Search Results for: La Sonora Ponceña

Latin America / Venezuela / Caracas

“Continuing the musical biography of Oscar D’ León. He moved on to new horizons, new learnings, difficult experiences, and decisions, as life always holds a wide variety of surprises over time. One of those changes was his breakup with Dimensión Latina due to various internal group problems.

Oscar’s departure caused issues for the group, as several of their scheduled performances in other countries were canceled, and over time, they lost audience, leading most of their members to split up and leave. Nevertheless, the group managed to carry on successfully but without the unique touch or ‘sazón’ that Oscar D’ León provided.

After leaving Dimensión Latina, Oscar ingeniously created La Salsa Mayor in 1976 and was able to release his first discography with his new group, thanks to the record label TH, which provided it because they were very interested in his new project, naming it ‘Con bajo y to’.’ From that moment, Oscar knew that he could consolidate himself with this group or any other, as his exceptional and unparalleled talents, so much originality, had never been witnessed”

“In any generation of Venezuelan artists. He also created another group called ‘La Crítica’ with the purpose that if any member of the Salsa Mayor Group was absent, one of them would substitute. However, the orchestra ‘La Salsa Mayor’ lasted only 4 years due to a strong disagreement Oscar had with his band on stage because the songs played during those two performances ‘were not accepted,’ leading to the closure of ‘Salsa Mayor.’ From that moment, he began to practice with his orchestra ‘La Crítica’ before his performances in Curaçao, where his songs, ‘Suavecito,’ ‘No ha pasado nada,’ served as a way to allude that everything had been overcome.”

“With this group, he achieved significant success. From that era, Oscar D’ León was known as the leading artistic figure in the country and on the American continent, with his music being heard in various homes in Venezuela and other Latin American countries. During that time, he traveled throughout the Latin American continent, the Caribbean islands, and the United States. From that moment, he leveraged his figure as he ventured into artistic promotion. He did so with Daniel Santos, Héctor Lavoe, El Gran Combo de Puerto Rico, and Celia Cruz.

If we have to mention which country Oscar liked or idolized the most, it was Cuba, because ever since he was very young, he loved the music played there, which over the years underwent various transformations in different stages, such as ‘La inmortal guaracha Celia Cruz’ which brought glory to the island; ‘la sonora Matancera’ carried the name of Martí’s land around the world; ‘Dámaso Pérez Prado,’ among other artists who contributed to the origin of Cuban music.”

“When Oscar D’ León first visited Cuba, it was an unforgettable experience and held extraordinary significance not only for the young artist but for the country itself. Its magnitude was such that, first and foremost, the ministers of culture and foreign affairs welcomed him, and every time he performed, large numbers of fans awaited to see and hear him. The respect and admiration for him were immense. In fact, this book mentions that ‘Cuban music,’ among other things, made Oscar D’ León’s existence as an artistic figure and as a person possible.”

“For Cubans, Oscar D’ León’s arrival had a profound effect; it was the rebirth of existing music. In short, he rescued it, causing Cuban music, ‘son,’ the central show, and entertainment venues to become their activities for relaxation and fun.

Oswaldo Ponte, in his research, mentions that when he looked for everything related to Oscar D’ León, there was immense admiration for him. Everyone he interviewed, even if they knew he was his manager and his biographer accompanied him, always said incredible things about Oscar. He not only rescued Cuban ‘son’ but also taught them to dance Cuban music, opening the minds and perspectives of Cubans, as Cuban ‘son’ continued to be known internationally. Everyone mentions what a good musician he is, that they can’t believe he isn’t Cuban and has that ‘sazón’ (flavor/charisma).

He was famous not only in Cuba but also in other countries. An example of this was Oscar’s participation in the Rome Festival when he sang a song by Adalberto. Mr. Adalberto Álvarez passed backstage and commented: ‘Cuba will never be able to repay Oscar for what he has done for Cuban music. He has kept it alive; if it hadn’t been for him, for Johnny Pacheco, for Celia Cruz, for La Sonora Ponceña and others who took it upon themselves to keep ‘son’ alive outside our country’… ‘and of all of them, the fundamental leader was Oscar D’ León because he is the most connected to authentic Cuban musical roots.'”

“In short, every time Oscar goes out to sing and dance, he is representing Cubans. For Cubans, dancing is almost a ritual. In 1950, they danced ‘son,’ ‘danzón,’ ‘mambo,’ ‘chachachá,’ ‘rumba,’ and other dances, some of which lasted a very short time, such as ‘dengue,’ ‘monzambique,’ ‘pilón,’ ‘carioca’; and others transcended time, like ‘conga’ and ‘rumba.’ Salsa is the continuation of, or the same as, ‘son,’ which can be danced with the same style or with different styles.

Oswaldo Ponte began his promoter plan by hiring figures, among whom was Oscar D’ León. Becoming a serious entertainment promoter, he took the risk of doing it internationally (outside Venezuela) where he bought a contract from Guillermo Arena to present Celia Cruz with La Sonora Matancera. He also partnered with Juan Caravallo and managed to present the biggest show in Higuerote, Venezuela; with this great step, he was becoming a potential successful entrepreneur in international shows.”

“In 1983, he hired Oscar for 3 performances with ‘Roberto Blades,’ two at the Ávila Hotel and one at San Jacinto Park (both in Venezuela). At that time, Oscar was returning from Cuba, and with a new event, Oswaldo, upon seeing the show, pondered the difference between the two artists.

The Panamanian star was well-managed by his team. However, when it came to judging which was the better show, it was Oscar D’ León’s. When Ponte went to talk with him, he proposed becoming his manager on the condition that Oscar follow his instructions, as he always directed everything, which Oscar accepted. From that moment, many things changed not only artistically but also personally, offering the public not just Oscar D’ León and his orchestra, but Oscar D’ León himself, giving more charm and charisma to his audience.

One of the challenges he had to face was a stagnation in record sales. His new record productions weren’t taking off, so he decided to rely on television. Venezuela was both a recipient and a transmitter country, so his performances were broadcast on different television channels that gave great musical importance, such as ‘Siempre en Domingo,’ which covered the center and north of the American continent, and ‘Sábado Gigante,’ which covered South America, thus giving him international exposure.

One of his best and most unforgettable collaborations was with singer Celia Cruz, who was a great friend of Oscar’s. They participated in many events, one of which was in 1993, where Ralph Mercado did what he called ‘The Perfect Combination,’ which consisted of combining stars for public performances.

Participants included Oscar D’ León, Celia Cruz, Marc Anthony, La India from New York, Tito Nieves, Tony Vega, Cheo Feliciano, José Alberto El Canario, and Domingo Quiñones, of which the most recommended songs were ‘El Son de Celia y Oscar’ and ‘Vivir lo nuestro’ by Marc Anthony and La India. At that time, Oscar had left the TH label and was now with Ralph Mercado; his colleagues were Tito Puente, Celia Cruz, Sergio George, Cheo Feliciano, Tito Nieves, La India, José Alberto El Canario, and other significant stars.

There are many other details and more events up to the present day, but it would be too much to explain in one article. What is very clear is that Oscar D’ León has conquered countless goals in his life, and we can all do the same in the different areas in which we operate, if we set our minds to it with determination and an iron will.

To learn more about this, we recommend reading ‘Oscar D’ León, Confesiones De Oswaldo Ponte’ by William Briceño, published by Fundación Simón Bolívar.”