Music
Press
As if he were a musical alchemist, Martinez presents each one of the influences in their full transforming potential: the guapango is turned into an Arabic melody, the cumbia is melted into a waltz, the waltz is transmuted into a blues, Furthermore, the most diverse instruments cohabit one beside the other, with surprising disposition.
Radko Tichavsky/ Milenio 2000/ Monterrey - Milenio
In “Homenaje a mi Tierra” , Sergio retakes -for the evolution of the Mexican music own good- a little traveled trail where only some honest composers as Ruben Fuentes, Guadalupe Trigo and Marcial Alejandro have succeeded. And besides, he makes it with a great imagination …
Arnulfo Canales/ Musician and music critic 2000/ Monterrey
- El critico
Sergio Martínez/Damned Blessed Heart
In what kind of kitchen is a dish like this prepared? In which drawer of which classification could we accommodate Sergio Martinez and his work? With no obstacle, this out-of-this-world creator combines the best of the musical and emotional codes that have fed him since his childhood ...
Felipe Montes Monterrey 2009
- La gaceta musical
Discography
Mexico a traves de sus canciones, En los tiempos del amor, Un canto a Mexico, Homenaje a mi tierra, Zoologico Mexicano
Photos
Bio
My influences are Jose Alfredo Jimenez, Cuco Sanchez, Consuelo Velazquez, Maria Alma, Jorge Negrete, Pedro Infante, Javier Solis, Guadalupe Trigo, Tin Tan, Franck Sinatra, Bocelli, Carreras, Pavarotti, Edith Piaf, Marlene Ditrich, Sting, Peter Gabriel, Seal, Salif Keita, Chavela Vargas, Lola Beltran and many more. I have a vocal training, love crooners and opera singers, I love cabaret and club music and singing. My music and my show as well as my presence is a novel combination of all this influences.
I firs trained myself as a classical guitarist, then as a singer in Mexico and London, when I came back to Mexico I started to sing Mexican period music then I evolved as a popular singer both interpreting old and nostalgia songs as well as new songs for the younger audiences.
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