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Artist July 2020
Johnny Pacheco, presents “Orquesta Primera Clase” from Maracay-Venezuela
The title of this album speaks for itself; the hand of the transcendental Dominican musician is introduced in this album.
El Zorro de Plata Pacheco appears as executive producer of the album, although we do not discard that he also participated in part of the musical production, due to the way the orchestra was structured and the style in which the arrangements were given; it is something that we can hardly notice when listening to the album, it is evident the great similarity to “Pacheco y su Tumbao”; four excellent trumpets with sonorous arrangements.
![Johnny Pacheco, presents "Orquesta Primera Clase" of Maracay-Venezuela](https://salsagoogle.com/wp-content/uploads/2023/03/Johnny-Pacheco-presenta-la-Orquesta-Primera-Clase-de-Maracay-Venezuela.jpg)
The predominance of Teo Hernandez (R.I.P)’s vocal style and register in the nasal coros, fits perfectly with the “Tumbao Añejo” that we have always been accustomed to from maestro Johnny Pacheco (R.I.P).
Although the album was backed by the Fania label and is loaded with a cheerful and swinging flavor, we think that it went somewhat unnoticed by the music-loving public.
The reasons could be several, we must remember that in those times in the 80’s the merengue rhythm was beginning to penetrate with a lot of strength.
![Johnny Pacheco, presenta la Orquesta Primera Clase](https://salsagoogle.com/wp-content/uploads/2023/03/Johnny-Pacheco-presenta-la-Orquesta-Primera-Clase.jpg)
Although we could also add the little interest that the public of the capital (Caracas) had for the groups of the regions or interior of the country, and although it seems ironic to say it.
Another possible reason could be linked to the inclusion of only unpublished songs (it is well known that in those times, they supported copies more than creativity); these are only conjectures of this server, however, they do not escape the reality of that time.
![Teo Hernández (R.I.P)](https://salsagoogle.com/wp-content/uploads/2023/03/Teo-Hernandez-R.I.P.jpg)
As for the musical themes, we have already pointed out that all of them are original and very well compensated with their arrangement; In particular there are two songs that I like very much, one of them is “Negro Nací”, written and sung by Orlando Sanoja, is a very happy song dedicated to our black race of the danceable in his music, “Si negro nací nací nací, blanco no puedo ser”, The other song of my predilection is “El Sabio”, composition and lyrics by Jorge Compres and vocalized by Teo Hernández, with great diction, good phrasing and those tasty choruses that accompany him.
![Orlando Sanoja](https://salsagoogle.com/wp-content/uploads/2023/03/Orlando-Sanoja.jpg)
It is worth mentioning that the excellent La Orquesta Primera Clase is still in force with a musical staff of the new generation maintaining its original sound with its lead vocalist Orlando Sanoja.
It is another good Venezuelan album that you should have in your personal CD library.
Johnny Pacheco presents “La Orquesta Primera Clase” (1982) Fania LPS-66506
SIDE A
1.- NEGRO NACÍ (Orlado Sanoja) Sings: Orlando Sanoja/ Arrangements: Nicomedes López
2.- ME SIENTO MUY FELIZ (Al mMaro Ríos) Sings: Orlando Sanoja/Arrangements: Bolívar Javier
EL ANIMAL (Jorge Compres) Sings: Teo Hernández/Arrangements: Jorge Compres
4.- TODO TIENE SU FINAL (Bolívar Javier) Sings: Teo Hernández/Arrangements: Bolívar Javier
5.- LLEVAME CONTIGO (Almaro Ríos) Sings: Teo Hernández/Arrangements: Bolívar Javier
SIDE B
1.- EL SABIO (Jorge Compres) Sings: Teo Hernández/Arrangements: Jorge Compres
2.- A MARACAY (Orlando Sanoja) Sings: Orlando Sanoja/Arrangements: Jorge Compres
3.- EXTRANJERA (Phorto Jacquez) Sings: Teo Hernández/Arrangements: Jorge Compres
4.- VIVA MI GUAGUANCO (Jorge Compres) Sings: Teo Hernández/Arrangements: Gilberto Riera
AY QUE HUMANIDAD (Orlando Sanoja) Sings: Orlando Sanoja/Arrangements: Jorge Compres
Personnel:
Pastor Rodríguez (1st Trumpet)
Henry Kamba (2nd Trumpet)
Gustavo Nieves (3rd Trumpet)
William Fermín (4th Trumpet)
Armin Kail (Piano)
Carlos Fagúndez (Bass)
Harold Josef (Congas)
Edgar Aponte (Timbal)
Félix Benítez (Bongo)
Teo Hernández/Orlando Sanoja (Singers)
Bolívar Javier/ Nicomedes López/ Jorge Compres/ Gilberto Riera (Arrangements)
Teo Hernández/Orlando Sanoja/Edgar Aponte (Chorus)
Johnny Pacheco (Executive Producer)
Carlos Guerrero (Recording Technician)
Luis Arismendi (General Recording Supervision)
Recorded at Fidelis Studios
Alejandro Pérez (Art and Design)
Fanny Almenara better known in the salsa environment as “La Sonera del Callao”
Sonera of Callao, who maintains an impeccable musical career, loving music and recording numerous songs as a soloist and with various singers of first order of the Afro Latin Caribbean genre.
The salsa singer named Fanny Almenara, better known in the music scene as the Peruvian Sonera, was born in Callao, daughter of Don Hector Almenara and Carmen Barreto, the second of 9 siblings.
Fanny studied singing thanks to her mother, she met the best teacher, Mrs. Ana Maria Parodi and entered music at a very early age in the lyrical genre.
![Juan Canevello: Percusionista, Antonio Cartagena: Cantante, Fanny Almenara: Cantante y Oscar Huaranga Bajista y Productor Musical](https://salsagoogle.com/wp-content/uploads/2023/03/Juan-Canevello-Percusionista-Antonio-Cartagena-Cantante-Fanny-Almenara.Cantante-y-Oscar-Huaranga-Bajista-y-Productor-Musical.jpg)
Her salsa collector father made her listen to the best of the best exponents such as Justo Betancourt, La Lupe, Candido Fabre, Benny More, Ismael Rivera, Los Papines, Irakere, Luis “Perico” Ortiz, etc.
At the age of 16 she fell in love with the genre called salsa and had the honor of singing with Junior Gonzales for the first time and alternated Grandes with Peruvian Orchestras such as Peru Salsa de Beto Villena, Las Estrellas de la Máquina de Boris Gómez, HIt Parade Latino del Callao, La Nueva Generación de Franco Crovetto.
She was chosen as the best new voice of the salsa genre in the 80s.
![La cantante de salsa llamada Fanny Almenara mejor conocida en el ambiente como la Sonera Peruana](https://salsagoogle.com/wp-content/uploads/2023/03/La-cantante-de-salsa-llamada-Fanny-Almenara-mejor-conocida-en-el-ambiente-como-la-Sonera-Peruana.jpg)
She made recordings for different groups, and also recorded an unpublished song of her own entitled “Yo te Espero”.
Between the 70s and 80s came to Peru Las Leyendas Latinas with Ray Barreto and Adalberto Santiago, gave him the great opportunity to sing with them Quítate la Máscara.
Then with Linda Caballero (lLa India), the song Mi Primera Rumba, then with the pharaoh of salsa Oscar D’ León the song Toro Mata, also with the great Hermanos Lebrón the song sin negro no hay guaguancó.
With the owner of Soneo Carlos “El Cano” Estremera the theme Ámame en Cámara lenta, with Frankie Vázquez the theme Cuarto de Tula, with Yolanda Rivera the theme Rumba en el Patio, Vity Ruiz brother of Frankie Ruiz the theme La Cura, with Aldalberto Santiago the theme Nadie se salva de la rumba.
![Primera sonera del Callao, que mantiene una carrera musical impecable](https://salsagoogle.com/wp-content/uploads/2023/03/Primera-sonera-del-Callao-que-mantiene-una-carrera-musical-impecable.jpg)
And so with her imposing voice Fanny captivated the attention of the greats of salsa, representing Callao and for which the people of Chalaco named her “La Sonera del Callao” (The Sonera of Callao).
For her vast artistic career she was awarded by different musical associations and by the company Pilsen Callao.
(H3) Asocosalsa Peru (Tite Curet Ceremony, Hector Lavoe Bust, Charlie Palmieri and 25th anniversary of artistic life (Okonkolo Association).
Fanny Almenara, continues her impeccable musical career, loving music and recording a song entitled Amor de Mis Amores, salsa version with the Orquesta Ng del Callao director Franco Crovetto.
Although she was in a halt due to the pandemic, she recorded a Challenger “El Virus Se Mata Con Musica” invited by a Cuban musician, which was also recorded by Cuban artists in different parts of the world.
![Fanny Almenara](https://salsagoogle.com/wp-content/uploads/2023/03/Fanny-Almenara.jpg)
After her voice reached Cuban websites such as “Benny More” “Un Millón De Adalsoneros” “Al Son Del Pinar Del Rio” she was invited to the “Son 8 de mayo” days led by the gentleman of the son Adalberto Alvarez.
Then she also recorded a song written by the King of merengue Milly Quezada “Gracias A Ti” dedicated to those who are always on the front line as doctors and nurses in the Covid 19 and the last thing she has recorded the production of the song La Sitiera Tribute to the diva of Cuba Omara Portuondo in which in that production participated Nelson Gonzales in the tres: Eddie Montalvo on congas, Nohelia Zambrano on violin and Luis Perico Ortiz on trumpet.
Website: Fanny Almenara Oficial
Miguelito Cuní recognized among the best soneros of Cuba
Miguelito Cuní. Pinareño recognized among the best soneros of Cuba, who shared the stage with Benny Moré, Arsenio Rodríguez, Félix Chapotín, Richard Egües, Enrique Jorrín, among others.
Miguel Arcángel Conill, better known as Miguelito Cuní (Pinar del Río, May 8, 1917 – Havana, March 3, 1984), was a Cuban music singer. He was one of the emblematic voices of Cuban son in the 1940s and 1960s.
He was born in Pinar del Río, the westernmost province of the island of Cuba, into a humble family.
![Miguelito Cuní Pinareño reconocido entre los mejores soneros de Cuba](https://salsagoogle.com/wp-content/uploads/2023/03/Miguelito-Cuni-Pinareno-reconocido-entre-los-mejores-soneros-de-Cuba.jpg)
During his school days he dedicated himself to the exercise of minor trades to help support the family. In 1932, at the age of fifteen, he began as a vocalist in the group “Los Carameleros”.
Soon after, he was the vocalist of Septeto Lira, Septeto Caridad and other groups in his province.
In 1938, already in Havana, he joined Arsenio Rodríguez’s group, and also worked actively with the orchestras “Melodías del 40” and Arcaño y sus Maravillas, making recordings and performing live and on the radio.
![Miguelito Cuní](https://salsagoogle.com/wp-content/uploads/2023/03/Miguelito-Cuni.jpg)
During the forties he developed an intense artistic life, he lived two years in Panama and in 1949 he settled in New York, as director of the orchestra of trumpeter Félix Chappottín.
He worked with Cuban music icons such as Beny Moré and in 1956 he traveled to Caracas to work with the “Bárbaro del Ritmo” with the group “La Tribu”. In 1960 he returned to New York, where he made several presentations, including the famous “Palladium”.
He returned to Cuba in 1966 where he founded his own group.
He participated in the film “Nosotros, la música” and other documentaries.
Some of the melodies that reached popularity in his voice were Con maña se rompe, No hay amor sin caridad, Viejo Socarrón, Nos estamos alejando, Canallón, Quimbombó, Yo sí como candela, Ay qué Canuto, Ya tú ves campeón, Cuento na’ ma, Mi son, mi son, mi son, mi son, Alto Songo, Canto al monte, Cuchillo para la piña cubana, Sacando palo del monte, Camina y prende el fogón, Rompe Saragüey, Convergencia, La protesta de Baraguá, Todos bailan con la guajira, Cárdenas, Guachinango, El carbonero, among others, most of them recorded with the group Chappottín y sus Estrellas, a group with which he achieved great projection and in which he sang until his death.
![Sones Cubanos con Miguelito Cuni](https://salsagoogle.com/wp-content/uploads/2023/03/Sones-Cubanos-con-Miguelito-Cuni.jpg)
In his last recording he interpreted the bolero “Lágrima” from the long-playing record entitled “De nuevo Arcaño”. His last trip abroad was to Mexico in 1982.
Composer
Besides being a singer, he ventured into the world of musical composition, of his authorship are cited: Congo africano, Ay mamita!, Batanga africana, A bailar con la guajira.
Sones montunos from the late 1950’s, the boleros: Lloró Changó, Toque santo, Las ansias mías, A ti, Benny Moré.
And the guaracha “Esto no se ve”, among other titles.
He died in Havana on March 3, 1984, three months after his dear friend and companion of countless days, Félix Chapotín, who had passed away on December 21, 1983.
Tribute
Miguelito Cuní was admired by all those who knew him, highlighted by all his friends and close ones as a man of excellent human qualities, in homage to his trajectory the Commander of the Revolution, Juan Almeida composed the lyrics “Este son homenaje”, which was interpreted by the singer-songwriter Pablo Milanés.
In the artistic field, he deserved the recognition of his colleagues and thousands of admirers, and in the personal field, those who treated him remember him as a man of impeccable words and good speech, Miguelito Cuní was a true Creole gentleman.
Source: Ecured