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Manny Cruz and Miriam Cruz join in “Yo Quisiera Ser”

Latin America / Dominican Republican

“Yo Quisiera Ser” is the new song that unites La Diva del Merengue, Miriam Cruz with one of the artists of the moment Manny Cruz, which promises to be a total success and they plan to release it in August.

This merengue is authored by Frank Ceara and Manny Cruz, arranged by Edwin García and recorded at Stereophonic Studios in Santo Domingo.

“Collaborating with one of the most beautiful voices in the Dominican Republic is a huge pleasure”. Miriam is an artist that I admire very much and I know that this song will be a God through hit” mentioned the young artist.

The launch will be accompanied by a video clip that will be filming in the coming days and the project will have a distribution by La Oreja Media Group and coordination by Focus Entertainment and Lanhut Récord.

As expressed days ago, La Diva del Merengue is confident with this collaboration with Manny, the new blood of merengue and is sure that “Yo Quisiera Ser“ will connect with popular taste in a very special way.

Manny_Cruz_and_Miriam_Cruz — Manny Cruz and Miriam Cruz

Despite the situation that is being experienced worldwide with COVID19, neither of the two artists have stopped their work; with his most recent single “No Creo en el” which sounds insistently and Manny Cruz with his most recent collaboration with Elvis Crespo “Imaginarme Sin Ti” which has already reached more than 5 million views.

For more information contact them through:

Porfirio Pina
646-420-6005
[email protected]

Alexis Brugal
829-944-0415
[email protected]

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

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

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

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.

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

45 years of salsa career of ‘el más que canta’ was in style

On Sunday, February 5, 2023, at about 5:00 p.m. Puerto Rican time, the curtain of the Coca Cola Music Hall rose to give way to a radiant Domingo Quiñones.

El más que canta’ arrived ready to share his voice and his usual nostalgic smile with the audience.

The 45th anniversary party began, the melodic style of the saxophone in charge of Jorge Baez. A minute after the orchestra played the first notes, Domingo let out a loud war cry that sounded like: “Puerto Rico”. Immediately, the first two songs were played: Chica romántica & Poeta y guerrero.

After a brief greeting in which Domingo thanked his fans for their support, the most emblematic songs of his career were heard, such as: Tú cómo estás, Soy, Enséñame, El progreso, Busco un amor, Falco de valor, Salsumba, Cuando se necesitan más, Fuera de control, Río abajo, Deseo salvaje y Devórame otra vez, A que no te atreves, Se necesita un milagro, Pasarás al libro del recuerdo, Lo reconozco y No voy a dejarte ir.

Keeping the rhythmic base going, Charlie Padilla was in charge of the tumbadoras, in perfect sync with Javier Oquendo on the bongos and Pablo Padín on the timbales. It was clear that Domingo was backed by a luxurious orchestra, under the musical direction of pianist, music producer, arranger, composer, singer and dancer: Carlos García. Ricardo Lugo accompanied with his impeccable bass playing. Ramón Sánchez complemented the perfection of the stage behind the keyboard.

The wind section was formed by Ángel Hernández and Jesús Alonso on trumpets, and Eliut Cintrón and Víctor Vázquez on trombones. In the choirs, the vocal forcefulness and precision of Jorge Yadiel, Nahyra Pérez and David Carrero was heard.

About an hour into the celebration, Domingo decided to do a conga solo, what a surprise we were in for! The conga solo was very well done.

An hour and a half into the concert, Gilberto Santa Rosa, Luisito Carrión and Carlos García sang with Domingo Quiñones the song En el mismo barco, composed by Domingo in the midst of the COVID-19 pandemic.

Domingo Quiñones Tributo a Lalo Rodriguez

The arrangement of the song allowed the wind instrumentalists to have their way with the big spoon before giving way to a very heavy rumba in the percussive corner.

A moment of great emotion was the one that gave way to the song Río abajo, with the accompaniment of Luis ‘Perico’ Ortiz in his impeccable trumpet solos, in addition to accompanying Domingo in the chorus.

Por todo lo alto fueron 45 años de trayectoria salsera de ‘el más que canta’

This intervention made clear the affection that Domingo and Perico have for each other. It must be because when Domingo decided to pursue his dream as a soloist, he was part of ‘Perico’s’ orchestra.

For this celebration, our Domingo Quiñones gave way to a repertoire that summarized very well those 45 years of career. More than singing, Domingo interpreted with that emotionality of his best times. The audience vibrated with his performance. His histrionic ability, his interpretative quality and the charisma with which he captures the audience’s attention, kept them captive for hours.

Photo credits: Félix Guayciba

Bella Martínez

Bella Martínez Writer, researcher of Afro-Caribbean music and author of Un conguero para la historia, Las memorias de Jimmie Morales.

787-424-8868

Santa La Salsera and Diva of Mexico with her unique voice and style will continue to conquer us all

Originally from Boca Mar, in the beautiful port of Acapulco, Mexico.

From a musical family lineage, from the age of 3 she began her interest in the artistic medium; despite this her parents did not agree that she should dedicate herself to this career, but motivated by the musical taste of her mother she was inspired by great divas of the genre such as Mrs. Celia Cruz, La Lupe, Celeste Mendoza, Mercedita Valdes and Omara Portuondo.

Originaria de la Boca Mar, en el bello Puerto de Acapulco, Gro. México

She alternated with the Cuban actor and singer Zamorita, who invited her to sing solo in the well-known ECO Program and from there encouraged her to sing tropical music, since it was more in line with her image and voice; Later she got a job at the emblematic Blanquita Theater where she alternated with the legendary Sonora Santanera of Carlos Colorado, where she had the opportunity to compete against representatives of several Latin American countries in the international program “Sábado Gigante” with Don Francisco, in the section known as “Tropicalísimo” winning first place shared with Venezuela and thanks to her triumph she was discovered by the Director of Radio Tropical in Mexico, Mr. Manuel Durán, who recommended her to the Vice President of Musivisa, Mr. José Manuel Presa.

The Company was interested in her and from then on Santa signed a contract with Fonovisa Tropical. La Acapulqueña recorded her first production in Mexico City, titled “No me Provoques”, which was presented on August 15, 1994 at the Salón Verde y Oro of XEW Radio.

Verde y Oro of XEW Radio in Mexico City. “No me Provoques” reached the top of the charts with songs such as: “Corazón de Acero”, “Amor Pasión y Locura” and “Rey de mi Habitación”.

The second production “Lo Quiero a Morir” was recorded in Puerto Rico (in the then Gran Combo studio) for its internationalization, the song of the same name, was placed in the first place of popularity in the island itself, some countries of Central America and the United States of America.

The third production “Santa la Fiera” was recorded in the city of Miami, under the label On Top Records and produced by the renowned composer Victor Daniel, author of “La Vida es un Carnaval” with songs of more varied genre such as: “No vale la pena llorar”, “Tú eres hielo” and “Soy demasiado Mujer”.

After an absence, Santa resumed his career in 2012, with his fourth production “Yo soy santa para ti”, from which he managed to three singles “No tengas miedo”, “Sólo mírame” and “Como agua entre las manos”.

Santa has had the opportunity to participate in numerous television programs, as well as massive festivals, to mention a few: opening of the “Festival Boca del Río Veracruz, 1995” “Los Maestros de la Salsa 1996” (in Mexico City) “La Convención de Radio y Música 1996” (in Puerto Rico), “Festival 5 de Mayo 1997” (in Chicago), “Fiesta Mexicana de Raisin y Milwakee”, “Teletón Internacional de Chicago”, “Viva Chicago y Teletón de Honduras”.

Nino Segarra y Santa La Salsera y Diva de México

As well as international television programs such as “En Vivo”, “Hoy con Daniela, Zambombazo, Pácetelas”:, “Un Nuevo Día” and “Siempre en Domingo”, “Dr. Simi”, who dedicated a special to him, to mention a few”.

He has also had the opportunity to perform with great figures of his genre, such as: Tito Puente (who was his godfather), Celia Cruz, Jerry Rivera, Gilberto Santa Rosa, Grupo Niche, Eddie Santiago, Cheo Feliciano, Rey Ruiz, Los Hermanos Rosario, La Ponceña, El Gran Combo de Puerto Rico, Luis Enrique, among many others. In 2012 she resumes her career after an absence, she returns with her production “Yo soy santa para ti” placing herself in the taste of the genre lovers with songs like “Sólo mírame” “No tengas miedo” “Arrepentida”.

In 2013 she released the single “Llorarás” from her production “Yo soy como soy”, which includes unpublished songs, under the direction of the Veracruz producer and arranger Xavier Reyes.

Most of the songs were recorded in Mexico City, with the exception of “No quiero más mentiras” in New York, and “Mío primero” in Puerto Rico” with musicians of international stature. It includes two duets “Amiga” with Frakie Ruiz Jr. and “Cosas del amor” with Ariana Dao as well as the covers “Bidi, bidi, bom, bom” and “Si una vez” as a tribute to Selena Quintanilla.

After his tour he took a short break from music to participate in a short theater production dedicated to the “divo de Juárez” Juan Gabriel, called “Ya lo sé que tú te vas”, which he enjoyed very much in his acting career.

In addition, she received awards in her country such as the AMS AWARD for best female Salsera and the “Candilejas de oro” for her career.

She also participated as a host in the magazine show “Reventón musical”.

In 2018 she was invited to participate in the project “Divas de la salsa”, which took place in New York City representing Mexico and sharing the stage with various divas of the genre from other countries.

In May 2019, she toured Canada for 3 months, leaving her mark and in the last quarter of the same year, she travels to Colombia to continue expanding in the international market.

Her salsa version of “Si una vez” gives her the surprise to be placed naturally in the taste of the Colombian public and, as a result, the doors are opened to participate in events of the Feria de Cali alternating with the most important figures of the genre; she also participated as a special guest to sing in the tribute made to the master Gilberto Santa Rosa.

Once again Santa had the opportunity to leave her country high and show that Mexico also has and makes its good “molcajete salsa” as she calls it, inspired by these joyful Caribbean countries.

Back in Mexico, Santa started her online entertainment program “Santa con Ton y Son” with Raul Silva “El Titan de la Salsa” as her partner, which lasted only a short time on the air, due to some commitments she had to fulfill in the U.S. that were postponed because of the COVID pandemic; However, in the meantime Santa dedicated himself to write some songs that reflect feelings generated from that global chaos, such as “Chao Chao” which he recorded in Mexico City in December of 2021 as a duet with Ricardo Amador, accompanied by La Internacional Orquesta Controversia, of which a live video was recorded with great acceptance.

Santa Salsera y Diva de México con su voz y estilo único seguirá conquistándonos a todos

In addition to new duets and surprises that he is preparing in 2022 for the pleasure of the dancers.

Surely with his voice and unique style, coupled with his charisma and stage presence, Santa will continue to conquer us all.

Enlace Externo: Santa Salsera and Diva of Mexico

You can read: Irakere was a Cuban group that developed an important work in Cuban popular music and Latin Jazz under the direction of Chucho Valdés

Son Del Monte’s musical director and timbalero Manuel Rivera

Who is ”Manny”

Manuel ”Manny” Rivera is the musical director and timbalero of the Son Del Monte Orchestra. We had the great opportunity to have a friendly conversation with him to know in detail his beginnings, career, groups, role as musical director, among other things.

Manuel ''Manny'' Rivera tells us his interesting story — Manuel ”Manny” Rivera tells us his interesting story

Time in the Yambú Orchestra

After apologizing for his deficits in the Spanish language, he continued by thanking us for the opportunity to tell his story and describe his time in the Yambú Orchestra, which was the first group in which he could start developing his talents in the 70’s. ”what we wanted to do at that time was make a mix between jazz with typical music because the pianist, who was of African descent, was who wrote the music with musical director and bassist Ramón Rodríguez”. It is presumed that the pianist focused a lot on these genres because of his roots, but his colleagues were fine with it.

Although he loved jazz, Manuel began to notice that it was not very danceable for the audience, which is what caused him to become interested in charanga, a genre that was already very famous in New York City in those years. That’s how he decided to immerse himself in this set of rhythms because he liked to see people go to the dance floor and enjoy themselves.

He also liked Yambú’s style a lot, but felt he had to take a more accurate path for what he was feeling at the time.

Similarities of Son Del Monte with other jazz big bands and members

I was a bongo player, but I started playing timbales because they are widely used in charanga. What I was looking for was to do a similar thing to what Eddie Palmieri did with La Perfecta, who used trombones and a flute mixed with timbales to achieve a charanga sound” said Rivera on this subject. He also added that ”I also wanted to avoid monotony of charanga so I also started using trombones, violin and a flute. This is what I have baptized as chajunto, a mixture of charanga with the characteristics of an ensemble (conjunto in Spanish) ”.

He also pointed out that New York does not have an orchestra like his because he did not want to do the same thing that all groups of this kind do, but something different and novel. ”Son Del Monte is charanga with something more for the people, not only violin and flutes,” said the artist. ”I have three singers with three different styles and they are Puerto Rican Luis Ayala, Colombian Armando Son Giménez and Puerto Rican-Dominican Luisito Soto Junior,” he added.

The Son Del Monte Orchestra also features from the talent of flutist Mauricio Smith Junior, violinist Erick Salazar, trombonist Juanga Lakunza, trombonist Charlie García, bassist Bert Castro, conguero Joe González, pianist Andy Colón, among others. This is the group that has stuck by his side for more than six years in spite of the storms and they always perform together.

All members of the Son Del Monte Orchestra

Opinion on the academic training of musicians

Rivera was one of the best students at Harbor’s Conservatory of Music in Manhattan, New York and he thinks that institution had done so mucho good for folk music because of all the talent that graduated there. After studying there, he began to read percussion music and learned to play batá, tumbadora, Colombian rumba, guaguancó, yambú, and so on.

The musician stresses the importance of studying, as this knowledge helps to understand the clave, the moment to start playing an instrument, the chime, the reading of music, discipline and many more. Before this, Manuel played led by the spirit and sensations, but his teachers at the conservatory taught him to have the technical tools necessary for being even more professional.

What is more important, experience or studies?

”Definitely experience. I have seen many great artists learn to read music without going to a conservatory and a great example of that is Roberto Roena, who did not need that learning to be who he was. However, that is something that not everyone can do” said Manuel. I can also mention the case of Tito Rodriguez who was not a musician guided by the lyrics, but he knew very well what he wanted. These are some of the many examples of privileged artists who only needed accumulated experience to achieve wonders with their work”.

However, this does not mean studies are not important, as they can teach things that can be useful later on and under some circumstances.

Front cover of the Son Del Monte Orchestra's album ''Una Charanga Con Algo Más'' — Front cover of the Son Del Monte Orchestra’s album ”Una Charanga Con Algo Más”

Covid-19

”The pandemic did not let us do anything on stage. The guys went to the studio from time to time or we met virtually, as we do now. It was so sad because there are many venues that have failed to open their doors again. Since the pandemic started, we have not seen as much activity in New York as it used to be before” expressed the artist sadly.

Also of concern to the musical director of the Son Del Monte Orchestra is that this situation has put many musicians out of work, at least in the industry. Active musical groups have very few members in the vast majority of the cases, contrary to his and the orchestra he conducts. He hopes that it will improve with time.