Latin Music

Young promise of music Sofia Grace Doellefeld tells us about her dreams

During our long journey in the world of music, we have had the enormous privilege of meeting fascinating people who show us that talent can come in many ways and at many ages. One of these people is Sofia Grace Doellefeld, a 15-year-old drummer with deeply held family and religious values that are not common in someone her age.

The young teenager, whose greatest hero and supporter is her father, aspires to go to college after finishing high school, but hopes to combine her academic activities with music as she has done so far. Here is what friendly and kind Sofia shared with us in pleasant and fluid conversation.

Who is Sofia

Sofia is a girl with many dreams and aspirations who is currently in ninth grade, while taking music lessons and playing in her school’s jazz band. The student of a Protestant Christian family has the support of everyone around her, especially her father, whom she describes as her greatest mentor and inspiration in life.

Despite being the first musician in her family, they have been a tremendous support to Sofia, to the point that they always accompany her to her events and performances so she knows they are there for her. Although they have not talked about a formal career in the entertainment industry, she knows they will support any decision she makes.

For now, she aspires to attend Full Sail University to study sound engineering so she can learn how to get involved in music production and all technical aspects related to her art because she thinks her academic background has prepared her for it.

Sofia wants to study sound engineering at Full Sail University in the future

When did Sofia start playing music?

Sofia’s interest in music began when she was 10 years old with the electric guitar, as she felt it would be interesting to replicate the notes she always heard from her favorite artists. The problem was that she never truly connected with the instrument as much as she tried, so she switched to the drums, which she quickly noticed she enjoyed much more and inspired her to try increasingly complex songs and melodies.

Her greatest source of inspiration on a musical level came from various jazz drummers such as Buddy Rich and Max Roach, but they were not the only ones. In the Latin sphere, the artist also enjoys great singers such as Selena Quintanilla and Juan Luis Guerra, and her favorite Latin genre is Latin rock. In fact, she really likes Santana’s songs and other groups of this kind.

Sofia had many inspirations — Two of the most important inspirations for Sofia were Buddy Rich and Max Roach

The drums as a traditionally male instrument

Considering that the drums were traditionally played by men, it is interesting that a young girl like Sofia chose this instrument to take her first steps into the world of music. When we wanted to know her view on the matter, she confessed that one of her biggest motivations for choosing the drums was precisely the fact that it was seen as a male instrument, as she wanted to break that unspoken rule and prove that a girl could play as well as any male musician.

She really thinks she is doing a great job, is very passionate about what she does with music and hopes to continue improving every day to keep breaking the mold.

Although she is proud of what she does alone, many of her closest friends also play instruments and she would like to form a band with them or other musicians in the future, though she feels it is still too early to even consider that possibility.

And speaking of friends, one of Sofia’s great musical inspirations in the real world is one of her best friends, who plays nine instruments and is excellent at each and every one. This makes her a great motivation for her friend and she always tries to keep pace with her peers when it comes to playing.

Sofia chose the drums precisely because she wants to demonstrate that a girl can play as well as a male musician

Other instruments

Sofia would also like to play several instruments as her friend and one she really likes is the piano, as it is applicable for almost any genre or song, making it very versatile and easy to include.

The pianist should know a lot about music theory, rhythms and many other things that provide a very complete training for any artist, which makes it an ideal choice for anyone wishing to know more about music on a deeper level.

Concluding comments on music and interests in this area

To finish with our talk, we asked Sofia for some final comments regarding music in general and the interests she has with it, to which she states word for word that ”music is a great way to connect with oneself and others. It’s also a great way to discover who you are and who you want to become. It’s a blessing to be able to play music”.

Beatriz Márquez Castro, an exponent of romantic songs, “Feeling” and Bolero

Beatriz Márquez Castro is a singer, composer, and pianist, born on February 17, 1952, in Havana.

Beatriz Márquez Castro. Cantante, compositora y pianista

She is the daughter of the prestigious composer and performer René Márquez. She began her artistic career in 1968.

An exponent of romantic songs, “feeling,” and bolero, she gracefully delved into these genres, performing pieces by prolific authors such as René Márquez, Marta Valdés, Juanito Márquez, Silvio Rodríguez, and Germán Nogueira, among others.

Her mezzo-soprano range has enabled her popular “descents” to low tones, as well as her unexpected and no less appreciated “ascents” to much higher tessituras, without losing her defining style. This style is very appropriate for songs and boleros, genres in which she has remained one of Cuba’s leading cultivators.

She is known as “La Musicalísima.”

We are witnessing the realization of a long-cherished project with which the performer, pianist, and composer Beatriz Márquez settles a debt both on a family level and within Cuban discography.

After several years of searching through archives and old recordings, thanks to the collaboration of Cuban audiovisual producer Felipe Morfa, it was possible to prepare “Este encuentro” (Colibrí Productions, 2023). This album features a selection of known and unreleased pieces by singer and composer René Márquez Rojo (1914-1986), some of which were popularized in their time by internationally renowned figures like Antonio Machín or the Puerto Rican Daniel Santos, to name just two examples.

Beatriz Márquez Castro, an exponent of romantic songs, "Feeling" and Bolero — Beatriz Márquez Castro, an exponent of romantic songs, “Feeling” and Bolero

Given the influence René had on the career of his daughter and grandchildren, this is an album full of love and, above all, gratitude.

While he was best known for his songwriting, it is important to highlight the mark he left as a charanga singer.

Among others, we can mention his work with the charangas of violinist Cristóbal Paulín, Oscar Muñoz Bouffartique, and René Touzet.

He debuted at the Mil Diez radio station with the group led by Julio Cueva, to which he dedicated himself for ten years.

From the late 1930s onwards, the lyrics by the artist from Villa Clara quickly resonated with the public.

“El Inquieto Anacobero” recorded “El disgusto de bigote” with the Sonora Matancera in 1949 and also sang other Cuban songs such as “Soltando chispas,” “A San Lázaro,” and “El granito de maíz.”

René’s songs, among which “El quinqué” cannot be missed, speak of his natural ingenuity for storytelling.

Upon his death at 72, he left a musical legacy that has since been defended by his descendants.

In over five decades of her artistic life, Beatriz has become her father’s most faithful interpreter, having recorded songs for several albums such as “No respondo,” “Explícame por qué,” and the now famous “Espontáneamente,” initially included in the LP “Es soledad” (Egrem, 1970) and re-recorded on multiple occasions.

In “La Musicalísima”‘s discography, prior to this material, there were only two phonograms exclusively dedicated to the work of a single author: “Beatriz canta a Juan Almeida” (Egrem, 1978), followed forty years later by “Libre de pecado” (Colibrí Productions, 2018), a tribute to maestro Adolfo Guzmán, thus contributing to the rescue of the island’s musical memory.

“Este encuentro” spans traditional trova and moves from guaracha to son, without forgetting some of the composer’s most notable boleros.

It also allows us to appreciate René Márquez’s interpretive qualities by hearing his voice, rescued from old recordings.

The special participation of singers Evelyn García and Michel Maza, continuators of the family saga, is noteworthy.

Now, the 2015 National Music Award winner and the main architect of this phonogram invites us to explore René Márquez’s immense body of work, one that will by no means be forgotten, across eleven tracks._ Jaime Masó

Beatriz Márquez – Este Encuentro (2023)

Tracks:

Este Encuentro
La Vida Es Un Momento
Muchachito Inocente
No Respondo
Nunca Habrá Distancia
Soltando Chispas
En El Cielo De Mi Vida
Imposible Amor 09. Popurrit 10. Espontáneamente 11. Mi Placer

By:

L’Òstia Latin Jazz

Augusto Felibertt

Ecured

Instituto Cubano de la Música

Also Read: Enrique “Culebra” Iriarte, master of the piano and musical composition

Los Surik is a musical group formed in Victoria, Las Tunas, in eastern Cuba

Los Surik, a musical group from Las Tunas a province known for orchestras recognized both nationally and internationally has distinguished itself in the Cuban music scene for its excellence.

Los Surik is a group that was created in Victoria Las Tunas, in eastern Cuba.

This group of fifteen musicians (four of whom are vocalists) was established in Victoria, Las Tunas, in eastern Cuba.

They began their professional careers in 1982, focusing on harmonious arrangements through the use of complex structures, all in service of preserving the authenticity of the genres they perform, such as son, guaracha, merengue, song, and bolero, among others.

Los Surik used to rehearse at the home of José Luis Borrel, across from the old La Gran Señora store (at the intersection of Lucas Ortiz and Julián Santana streets). Later, they moved their instruments to Benny Revuelta’s house, on Gonzalo de Quesada street, at the corner of Lucas Ortiz.

This orchestra has stood out in the world of music in Cuba for its excellence.

Los Surik’s repertoire included, among other pieces, classic Spanish and American pop songs, and instrumentals that Benny would recreate with his saxophone. Pablín (now deceased) was an excellent singer, later a finalist on the TV show Todo el mundo canta. Paco Mesa also shone as a vocalist. Catalá was comfortable on the drums, as was Omarito on the bass. The speakers in the photo were designed by José Luis Borrell, who, in addition to being a musician, was a great electronics enthusiast.

In 1994, the group released an album titled Alma Musical (CD (Magic Music 0003-3)). Some of the songs from this album were number one in Cuba at that time.

Los Surik holds an interesting first in their career: its members ushered in the era of discography in Las Tunas, by recording the first long-play record in the territory in 1985. The album features 12 tracks, most of which were authored by group members, and it was recorded at Siboney studios in Santiago de Cuba. Due to its foundational nature, the album is an invaluable piece for the cultural heritage of Las Tunas.

Group Photo and Member

This photo was taken in the 1980s at the home of actress and promoter Blanquita Becerra (center), during the time when this once very popular and distinguished lady of Cuban lyrical theater resided in Las Tunas.

Among other members of the musical collective pictured are Arturo Gooden, Alberto Bada, Benny Revuelta, Gerardo Leyva, Raúl Cáceres, Héctor Aguilar, and Rafael Diez.

At that time, Los Surik was composed of the following musicians:

Julián Galbán Cruz – Bass
Fernando E. Quintana – Saxophone
Herminio García Rodríguez – Trombone
Gastón H. Allen Binhan – Trumpet
Rolando Portillo Cedeño – Trumpet
Arnaldo García Estrada – Keyboards
Eldo A. González Mantilla – Piano
Pablo S. Machado Palmero – Congas
Edilberto Machado Alba – Timbales
Luis Alfonso Guerra Ramírez – Bongos
José Eugenio Marín Tejeda – Vocals
Virginia Iznaga Cantero – Vocals
José Manuel Arnedo Rodríguez – Vocals
Francisco G. Mesa Marrero – Vocals

Lost Treasures and Alma Musical

Almost all the orchestra members were composers of the songs they performed. Sadly, many of these songs were never recorded on any album, so we cannot enjoy the high quality of the tracks they created. Only a lucky few had the chance to enjoy them live in concerts they gave outside of Cuba.

Los Surik – Alma Musical (1994)

Tracks:

Dame Un Traguito (Son)
Estoy Romántica (Ballad son)
Amor De Película (Son montuno)
El Cantante Enamorado (Son)
Lo Que Cae Es Candela (Son)
A Ese Le Llaman Parejero (Son montuno)
La Fuerza Del Amor (Merengue)
Juanita Morey (Merengue)
La Luna Compartir (Ballad son)
Voz Universal (Son)
La Noche Junto A Ti (Bolero)

Musicians:

Julián Galbán Cruz (Bass)
Fernando E. Quintana (Saxophone)
Herminio García Rodríguez (Trombone)
Gastón H. Allen Binhan (Trumpet)
Rolando Portillo Cedeño (Trumpet)
Arnaldo García Estrada (Keyboards)
Eldo A. González Mantilla (Piano)
Pablo S. Machado Palmero (Congas)
Edilberto Machado Alba (Timbales)
Luis Alfonso Guerra Ramírez (Bongos)
José Eugenio Marín Tejeda (Vocals)
Virginia Iznaga Cantero (Vocals)
José Manuel Arnedo Rodríguez (Vocals)
Francisco G. Mesa Marrero (Vocals)

By:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

EcuRed

Also Read: Septeto Nacional de Ignacio Piñero has played an important role in Cuban music for over seven decades.

The composer and singer Carlos Xavier reveals unpublished details of his career

The composer and singer with Nicaraguan roots Carlos Xavier is a very good friend of the house due to his collaboration with the Editor of International Salsa Magazine Eduardo Guilarte and we are extremely pleased to have invited him to this edition and to know him in a more personal way. The artist born in San Francisco talked to us about his musical career, his facet as a composer, his great inspirations, among other relevant topics.

Carlos Xavier is a friend — Composer and singer Carlos Xavier is a great friend of the house

Carlos’ beginnings in music

From a very young age, Carlos was already in close contact with music thanks to his father and older brother, since they always sang, played the radio or listened to records they bought. At home, he listened to all kinds of music in both English and Spanish, but it was not until he was 16 years old that he became really interested in singing in a more serious way. He was not accompanied by a teacher to tell him exactly what to do, so he had to start practicing alone and be guided by what he saw in professional singers like Christian Castro, Luis Miguel and Marc Anthony when it was his turn.

As for his musical debut, in 1999, Carlos ventured to look for an orchestra to sing with once he felt ready to prove his vocal skills on stage in front of a crowd. Then, he found Orquesta Caché, which had just been created and was looking for a singer, a post for which he was finally selected and made his first performance with the group that same year. This concert took place at the well known Café Cocomo and, since then, the artist has not stopped.

Interest in Latin music

Although Carlos states that he likes English music and has recorded several songs in English, he also clarifies that his focus is and always has been Latin music. He has worked on other people’s projects in which English is the base, but whenever he releases something of his, he always tries to base it on Latin or salsa music and always in Spanish. It’s a matter of preference.

This is partially thanks to his parents, who always made sure that their children had as much contact as possible with their Nicaraguan roots through the rest of his family, music, food and Nicaraguan culture in general.

In addition, most of his family also went to live in the United States, so he always spent time with them, which helped Carlos to know much more about Nicaragua and the way of life in that country. They always instilled in him the pride of being Latino and he still keeps that feeling intact.

Solo debut

Although Carlos spent many, many years playing with orchestras, he says that becoming a soloist at some point was always his greatest goal. That moment came in 2010 when the singer released his first single as a soloist called ‘’Mientes’’, which was the piece that gave him the confidence to know he could have a solo career and write his own music.

When we wanted to know the biggest challenges faced by him, he replied that he never thought of his solo career that way, but that he was working for a purpose, drawing inspiration from his greatest idols who had already achieved what he wanted. He simply saw his goal as something he had to achieve at some point, not as a challenge that would make the path more difficult for him.

Vive Todo Ahora

‘’Vive Todo Ahora’’ was the representation of the dream of Carlos, who always wanted to be able to release an album of the same quality as those of Marc Anthony, La India, and Frankie Negrón. The fact that it was his first album did not mean that the singer was going to let his first album reveal his inexperience in this field, so he hit the deck and contacted producer Efrain Davila. At that time, Davila was working with Victor Manuelle, Marc Anthony and Carlos Vives, so Carlos decided to send him a message and show him his song ‘’Mientes’’ to cover it in salsa.

The producer responded enthusiastically that he liked the song and accepted the proposal, leading ‘’Mientes’’ to be released as a single in 2014 and the rest of the album was made and released in the same way. Fortunately, Carlos succeeded in including some of Marc Anthony’s musicians such as bassist Ruben Rodriguez, percussionist Luisito Quintero, backing vocalist Guianko Gomez, among others.

Carlos Xavier and Luis Enrique — Luis Enrique and Carlos Xavier posing for the camera

His facet as a composer

Another facet that has been of vital importance to Carlos’ growth as an artist has been composition and, of course, he has his own creative process, although it is not extremely complex. He simply sits down at the piano and looks for the most beautiful melody he can think of, but it is a creation that is born from the inside of him.

n the year 2000, together with the Orquesta Caché, he had the opportunity to record a cover in Peru, but he told the members of the group that he wanted to write that song in his own hand and they agreed. That is when he created ‘‘Marchate’’ and it was the material they recorded in the aforementioned country.

Even then Carlos showed that he wanted to be original and follow his own ideas, which he finally achieved thanks to his perseverance.

Clubs where he currently plays

As mentioned above, Carlos worked closely with Eduardo Guilarte at Charley’s LG Club in Los Gatos, California for some time a few years ago. Of that time, Carlos recalls that Guilarte was one of the few people who truly praised him for his talent on stage, which he appreciated today. He mentioned that he always offered him nice words and advice regarding the way the industry works, so he has the best memories of his collaboration with the editor of International Salsa Magazine.

For the time being, he keeps playing at other clubs such as Building 43, Vino Godfather Winery, The Dawn Club, among others.

Carlos and Viviana — Carlos Xavier during an interview with Viviana Paez and Brian Lozado on Univision

Oscar D’León’s La Crítica was founded in Caracas in 1978

La Critica by Oscar D’León

We had just returned from New York when “Chiquitín,” Oscar D’León’s longtime secretary, called us at the office to let us know there was a commotion in the “Faraón de la Salsa’s” office.

Oscar D'León's La Crítica was founded in Caracas in 1978 — Oscar D’León’s La Crítica was founded in Caracas in 1978

It was about the defection of some musicians from the Orquesta La Salsa Mayor. Indeed, Leo Pacheco, Felipe Blanco, and other musicians had decided to leave for financial reasons.

The news caused a stir; Oscar had already achieved a very special sound. He had moved away from the trombones that characterized his style and had incorporated a brass section with trumpets that made a difference. Suddenly, he was without his powerful machinery. Leo and his group formed what was called Nuestra Orquesta La Salsa Mayor, and Oscar, without a second thought, reassembled his group alongside Enrique “Culebra” Iriarte.

La Crítica

No one should doubt that Oscar had a tough time, but the prestige he had gained and the popularity of the sonero allowed him to come out on top.

Paul González, the son of “El Guajiro” González, a veteran guarachero and who at the time served as manager for the now-called “Sonero del Mundo,” devised the orchestra known today as La Crítica to avoid future setbacks and to have an orchestra on hand to alternate in scheduled dances.

The project’s formation brought together pianist and arranger Mauricio Silva, percussionist Radamés Pimentel, and Teo Hernández, who would serve as vocalist.

Since 1978, La Crítica emerged as an exceptional group. The jazz influences infused by Mauricio Silva from the very beginning were crucial for the public to accept the band as a favorite. In that “beginning,” other significant names included “Cheo” Navarro and Gustavo Quinto, who were already known from their time with Grupo Mango.

It could be said that Teo Hernández was the newest to the scene, as he had only been “toiling” in the world of salsa for five years, although he already had a “summa cum laude” after recording with maestro Ray Pérez and his Dementes. A female voice would debut with the orchestra: Gladys Torres.

40 Years of La Crítica

There have been many setbacks and successes over 40 years.

The musicality of this successful group is to be celebrated this Saturday, June 16, at the BOD Cultural Center. The event is at 5:00 in the afternoon, when the salsa public will gather en masse.

La musicalidad de esta exitosa agrupación ha de ser celebrada este sábado 16 de junio en las instalaciones del Centro Cultural BOD.

Jorge Collazo, who was Oscar D’León’s press chief and now is La Crítica’s on their return, tells us that a spectacular night is being prepared, “an evening to remember, a show that no salsero should miss.

The original singers will be there: the sonero Teo Hernández and Gladys Torres, who will take the stage accompanied by top-tier musicians and luxury guests to celebrate, dance, and sing the well-known hits of the moment, we are talking about ‘Se necesita rumbero,’ ‘Amada ven,’ ‘La merenguita,’ ‘Madre,’ ‘Rumba rumbero,’ ‘No lloraré,’ ‘A él,’ and ‘Cruel desilusión,’ among others.”

The prestige gained by La Crítica allowed it to accompany great international soneros such as Justo Betancourt, Héctor Lavoe, Ismael Miranda, Ray de la Paz, Daniel Santos, and the legendary Celia Cruz.

This is part of La Crítica.

Also Read: Cheo Linares is a Singer, Composer, Sonero, Poet and Caraqueño