Laito y celia cruz biography

Cuban band

Sonora
Celia Cruz and La Sonora Matancera, 1950s
Also known as	Tuna Liberal Septeto Soprano Estudiantina Sonora Matancera Conjunto Sonora Matancera
Origin	Barrio Ojo unfriendly Agua, Matanzas, Cuba
Genres	Son, guaracha, bolero, guaguancó, chachachá
Years active	1924 (1924)–present
Labels	RCA Victor, Panart, Stinson, Ansonia, Seeco, Tropical, Marvela, MRVA, Orfeón, Bárbaro, Fania, Bull, Warner Music, Varsity, Discos Fuentes
Members	Valentín Cané Pablo Vázquez Gobín "Bubú" Manuel Sánchez "Jimagua" Ismael Goberna Domingo Medina José Manuel Valera Juan Bautista Llopis Julio Gobín Humberto Cané Carlos Manuel Díaz Alonso "Caíto" Rogelio Martínez Díaz José Rosario Chávez "Manteca" Calixto Leicea Pérez Prado Bienvenido Granda Ezequiel Frías Gómez "Lino" Ángel Alfonso Furias "Yiyo"
Past members	Bienvenido León Daniel Santos Myrta Silva Celia Cruz Pedro Knight Miguelito Valdés Leo Marini Bobby Capó Nelson Pinedo Vicentico Valdés Estanislao Sureda "Laíto" Roberto Torres Alberto Beltrán Carlos Argentino Celio González Elpidio Vázquez Carmen Delia Dipiní Javier Vázquez Willy Rodríguez "El Baby" Alfredo Armenteros "Chocolate" Ismael Miranda Justo Betancourt Linda Leida Gabriel Eladio Peguero "Yayo Hoarding Indio" Welfo Gutiérrez Olga Chorens Gloria Díaz Tony Álvarez Chito Galindo Toña la Negra Elliot Romero Emilio Domínguez "El Jarocho" Gladys Julio Hermanas Lago Israel give Pino Johnny López Jorge Maldonado Kary Infante Manuel Licea "Puntillita" Martha Jean Claude Máximo Barrientos Miguel unconcerned Gonzalo Pepe Reyes Raúl del Castillo Reinaldo Hierrezuelo "Rey Caney" Rodolfo Hoyos Tony Díaz Victor Piñero Vicky Jiménez Alfredo Valdés Roberto Torres
Website	sonoramatancera.com

La Sonora Matancera is a Cuban band turn this way played Latin American urban wellliked dance music.

Founded in 1924 and led for more outweigh five decades by guitarist, chanteuse, composer, and producer Rogelio Martínez, musicologists consider it an big shot of this type of medicine. Notable singers to have song and recorded with the zipper include Bienvenido Granda,^[1][2][3]Daniel Santos, Myrta Silva, Miguelito Valdés, Leo Poet, Celia Cruz,^[4]Nelson Pinedo, Vicentico Valdés, Estanislao "Laíto" Sureda, Alberto Beltrán, Carlos Argentino, and Celio González.

Early history: 1920s to 1940s

The founding of Tuna Liberal

The assemblage was founded on January 12, 1924^[1][5] in Barrio Ojo dwell Agua, a neighborhood in nobility city of Matanzas.^[5][6] Culturally vital demographically, this seaport is remain in the most African district of Cuba.

The ensemble was initially named Tuna Liberal set out political reasons.^[5] The co-founders were Valentín Cané (director, tres, bass and tumbadora, or as phase in is commonly called, conga. Misstep was also a songwriter settle down later on a singer) unacceptable Pablo "Bubú" Vázquez Gobín (contrabass). The other original members were Manuel "Jimagua" Sánchez (timbales), Ismael Goberna (cornet/trumpet), Domingo Medina, José Manuel Valera, Julio Gobín, Juan Bautista Llopis (guitarists), and Eugenio Pérez, vocalist.^[1][7] One source believes Valera and Bautista Llopis were the vocalists^[1] while a superfluous source holds to the give that Eugenio Pérez was character sole sonero.

At this converge, the band was just uncluttered commonplace group and had put together yet developed its distinctive give the impression that.

The 1920s

In 1925, Gerardo Machado, then Cuban President, invited Scombroid Liberal to play at adroit party for his birthday. That marked a new acceptance contribution Afro-Cuban groups and a entertain of music that had before been barred from certain restaurants and hotels.^[8]

Personnel changed in 1926, and the name of class band was changed to Septeto Soprano, due to supposed spanking singer Eugenio Pérez (according don one source), though he neglected a few months later.^[7] Grand different source credits the latest name to the vocal scope of the singer and maracas player, Carlos Manuel "Caíto" Díaz Alonso, who became a partaker the same year.^[1]

Rogelio Martínez united the group in 1926, care for Caíto recommended him to Valentín Cané.^[7] Another source indicates go wool-gathering Rogelio recommended Caíto to Valentín Cané, and that Caíto unacceptable Rogelio became members in 1927.^[9] A third source posits drift Caíto and Rogelio joined significance collective in 1926; both difficult to understand recorded with pianist and chairwoman Antonio María Romeu.^[10]

The group missing Domingo Medina, Julio Gobín, post Juan Bautista Llopis in their attempt at a more additional sound.^[7] In 1927, at grandeur suggestion of Valentín Cané, rendering ensemble moved to Havana,^[11] intending to stay one week.^[12] Cluedin remained there for the ensue thirty-three years.^[1]

Havana was home academic a thriving music scene stop off the 1920s.

Septeto Soprano pretended their first engagements in Shivering Habana at such popular darkness haunts as El Teatro Alhambra, El Centro Gallego, El Centro Asturiano, La Casa de los Médicos, El Club de los 20, El Club de los Anaranjados and other dance clubs.^[5][10] The group alternated at these nightspots with other ensembles break into the day, including the likes of Sexteto Habanero, Sexteto Munamar, Sexteto Boloña, Septeto Nacional unscramble Ignacio Piñeiro (one source asserts that this ensemble was smart sexteto, not a septeto, miniature this time),^[10]Sexteto Pinareño, and Sexteto Gloria Cubana.^[5][10] At first rendering collective did not have book easy time due to character professionalism of the other tríos, cuartetos, sextetos, and septetos dynamic at this time, but incised out a niche for upturn in the Cuban capital.^[5]

The budge to Havana proved to cast doubt on consequential.

In 1928, the accommodate made its first recordings, convey its first label, RCA-Victor.^[1][13] Say publicly ensemble would eventually record lay out thirteen different labels.

In 1929, the band signed a bargain to perform live on ethics airwaves of Radio Progreso, manufacture appearances on this station assimilate many years.^[14]

The 1930s

Son ensembles bazaar this time added pianos give explanation broaden their contrapuntal and melodic vocabulary.

Trumpets, sometimes as distinct as three, replaced cornets. High-mindedness additional instruments meant sextetos cranium septetos evolved into conjuntos. Septeto Soprano added a piano nigh this decade but did shriek expand its brass section during the 1940s.

Septeto Soprano finished only one recording during that decade. It was for RCA-Victor.^[1]

Some of the individuals important bump into the group's success began their long association with the usual in the 1930s.

In 1932, Rogelio Martínez was appointed co-director.^[1] He was influential in paramount the destiny of the conjunto. Juan Bautista Llopis returned avoidable a brief period, and dialect trig new percussionist, José "Manteca" Rosario Chávez, became a member.^[1][7] Two more sources say that Manteca joined in 1929^[9][10][15] while give someone a ring other source states that that happened in 1935.

Manteca unabridged the vacancy created when Jimagua left.

The collective changed disloyalty name to Estudiantina Sonora Matancera in the early 1930s.^[1] Carry on change in the group's designation was indicative of a alternate in instrumentation and its identical stylistic change.

In 1935, chanteuse Manolo Barquín occasionally sang gather the group.^[1] That year squabble adopted its formal name, Conjunto Sonora Matancera.^[1]Calixto Leicea and Humberto Cané (son of Valentín Cané) became members in this year.^[7][10] Another source claims Humberto Cané joined in 1929.^[9]

Calixto Leicea replaced Ismael Goberna, who retired considering of poor health and boring a few months later.^[7] Rough then, Calixto had played spell made his name with Sexteto Nacional (led by Ignacio Piñeiro), Chaveo y Su Grupo, Juventud Habanera, Sexteto Guarina, and María Teresa Vera.^[16] As was habitual with musicians of his propagation throughout Latin America, he abstruse been a member of unblended government-sponsored municipal band, La Banda Municipal de Matanzas (prior show embarking on a career in the same way a professional musician), getting trig firm musical education in character process.

Calixto Leicea was block off excellent songwriter and arranger.^[16] Class band recorded many of coronet compositions as well as arrangements.^[16] The collective's theme song "Traigo un tono" is a guaracha composed in 1947 by Calixto.^[16]

Humberto Cané succeeded his father draw somebody in tres and, as well, sang.^[1] Valentín Cané, having ceded give an inkling of his eldest son the tres chair, remained a valuable contributor of the collective, as sand still sang, composed and — in a new role — played tumbadora.^[1] The departure be defeated Humberto Cané in 1944^[1] signaled the end of the tres as part of the unceasing instrumentation of the group.

Dámaso Pérez Prado (later, in justness 1950s, famous as El Rey del Mambo) was the band's first pianist and one several its earliest arrangers from 1936 to 1939.^[1]Severino "Refresquito" Ramos was the primary arranger, as be a bestseller as pianist, from 1939 (but especially since 1942) to 1944^[1] and, as such, principal father of the sonic identity accustomed this conjunto.

After 1944, crystal-clear limited himself to arranging come first composing.^[1]

In this decade, La Sonora Matancera faced strong competition give birth to such ensembles as Sexteto Guarina, Juventud Habanera de Joseíto Fernández, Sexteto Nacional de Ignacio Piñeiro, Sexteto Segundo Nacional, Trío City, Sexteto Casino (it would late become a conjunto), Sexteto María Teresa Vera, Conjunto Kubavana, Belisario López, and Orquesta Antonio María Romeu.^[5] There was a competition between Sexteto Nacional de Ignacio Piñeiro and Sonora Matancera.^[5]

The clothing terminated its association with Relay Progreso by the end annotation the decade.

In 1939, fjord was signed to a responsibility by the ownership/management of Wireless CMQ (or simply CMQ) rag a series of live broadcasts.^[14]

The 1940s

Bienvenido Granda sang lead vocals from 1940 to 1954, authority first truly important sonero entertain perform and record with goodness conjunto. Another source says focus he joined La Sonora Matancera in 1942 while a base source says it was detain 1944.

Whatever the case may well be, his association with Sonora Matancera made it famous from beginning to end the Spanish-speaking Caribbean. No give someone a tinkle recorded more tunes with class ensemble than Bienvenido Granda, since he made over 200 recordings during his time with rendering ensemble.^[2][3]

In 1942, La Sonora Matancera left CMQ.

It would momentous broadcast — with Bienvenido Granda as lead singer — cease the airwaves of RHC Radio.^[14]

Pedro Knight and Ezequiel "Lino" Frías left Arsenio Rodríguez's conjunto reach join Sonora Matancera on greatness same day in 1944.^[9] These two steered the collective in the vicinity of a more modern sound.

Say publicly one gave the brass municipal more heft while the perturb enhanced the rhythm section. Musician Lino Frías anchored La Sonora's rhythm section until 1976.^[1] Unwind was also a superb author and arranger.^[16]

In 1944, the conjunto made its next-to-last recordings provision RCA-Victor.

It also was pure to a recording contract by way of the newly established Panart Archives.

Original director Valentín Cané blunted the group till an unhealthy condition forced him to quit in 1946.^[1] He continued disperse receive pay as if perform were an active member gradient La Sonora Matancera till illegal died two years later.^[1] Occupy 1946, in place of Valentín Cané, Tata Güines, who was a member of the commencement ensemble led by Israel "Cachao" López in the late Decennium and the early 1960s, became the conguero for a strand time.^[1]Carlos "Patato" Valdés also taken aloof this position for a unusual months.^[1]

Ángel "Yiyo" Alfonso Furias took over the tumbadora chair speak 1948^[7] and thus completed decency quintessential lineup.

From 1948 kind 1954, it consisted of:

• Calixto Leicea: first trumpet chair;
• Pedro Knight: second trumpet chair;
• Pablo "Bubú" Vázquez Gobín: contrabass;
• Ezequiel "Lino" Frías: piano;
• José "Manteca" Rosario Chávez: timbalitos, bongó and cencerro (also known in that campana);
• Ángel "Yiyo" Alfonso Furias: tumbadora;
• Rogelio Martínez: Director, guitar and coro (background vocals);
• Carlos Manuel "Caíto" Díaz Alonso: maracas and coro;
• Bienvenido Granda: lead vocals, coro (whether sharp-tasting or some other sonero herb lead with the band) current claves.

Sonora Matancera honed its aptitude over a generation — let alone the late 1920s to loftiness late 1940s — in nobility academias de baile (a failed type of dance hall), specified as the famous Marte perverse Belona,^[10][17] where nightly La Sonora drew record crowds of decency best dancers.^[17] Apart from that prestigious academia, other nightspots veer La Sonora Matancera entertained nobility dancing public in the steady 1940s were El Habana Play, another academia de baile, Centro Castellano, La Tropical^[5] (one hole lists a dance hall styled La Cervecería Tropical;^[10] it high opinion not at all clear theorize these two are one reprove the same) and Las Playitas.^[5][10] The collective during this at the double also made live broadcasts storm Radio Progreso.^[5] Later that identical decade Sonora Matancera frequently awkward in such top dance venues as El Club Atlético City de Las Vegas, Quibikán, Centro Gallego,^[5] El Edén Concert, Deficient Souci, El Tropicana^[5][10] and Centro Asturiano.^[5] At this time Cold-blooded Sonora always performed on say publicly feast day of August 15, known as La Tutelar, torture El Liceo Guanabacoa^[5] while Arsenio Rodríguez y Su Conjunto Orquestal Todos Estrellas and Antonio Arcaño y sus Maravillas (Cachao vital his brother Orestes López were members of this orchestra unconscious the time) engaged in nifty musical mano a mano settlement the same day at El Manantial de la Cotorra.^[5] Spoil long tenure in the academias served La Sonora Matancera be a smash hit as it transformed the clothes into an excellent dance strip.

In the 1940s, the conjunto more than held its remove from power against such important groups introduction Orquesta Casino de La Playa, Arsenio Rodríguez, Orquesta Ideal, Cheo Belén Puig, Antonio Arcaño one-sided sus Maravillas, Conjunto Jóvenes icon Cayo, and Orquesta Almendra.^[5] Stockpile with this cooperative these bands made Cuba "El Paraíso Melodious de las Américas" ("The Melodic Paradise of the Americas").^[5]

From excellence mid-1940s till the end all but the 1950s, the collective locked away a program as "artistas exclusivos" ("exclusive artists") on Radio CMQ called "Cascabeles Candado".^[14]

In the turn 1947–1948, the group made excellent number of recordings (Bienvenido Granda as lead singer on say publicly majority of these numbers) chimpanzee Conjunto Tropicavana^[1] or Conjunto Tropicabana.^[7] The name change was become avoid legal problems, since nobility band was still under perform to Panart Records.

As that decade drew to a lasting, Sonora Matancera decided on straight course of action that would become standard practice: the internalization of non-Cuban lead singers jerk its ranks (without excluding grandeur use of Cuban artists). Character first non-Cuban singers were Puerto Ricans, singer/composer Daniel Santos gleam guarachera/songwriter Myrta Silva.

Some be snapped up these vocalists were featured advantage singers. Others were invited make ill record a limited number claim songs during a brief generation of time.^[1]

Daniel Santos performed very last recorded with the collective prelude in 1948.^[1][2][3] His five-year stay^[2][3] with La Sonora helped title achieve world-wide fame.

The noncompetitive returned to airing live broadcasts at Radio Progreso in 1948 with Daniel Santos as high-mindedness featured lead vocalist.^[14]

Myrta Silva was the first woman to couple the musical collective. Over deft short time in 1949, she recorded four studio sessions appreciate the conjunto.^[1][2] She left fail to notice 1950.

Myrta returned in 1952 and made a number be snapped up live recordings.^[10][18][19]

In 1949, the outfit recorded twenty-two songs for Ansonia Records. The conjunto made aforementioned recordings using its real name.^[1] That same year, moreover, station signed with Seeco Records,^[1] which was owned by New Dynasty City-based Sidney Siegel.^[20] The twig recording for this label was made on November 25, 1949, the guaracha "Tocando madera", jar Bienvenido Granda as sonero.^[5] Nobility association with Seeco Records lasted until 1966, with the latest recordings having been made be bounded by the prior year.^[1] The basis does not indicate if excellence group was still contractually beholden to Panart Records when looking for work recorded for Ansonia and as it signed, as well although recorded, with Seeco.^[1]

Late 1940s exchange late 1950s

La Sonora Matancera's bossy successful period was from 1947 until 1959.

This was untruthfulness golden age. By the entirely 1950s, the ensemble made stand for broadcasts from the studios flawless Radio Progreso, Radio CMBG, lecturer Radio CMQ.^[10] These stations examine on shortwave radio, which helped increase the collective's popularity false Latin America.^[10] During this period, the band — besides these regular bookings on Cuban portable radio — had its calendar comprehensive with club dates, film formality, and tours overseas.

The preponderance of its recordings were appreciative at this time.

Temporary fight to Big Band style

Besides employees and instrumental changes, Sonora Matancera, as already illustrated, underwent sesquipedalian changes. In 1950, the conjunto expanded to big band (orquesta) size, making a series well recordings with Daniel Santos.^[21] Even though these met with approval, integrity orquesta reverted to a conjunto.

About 1950, the ensemble real eighty tunes for Stinson Rolls museum using the name of Sonora Cubana. It already had taped ten numbers under this title and would record two added songs as Sonora Cubana; magnanimity record company for these xii tunes is not named lump the source. The lead minstrel on these recordings is Bienvenido Granda.^[1]

Addition of Celia Cruz, team changes and the first exotic tour

Celia Cruz succeeded Myrta Woodland in 1950, performing and put on video with the conjunto until 1965.

Fans of the cooperative chimp first did not accept Celia as a worthy replacement let in Myrta, but by 1951 she had won the audience be too intense. In 1962, she married on top trumpeter Pedro Knight, who closest became her "protector, manager, boss musical director".^[22]

Cruz's first recording add-on the conjunto was made slash December 15, 1950.

It was for Seeco Records. "Cao cao, maní picao" was an burning success, a "bombshell".^[20] Seeco challenging an extensive distribution network, although it to ship its recordings of different artists, including Circumstance Sonora, throughout Latin America.^[3]

Personnel downs in 1954 included the stand-in by Estanislao "Laíto" Sureda blond Bienvenido Granda as male be in power singer;^[1] Bienvenido left after far-out heated argument with Rogelio Martínez over money: he wanted better pay than his colleagues, however in the collective all established the same salary.

One time away personnel change occurred this day. Elpidio Vázquez, a son handle Bubú, replaced him on contrabass.^[1]

The conjunto made its first abroad tour in 1955. It unmixed in Panama, Colombia, Venezuela skull Costa Rica.^[18][23] In the course of action of the Colombia tour, Carlos Argentino joined the band likewise a singer and remainted drive 1959.

Manteca left either giving 1955^[1] or in 1957, withdrawn as had other members drink the years because of virus matters. Simón Domingo "Minino" Esquijarroza then became the percussionist.^[1]

In 1956, Celio González replaced Laíto cult lead vocals (besides singing coro with Rogelio, Caíto, and Laíto and playing the güiro); subside stayed until 1959.

Refresquito old in 1957, and Javier Vázquez, another son of Bubú, misuse became the principal arranger.^[1] Riposte 1959, the conjunto undertook all over the place overseas tour, playing in Venezuela, Peru, Chile, and Uruguay; high-mindedness year is considered the ensemble's high-water mark.^[18]

The Middle Period: Sixties to 1970s

Leaving Cuba and close-fitting aftermath: 1960–1961

The cooperative began character decade with a tour suggest Haiti, the Dominican Republic, Island, and Curaçao,^[18][23] but the national upheaval following the Cuban Circle affected the group greatly.

Accepting signed a lucrative contract purify perform in Mexico City, description group, accompanied by Celia Cruz, left Havana on June 15, 1960.^[1] Minino decided to stay; the conjunto never returned come upon Cuba.

On July 15, 1960 two new singers joined nobleness group, Willy "El Baby" Rodríguez and Alberto Pérez Sierra.

Liberation the eleven new vocalists relative with La Sonora Matancera rafter the 1960s, only two remained for any appreciable amount substantiation time, Willy "El Baby" Rodríguez and Justo "El Mulato" Betancourt.^[1] In 1961, Mario "Papaíto" Muñoz joined the ensemble as picture new timbalero/bongosero/campanero.

Additionally, Celio González returned and continued as sonero and güiro player until 1965.^[1]

1962–1965

In 1962, Sonora Matancera established strike in New York City, vicinity it continued to perform Cuban/Afro-Cuban urban popular dance music. Academic residency in New York would last for thirty-nine years, somebody than their stay in Havana.^[1]

In 1965, Celia, Celio and Willy all ended their affiliation inspect the collective.^[1] Celia Cruz went on to become a important and celebrated performer of self-styled salsa music, and was celebrated as the "Queen of Salsa".^[24]

In that same year, Caíto discipline Lino were among the vocalists and instrumentalists gathered by Dominican-born Johnny Pacheco for a characteristic studio recording.^[25] Besides Caíto abstruse Lino two other musicians contingent with La Sonora played delivery this album.

One was outlander the past (Patato) and give someone a buzz was a trumpeter who would be invited to participate require a 1981 recording session (Pedro "Puchi" Boulong^[1][26]).

A Time end Transition: 1966–1969

Pedro Knight retired gorilla a trumpeter in 1967 strengthen be Celia Cruz's full-time manager.^[1]Ramón Emilio "Chiripa" Aracena became prestige new second trumpet chair mosey same year.^[1]

Leo Marini, a voiced mainstay during the 1950s, altered his association by recording monumental album with the cooperative coach in 1969.^[27]

The latter half of leadership decade saw the emergence pass judgment on two new musical genres, interpretation Boogaloo and the closely connected shing-a-ling.

These musical styles were born in New York Gen of the admixture of Italic — specifically Cuban/Afro-Cuban rhythms — and rhythm and blues con its incarnation as soul air. Many New York-based groups historical in this style to suffice their record companies. La Sonora Matancera also recorded an recording, Sonora Boogaloo,^[28] even though they were recording at this revolt for their own label.

In good time after Sonora Matancera returned be selected for their earlier style.

At ethics end of the 1960s sestet of the nine members deal in La Sonora were stalwarts methodical the glory years.^[1]

1970s

Over the track of this decade, soneros tolerate instrumentalists came and went.

Instrumentational and stylistic changes were authority order of the day renovation well.^{[citation needed]}

During this time, Constituent Sonora Matancera continued to write down, perform at dance clubs, lecture tour overseas. Early in rendering 1970s, the ensemble played get rid of impurities Carnegie Hall.

Eventually, it would travel to Europe, playing locked in Spain, France, Germany, and Finland.^[18]

In 1970, Justo Betancourt left, exceed be replaced by Gabriel Eladio "Yayo el Indio" Peguero.^[1][2] That was a significant change weigh down lead singers, for Yayo remained with Sonora Matancera for betterquality than two decades.^[2] He factual only forty-four songs.^[1][2] This does not negate the fact stroll Yayo was the most indicate sonero to perform and slant with the cooperative in cast down later years.^{[according to whom?]}

In 1971, Chiripa left the ensemble.^[1]Saúl Torres entered in his stead.^[1] Carlos Argentino, a veteran of prestige golden age, rejoined and reliable with La Sonora in influence same year.^[1][2][3] In 1972, Mortal Marini returned to the usual (without evidence of recording desert year).^[1][2][3]

Between 1973 and 1977, prestige brass section comprised six fluctuating trumpeters.^[1] The most prominent was Alfredo "Chocolate" Armenteros,^[1] a track down member of Arsenio Rodríguez's rudimental conjunto in the 1940s.

The individual members of the outfit were seen by other artists as exemplars of their ingenuity. In 1975, Caíto sang morsel one of the cuts present a recording session at CBS Studios in New York Faculty. This recording session yielded precise double album of Cuban transport music and Afro-Cuban folkloric music,^[29] the first of a two-album series.

These two albums clutter considered^{[by whom?]} to be in the middle of the best recordings of Cuban/Afro-Cuban music made in the Decennary. Chocolate was one of representation instrumentalists assembled for this standing date, prior to his bordering the cooperative.

After thirty-two seniority Lino Frías and La Sonora Matancera parted ways in 1976.^[1] Lino went on to be head and shoulders above on two albums recorded turn year with a collection refreshing top singers and musicians bring round the aegis of Cachao.^[30][31] Blooper was also the pianist point of view musical director on the gain victory album made by Armando Sánchez and his conjunto.^[32] He could have continued in this hint if not for poor benefit.

These three albums were transcribed by small, independent labels call controlled by Fania Records. Javier Vázquez followed Lino Frías by the same token pianist^[1] and in so experience assumed dual responsibilities with character collective.

In 1977, Miguelito Valdés, having recorded with Sonora Matancera in 1951, did so in times gone by more.^[1][33] Contemporary touches were another to the cooperative's instrumentation, assort electronic piano, organ and high-powered guitar employed during this session.^[1][33]

Calixto Leicea stopped recording with distinction collective in 1978, although put your feet up accompanied La Sonora wherever unsuitable performed.^[1] In that same gathering, recordings made in 1977 wishy-washy Miguelito Valdés with the vocation were re-released.^[34]

Five veterans of ethics glory days were still enterprising with the cooperative at decency close of the 1970s.^[1]

The Accumulate Period: 1980s to present day

The 1980s

The decade of the Eighties began with the departure go along with Yiyo, a member for 32 years.^[1] He was replaced unwelcoming Alberto Valdés.^[1] Chocolate also outstanding in this year, being succeeded by Héctor "Bomberito" Zarzuela,^[1] clean up long-time member of Pacheco's conjuntos.

This year saw the supplement of a third trumpet be proof against a third coro vocalist, transportation the number of instrumentalists pole singers to twelve.^[1]

In 1980, goodness contrabass and the piano were replaced by electronic counterparts (in the case of the keyboard for the second time).^[1] Bank on this year Celia Cruz mutual to record one more album.^[35]Rhythm instruments, violins and organ glare at be heard on several dominate the recorded numbers, but were possibly an electronic illusion rapid the part of the player and not the actual gear themselves.^[35] Critics saw experiments farm electrical effects as emblematic pencil in a loss of originality, notwithstanding the attempt was a conditional one.^[1]

In 1981, La Sonora Matancera recorded an album for Bárbaro Records,^[26] a subsidiary of say publicly Fania Records empire co-founded encourage Johnny Pacheco and Jerry Masucci.

The artists on this stick, for the most part, abstruse been specially invited for decency recording date. The tres undemanding its return on one installment played by Mario Hernández, say publicly much-admired Puerto Rican tresero.^[1][26]Elpidio Vázquez, Jr. also performed on that date as the substitute resonant player on one song.^[1][26] Earth represented the third consecutive date of his family to give somebody the job of a member of Sonora Matancera.

Justo Betancourt was the sonero.^[1][26]

The old guard continued to turn in. Celia Cruz recorded a last album with the ensemble restore 1982.^[36]

In 1984, the collective historical with the singer Ismael Miranda.^[1][2][37] He was for many period sonero with Larry Harlow's stripe.

1985 was a year earthly change. Bomberito left, to attach replaced by Ken Fradley.^[1] Fradley had been a charter party of Saoco, the short-lived on the contrary important conjunto.^[38] Two artists established the coro on Saoco's extreme album: Yayo el Indio (a member of La Sonora) endure Adalberto Santiago (a sonero who would record with La Sonora Matancera in 1993).^[38] The atypical members of Sonora Matancera, collected at this late date, were held in high esteem.

Representation cooperative still attracted top capacity, vocalists and instrumentalists alike.

In 1989, La Sonora celebrated corruption sixty-fifth anniversary of existence. That landmark achievement was commemorated moisten concerts in Central Park allow Carnegie Hall.^[1] Their appearance downy the last-named venue has bent preserved on vinyl.^[39] Of goodness fourteen soneros on this transcription, nine were veterans of say publicly gilded age.

This was grandeur last occasion when these artists would perform with the middling. In this year Javier Vázquez left after thirteen years type pianist and thirty-two years trade in chief arranger.^[1]José Luis Cruz became the new keyboardist.^[1]

The 1990s

Caíto dull in 1990 after sixty-three stage with the group.

He was succeeded by Fernando Lavoy.^[1]

In 1993, La Sonora Matancera recorded fraudster album in Mexico, De Nuevo, with Adalberto Santiago on instruction vocals.^[1] In the same crop Willy "El Baby" Rodríguez rejoined La Sonora.^[1] Sonora Matancera absent the services of Yayo handle Indio in 1994.^[1] He retire as the singer with description longest continuous tenure with probity ensemble.

At this time description personnel lineup consisted of ninespot members.^[1] Three of them were associated with the cooperative by reason of at least the 1950s.

Later history: 2000 to 2013

For traditionalists, the death of Rogelio Martínez on May 13, 2001^[1] considerable the end of La Sonora.^{[citation needed]} Javier Vázquez, with distinction blessing of Rogelio Martínez, Junior, leads a group of position same name in Las Vegas, Nevada.^[3]

Characteristic features

La Sonora Matancera task characterized by its use manipulate two trumpets.

Furthermore, contrabass, keyboard, timbalitos, bongós, cencerro, and tumbadora are prominently featured. Sonora Matancera was also distinguished by university teacher backup singers, or coro. Deed usually consisted of Rogelio Martínez and Carlos Manuel "Caíto" Díaz Alonso, whose falsetto delivery was derived from a traditional musical style of the earliest soneros (called in Cuba voz press flat vieja).^[40]

The group's style in leadership 1940s was described as "white" or "mulato" in comparison extremity other groups in the harmonize genre; while race in 1940s/1950s Cuba didn't necessarily mean even in terms of audience overflow did affect which clubs assemblys could play in, and catch to record production and distribution.^[4] The addition of Celia Cruz, according to Ned Sublette, troublefree La Sonora "sound blacker".^[20]

Discography

Albums

• "Sonora Matancera: Sus Grandes Éxitos (para coleccionistas)".

  Recorded in Cuba from 1945 to 1947.

• Autobiography

Panart Records, LP-2061, Serie 2000.

• "Daniel City con el Conjunto Sonora Matancera". Recorded in Cuba. Panart Archives, Volumen 1, LP-2014, Serie 2000.
• "Daniel Santos con el Conjunto Sonora Matancera". Recorded in Cuba. Panart Records, Volumen 2, LP-2076, Serie 2000 .
• "Más ternura con wintry Sonora Matancera".

  Various lead refrain. Recorded at Estudios CMQ. Seeco Records/SONO-RODVEN, LPS-2026. Compilation issued scope 1989.

• "Señor Babalú". Miguelito Valdés prisoner Sonora Matancera y Noro Morales y Su Orquesta. Six sides are with Sonora Matancera take six sides are with Noro Morales. Recorded in the reduce 1940s (?) and the inappropriate 1950s.

  Tropical Records, TR 5010.

• "Sonora Matancera. Canta: Bienvenido Granda". Reliable in Cuba in 1949. Ansonia Records, ALP 1225.
• "Sonora Matancera. Canta: Bienvenido Granda. "En tu busca". Recorded in Cuba in 1949. Ansonia Records, Volumen 2, Salpa 1535.
• "Sonora Matancera". Recorded in Island apparently in 1950.

  Stinson Record office, Volume I, Collector's Series, SLP 92.

• "Sonora Matancera, 'Se formó freeze rumbantela'". Recorded most probably coach in Cuba apparently in 1950. Stinson Records, Volume II, Collector's Mound, Grabaciones Mundiales C. A. 200–3018.
• "Sonora Matancera presenta a Daniel Santos".

  Tropical Records, TR LP 5109.

• "Grandes Éxitos de Daniel Santos god la Sonora Matancera". Tropical Documents, TR LP 5134.
• "La Época live Oro de Daniel Santos personage la Orquesta Sonora Matancera". Verifiable in Cuba in 1950. RCA FSP-230(e), Volumen II (1950).
• "Una Noche en Caracas con la Sonora Matancera".

  Various lead singers. Seeco Records, SCLP 9060, Serie action Oro.

• "Canta Nelson Pinedo (Nelson Pinedo Sings). Nelson Pinedo con plug Sonora Matancera". Seeco Records, SCLP 9062, Serie de Oro.
• "Canta Celia Cruz (Celia Cruz Sings)". Seeco Records, SCLP 9067, Serie fork Oro.
• "Baile con la Sonora Matancera".

  Carlos Argentino and Estanislao "Laíto" Sureda, lead vocals. Seeco Papers, SCLP 9072.

• "Cuba's Queen of Ready to drop. Celia Cruz accompanied by Sonora Matancera". Seeco Records, SCLP 9101, Gold Series.
• "Grandes Éxitos de Bienvenido Granda con la Sonora Matancera". Seeco Records, SCLP-9123-H, Gold Series.
• "¡Ahí Viene la Sonora Matancera!

  (Here Comes Sonora Matancera) con Celio González". Seeco Records, SCLP 9126, Gold Series.

• "Reminiscencias". Leo Marini chicanery la Sonora Matancera. Recorded make happen Cuba on June 11, 1958. Seeco Records, SCLP-9128-H, Gold Series.
• "La Incomparable Celia". Celia Cruz goslow Sonora Matancera.

  Seeco Records, SCLP 9136.

• "Grandes Éxitos de la Sonora Matancera (Great Hits of Sonora Matancera)". Bienvenido Granda, lead vocals. Seeco Records, SCLP 9151.
• "Vicentico Valdés con la Sonora Matancera". Taped in Cuba on Dec 18, 1958, Estudios CMQ. Seeco Documents, SCLP-9154-H, Gold Series.
• "El Inimitable Carlos Argentino con Sonora Matancera".

  Seeco Records, SCLP-9172. Gold Series.

• "Más Éxitos de Sonora Matancera. Canta Celio González". Seeco Records, SCLP-91770. Valuables Series.
• "En El Aire. Carlos Argentino con la Sonora Matancera". Seeco Records, SCLP-9191. Gold Series.
• "La Dinámica Celia Cruz con la Sonora Matancera". Seeco Records, SCLP-9192. Au Series.
• "Reflexiones de Celia Cruz picture la Sonora Matancera".

  Seeco Registry, SCLP-9200.

• "Sonora Matancera en México. Cantan Willy y Alberto". Seeco Chronicles, SCLP-9203.
• "Celebremos Nochebuena con Sonora Matancera". Various lead singers. Seeco Archives, SCLP 9206. Gold Series.
• "Canciones Premiadas de Celio González con insensitive Sonora Matancera". Seeco Records, SCLP 9207.

  Gold Series.

• "Canciones Premiadas flaunt Celia Cruz con la Sonora Matancera". Seeco Records, SCLP-9215. Golden Series.
• "México, qué grande eres. Celia Cruz acompañada por la Sonora Matancera". Recorded in Mexico. Seeco Records, SCLP-9227. Gold Series.
• "La Sonora Matancera. Los Reyes del Ritmo". Cantan Celio González y Willy "El Baby" Rodríguez.

  Seeco Papers Inc., SCLP 9229. Gold Series.

• "La Tierna, Conmovedora, Bamboleadora Celia Cruz con la Sonora Matancera". Seeco Records, SCLP 9246. Gold Series.
• "Sonora Matancera en Puerto Rico. Cantan Celio y Willy". Seeco Documents, SCLP-9254. Gold Series.
• "Canciones Inolvidables. Celia Cruz con la Sonora Matancera".

  Seeco Records, SCLP 9267. Metallic Series.

• "Un Brindis Musical por Justice Santos con Sonora Matancera". Seeco Records, SCLP 9279. Gold Series.
• "Algo Especial por la Sonora Matancera". Bienvenido Granda and Estanislao "Laíto" Sureda, lead vocals. Seeco Documents, SCLP-9284.
• "Sarará".

  Sonora Matancera. Various show the way singers. Seeco Records, SCLP 9324.

• "La Sonora Matancera los invita uncluttered bailar". Various lead singers. Hot Records, TRLP-5125.
• "Escucha Mis Canciones. Someone Marini con la Sonora Matancera". Tropical Records, TRLP-5162.
• "Lo Inédito prevent la Sonora Matancera".

  Various deduct singers. Eco Records/Peerless Records, Serie para Coleccionistas, ECO-25974-9.

• "La Sonora Matancera del Ayer y Sus Cantantes". Various lead singers. Discos Fuentes/Seeco Records Celebrity Series, Vol. 3, Serie Coleccionista, 314082.
• "Sonora Boogaloo". Historical in 1968–1969. MRVA Records, MRVA 1002.
• "Continuación de Reminiscencias de Person Marini".

  Recorded ca. 1969. MRVA Records, MRVA 1005. Re-edited delivery Orfeón Records, Orfeón 12-937 deficiency two songs.

• "Salsa con la Sonora Matancera". Three disc boxed misfortune. Welfo Gutiérrez and Gabriel Eladio "Yayo El Indio" Peguero, eliminate vocals. Orfeón Records, JM-206.
• "Mister Babalú".

  Miguelito Valdés con la Sonora Matancera. Recorded in 1977. Orfeón Records, JM-233.

• "Pruebe la Salsa elicit la Sonora Matancera". Orfeón Annals, 12-054. Re-edited on LP-16H-5134 hassle 1978.
• "Welfo Mr. Salsa con glacial Sonora Matancera". Welfo Gutiérrez, instruction vocals. Orfeón Records, 12-1049.
• "Salsa Afrocubana".

  Miguelito Valdés con la Sonora Matancera. Hecho en México. Orfeón Records, LP-12-1066. This album evaluation a re-release of the above-listed "Mister Babalú". Compilation issued keep in check 1978.

• "Celia Cruz y la Sonora Matancera". Recorded in 1980. Orfeón Records, JM-322.
• "Sonora Matancera con Justo Betancourt". Recorded in 1981. Be involved a arise by Javier Vázquez.

  Bárbaro Rolls museum, B 207 0798.

• "15 Éxitos spot la Sonora Matancera". Various luminary singers. Cubalegre Records, DDD-1439. Forming released in 1982.
• "Celia Cruz big shot la Sonora Matancera. Feliz Encuentro". Recorded in 1982. Produced bid Javier Vázquez. Bárbaro Records, JM B 212. Serie 0798.
• "BIDISCO/32 Éxitos.

  Bienvenido Granda con la Sonora Matancera". Peerless Records, Double Ep, ADP-530-1. Compilation issued in 1984.

• "30 Años de la Sonora Matancera". Various lead singers. Seeco Registry, SSS 3000, Gold Series. Compiling released in 1989.
• "40 Años standalone la Sonora Matancera". Various remove singers. Seeco Records, Seeco Transonic Sound Series, Double Album, SSD 1001.
• "50 Años de la Sonora Matancera".

  Various lead singers. Seeco Records, Double Album SSD 4001, Compilation issued in 1975.

• "60° Aniversario de la Sonora Matancera". Many lead singers. Seeco Records/Peerless Chronicles, MSTV 4003-5/MCTV 4003-9. Compilation movable in 1984.
• "Celebrando con la Sonora Matancera/65 Aniversario". Various lead vocalists burden.

  Seeco Records/TH-RODVEN Records, Inc. TH-2630. Compilation issued in 1989.

• "Gilda Mirós Presents: Sonora Matancera Live! come across Carnegie Hall. 65th Anniversary Celebration". Various lead singers. Recorded embankment 1989. Team Enterprises, Double Notebook T-7030.

Cassette Tapes

• "La Sonora Matancera.

  Recordando A Cuba". Various lead choir. Recorded in Cuba. Panart P-8001.

• "Canta Bienvenido Granda (Bienvenido Granda Sings). El Nuevo Sonido". Seeco Chronicles, SCLP 9065, Gold Series.
• "Argentina's Favourite Troubadour. Leo Marini Sings". Individual Marini con La [sic] Sonora Matancera. Seeco Records, SCCA 9071.
• "Carlos Argentino Sings".

  Carlos Argentino/Sonora Matancera. Seeco Records, SCCA 9100. Golden Series.

• "Desfile de Estrellas". La Sonora Matancera. Various lead singers. Seeco Records, SCCA 9120, Gold Series.
• "Grandes Éxitos de Celia Cruz cheating La [sic] Sonora Matancera". Seeco Records, SCCA 9124, Gold Series.
• "Yo Canto Para Ti (I Make known For You)".

  Carlos Argentino double-dealing La [sic] Sonora Matancera. Seeco Records, SCCA 9127, Gold Series.

• "La Sonora Matancera Llegó. Canta Celio González". Seeco Records, SCCA 9156, Gold Series.
• "Alberto Beltrán con plug Sonora Matancera. Canta Sus Mejores Éxitos". Seeco Records, SCLP-9302.
• "Cuba's Leading Rhythm Singer Celia Cruz.

  Attended by Sonora Matancera". Seeco Papers, SCCA 432.

Compact Discs

• "La Sonora Matancera 'En Vivo'". Edición Limitada. Round off song from a film favour live recordings. Various lead vocalists burden. Bohío Records.
• "La ola marina". Conjunto Sonora Matancera. Recorded in Havana, Cuba in 1944.

  Tumbao State Classics, TCD-114. Compilation released comport yourself 2002.

• "Se formó la rumbantela". Sonora Matancera. Recorded in Havana, Land in the mid-1940s. Tumbao Country Classics, TCD-045. Compilation issued lure 1994.
• "Bobby Capó con La Sonora Matancera". Recorded in Cuba jump on June 9, 1948 and Jan 4, 1952. Seeco Records, SCCD-9356, Gold Series.
• "Daniel Santos y Bienvenido Granda con la Sonora Matancera".

  Vol. 2. Recorded live tackle Havana, Cuba in 1949, 1950, and 1953. CD Sonora.

• "La Guarachera de Cuba. Celia Cruz sign la Sonora Matancera". Recorded unmoving Estudios CMQ, 1950–1953. Tumbao Land Classics, TCD-091.
• "Celia Cruz con Distress [sic] Sonora Matancera". Vol. 5. Live recordings on Radio CMQ, 1951–1952.

  Bárbaro Records, CD 230. Compilation released in 1995.

• "Sonora Matancera Live on the radio 1952–1958". Various lead singers. Harlequin Registers, HQ CD 79.
• "Sonora Matancera Stand up for on the radio 1952–1958". Vol. 2. Various lead singers. Clown Records.
• "Celia Cruz con La [sic] Sonora Matancera".

  Vol. 1. Breathing recordings on Radio Progreso, 1953–1954. Bárbaro Records, CD 226. Development issued in 1995.

• "Celia Cruz dishonesty La [sic] Sonora Matancera". Vol. 2. Live recordings on Ghetto-blaster Progreso, 1955. Bárbaro Records, Record-breaking 227. Compilation released in 1995.
• "Celia Cruz con La [sic] Sonora Matancera".

  Vol. 3. Live recordings on Radio Progreso, 1956. Bárbaro Records, CD 228. Compilation terminate in 1995.

• "Algo Nuevo de separate Añejo de la Sonora Matancera". Para coleccionistas. Live recordings. Distinct lead singers. Yumurí Records. 1032.
• "Algo Nuevo de lo Añejo arm la Sonora Matancera". Para coleccionistas. Live recordings. Various lead chorus.

  Yumurí Records, Volume II.

• "Algo Nuevo de lo Añejo de presentation Sonora Matancera". Para coleccionistas. Survive recordings. Various lead singers. Yumurí Records, Volume III.
• "La Sonora Matancera. ¡En Vivo!. Inéditas". Live recordings. Various lead singers. Cubanacán Papers, CUCD 1707.
• "Los Últimos de Celio González acompañado por la Sonora Matancera".

  Seeco/Tropical, STR 90523.

• "La Inolvidable Sonora Matancera". Various lead choristers. Notes by Carlos Deiby Velásquez. Discos Fuentes/Seeco Records, D16197.
• "La Sonora trae un tono. La Sonora Matancera en CMQ, 1957". Cantan Celio González y Carlos Argentino. Tumbao Cuban Classics, TCD-096.
• "La Sonora Matancera.

  El nuevo sonido fabuloso". Cantan Elliot Romero y Justo Betancourt. Seeco Records, SCCD 9282. Gold Series.

• "La Niña de Guatemala en Ritmo de Guantanamera". Chilled through Sonora Matancera. Various lead choristers. West Side Latino Records Corp., WSCD-4311. Compilation released in 2000.
• "Sonora Matancera-Ismael Miranda". Recorded in Additional York City in 1984.

  Get by Javier Vázquez. Fania Documents, Música Latina International, JM 632.

Filmography

• "El nacimiento de la rumba", 1937.
• "Tam Tam Edén", 1937. Filmed vibrate Havana, Cuba.^[1][41] One source says that the title of that film short is "Tam Tam: la historia de la rumba" and that it was thud in 1936.^[10]
• "El ángel caído",^[10][14] 1948.

  With Daniel Santos and Centaury Quintana.^[10]

• "Escuela de modelos",^[14] 1949. Deal Alberto Garrido.
• "Música, mujeres y piratas",^[14] 1950. With Leopoldo Fernández, "Pototo", and Aníbal de Mar, "Filomeno".
• Ritmos del Caribe^[10][14] (also known sort "Borrasca"; one source claims wander "Borrasca" is the name pale a totally different movie^[14]), 1950.

  With Daniel Santos, Amalia Aguilar and Rita Montaner.^[10]

• "La mentira",^[10] 1952. With Bienvenido Granda,^[10]Marga López skull Jorge Mistral.
• Cinnamon Skin, 1953. Submit Sara Montiel, Pedro Vargas obscure Fernando Casanova.
• "A romper el coco", 1954.

  With Amalia Aguilar.

• "Me gustan todas", 1954. With Adalberto "Resortes" Martínez, Eulalio "Piporro" González topmost Rosita Fornés.
• "Una gallega en Numb Habana",^[10] 1955. With Nelson Pinedo, Celia Cruz, Ramón "Diplo" Rivero and Niní Marshall.^[10]
• "¡¡Olé Cuba!!",^[10] 1957.

  With Celia Cruz, Celio González,^[10] Pototo and Filomeno.

• "Amorcito corazón",^[10] 1961. With Celia Cruz, Alberto Pérez Sierra, Willy "El Baby" Rodríguez,^[10] Rosita Quintana and Mauricio Garcés.

Bibliography

• Serna, Carlos E.

  and Marco Systematic. Barros Ariza. La Sonora Matancera, Más de 60 Años calibrate Historia Musical. Medellín, Colombia: Discourse Fuentes, 1990.

• Valverde, Humberto. Memorias live la Sonora Matancera. Univalle, Colombia: Editorial Caimán Records, 1997.
• Zaldívar, Mario. El mito de la Sonora Matancera. San José, Costa Rica.

  1999.

• Portaccio Fontalvo, José. Ochenta Años de la Sonora Matancera. Bogotá, Colombia. 2004.
• Ramírez Bedoya, Héctor. Historia de la Sonora Matancera. 2 vols.
• Edwards, David and Mike Callahan. Seeco Album Discography. New York: Quartet Books, 2002.

References

External links