Alberto Kreimerman's Hermes Foundation: a bright light on music from South of the border.

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SINCE 1982 THE CAUSE of music making has had a champion in Hermes Music. Operating from its U.S. headquarters in Texas, Hermes specialized in serving the pro audio, lighting, and musical instrument needs of the Hispanic community in Texas, Mexico, and South America. In 2006 Hermes founder and CEO Alberto Kreimerman sold the company's four U.S. retail stores to Guitar Center in order to focus on Hermes' thriving distribution and retail sales operation in Mexico and South America, and especially on the Hermes Music Foundation, a charity that serves underprivileged children in the U.S. and Mexico. Bruce Jordahl, formerly of Projection, Lights And Staging News, discussed with Kreimerman his business's genesis and the evolution of its mission.

Tell us how Hermes Music was formed and detail the growth of the company in the beginning.

Hermes is the product of a musician who wanted to give other musicians what he expected from the people who made a living selling audio, lighting, and musical instruments. What musicians expect when they walk into a store, more than simply a musical instrument is the service, honesty, and respect. I really understand the problems of Latin engineers and musicians when they come to the U.S. to buy the tools they need to work and then return to Mexico to find that their equipment doesn't work and they don't have service or a guarantee--absolutely nothing. I understand them because I was one of them. We give them a guarantee and service in their own country, and we are always there when they need us. Hermes grew from a little retail store with two employees to a highly successful retail force in the U.S. and a distribution company with 300 employees. We offer services in many strategic points that make our clients very happy and keep them loyal to us. They know we are supporting them because we love music.

What were the first important gear lines you took on, and how did they help you succeed in the market?

We began with an excellent line from Italy named Montarbo. The popularity Montarbo had in Mexico was so big that other major lines were interested in entering the Latin market. They then realized Hermes Music was the best option they had to penetrate the Latin market.

As you grew, what enabled you to enter new cities and markets?

We always do what's best for our clients. The problem is that sometimes this is very hard to do, because many of them tour all over the world. However, we always try to serve all the vertical markets and be where our presence can make a difference.

How did live production play a role in the early years?

In the early days, only small companies concentrated on live production. Sound and lighting systems were too expensive, and even if you invested the money to buy in the U.S., service and guarantees became a big problem. We knew that the Mexican market was always the key to entering the Latin market in the U.S. We financed the small companies, we helped other talented people get into the live production business, and we serviced them. By helping them to grow, we grew as well. Some of the companies we serve are now comparable to the best companies in the world. Hermes is really proud of our little part in that.

Who were the important artists you worked with in the Latino market?

Naming them in order of importance is impossible. My relationship to them is much more personal than a client/supplier relationship. If you could see the list of the artists that form part of our Project of Love, and who actively participate in our TV program, you would see that we aren't limited to the Latin market.

Was there an interest in television production years back? How did this idea come about?

Our relations with the production companies, the promoters, and the artists is what gives us the opportunity to create a conscience using music through our TV program Porque Amamos La Musica (Because We Love Music). Normally, TV programs only focus on gossip among artists. We wanted to show everybody that music is harmony, spirituality, and healing; that the people that are in this business are special; that the old stereotype of drugs, sex, and rock 'n' roll is not true. We also wanted to show everything that is involved in a live show, from the point of view of engineers, promoters, production managers, riggers, roadies, and fans.

How did the m.i. business change in the '90s?

The m.i. business is now more focused on making profit over other things. I can't speak about anybody else, but in the '90s we proved that you can be successful, grow, and make profits by focusing in what is best for your clients, giving them what they expect from you, and using common sense. If your clients are successful, you will be successful too.

What led you to leave the m.i. business to Guitar Center?

Our four stores in the U.S. were the smaller part of our business, but took more than 50% of our management team. Now we can focus on our distribution business, which was always our bread and butter, and on the most important thing to us: the creation of the Hermes Music Foundation. From the beginning, Hermes Music gave part of its profits to fund the "Proyecto de Amor," the Project Of Love. In all these years, we have bought and distributed more than a million toys, bikes, and balls, and we've donated many musical instruments to give to those less fortunate the opportunity to play music. When a terrible hurricane hit the south of Mexico, Hermes was there with food, clothing, and the most important thing: hope. We also worked with indigenous communities in Mexico, promoting the sacred Huichole art to give them the opportunities that they deserve. I know in my heart that this project depends to this day exclusively on the success of Hermes Music, and I don't want it to end with me; I want it to continue long after I'm gone. The Hermes Music Foundation is a project of love that belongs only to those who have the capacity to love and give.

Hate and violence are contagious, but there is hope in this world, because love and compassion are also contagious. After we announced the creation of Hermes Music Foundation, companies from our industry like B-52 donated money and 20 sound systems for indigenous communities. QSC, Sennheiser, Zildjian, Samson, Joe Martin Sales, and DR Strings became part of the Project of Love. Harman Group collaborated too, and one of the reasons I accepted the deal with Guitar Center is that they offered support for Hermes Music Foundation. Latin people are emotional and have values that are very important to them. Not many know this, but you can't buy the Latin market; you need to earn it. The price is not money; the price is passion, dedication, and love.

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Once this happened, who stayed on at Hermes, and in what roles?

All the management team and my key people stayed with Hermes Music--those who helped me make my dream come true: Jorge Saavedra, Greg Morrison, Juan Perches, and a team of talented people who have been with me more than 15 years. We work together in harmony with a common goal. Their role is simply: focus, focus, focus, and common sense.

Define Hermes' business after the sale, in terms of live production and television, etc.

We concentrated on our distribution business and bringing awareness to our Project of Love, through Hermes Music Foundation and Porque Amamos la Musica, making a difference in the lives of many people.

Why does this business model make sense?

It makes sense because we are using our experience in retail music to help our dealers in Mexico. There are more than 400 m.i. dealers, and because we are dedicating more time and resources to them they are growing and becoming more and more committed to Hermes. The same applies to the live production companies, contractors, TV and radio stations, and all the vertical markets.

Tell us about your production capabilities and who has appeared on your show.

Featured artists on our TV show and Project of Love include: B.B. King, Mana, Eva Longoria, Pepe Aguilar, Alejandro Sanz, Daniela Mercury, Santana, Los Lonely Boys, A1 Di Meola, Intocable, Ramon Ayala, Kumbia Kings, Ottmar Liebert, Dallas Cowboy Cheerleaders, Tony Parker, Juanes, El Tri, La Quinta Estacion, Belanova, La Ley, Reyli, Alberto Cortez, Elefante, Chabelo, Tatiana, Del Castillo, and many others.

Where is Hermes headed in the live production market?

We want to focus on our foundation and promote as many events as we can. We also want to promote our TV program, which through live shows helps give exposure to recording artists and introduces them to a whole new audience. It allows Hermes Music to develop relationships with audio and video companies as well.

Who are your customers now?

All the clients of our distribution company and all the artists, groups, and institutions that are part of Hermes Music Foundation, Project of Love, and our TV show.