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Mariana “The Sonera of Venezuela and for the world”
Janett Guevara García, artistically known as Mariana “La Sonera de Venezuela”, was born in La Pastora, Caracas on January 19, daughter of Reina García and Vicente Guevara.
Daughter of Reyna García and Vicente Guevara, she is the oldest of six siblings and from a very young age she showed her taste for music; an activity that has been her eternal passion, and has led her to make 12 record productions.

She is the oldest of six siblings and from a very young age she showed her taste for music; an activity that has been her eternal passion and has led her to make six record productions.
Educated in a convent school, she always participated and stood out in cultural events, until on one occasion she was suspended for telling the mother superior that there was a song called “La Cárcel” by Septeto Juventud that she wanted to sing at a cultural event.
At the age of 14, during her high school education, she learned to play drums and participated in the choir of the Caricuao Parish church where she lived.
As the years went by, Mariana was invited by Mr. Naty Martinez to a rehearsal, who was impressed when he heard her and decided to make a musical production.
That is when Mariana’s true pilgrimage began, going through stages earning the admiration of salsa greats.
In past years, she received praise from Queen Celia Cruz and has the guarantee and support of the singers of the Fania Stars, the Gran Combo de Puerto Rico, José Alberto El Canario and even her great friend and fellow countryman Oscar D’León.

Mariana has been worthy of awards such as “El Congo de Oro” at the Barranquilla salsa festival.
She has been praised by personalities such as Don Tite Curet Alonzo. Mariana alternates her exciting career with the media, where she has a radio program dedicated to our Latin music “Sonsoneando con Mariana” winner of the 2010 Excellence Award, as a popular radio space in the Vargas State Venezuela.
She recently participated in the heartfelt tribute to the 50 years of artistic career of maestro Elio Pacheco, founder of the Latin Dimension, where she recorded an excellent song called “Al Olvido”.
She received praise from the Cuban queen Celia Cruz, and has the support of singers such as the Fania Stars, José Alberto “El Canario”, the Gran Combo de Puerto Rico and even her friend and confidant Oscar D’ León.
“Oscar represents more than a friend to me; he is like a brother. When he has a presentation in Vargas he does not hesitate to call me to see us and talk about our projects. I thank him a lot for his advice, because it has helped me to be where I am. The responsibility of being La Sonera de Venezuela falls on my shoulders.”

She has managed to release 12 musical productions. Among her best-known songs are “Frases hecha” in 1996, recorded in Peru and “Eres más fuerte que yo” by the composer Enrique Hidalgo.
Awards obtained
La Sonera has been worthy of multiple awards, including the “Congo de Oro” at the Barranquilla Salsa Festival, as well as the nomination three times in a row for the Vargas Excellence.
She has also received plaques as Female New Artist of the Year and Best Sonera in Caribbean Representation.
“I will never forget when they gave me the Catatumbo de Oro in Maracaibo, in the year 2000. It is one of my greatest achievements.”

My family is my life
At just 18 years old, Mariana became a mother for the first time. “It is something that very few people know, but my first husband mistreated me physically, verbally and psychologically. The only thing I can be thankful for from that relationship is the existence of my son.”
She is currently a speaker, producer, and host of her own radio show “SONSONEANDO CON MARIANA,” broadcast Monday through Friday from 12:00 AM to 2:00 PM on Dial Azul 95.9 FM. At the same time, she directs her own group and is part of Jeque y su Banda, the Rumberos Callejón orchestra, directed by the experienced timbalero Carlitos Padrón, where she shares the stage with Rodrigo Mendoza, Wilmer Lozano, among others.

Research Sources:
Luisana Brito, [email protected]
Also Read: “Canelita Medina” Caribbean popular music loses one of its best exponents
Adalberto Santiago celebrates his 70th Anniversary next March
In this space, we have always worked to pay tribute to the greatest salsa legends and we consider it important that these luminaries feel the love of the public in life. That is why we want to pay homage to the man who has been a great pillar of Puerto Rican salsa as we know today. We are talking about the great singer from Ciales, Adalberto Santiago, who is celebrating the 70th anniversary of his artistic career. Here is a summary of his brilliant career.

Adalberto’s beginnings in music
The sonero began his career by participating in trios, which he accompanied with his voice, guitar, bass and even his dance moves. This was something very few artists did at the time, which is why this young man drew a lot of attention at that time.
He got to play with Chuíto Vélez and Willie Rosario, but his career really took off when he was given a chance to join the orchestra of Ray Barreto, which is when he managed to internationalize thanks to several albums that continue to be chanted by salsa fans until today such as ‘’Acid’’ or ‘’Rican Struction’’. Then, together with several members of this orchestra, he founded La Tipica 73, which revived Cuban son.
Adalberto as an established artist
In the 1980s, he became part of the orchestra of Roberto Roena and got to perform famous songs such as ‘’Yo tenía una mujer’’. He is also known for co-producing the album ‘’Calidad’’ with his compatriot Papo Lucca, who arranged one of the tracks and was responsible for all the musical direction.
Some time later, he made a new version of the famous album ‘’Sex Symbol’’, becoming successful in countries such as Colombia, Peru and Venezuela. For this recording, the artist had the support of Isidro Infante in the area of production and arrangements. This is considered one of the most legendary musical works of the singer’s extensive career, to the point that many salseros around the world remember it fondly.

During all these years, Adalberto has been the author of a great number of songs for many world-famous albums in which he has participated, either as a bandleader or lead singer. Despite the worldwide fame he has achieved, he always maintains loyalty for his Latin roots and, in his own words, the structure of Latin music is the most appropriate for his voice and singing style.
In addition to that, the artist has always had the capability and experience to move through many Latin genres such as salsa, merengue, pachanga, cumbia, bomba, plena, boogaloo, guaracha, pachanga, among many others.
He has always tried to maintain his physical and vocal discipline to continue giving the best of himself to his audience despite the years.
Celebrating his anniversary
As we said at the beginning, the great Adalberto Santiago is about to celebrate his 70th anniversary as an artist, an event that of course is to be celebrated big.
As a way of celebrating and thanking his public for all the support he has received, the singer has decided to hold a concert at the Lehman University of Performing Arts in New York City, more specifically in the Bronx, on Saturday, March 22 at 8PM.
His fans have remained loyal all this time, so we have no doubt that he and his special guests will make everyone dance, making this event an unforgettable evening.
De Tierra Caliente founder Bronson Tennis talks about his career and band
There have been many American musicians who have fallen to the charms of Latin music, which is a practically inexhaustible source of genres allowing them to experiment with in many ways. One of them is Bronson Tennis, with whom we have been fortunate to talk about his interesting career and current musical group, De Tierra Caliente.

Bronson’s beginnings in music
Bronson Tennis began to put his eyes on music when he was just a child, when he was very attracted to the 1990s alternative rock movement in the United States. When he was only 11 years old, his parents bought him his first bass guitar and later he also wanted to learn to play the guitar and sing.
In family matters, Bronson and his three brothers are musicians and several of his cousins and uncles have also been musicians. In addition, his mother was a fine artist and his grandmother was an art teacher.
Both in school and church, the boy always chased opportunities to sing and show his vocal skills to anyone who wanted to hear. He also took advantage of all these spaces to learn as much as he could about music until he was old enough to exercise it professionally.
Today, his main instrument is the guitar, although he also plays the cavaquinho (an instrument of Portuguese origin which is widely used in samba) and the roncoco, which is an adaptation of the Andean charango that he uses to play salsa and Cuban son.

Professional debut in music
Bronson also told us that he began his career path as a bassist and chorister in several musical groups in the city of San Diego between 2006 and 2009. He then spent some time in Philadelphia, where he also played with other bands from a variety of genres.
It is interesting that he lived in Buenos Aires, Argentina, where he also worked as a bassist and singer in some bands. In fact, in that same country, he helped form a Caribbean funk band in which he learned a lot about these genres so foreign to what he played in his childhood and youth. He stayed about four years in Argentina, specifically between 2009 and 2012, until he moved to Brazil for about six months to continue learning more and more about Latin music, but it was not his last stop in South America, as he was also in Colombia for a while more.
Following this, he returned to Philadelphia and decided to form his own orchestra which he named De Tierra Caliente.
Prior to De Tierra Caliente
When Bronson returned to Philadelphia, he had the chance to meet some musicians from the Puerto Rican music scene in that city and saw that they had similar outlooks on music, so they got back in the saddle to prepare a formal project amongst themselves.
The artist assures that it was in Argentina where he learned what it takes to move forward with his band. ”Argentines are people who do everything with strength and confidence, whether in music or in soccer. No matter who or what they have to face, as they take on all the challenges with confidence and that is something we could all learn from Argentina.” Bronson said of his stay in that country.

In Brazil, he studied percussion and learned Portuguese, while Colombia taught him to play salsa, champeta, vallenato and many other genres. In short, each country he has visited gave him tools to facilitate his learning in everything about Latin music in various areas.
Precisely thanks to all this acquired knowledge is that Bronson finally felt able to form his own band in 2014 in union with fellow musicians who understood what he wanted to carry out.
How De Tierra Caliente started
Upon his return to the United States, Bronson was very clear that he wanted to incorporate all those elements learned in South America and the Caribbean, but giving them his own touch. It was then that he met conguero Papo Buda, with whom he agreed on much and began the recruiting process for the rest of the musicians.
After that, Bronson and Papo could add more artists to the group, resulting in a fairly consistent group over time. Since its founding, very few musicians have left the band and Bronson and those who remain have an excellent relationship with all of them despite no longer being band mates.
Among his greatest inspirations, Bronson mentioned many artists and groups of various nationalities and genres such as El Gran Combo de Puerto Rico, the Brazilian composer and singer Paulinho da Viola, the group Caribe Funk and many others.

Read also: Latin jazz and mambo trumpeter Jonathan Powell and his great collaborations
Federico Betancourt “Pioneer of Salsa in Venezuela”
Latin America / Venezuela / Carabobo
Jesús Federico Betancourt was born in the city of Valencia, Carabobo state, on March 22, 1940. He was always attracted to music from a very young age.

In his adolescence, he liked Cuban rhythms, being influenced by Sonora Matancera, Mon Rivera, Eddie Palmieri and Joe Cotto. Before entering the entertainment world, he works at the Bank of Venezuela.
He affirms that he has not carried out formal studies at the musical level, learning the necessary theory to be able to perform as an orchestra conductor, but without interest in interpreting any instrument, but with a well-tuned ear, which has allowed him to remain in the music business for decades. , in fact on certain occasions he is named as the King of the Güiro.

His career began when he entered the Los Selectos Orchestra, where they played songs by the Billos Caracas Boy’s and the Los Melodicos Orchestra, which were at their peak in the 1960s, all this in a particular way, said Orchestra did not go beyond that.
In 1965, Federico Betancourt decides to satisfy his artistic restlessness and founds a band called Federico y su Combo Latino. The members that made up this band were chosen from among the founder and together with Roberto Monserrat.
But it was not until the middle of 1966, when the twenty-six (26) year old undertook the recording of the LP that would make him famous forever. This record production entitled LLEGO LA SALSA, would mark an important stage in Venezuelan Salsa, because it was the first LP that made use of the word SALSA in the country.

Federico Betancourt himself recounts that the Venezuelan announcer Phidias Danilo Escalona had a Radio Program called LA HORA DE LA SALSA, EL SABOR Y EL BEMBÉ, where all the Cuban and Puerto Rican Caribbean rhythms that were fashionable at the time were placed, among those who highlighted La Sonora Matancera with Celia Cruz, Tito Puente, Joe Cuba, Tito Rodríguez among others, and who was the one who supported them the most in terms of recording the album.
The production was recorded under the Palacio label, and the LP was titled LLEGÓ LA SALSA, he affirms that the title was chosen without taking into account the importance that it would revert in the future, he also affirms that it was not the name that gave him success , the album was a “bump” in sales, since all the songs were the most requested at the time, using his words: “The album sold like hot cakes”.
The music lovers of the time requested it on specialized sites such as the LA SALSA album. Federico says: “The father of the word SALSA was Phidias Danilo Escalona, he used it for the first time in his radio program, and I, humbly, with the success of my LP, gave him the push for its mass use.”

In Venezuela, the word SALSA was welcomed by the public willingly, since it suggested a mixture of flavors, which was exactly what happened in the Phidias program, but at the level of rhythms. After the appearance of Federico’s album, all the shows that were performed at the level of Caribbean and Cuban rhythms, carried the name of SALSA.
It is important to name the musicians who took part in this historic production: The musicians are: Ali Rojas Bongo and Cencerro, Roberto Monserrat Music Director and Timbal, Pedro Medina Congas, Alfredo Arcas Trombone, César Pinto Trumpet, Enrique Iriarte Piano, Rafael Prado Bass, Carlín Rodríguez Singer and maracas, Dimas Pedroza Singer, Federico Betancourt Güiro and Director of the Orchestra. The musical arrangements were by the famous trumpeter Eduvigis Carrillo (RIP). Production themes:
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1.- Cocolía
2.- Conmigo 4.- Sancocho Caliente 6.- Celosa |
7.- Despierta Rumbero
8.- No Critiquen 10.- Baila Yemaya 12.- Que Me Querías |
After the success obtained with the record work, the time came for the first international outing, which was to Colombia, in 1969. It happened because the singer of Los Melodicos, Víctor Piñero, informed Betancourt that he was stuck in Cartagena and Barranquilla with the themes El Cobrador and Federico Boogaloo. After the information, the young musician went to the neighboring country and got a contract for the famous Reina del Mar parties, in Cartagena, on November 11, 1969.
The experience of the band was so good, that in 1970 they returned to visit the country. From then until our days Federico y su Combo continues to be an emblematic and legendary band in Venezuela, for this reason the WEB of the classy salsero SALSA BRAVA, offers its respects to such an important salsa figure.
| Discography | ||
| 1966 | Llegó La Salsa | Palacio (LPS-6171) |
| 1966 | Salsa y Sabor | Palacio (LPS-6185) |
| 1967 | Más Salsa | Palacio (LPS-6205) |
| 1967 | Durísimo – Vol. 4 | Palacio (LPS-6216) |
| 1968 | Federico Boogaloo | Palacio (LPS-6228) |
| 1968 | Psicodélico Con Salsa | Gilmar (LPG-110) |
| 1969 | Mejor Que Nunca | Gilmar (LPG-111) |
| 1969 | Vibración y Ritmo | Sonus (102-17080) |
| 1970 | Dos Sets | Velvet (LPV-1539) |
| 1970 | La Machaca | Velvet (LPV-1539) |
| 1973 | Federico Si Te Pone A Bailar | Palacio (LPS-6332) |
| 1975 | Derrape De Salsa | BASF (10.068) |
| 1976 | Siguelo Ahí…. a Lo Cortico | BASF (10.070) |
| 1977 | Ayer y Hoy | BASF (10.076) |
| 1977 | Esto Es Lo Mejor | Palacio (LPS-6372) |
| 1978 | Mis Exitos y Más | BASF (10.079) |
| 1978 | Sabor | Foca (LPF-10.037) |
| 1979 | Federico y Su Combo | Foca (LPF-10.120) |
| 1979 | Federico y Su Orq. – El Maestro | Discomoda (DCM-1128) |
| 1980 | Federico y Su Orq. con Memo Morales | Discomoda (DCM-1148) |
| 1982 | No Le Digan | Integra (PF-14.075) |
| 1983 | Nuevamente | Palacio (LPS-66.541) |
| 1984 | SaaaBroooSo! | Palacio (LPS-66.552) |
| Compilation | ||
| 1996 | Mis Exitos y Más…Vol.1 | Sonograma |
| 1996 | Mis Exitos y Más…Vol.2 | Sonograma |
| 1996 | Mis Exitos y Más…Vol.3 | Sonograma |
| 2005 | El Pionero De La Salsa | Palacio |
| 2008 | Salsa De Oro | Gilmar |

























