Search Results for: La Sonora Matancera

La Sonora Matancera musical congregation of long trajectory and its sound quality, is one of the most popular in the Caribbean island “Cuba”

It was founded in Matanzas in 1924 under the name of La Tuna Liberal.

Its first members were: Valentín Cané, director and tres player, Manuel Valera, guitar and second voice, Manuel Sánchez (Jimagua), timbal, Ismael Governa, cornetín, Pablo Vázquez Govín (Bubú), double bass, Domingo Medina, guitar, Ismael Goberna, cornetín, Julio Govín, guitar, José Manuel Valera, guitar, Juan Bautista Llopis, guitar.

In 1926 Carlos Manuel Díaz Alfonso (Caíto), falsetto voice and maracas, and Rogelio Martínez Díaz (El Gallego), guitar, joined the group and it adopted the name Sexteto Soprano.

On January 12, 1927, under the name of Estudiantina Sonora Matancera, they moved to Havana. In November of that year they recorded their first two recordings for the Victor label: Fuera, fuera, chino, by José Manuel Valera, and El porqué de tus ojos, by Valentín Cané.

With the definitive name of Conjunto Sonora Matancera, it began its transmissions on the radio station El Progreso Cubano (later Radio Progreso). At that time it appeared on Radio Atwater Kent; in 1932, at the suggestion of Rogelio Martínez Díaz, it took the name of Sonora Matancera, and began its performances in the Havana Sport dance academies, and later in Marte and Belona, and later became part of the cast of CMQ Radio. In 1935, trumpeter Calixto Leicea joined the group; in 1939, composer, pianist and orchestrator Severino Ramos, who gave the Sonora its distinctive sound with his orchestrations.

La Sonora Matancera congregación musical de larga trayectoria y su calidad sonora, es una de las más populares en la isla caribeña “Cuba”

In 1944 pianist Lino Frias and trumpeter Pedro Knight Caraballo joined the group, who with Calixto Leicea formed the most interesting trumpet duo in the history of Cuban ensembles; in 1945 singer Bienvenido Granda Aguilera; in 1948, Angel Alfonso Furias (Yiyo), tumbadora. At this time the Sonora Matancera was formed by Rogelio Martínez Díaz, director, guitarist and chorus; Pablo Vázquez Govín (Bubú), double bass; José del Rosario Chávez (Manteca), timbal; Ángel Alfonso Furias (Yiyo), tumbadora, who replaced Valentín Cané; Calixto Leicea, first trumpet; Pedro Knight Caraballo, second trumpet; Lino Frías, pianist; Carlos Manuel Díaz Alfonso (Caíto), falsetto voice and maracas; Bienvenido Granda, singer and claves; and Celia Cruz, who soon became the stellar singer we knew and the mainstay of the Sonora Matancera hits. Thus began a period that critics have called the golden age of the Sonora.

In 1950, with the advent of television, the Sonora Matancera was one of the first musical groups to perform on this medium. It also signed a contract with the Seeco record company, with whose recordings it made a name for itself in the international market. In 1952, Raimundo Elpidio Vázquez replaced his father, Pablo Vázquez, on double bass (when Rogelio Martínez Díaz died in 2001, he took over the leadership of the group).

In 1926, it changed its name to “Septeto Soprano”. That same year, Carlos M. Díaz “Caíto” accompanied Eugenio Pérez in the choir.

Later in 1927, on Caíto’s recommendation, Rogelio Martínez joined the group and the name of the group was changed to Estudiantina Sonora Matancera.

With a great desire to improve the group travels to Havana where they get in touch with the record company “RCA Victor” and make their first recording on January 12, 1928.

At the beginning of the thirties, the group began to adapt to the new rhythms that were appearing at that time as well as adapting new instruments, such as the grand piano, which was played for the first time in the group by Dámaso Pérez Prado, who years later would become the “King of the Mambo”.

But it was in 1935 when the group took the name La Sonora Matancera, and with this change it introduced a new trumpet player: Calixto Leicea, who replaced Ismael Goberna, who died a few months later due to health problems.

The unforgettable José Rosario Chávez “Manteca”, who replaced the resigned “Jimagua”, also joined the band. Humberto Cané joined the group playing the tres and his father Valentín Cané began playing the tumbadora.

In 1938, Dámaso Pérez Prado retired and left the vacant piano position to Severino Ramos, who soon after became the musical arranger of the group.

During the first years of the forties they made presentations in dance academies, cabarets and in Radio Progreso Cubano, they also included in their repertoire: guarachas, montunos.

On January 6, 1944, two musicians from Arsenio Rodriguez’s group joined the group: Lino Frias (author of the popular song Mata Siguaraya) who began to play the piano and Pedro Knight who became the second trumpet player of the Sonora Matancera.

In the month of December, Bienvenido Granda enters the band recommended as vocalist, being his first recording “La Ola Marina” by Virgilio González, and with him they sign a contract with the nascent record label Panart Records. Valentín Cané, Israel del Pino, Caíto and Humberto Cané made recordings with this label.

In the middle of 1946 the founder Valentín Cané suffers asthmatic problems that force him to leave the group, dying two years later. Before the group joined Panart Records, it recorded other songs for the “Varsity” label, without the name of the Sonora Matancera appearing on the labels, here the first version of “Se Formó la Rumbantela” by Pablo Cairo, “Tumba Colorá”, “El Cinto De Mi Sombrero”, Bienvenido Granda and Humberto Cané participated in these numbers.

El Regreo de La Sonora Matancera 2022 2023

Members

Trumpets: Calixto Leicea and Pedro Knight

Double Bass: Elpidio Vázquez, replacing his father Pablo Vázquez, “Bubu”.

Piano: Lino Frías

Timbales, Bongó and Campana: José Rosario Chávez “Manteca” Chávez

Tumbadora: Ángel Alfonso Furias “Yiyo”.

Guitar and Choir: Rogelio Martínez

Maracas and Chorus: Carlos Díaz Alonso “Caíto”.

Claves and Choir: Bienvenido Granda.

Last January 13, 2023 they turned 99 years old and are still going strong from generation to generation.

Source:

Enrrique “Culebra” Iriarte, Venezuelan pianist, arranger and orchestra conductor.

Bibliography: Ecured Cuba

La Sonora Matancera

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Profile of Raimundo Elpidio Vázquez Lauzurica: The Guardian of the Rhythm in Sonora Matancera

The heir to a musical dynasty that defined the sound of the “Dean of Latin Ensembles”

On March 15, 1934, the Jesús María neighborhood in Havana saw the birth of one of the most solid figures in Cuban syncopation: Raimundo Elpidio Vázquez Lauzurica. Known worldwide as “Elpidio Vázquez,” his destiny was written between the strings of a double bass and the mystique of Cuba’s most iconic musical group.

As the son of the legendary Pablo Vázquez Gobín (“Bubú”) and the older brother of master pianist Javier Vázquez, Elpidio did not just inherit an instrument he inherited a historical responsibility.

His formal connection with Sonora Matancera began in 1952, when he started subbing for his father. It didn’t take long for his talent to secure him the permanent spot, becoming the rhythmic backbone of the institution until the end of his career.

Legacy and Musical Contributions: Beyond the Double Bass

Elpidio Vázquez was not just a performer; he was a sonic architect. His ability to maintain a precise tumbao allowed Sonora Matancera to preserve that unmistakable harmonic signature that captivated the entire continent.

In addition to his technical prowess, Elpidio shined as a composer, contributing tracks that became essential hits:

“Le dio con la sartén”: A guaracha recorded by the “Flaco de Oro” (The Golden Thin Man), Celio González, in late 1959.
“La negrita inteligente”: A gem performed by the Queen herself, Celia Cruz, in 1961.

His versatility led him to explore other musical horizons. He participated in the vibrant Cuban descarga (jam) sessions alongside Osvaldo “Chihuahua” Martínez and collaborated on historic recordings with giants of salsa and bolero, such as Ismael Rivera, Daniel Santos, Johnny Pacheco, Justo Betancourt, and Roberto Torres.

The Double Bass: Unlike many bassists of the salsa era who quickly transitioned to the Baby Bass or the electric bass, Elpidio is remembered for his mastery of the acoustic double bass, maintaining that organic, deep sonority of traditional, evolved Cuban son.

Recognition and Saying Goodbye to the Stage

One of the most memorable chapters of his career took place in 1989, during the 65th-anniversary celebration of Sonora Matancera. Organized by Gilda Mirós, Elpidio rocked world-renowned stages like Carnegie Hall and New York’s Central Park, reaffirming the band’s timeless relevance.

Career with Sonora Matancera

The Historic Handover: In 1952, Elpidio took on the responsibility of replacing his father on the double bass for Sonora Matancera. This was no small task, as he had to maintain the characteristic tumbao that had defined the group’s sound for decades.
Sonic Signature: He is credited with imprinting a robust harmonic stamp and a rhythmic stability that allowed Sonora to back the biggest stars of the era (Celia Cruz, Nelson Pinedo, Bienvenido Granda, etc.) with flawless precision.
Exile and Continuity: Like the rest of the group, he left Cuba in 1960, continuing his career abroad and participating in Sonora’s prolific New York era and their international tours.

A historical footnote: After the death of Rogelio Martínez, it is said that Elpidio was designated as the group’s musical director by public deed. However, in a gesture of humility and after decades of dedication, he preferred to retire in New Jersey, letting his brother Javier take the helm for the orchestra’s new era.

Today, the figure of Elpidio Vázquez remains a symbol of artistic fidelity and musical excellence the bridge between the tradition of “Bubú” and the modernity of New York salsa.

Also Read: La Sonora Matancera musical congregation of long trajectory and its sound quality, is one of the most popular in the Caribbean island “Cuba”

Fernando Lavoy The Montunero of Salsa and Son

The Indelible Footprint of a Masterful Voice in the Golden Era of SAR Productions.

Introduction and Musical Legacy, Fernando Lavoy was one of the best-kept and most dazzling secrets of 20th-century Afro-Cuban music.

Born on May 6, 1950, in Havana, Cuba, he possessed an exceptional mastery and vocal quality that quickly caught the attention of the era’s biggest icons.

It was the legendary trumpeter Alfredo “Chocolate” Armenteros who, blown away by Lavoy’s innate gift for traditional phrasing and improvisation, affectionately dubbed him “El Montunero” (The Montuno Master).

Fernando Lavoy El Montunero de la Salsa y el Son

Throughout his career, Lavoy showcased his talent as both a singer and songwriter in heavyweight ensembles, including:

The celebrated Sonora Matancera
Chocolate Armenteros’ orchestra
Conjunto Dinastía Diez
Roberto Torres’ mythical SAR All Stars

He also led his own group, “Los Soneros.” His tragic murder in 1992 in Miami, United States, cut short the life of a brilliant artist, but left an indelible mark on the heritage of tropical music.

The Rise in New York and the Alliance with SAR Productions

After emigrating to the United States in 1980 in search of new artistic horizons, Lavoy immediately immersed himself in New York’s effervescent Salsa and Son scene.

His first big break came courtesy of Chocolate Armenteros, contributing masterfully to the album “Y sigo con mi...” under the SAR Productions record label.

Sar All Stars La India de Oriente,Jorge Maldonado Y Fernando Lavoy y en el tres Charlie Rodriguez

Founded by Roberto Torres, this record label was characterized by a unique musical aesthetic: it championed the classic texture of Cuban son, extending song lengths to allow generous space for instrumental solos and pure improvisation.

In 1981, Lavoy solidified his place as a member of the SAR All Stars, catapulting his voice into the spotlight of the most demanding music lovers.

Unlike other commercial acts of the era (such as Fania Records) that leaned heavily into crossovers with the English-speaking market, SAR Productions stood firm in direct Cuban roots. While they injected subtle nuances of jazz, they preserved that traditional, deep, and organic cadence that captivated Hispanic audiences.

Fernando Lavoy y Los Soneros: A Distinct Identity

Between 1981 and 1982, Fernando Lavoy recorded two foundational albums under his own name: “Los Soneros” (1981) and “Fernando Lavoy y Los Soneros” (1982).

Although the norm at SAR was to use the talented house band to back soloists, Los Soneros presented themselves as an autonomous group with their own identity, produced by the infallible Roberto Torres.

The ensemble stood out for its solid instrumentation led by trumpeter Juan González, who served as director and arranger, accompanied by his son Juan González Jr. on piano and the virtuoso Juan Méndez on bongo.

The band was formally structured as a classic, old-school conjunto: four powerful trumpets, bass, conga, bongo, and three backing vocalists stylishly led by Norman Rodríguez.

Analysis of a Masterpiece: The 1982 Album

The 1982 record is absolute proof of Lavoy’s musical maturity; he composed 50% of the repertoire.

“No voy a dormir”: The album opens electrifyingly, where a powerful trumpet introduction gives way to Fernando’s entrance, followed by a masterful trumpet solo by Juan González and an explosive bongo breakdown by Juan Méndez that builds into a montuno climax.
“Cóquela suave”: A son montuno penned by Lavoy that, true to its name, begins with a smooth, gentle cadence before transforming into a hard-hitting, danceable son, enriched by a sublime piano solo from Juan González Jr.
“Pegaditos”: A famous composition by Miguel Matamoros who, along with Arsenio Rodríguez, stands as one of the pillars of son is reinterpreted while respecting the purity of its traditional structure. The track shines with a high, piercing trumpet that floats above the Cuban singer’s vocals, experimenting with tempo variations that gradually increase the rhythmic intensity alongside flawless backing vocals.
“Juana la sin goma” & “No vuelo contigo”: The album closes with the former, a track packed with playfulness, dance energy, and high-octane lyrics, and the latter, a more laid-back son that, without quite becoming a bolero, maintains the majestic structure of Cuban son with a vibrant closing montuno.

Ultimately, Fernando Lavoy’s work remains a foundational pillar that vindicates the sabor, rhythm, and eternal essence of son montuno.

Text courtesy of Maida Lorena Lavoy.

Foto Museo De La Salsa, en Barrio Obrero, en su visita en 1991 junto al gran cantante puertorriqueño Yayo El Indio y Carlos Molina Castellanos, actual director del Museo De La Salsa

Also Read: Alfredo “Chocolate” Armenteros: The Golden Legacy of the Cuban Trumpet

Alfredo “Chocolate” Armenteros: The Golden Legacy of the Cuban Trumpet

The history of Latin music cannot be written without mentioning the metallic brilliance and elegant phrasing of Alfredo “Chocolate” Armenteros.

Regarded by musicologists and peers as the “Latin Louis Armstrong,” Armenteros was more than just a trumpet virtuoso; he was a sonic architect who bridged the gap between traditional Cuban son, New York jazz, and the high-energy explosion of salsa.

Chocolate Armenteros🇨🇺fue una leyenda excelsa de la música cubana

Born on April 4, 1928, in Las Villas, Cuba, Armenteros carried the soul of his homeland to the world’s most prestigious stages.

His nickname, which became a hallmark of artistic quality, originated from a curious anecdote the musician shared in 2013: a young woman had mistaken him for the famous boxer “Kid Chocolate.”

What began as a case of mistaken identity ultimately became the name of a legend who would deliver his “knockouts” not with fists, but with perfect notes.

The Forging of a Master: From Arsenio Rodríguez to the “Bárbaro del Ritmo”

The career of Chocolate Armenteros serves as a detailed roadmap of the Golden Age of Cuban music. In 1950, he joined the ensemble of the “Blind Marvel,” Arsenio Rodríguez.

Alfredo Chocolate Armenteros el Legado de Oro de la Trompeta Cubana

Under Rodríguez’s tutelage, he recorded essential pieces of the Caribbean songbook such as “Deuda,” “Tengo que olvidarte,” and the iconic “La vida es un sueño.”

This period was vital in defining his style: a fusion of technical discipline and a gift for organic improvisation.

His rise was meteoric. By 1953, he was already a member of Sonora Matancera, the island’s most influential musical institution. That same year, he participated in a historic milestone: the founding of the band led by his cousin, the great Benny Moré.

Alfredo Chocolate Armenteros, Lino Frias, Carlos Patato Valdez y el Negro Vivar 1973

The sound of Chocolate’s trumpet was a key gear in the machinery of Moré’s “Tribu,” cementing his status as the most sought-after instrumentalist of his generation.

Conquering New York and the Global Stage

In November 1958, Armenteros’ destiny changed forever. He traveled to New York with the Fajardo y sus Estrellas orchestra for a private performance at the Waldorf Astoria Hotel.

The event carried high-level political weight: it was a gala for the presidential campaign of then-candidate John F. Kennedy. Following this encounter with the Big Apple, the trumpeter decided to settle permanently in the city, becoming an ambassador for Caribbean rhythms at the epicenter of jazz.

In New York, his talent flowed through the most influential groups of the era:

The Machito Orchestra (1963): Where he fused Cubop with Afro-Cuban jazz.
Eddie Palmieri (70s): Contributing his power to the experimental sound of salsa brava.
Tico-Alegre All Stars (1975): Sharing the stage with giants like Celia Cruz, Tito Puente, Ismael Rivera, and Cachao.

An Endless and Eternal Style

In the late 70s and early 80s, Armenteros not only returned to collaborate with Sonora Matancera but also took the definitive step as a bandleader.

Under his own direction, he left behind memorable productions such as Chocolate Dice (1982) and Estrellas de Chocolate (1987), proving that his creative well never ran dry.The most admirable aspect of Armenteros was his artistic longevity. He remained active in festivals and concerts well into his 80s, preserving a privileged embouchure and a sense of timing that seemed to defy the laws of physics.

Alfredo Chocolate Armenteros y Eddie Moltalvo

Today, nearly a century after his birth, Alfredo “Chocolate” Armenteros remains the gold standard for trumpeters. His life was a testament to elegance, his music a bridge between nations, and his trumpet an eternal echo of Cuban identity that continues to resonate in every jazz descarga and every salsa step around the world.

Also Read: Larry Harlow and Ismael Miranda: The birth of “Arsenian Salsa,” a tribute to the music of Arsenio Rodríguez the creator of Son Montuno and the “King of Guaguancó.”

Leader of K’ndela Salsa Band Eric Cabanilla and all his entertainment company has to offer

We are very pleased to be able to talk to the leader of K’ndela Salsa Band, a salsa group which has been gaining ground in New Jersey despite the great competition it faces.

Eric Cabanilla is a talented musician who, in addition to founding a successful band, has also managed to build an entertainment company with a solid team that has put its talents at the service of large audiences eager to enjoy a quality show. The artist has told us some of the most important details of his career, and we bring them here for all of you.

Eric Cabanilla posing for the amera — Leader of K’ndela Salsa Band Eric Cabanilla posing for the camera at an event

How Eric started to like music

Eric started his story saying that he and his siblings listened to the music their mother played as she cleaned the house and her children helped her with household duties. Back then, there were many romantic artists and groups such as Los Iracundos and La Sonora Matancera. These melodies helped him understand his love for salsa today.

One important thing to mention is that there were no musicians in his family to teach him about the professional part of this craft, so it can be said that he was the first to make this his way of life till today. His first impulse in this regard was to start writing poems at school, and he even won some poetry contests, which awoke in him the taste for putting words together to create pleasant sounds for others.

It was his great friend and musician Mike Pérez who encouraged him to put these compositions to songs, so he took those poems and rhymes he had created and added music to them. He worked alongside Mike for about seven years singing backup for the Orquesta Swing Combo until his sudden passing, which led to the dissolution of the group. Fortunately, the musicians were not left unprotected and could get a job in a new orchestra with new sound.

During this time, he had the opportunity to learn a lot about how the music biz works, as his responsibilities included institutionalizing the orchestra and formalizing its schedule through emails, business cards, written contracts, and that sort of thing.

Angel Peguero, Eric Cabanilla, and Stephany Moore — Dancer Angel Peguero, Eric Cabanilla, and dancer Stephany Moore

Thanks to all this acquired knowledge, once Swing Combo broke up, Eric already had an accurate idea of what to do when creating his own orchestra and how to manage it, so he jumped into action from there.

K’ndela Salsa Band

After all the experience he had gained, Eric finally decided to build something of his own, as he felt ready to take on such a challenge.

One of the first people he counted on was maestro Jimmy Bosch, “El Trombón Criollo,” who has a 50-year career and his own orchestra, Salsa Masters. He is always traveling the world with his orchestra, but whenever he is required to play with Eric and K’ndela Salsa Band, he makes an appearance without hesitation. He describes Bosch as a very professional man, to the point that he is the first to arrive and the last to leave at any rehearsal.

Together with Eric and Bosch, K’ndela also leverages the talent of other great musicians like bassist Edgar “Danny” Rosado, pianist Ray “El Loco” Cabrera, Xabi “El Chamo” Estrada, Eric Pizza, Brian ‘Tibiri’ Pozo, Jimmy “El Nene” Feliciano, and Daniel “El Gato” Arboleda.

This orchestra project was his first professional goal, but once he made it, he did not want to be confined to that. He also wanted to offer a complete package that offers more comprehensive entertainment than just playing and singing. That is when he took advantage of their closeness to a dance school where he sometimes performed to be in touch with dancers who wanted to join their shows.

Eric and the rest of the band — From left to right Ray “El Loco” Cabrera, Danny Rosado, Eric Cabanilla, Xavi “El Chamo” Estrada, Erik Piza, Brian “Tibiri” Pozo, Jimmy “El Nene” Feliciano, Daniel “El Gato” Arboleda and Jimmy “El Trombón Criollo” Bosch

Additionally, he hired a relative who worked as a mariachi, who in turn introduced him to other artists who did the same thing so he could hire them. Over time, he also included DJs who would liven up all kinds of events with their diverse mixes.

Something Eric wanted to clear up is that all these professionals are permanent workers in his company. He has a very good relationship with many dance schools in New Jersey, to which he offers his packages, and there is always a very generous group of its dancers that accepts the proposal. Whenever Eric is involved in a festival or private event, he never has any problem finding talent in the field of dance to accompany him thanks to his reliability, professionalism, and great respect for the work of others.

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