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Roniel Alfonso Mella Music Producer, Orchestrator, Composer and Instrumentalist

Roniel Alfonso y Son del XXI Orchestra

Born on December 8, 1974 in the city of Matanzas-Cuba.

He enters in 1996 in the National School of Art (Ena) in, where he graduated in 2000 in the specialty of Guitar, Tres, and Ensemble Direction, in his student stage he was part of groups like Septeto Cohiba, Cuba Nueva, Conjunto Chapotin y sus Estrellas, Clave Cubana, Charanga Latina, etc.

In 2000 he was the founder of the Gardi Orchestra, of which he was its musical director, making several tours abroad with this orchestra and taking care of the musical direction of his first album ”Gardi” and the authorship of most of his songs.

In 2005 he participated in the prestigious contest of the Cuban TV Adolfo Guzman where he was 2nd prize in the category of dance music with a song that he orchestrated and produced, being interpreted by Joaquin More.

Roniel Alfonso Mella, Omara Portuondo y Aymee Nuviola

Later he joined the ranks of Haila María Mompie, being in charge of the musical direction of the band.

In 2006 he joined the Cuarteto Fusión with which he toured abroad for a long period of 4 years in countries such as Oman, Egypt, and Jordan.

In 2010 he returned to Cuba and made the musical production entitled Mala, Haila’s 5th album, which was awarded the Cuba Disco Award 2012, in the category of Latin music. At the same time, he returns to the orchestra and is once again in charge of the musical direction.

In 2011 he was in charge of the musical production of several artists, such as the Cuban singer Leoni Torres, 3rd album production of this, entitled “salseando” which was nominated for the Cuba Disco 2013 in the category of popular dance music and nominated for the Latin Grammy 2013 in tropical music, another production was the American percussionist Luis Carreras, entitled Luis Carreras and The Cuban Stars Project album that orchestrated and composed all his songs.

Roniel Alfonso and Son del XXI Orchestra Born on December 8, 1974 in the city of Matanzas-Cuba. — Roniel Alfonso Mella
Music Producer, Orchestrator, Composer and Instrumentalist

In 2012 he was part of the work team of composer and producer Descemer Bueno in his album “Bueno” which was awarded the “Cuba Disco Award 2013”, working frequently with him in numerous productions.

As a composer he has written songs for prestigious performers of our country such as Issac Delgado, Haila, Omara Portuondo, Leoni Torres, Aymee Nuviola, Yumuri, Alexander Abreu, Coco Freeman, Mario Rivera, Gardi, Calunga, Ricardo Amaray, Sixto Llorente, “El Indio”, Maykel Ante, Pedro Lugo “El Nene”, Wil Campa, Tania Pantoja, El Noro, Luna Manzanares, Hector Daniel, Alain Daniel, Rosaliz, Ruben y Gabi, Yai Valcarcel, Indira Hernández.

Internationals such as Jose Alberto “El Canario” (Dominican Republic), Dlg (USA), Ng2 (Puerto Rico), Willy Garcia (Colombia), Josimar (Peru), Septeto Acarey (Peru), Kewenaonda, David Kada (Dominican Republic), Nikki Alva (USA), Miguel Angel Caballero (Chile), Agustin Aspa (Spain), Orlando Max (Angola).

As a producer, he has collaborated with national and international artists.

Enrique Iglesias (Spain), Gilberto Santa Rosa (Puerto Rico), Jose Alberto ”El Canario” (Dominican Republic), Luis Enrique (Nicaragua), Olga Tañon (Puerto Rico), Dlg (USA), Ng2 (Puerto Rico), Willy Garcia (Colombia), Bebe (Spain), Nikki Alva (USA), Miguel Angel Caballero (Chile), Kewenaonda (Dominican Republic), Arturo Ortiz, Calle 7 (Puerto Rico), Septeto Acarey (Peru), David Kada (Dominican Republic), Luis Carreras (USA), Agustin Aspa (Spain), Orlando Max (Angola), Lalo Santos (Mexico) and Orly Solomon (Israel).

Roniel Alfonso Mella con Gilberto Santa Rosa

Nationals Omara Portuondo, Chucho Valdés, Gonzalo Rubalcaba, Aymee Nuviola, Grupo-Orichas, Leoni Torres, Descemer Bueno, Gente de Zona, Issac Delgado, Haila, Charanga Habanera, Alexander Abreu, Los Muñequitos de Matanzas, Mayito Rivera, Sixto Llorente, Yumuri, El Noro, Emilio Frías, Paulo Fg, El Nene, Septeto Santiaguero, Tania Pantoja, Coco Freeman, Alain Daniel, Wil Campa, Gardi, Ricardo Amaray, Calunga, Mandy Cantero, Roberton (Van Van), Maykel Ante, Luna Manzanares, Arlenys Rodríguez, Yenisel Valdés, Omi, Nelson Valdés, Yoyo Ibarra, Mayco de Alma, Héctor Daniel, Dayani Gutiérrez, Laritza Bacallao, Juan Guillermo, Rubén and Gabi, Alexis Zamora, Alain Pérez, Rosaliz, Eylen Remón, Yai Valcarcel, Beby Verdecia, Zunilda, Leo Garrido, Heydi Chapman, Trio d’ Ley, Mulatason, Insurrecto, Joaquín More, Karamba, Alisbet Reyes, Compañia de Danza “Rakatan Azúcar Negra, Patricio Amaro, Aíran Muñoz, Yani, Ángel Yos, Jose Luis Cortes, Osain del Monte, Son del Guaso, Orquesta Failde, Conga “Los Hoyos”, Lenny de la Rosa, Indira Hernandez, Liz Castillo, etc….

Achieving Hits such as “Idilio”, “Vivir Sin Ti”, Soledad (Leoni Torres)” Mala”, “Baila”, (Haila), “Si no Fuera por Ti”, Gardi, Lloro por ti, La Vida es Buena, Súbeme la Radio, Nos fuimos lejos, (Descemer Bueno).

In 2013 he started his own record production, entitled -Roniel Alfonso presents “Son del XXI”, this CD comes out under the label Egrem in 2016, nominated for the Cuba Disco 2017 in this is responsible for the musical production, orchestrations, and composition of each of the themes, the album that shows his vision of what would be the son of this XXI century, our purest and most traditional son, mixed with the new influences of this era. The album features performers such as Issac Delgado, Yumuri, Haila, Calunga, Mario Rivera, El Indio, El Nene, Wil Campa, El Noro, Alexander Abreu and Orlando Max (Angola) going deeper into his work as an orchestrator, using different orchestral formats, such as the Típica Orquesta Salsera, Jazz-Band, Grupo de Rumba and Septeto Tradicional.

In August 2014 he has invited Lucas to the gala offered in tribute to Formell to be in charge of the musical production of several themes of this great Cuban musician, with performers such as Laritza Bacallao, el Indio, el Noro, Dayani Gutiérrez, and el Niño.

In 2016 he collaborated in the 2nd edition of the television program sonando en Cuba where 3 songs of his authorship and 5 songs produced by him previously for other singers were interpreted, being interpreted this time by the contestants of this event.

In 2017 his song “Baila” sung this time by Haila and Alain Perez was the theme of the television program “Bailando en Cuba”.

In June 2017 he obtains the silver trophy (2nd place) at the International Music Festival “Viva la Música”‘ in the category original song, with his song “Que Locura” sung by Roberto Pulido, a Cuban singer based in Switzerland.

In 2018 under the record label Top Stopmusic is in charge of the musical production and all orchestrations of the CD AJourney Through Cuban Music of the great Cuban singer Aymee Nuviola, Grammy Awards Winner 2020 and nominated for the Grammy 2019 in the category of Best Traditional Tropical Album in which music stars such as Chucho Valdez were present, Gonzalo Rubalcaba, Omara Portuondo, Muñequitos de Matanzas, Septeto Santiaguero, Pancho Amat, Coto, Samuel Formell, Mario Rivera and his first single “Donde estabas anoche” was positioned at number 6 on the Billboard chart.

In March 2019 he has the honor of being accepted as a voting member of the Latin Academy of Laras Recordings (Grammy).

On June 14, 2019, he founds his Orchestra “Son del XXI”, an orchestra that will have two objectives, to function by itself with its repertoire and its singers and also to continue accompanying the record productions to the many performers who request my work.

He is currently putting the final touches on his new production Roniel Alfonso y Son del XXI Orquesta, which will have national and international guests such as Jose Alberto “El Canario”, DLG, Septeto Acarey, Willy Garcia, Ng2, Nikki Alva, Aymee Nuviola, Leoni Torres, Issac Delgado, Haila, and will be released under the record label Puntilla Music based in Miami.

Alain Pérez invitado al Cd. Pa mi tres — Alain Pérez y Roniel Alfonso

He has worked in productions such as:

Sun and Soul (Canada)-2000

Carmen Flores (Babalu)

Latin Man Bobamba (Japan) 2000 Oasis Records

Helito George (Italy) (Simply My Way) 2002 Musical Production

Gardi “Gardi” 2003(Bis/Music) Musical Direction

Beby Verdecia “Montaña Mia” 2005 Colibrí

Issac Delgado “Prohibido” 2005 Luz Africa

Gardi “Lo que tu Querias” 2008 Egrem

Leo “Rodo de mi” 2009 / Egrem (Nominated Cuba Disco 2013)

Havana Heavy Hitters “Vestido de blanco” 2010

Haila 2011 “Mala” Bis Music (Cuba Disco Award 2012) music production

Luis Carreras (USA) 2012 8 y 5 Studios Music Production

Leoni Torres 2012 “Salseando” Egrem (Nominated Cuba Disco 2013) music production

Descemer Bueno “Bueno” Bis Music Emi 2012 (Cuba Disco Award 2013)

Zunilda “A mi tierra” 2012 Colibrí (Nominated Cuba Disco 2014)

Agustín Aspa (Spain) 2013 “De la Habana a Barcelona” Cuba Music Musical Production

Willie de Cuba” Prohibido” Italy) 2013

Luna Manzanares Egrem 2013

Eilen “Aquí estoy” 2014 Cuba Music

Gala Lucas “Tribute to Formell” 2014

Héctor Daniel “Alegría pa’ mi gente Cuba Music 2016-Music Production

Nelson Valdés and Leoni Torres “Tribute to Omara Portuondo” 2014 Bis Music

Omi (USA) 2014

Juan Guillermo Egrem 2015

Rosaliz “Dame Salsa” Egrem 2017 (Nominated-Cuba Disco 2018) Musical Production

Mulata Son “Mujer y Artista” Cuba Music 2017-Music Production

Issac Delgado” Made in Habana” Egrem 2016 (Nominated-Cuba Disco 2017)

Yoyo Ibarra “Tropical” Egrem 2017 Musical Production

Yai Valcarcel “Mi Esperanza” Yagruma S.A 2015

Miguel Herrera “Hoy quiero Fiesta (Sweden) 2017 Cuba Music and Egrem 2019 Music Production

Yenisel Seva “Romántica” (2016) Cuba Music Musical Production

Dance Company “Rakatan” 2016

Roberto Pulido “Mi locura” (Switzerland) 2016-2018 Music Production

Charles Manuel (Spain) 2017 Musical Production

Roniel Alfonso Presents “Son del XXI” Egrem 2017 (Nominated Cuba Disco 2017) Music Production

Gala “55 Aniversario del Icrt” 2017.

Miguel Ángel Caballero “Vista Fija” Blam Producciones 2017 Music Production

Kewenaonda “Arriésgate” (Dominican Republic) 2017-2020 Music Production

Enrique Iglesias Feat Gilberto Santa Rosa” Súbeme la radio” (Salsa) 2017 Music Production

Lalo Santos “Caribe 2018” (Mexico) (Mexico)

Azúcar Negra Egrem 2019

Patricio Amaro 2017 Musical Production

Haila” Canta a Armando Manzanero” Egrem 2018 (Cuba Disco Award of Honor 2019)

Grupo Orichas Feat. Luis Enrique” Sastre de tu Amor” (Salsa) 2018

Miguel Herrera (Sweden) 2018 Egrem Produccion Musical

Issac Delgado 2018

Descemer, Enrique Iglesias y Charanga Habanera “Nos fuimos lejos” (Salsa) 2018 Musical Production

Descemer, Enrique Iglesias y bebe-”nos fuimos lejos”(Acoustic) 2018 Musical Production

Leoni Torres “Amor bonito” Egrem 2019

Orquesta Failde y Omara “Homenaje a Benny” Egrem 2019 (Cuba Disco Award 2019)

Aymee Nuviola” Journey Through Cuban Music” Topstop Music 2019 Production Musical (Grammy Awards Winner 2020), (Latin Grammy Nominee 2019)

Nelson Valdés “Cubriendo Ausencias” Bis Music 2019 (Nominated-Cuba Disco 2019)

Leoni y Gente de Zona “Mejor sin ti” (Salsa) 2019 Music Production

Indira Hernández 2020 Music Production

Lenny de la Rosa 2020 Music Production

Yarima y Sabor Latino “Pa mi Tres” Egrem-Soundwear 2020 Musical Production

Leoni Torres “Deja la Tristeza” 2020 Music Production

Septeto Acarey ‘”Vamos a Pasarla Bien” 2021 Musical Production

Wil Campa “Zapato Nuevo” Egrem 2020 Music Production

Angel Yos Egrem 2020

Liz Castillo 2021 Bis Music Music Production

Gabriela 2021 (Denmark-Cuba) Music Production

Nesty-2021 (USA) Music Production

Kel-2021 Music Production

Cd Herederos (Tribute to Irakere) Egrem 2021

Roniel Alfonso and Son del XXI Orchestra 2021-Puntilla Music.

Orlando Valle, verdadero nombre del instrumentista "Maraca" — Orlando “Maraca” Valle y Roniel Alfonso

Facebook: Roniel Alfonso Mella

By: Diana Marie International Salsa Magazine Miami Correspondent

Salsa Superior Award
Diana Marie
Lady of Salsa 2021

International Salsa Magazine

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Flashback: Arturo “Chico” O’Farrill

The Architect Of Afro-Cuban Jazz

Arturo "Chico" O'farrill with reading glasses and sitting — In memory of the 20 years of his physical disappearance

Arturo O’Farrill, better known as “Chico” O’Farrill was born on October 28, 1921, in Havana (Cuba) at the height of Son. He had a normal childhood like any son of a Jewish family raised to continue the family profession, Law.

In the 1930s Chico was admitted to the Riverside American Military School in Gainesville, Georgia. His father, an eminent Irish lawyer recognized in the Afro-Caribbean country, decided to intern him to continue his studies.

During his stay at that institution, O’Farrill discovered the great jazz orchestras that made life in that territory. Those bands were known by the name of Big Bands. He entered that musical environment and began his process of love and passion for the industry. He listened to recordings by Benny Goodman, Artie Shaw, Glenn Miller, and Tommy Dorsey while learning to play the trumpet on his own. In almost immediate time Chico became the trumpet player for the school’s military band and large dance groups.

Years later, Arturo returned to Cuba. He studied the same profession as his father (Law) and at the same time with his studies, he developed his facet as a composer. He received composition and harmony classes from important island musical instructors such as Félix Guerrero.

His progress, determination, and development in music were unstoppable. He was a member of the Armando Romeu Bellamar Orchestra and the Isidro Pérez Orchestra at the time of Mambo and Son, rhythms that prevailed and enhanced Latin music for decades.

MUSICAL HISTORY

Arturo "Chico" O'Farrill seated and in black and white — Chico O’Farrill dabbled in rock

“The Architect of Afro-Cuban Jazz” worked for four years (1943 – 1947) in Montmartre, the Cuban cabaret with the greatest French style. In the same way, he belonged to the Bellamar Orchestra, directed by Armando Romeu with Luis and Pucho Escalante, and Mario Romeu, among many other members.

As a trumpeter, Arturo traveled to Mexico and Europe. He created Los Raqueteros del Swing band, being the director and member of the orchestra. Subsequently, he founded Los Beboppers (the first Cuban bop group) with continuous performances at the Hotel Saratoga. Here, Chico was once again at the helm as director of the band and musician with his related instrument, the trumpet.

In the 1950s he began his successes as an arranger, working briefly for various musical directors such as Gil Fuller, Noro Morales, Frank “Machito” Grillo, and Benny Goodman.

Likewise, he composed his first masterpiece, Afro-Cuban Jazz Suite in five movements: Canción, Mambo, 6/8, Jazz, and Rumba Open. This masterpiece of composition was made and recorded for the imprint of the businessman Norman Granz, with the Machito Orchestra as the rhythmic base and accompanist.

The expert comments on Afro-Cuban Jazz Suite were numerous, but here are two of the most outstanding opinions:

Luc Delannoy: “It begins and ends with a hypnotic flute and conga duo that reflects the essence of Cuban treatment; the union of musical universes: the European (the flute) and the African (the conga). These two instruments are joined by the oboe, followed by the trumpets, saxophones, and the double bass “Tumbao”… After a return to swing and bebop in the fourth movement, Chico takes us back to the origins of Latin jazz with a melody of clear Arabic accents, before immersing himself in the universe of Afro-Cuban percussions.”

And Benny Carter commented on the Afro-Cuban Jazz Suite the following: “The reason for the coherence of the rhythmic parts and their relationships with the solos that have their own life and independence, Masterpiece of a genius.”

Arturo "Chico" O'farrill dressed in black and with a red background — His last album was Heart Of A Legend

After the enormous success of this powerful piece of music, O’Farrill wrote Cuban Fantasy for Stan Kenton during his stay in New York (EE.UU). However, Kenton eventually changed the name of the piece and it was called the Cuban Episode.

In 1953 he moved from New York to the California state and founded his orchestra with renowned musicians such as Mario Bauzá, Doug Mettome, Jimmy Nottingham, Eddie Bert, Fred Zito, Lenny Hambro, Flip Phillips, and the saxophonist Eddie Wasserman. The orchestra used the Afro-Cuban rhythmic section of Machito, harp, and oboe.

Under this concept, he recorded for Norman Granz and performed in two emblematic venues of the American Jazz music scene: Birdland (New York) and Hat Ballroom located in Los Angeles, California. During this period he composed three new movements: “La Jungla”, “Contrast”, and “Rhumba Finale”, baptized as “Manteca Suite”. The latter recorded in 1954 with Jazzist Dizzy Gillespie and an orchestra with 21 talented musicians.

In 1956 he returned to Cuba in search of inspiration and immediately began to work for the best record companies such as Panart and RCA Víctor. In this record label, he made “Chico’s Cha-Cha-Cha”, adapting the Charanga rhythm to the Big band format. This album was released, once again, on compact disc by BMG during the last decade of the 20th century.

Two years later the restless O’Farrill traveled to Mexico due to the great platform that this country provided for Latin American musicians at the time. During that residency, he once again stood out with a special sound. He appears on television as music director for singer Andy Russell, and there his life takes a dizzying turn. He started the semi-retirement period but never stopped composing. By that time, he composed his next and one of his greatest works “Azteca Suite” for trumpeter Art Farmer. And he made history once again!

In the 60s and with the rise of rock, Chico returned to New York and made arrangements for such important figures as La Lupe (They Call Me La Lupe); Cal Tjader (Along with Comes Cal); Count Basie (High Voltage); Gato Barbieri (Chapter Three: Viva Emiliano Zapata); Ringo Starr (Night and Day) and dabbled in Rock music with David Bowie (I Know That It Will Happen and Looking for Lester) and finally was the director of the Venezuelan Aldemaro Romero’s Orchestra.

In this stage that lasted until the end of the 20th century and already in the 70s, the Big bands went from being an innovation to being displaced by other rhythms that were rapidly increasing in popularity. These genres used new techniques, styles, sounds, and harmonies. It led to the appearance of icons in Jazz and the disappearance of the exclusive Bing bands for ballroom dancing.

For this reason, Chico O’Farrill reinvents himself and begins to work in the lucrative field of music for audiovisual advertising.

Arturo "Chico" O'farrill in black and white — Pure Emotion album earned a Grammy Award nomination for Best Latin Jazz Performance

In the mid-nineties, American Jazz producer and director Todd Barkan contacted the “Afro-Cuban Jazz Architect” to pay tribute to his career with a compilation of his musical hits. The name of the album was Pure Emotion and it got a nomination for Best Latin Jazz Performance at the 37th Grammy Awards.

O’Farrill toured Europe with his orchestra in 1996 and recorded his latest album entitled “Heart Of A Legend” with 14 tracks.

For this album, they had an orchestra of 18 musicians and a collaboration of international artists. The arrangements and musical direction of “Heart Of A Legend” were in charge of his son Arturo O’Farrill Jr. and who continues with his legacy.

On June 29, 2001, at 80 years old in New York City, Arturo “Chico” O’Farrill passed away.

Undoubtedly, Chico O’Farrill was always a visionary, and he was at the forefront for more than half a century of the musical genre today recognized worldwide as Latin Jazz.

In memory of the 20 years of his physical disappearance

Arturo “Chico” O’Farrill Forever!

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Geovanny Leonardo Sepúlveda – “El Sonero de la Calle”

Geovanny Leonardo Sepúlveda, known as “El Sonero de la Calle”

Photo of Geovanny Leonardo Sepúlveda — Photo – Geovanny Leonardo Sepúlveda

He was born in the city of Santo Domingo, Dominican Republic. He is a singer-songwriter (he composes and sings his own songs, including the lyrics and the melody), percussionist, raised on the outskirts of the Santo Domingo neighborhoods, he developed an interest in Afro-Caribbean music. This is how he obtains a clear direction towards the creation of his own style to compose and sing this genre, which involves a series of different rhythms such as: guaracha, rumba, son montuno, bolero, mambo, son, jazz, guaracha and cha cha cha, known worldwide by its trade name “Salsa”.

He tells us that from his mother Carmen Sepúlveda and his aunt Santa Julia Sepúlveda, he inherited the passion for jazz music, bolero and son, also that his mother is an artist, but he did not get to record their music, however he went to competitions of television expressing his musical talent. Geovanny mentions that he liked music from an early age seeing this great specimen in turn, he says that his talent is born and empirical which he is seeing how it progresses in these times.

Photo by Geovanny Leonardo Sepúlveda — Geovanny Leonardo Sepúlveda in Dominican Republic

During his tour he obtained his artistic nickname “El Sonero de la Calle”, which was given to him by a great Dominican musician (bassist and arranger) named Rafael Victoria, better known as maestro Cuso Cuevas (he was a popular bassist who played with the most important popular music groups and orchestras), who was in the recording of “Batato”, mentions that he advised him the following… “that he should not change his theme of making music, that it be a different sonero, a street sonero… that he could interpret the reality of the street with his lyrics and way of singing ”

He comments that he spent a large part of his life in Caracas, Venezuela (approximately 18 years), despite having been born in the Dominican Republic, considering it his second homeland since he adores and / or loves Venezuela; During this time he met Dudamel and Orlando Latuci, his song “las carabelas” is a Venezuelan.

The teacher Ubeny Loaiza and Geovanny Leonardo Sepúlveda
– Photo

He also had the opportunity to sing with the “La Realidad” Orchestra, from there he began to give his beginnings as a singer, it all began in 2003 when Roberto Ledezma was singing a bolero and the orchestra director listened to it and without Knowing that he was a musician and I invited him to go to one of the rehearsals and when to a place called Caño Amarillo Estudio, in Caracas, Venezuela, and there I was part of the team that at that time was very necessary since they lacked a vocalist, From that moment on he appeared in the bars of Caracas, in the center of the city, he told us that it was a wonderful experience.

As time passes, his fondness for this wonderful culture born in Africa is born, brought to the Antilles and then brought to New York, USA by great masters such as Johnny Pacheco, Machito, Beny More, Santiago Cerón, José Bello, El Canario, Tito Puentes, La Typica 73, among other great musicians of this genre.

Photo of Geovanny Leonardo Sepúlveda and Andi Montañez — Geovanny Leonardo Sepúlveda and Andi Montañez – Photo

His first musical album was entitled “A las malas”, from which his first single is called “Batato” and in his musical theme “Satte de los Callejones” he indicated “El Sonero de la Calle”, the following quote … “Special dedication for all the neighborhoods of my Dominican Republic and the world. My goal is to reach the heart of the town, Geovanny L. Sepúlveda, El Sonero de la Calle.

In the current Covid-19 pandemic, many activities have been closed, especially in the musical world, but with extensive communication over the internet, many have chosen to use various platforms either to promote themselves as artists or to hold events (Facebook, Instagram, Tick Tock, Youtube, among others), and despite these complicated moments he gives us the great news that Leo Aguirre and Ubeny Loaiza are in charge of the new production of Geovanny Leonardo Sepúlveda, his new single under the musical direction of Ubeny Loaiza, owner of the La Sabrosura orchestra, giving rise to the music “Salsa Pura” which is a Rumba, which you will not stop hearing

At the end of the interview, he gives us a message for the new talents … “Study and have a lot of dedication to what you like, never stop and that the rest is in the hands of God.”

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Quinteto D’Amore Cultivating traditional Cuban music worldwide

Quinteto D’Amore of Havana – Cuba

Quinteto D’Amore was founded in 2000 within an acoustical format; cultivating traditional Cuban music, although in its repertoire, you can find international songs; and made various presentations both domestic and international.

All these years, different musicians have integrated the group, but two years ago, it has been renewed and is now composed of Bass, Tres, Violin, bongo, minor percussion and soloist.

They are characterized for combining music, voices, and choreography in some of their songs, filling those who can enjoy their show with joy and energy.

Quinteto D'Amore Cultivating traditional Cuban music worldwide. — Quinteto D’Amore of Havana – Cuba

Yasney (violin): Graduated from Higher Institute of Art with a specialty in Violin (ISA). Member of the UNEAC, she joined the National Symphony Orchestra of Cuba, participated in recordings of leading groups and soundtracks, as well as in the CD “Mi Querido Pablo II” with Pablo Milanés and his guests: Milton Nacimiento, Lucecita Benítez,

Fito Páez, Joaquín Sabina, Alberto Cortes, and at the concert offered at the National Auditorium in Mexico City.

He has made numerous tours and concerts with the band “Mambo Así”, the group “Sol y Arena”, “Piel Morena”, among others, through various countries such as Moscow, Spain, Thailand, Hong Kong, Saint Martin Island and Guadeloupe, Italy, and Angola. Yasney joined D’Amore in May 2014.

Quinteto D’Amore

Yonel (three/four Cuban guitar) I began my career in music when I was six by learning to play the guitar. Since then, I used to sing some songs and to accompany others like my brother. AI was seven when I started at the school of arts in Santiago.

In Cuba, I studied violin for about three years and, in time, I started to learn about other instruments such as the piano and the percussion to reach the bass with which I played with the group Son Chévere de Matanzas for several years.

Then I came to Havana and started playing the tres until I made it into a CUATRO, adding a couple more strings and it is the instrument with which I currently work in Quinteto D’Amore.

Evelyn (soloist) began to study music since choildhood, taking piano and musical theory lessons. At the age of 11, she received her first award as a solo singer given by the pioneers’ organization and took dance lessons at the National Ballet School in Havana and contemporary dance workshops, integrating various dance companies and performing in the 2nd Tropicana Show. She is a mid-level graduate from micro operator. She studied at the School for Art Instructors.

As a singer, she started her professional career by joining several groups such as: Lady Salsa Mix, Cuban Salsa Orchestra, Las canelas, Ketlman Ferrer and his orchestra, etc. She is currently the lead singer of Quinteto D’Amore.

In all these years different musicians have integrated the group, currently two years ago the group has been renewed and is composed of Bass, Tres, Violin, bongo, minor percussion and soloist. They are characterized by combining music, voices and choreography in some of their songs, filling with joy and energy those who can enjoy their show. — Quinteto D’Amore was founded in 2000 with an acoustic format.

Orley (Bass): He studied bass and contrabass, he began his musical career in Ciego de Avila as part of different groups of small and great format such as: Eclipse Orchestra, Conjunto Campesino “Campo Lindo”, etc. Later on, he joined groups in Havana such as Septeto Tradición, the group of the singer Leyanis Lopez with whom he travelled to France (Paris) under the record label “Luz Africa”. From 2007 to 2011, he was on the Orchestra of Maykel Blanco Y Su Salsa Mayor with whom he made several international tours in Italy, Sweden, Denmark, Germany, Poland, Switzerland, Belgium, and Peru, and participated in the recording of his 2 albums. From 2011 to 2013, he joined the groups like “Amor y el Son”, Pepitín y su CumBachá”, and Habana Midic with whom performed in Egypt, Jordan, Tunisia and Lebanon. Orey joined D’Amore in May 2014.

Daymé (Director, tres and bongo): Graduated of Telecommunications and Electronics engineering at the “José Antonio Echeverría” Higher Polytechnic Institute and at the intermediate level in music in the specialty of “Tres”. She belonged to the amateur artistic movement for 14 years, participated in international festivals, integrated several groups of small format with which she performed in Cuba in the “Dos Gardenias” complex, La Bodeguita del Medio, the Floridita Restaurant and various hotels, Outside of Cuba, she has fulfilled several contracts in Jamaica, Qatar, Arab Emirates (Abu Dhabi, Dubai and Al Ain), Jordan, Egypt, Japan, Spain, Turkey and China. She is currently the bongo player and director of Quinteto D’Amore.

Maria Carla (2nd violin) began her music studies at the “Alejandro García Caturla Conservatory” where she acquited basic secondary education and the 7th year of violin.

In 2006, she entered the “Amadeo Roldán Conservatory” to continue his studies to reach the ipper secondary level of violin. During her time as a student, she was part of the orchestras of the respective schools and participated in meetings, competitions and concerts as both instrumentalist and vocalist in choirs.

Upon her graduation, she taught in the province of Pinar del Río and gave classes at the Vocational School of Art in the same city for two years.

Since 2010, she is part of the National Symphony Orchestra of Cuba by working simultaneously with various classical and popular music groups such as “La Camerata del Son”, “Ensemble Alternativo”, “Quinteto D Amore”, “Orquesta Panorama”, and “Quinteto Doble Sabor”.

María Carla has also participated in several events and festivals: Encuentro Nacional de Orquestas Sinfónica, Feria Internacional Cubadisco, Encuentro de Coros, Festival América Canta, Festival de Música Contemporánea, Festival de Jóvenes Pianista, Festival del Danzón, Feria Internacional del Libro de La Habana as well as in several recordings and phonograms with artists such as José María and Sergio Vitier, Toni Pinelli, Rafael Guedes, and Aldo López-Gavilán.

She has also accompanied renowned soloists such as pianists Lang Lang, Chucho Valdés, Frank Fernández, Aldo López Gavilán, singer Omara Portuondo, violinists Ryu Goto, Francesco Manara, clarinetist Keisuke Wakao, and guitarist Joaquín Clerch.

He has worked under the baton of conductors such as Yoshikazu Fukumura, Marin Alsop, Francesco Belli.

Quinteto D’Amore Repertoire

Latin/English Recent Hits

Havana – Camila Cabello

Someone Like You – Adele

Don’t You Remember – Adele

Unbreak My Heart – Tony Braxton

Rehab – Amy Winehouse

Whenever Whatever – Shakira

Dancing – Enrique Iglesias,

Lambada – Kapma,

Macarena – Los del Rio,

Mambo No 5 – Lou Bega,

Nossa Nossa – Miechl Telo

Yo Tengo Tu Love – Si7e

Solo Quiero Darte Un Beso – Prince Royce

Despacito – Luis Fonsi & Daddy Yankee

English Pop, Rock, Blues, Jazz, R&B

Stand By Me – Ben E. King

Yesterday – The Beatles

Only You (And You Alone) – The Platters

New York New York – Frank Sinatra, Liza Minelli

Misty – Errol Garner & Johnny Burke / Johnny Mathis

Girl From Ipanema – Pery Ribeiro, Frank Sinatra

Flying To The Moon – Frank Sinatra, Doris Day, Tony Bennett, Diana Krall

Summertime – Ella Fitzgerald, Janis Joplin, Billie Holiday …

Autum Leaves – Nat King Cole, Andrea Bocleli, Eric Clapton …

My Way – Jacques Revaux, Paul Anka / Claude Francois, Frank Sinatra, Elvis Presley

I Just Called To Say I love you – Stevie Wonder

Somewhere Over the Rainbown – Harold Arlen and Yip Harburg / Judy Garland, Israel

For Ever And Ever – Demis Roussos

Hotel California – Eagles …

Cuban/Latin Salsa, Son, Rumba, Cumbia, Bolero

El Yerbero Moderno – Celia Cruz,

Quimbara – Celia Cruz

Life is a Carnival – Celia Cruz

Idilio – Wilie Colon

El Carretero – Buena Vista Social Club

El Cuarto De Tula – Buena Vista Social Club

The Discreet Kisses – Compay Segundo

Chan chan – Compay Segundo

Hasta Siempre, Comandante – Carlos Puebla

Maridos Majaderos – Perdro Luis Ferrer

Yolanda – Pablo Milanés

Volveré – Diego Verdaguer

Montón de Estrellas – Polo Montañez

Cariñito – Los Hijos del Sol

Oye Como Va – Tito Puente / Carlos Santana

Nel blu dipinto di blu (Volare) – Dean Martin …

Capullo de Aleli – Cateano Veloso

Dos Gardenias – Daniel Santos, Buena Vista Social Club

La Flor Pálida – Polo Montanez / Marc Anthony

Perfidia – Alberto Domínguez / Los Panchos, Perez Prado, Nat King Cole, Ben E. King,

Luis Miguel

Guantanamera – Celia Cruz, Compay Segundo, Tito Puente, Joan Baez

Lágrimas Negras – Trio Matamorros, Omara Portuondo, Celia Cruz, Compay

Segundo/Cesária Évora

Moliendo Café – Jose Manzo Perroni / Mario Suárez, Xiomara Alfaro, Ricardo

Montaner

El Manisero – Rita Montaner, Antonio Machin, Mistinguett, Louis Armstrong

Historia de un amor – Carlos Eleta Almaran, Guadalupe Pineda

Besame Mucho – Consuelo Velasquez / Los Panchos, Pedro Infante, Louis Armstrong,

Andrea Bocelli

Quizás Quizás Quizás – Osvaldo Farres / Bobby Capo, Celia Cruz, Nat King Cole

El cumbanchero – Rafael Hernandez / Tito Puente

Que Será, Será – Jay Livingston and Ray Evans / Connie Francis, Natalie Cole

Pink Cherry – Los Tecolines

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May 8, 2021 Day of the Cuban Son

On May 8, Cuban Son Day is celebrated on the birth of Miguelito Cuní and Miguel Matamoros, great exponents of the Creole genre.

This article is dedicated to exalt the most Creole of Cuban music, especially son.

This day is a tribute to this music-dance expression and to the musical legacy of its great exponents included Miguel Matamoros and Miguelito Cuní, reported the Cuban Music Institute.

The Official Gazette of the Republic said on 2 October that the Decree 19 of the Council of Ministers recognizes Cuban son as part of the intangible heritage since 2012.

This day is a tribute to this musical-dance expression and to the musical legacy of its great exponents, Miguel Matamoros and Miguelito Cuní, informed the Cuban Institute of Music. — May 8th Cuban Son Day

This declaration consolidates the file for its proposal to this candidacy.

The information has also been shared by the chief proponent of this initiative, maestro Adalberto Álvarez, who said on his Facebook page that the joy of having our Son Day is very great.

Cuban son is a vocal and sanceable instrumental genre that constitutes one of the basic forms within Cuban music that blends African musical elements with Spanish musical elements.

May 8 is a representative day, since the births of Miguelito Cuní and Miguel Matamoros are commemorated, that is why this date was the one proposed, said the 2008 National Music Award.

Likewise, the Caballero del Son, as Adalberto Álvarez is known, declared that this is only part of the task, since we already have the Day of the Cuban Son, we still have to get the son to be named Intangible Heritage of Humanity. — May 8 is a representative day

In addition, the Caballero del Son, as Álvarez is known, stated that this is just a part of the task, so we already have Cuban Son Day, we still have to get son to be named an Intangible Heritage of Humanity.

This is a vocal and danceable instrumental genre that constitutes one of the basic forms within Cuban music that blends African musical elements with Spanish musical elements.

It reportedly was born in the easternmost region of Cuba and was developed in provinces such as Guantánamo, Baracoa, Manzanillo and Santiago de Cuba in the late 19th century, even though there are testimonies that the most ancien Cuban sones date back to the 16th century such as the Son de la Má Teodora by the 1562 and performed by two Dominican sisters, Micaela and Teodora Ginés.

DECREE 19, CUBAN SON DAY Single Article. To declare May 8 “Day of the Cuban Son” as a tribute to this music-dance expression and to the musical legacy of its great exponents. IT SHALL BE PUBLISHED in the Official Gazette of the Republic of Cuba. DONE in the Palace of the Revolution, Havana, to the next two days of September 2020, “YEAR 62 OF THE REVOLUTION”.

BE IT PUBLISHED in the Official Gazette of the Republic of Cuba. GIVEN at the Palace of the Revolution, in Havana, on the 2nd day of the month of September 2020, "YEAR 62 OF THE REVOLUTION". — The Cuban Son was born from the blending of Afro-Cuban and Spanish crossbreeding.

History of Cuban Son

Cuban Son was born by mixing Afro-Cuban and Spanish cross-breeding. Its origin is intimately linked to Changüi, considered as the mother rhythm of son.

Son came from the East to Havana around 1909. The “Cuarteto Oriental”, created in 1916, became the Sexteto Habanero in 1918, establishing itself as the traditional format of the son bands. In the 1920s, with the emergence of commercial radio broadcasting, the rise and popularization of son began, being the Septeto Nacional de Ignacio Piñeiro one of the main representatives from this time.

The upper classes of Cuba, who are fond of danzón (Cuba’s first native genre) sat watching son warily, seeing it as a slumming and classless genre. However, son was gaining popularity and ended up imposing on danzón, which was consigned to oblivion.

Apart from the fans son has always had in Cuba, the importance of this genre also lies in the influence it has had on the emergence of other genres such as son montuno, mambo, and salsa. In contrast of danzón, son has always been present in Cuba, either directly or within other later musical genres.

Son montuno is a type of son that was played and danced in the last part of Danzón. The importance of this son was its influence in the creation of salsa, in both in music and dance.

Dancing

This dance is only played at the last minute in a salsa club room if the deejay is Cuban, and hardly anyone dances it well.

The base of this dance is three steps followed by a pause, such as salsa. The figures are very simple and similar to those of Cuban salsa. The fundamental difference with salsa is the way of taking the steps. They are more energetic, such as mambo, with a wider hip movement and the pause more marked than in salsa. In other words, instead of the rhythm fast-fast-slow on salsa. In the case of son, it could be considered as fast-fast-fast-fast-slow.

The rhythm of son is, in general, slower than that of salsa, which allows the dancers to recreate in adornments and flirtations. The rhythm is better followed with the key, which is usually very marked.

There are no enchuflas, which are typical of Cuban salsa. The side steps, cockroach style, the couple turn, the walk, the side walk, the side walk, and the step forward-back are widely used.

A very typical and spectacular figure is when the man crouches or even is placed in a horizontal position, leaning the point of the foot on the floor, and the girl takes hom by his hand and walks around him, making him turn the sole of his foot.

Source:

great exponents of the Creole genre. — Cuban Son Day is commemorated on May 8 on the occasion of the birth of Miguelito Cuní and Miguel Matamoros.

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