLO EP. Cover Art By: Gabriel Jehu