Some initial ideas about the frequency of 432 Hertz
The stress of daily life is extremely harmful to the health of any human being who gets it, so that is an issue that should be dealt with the seriousness it deserves. Fortunately, there is plenty we can do to combat this problem such as meditation, yoga or music. Concerning this last point, we can mention the frequency 432 Hertz, which has already been shown to have certain effects on sleep quality. There is still a lot of misinformation spread and incorrect data in respect of it, but here we will try to shed some light on this interesting topic.
After a lot of research in this regard, it is already known that music can decrease the activity of the sympathetic nervous system, which, in turn, results in a significant reduction in anxiety, blood pressure, heart rate and breathing. In addition, muscles relax considerably and the mind is distracted from the frantic thoughts that does not let it rest. It is thought that this set of tones has sleep-inducing properties, but there is still a lot to discover about this. Some musicians only refer to this frequency as a calm, soft tone.
Here are some musical frequencies
What is the tuning of 432 Hertz?
The tuning of 432 Hertz is name after the 432 oscillations it produces per second. The sounds that comprise the frequency tend to be a little deep and the link of the harmonics is carried out to perfection.
It can also be defined as a clean frequency that has been widely used to break down mental barriers and promote a much deeper and more restful rest. Its greatest proponents claim that this combination of sounds has the ability to synchronize with the Universe’s energies, leading to a much healthier life for those who listen it.
Studies done on the frequency 432 Hertz
The miraculous frequency or frequency of happiness as some call it, has been extensively studied by the Department Physiology at the All India Institute of Medical Sciences, which was based on the hypothesis that the 432 Hertz frequency induces sleep and decreases REM (Rapid Eye Movement) phase.
According to the conclusions presented by the experts responsible for carrying out the experimentation necessary for the study, the tone showed promising effects on the electroencephalographic activity of the brain during a daytime nap period. The decrease in REM sleep latency suggests that the already mentioned musical frequency has a rather significant relaxation effect on a sleeping brain.
A lady who is sleeping
What the experts say
To bring a clearer notion and a broader perspective on this topic, we have contacted M.D. Argelia Melet who is going to offer us her views on this frequency and the effects that it can have on those who ever listen to it.
This is our conversation with her regarding this issue:
What is the frequency 432 Hz?
I would like to fisrt remember what a Hertz is, since the frequency 432 Hertz is expressed in that unitof measurement: A hertz is the frequency measurement unit of the electromagnetic field, including, of course, the acoustic one. These are waves that are propagated in space, carrying energy, but not matter. A Hertz measures how many times these waves repeat themselves in one second. So, then, the frequency 432 Hertz is nothing more than a 432-wave frequency in one second. In recent years, one issue that emerged among scholars of musicology, musicians, and academics who proposes 432 hertz as a frequency that is more “attuned ” to our physiological structure. Many people are in favour of this and also many others deny that there could be a difference.
Having said this, the music industry uses the standard note A as tuning in the frequency of 440 hertz, but this was not always the case. Because it was in 1953 when the International Organization for Standardisation (known as ISO), imposed it as a pattern to tune and build most of the musical instruments.
As for the frequency 432 Hertz, “it has been gaining popularity among the performers, because as it is played, it emits twelve harmonics, which involve the 12 notes of the chromatic scale. In the case of the frequency of 440 Hertz, it is although brighter, but involves only 8. Many early music interpreters, I among them, use the frequency 432 hertz. And the difference can be noticed” (personal communication). (*)
What effects could you see?
I am not an expert in music therapy, which has become a specialty discipline that includes many fields linked to the health profession and obviously much more to psychology and psychiatry. But I have used certain Barroque pieces, particularly (Mozart, Pachelbel, Vivaldi) in some therapies known as “desensitization in fantasy”, which uses the patient’s imagination in a relaxed state to deal with situations that leads to anxiety with very good results. It has been successfully used in carcer patients or people with severe sickness to deal with these coplicated cases that create suffering.It is also used in pediatric dentistry and geriatrics.
Differences between the Frequency 432 Hertz and others
I do not think I am capable of answering a question concerning a very specialized subject as is music …. Those who are in favour of the frequency 432 Hertz criticize the standard and explain that it increases tensions and fatigue in the listener. Instead, the frequency 432 Hertz can help to balance the mind causing further relaxation by listening to it and thus help to prevent future diseases. But controlled studies would be necessary to prove this statement.
What kind of therapies with this frequency are used in people?
Although I am not clear about this question, I assume that you are talking about which patients would benefit from these music therapies. At present, there is widespread use of music therapy (and I am talking about this and not about a particular frequency): its value in anxiety disorders, phobias, and dysfunctions such as attention deficit disorders is well known, and it is even starts being used in people with Alzheimer’s. Today, it is an important tool and it is believed that it will be useful in the future. There are even studies that link it to brain neuroplasticity. And here I would like to anwer tthe following question: yes, there are positive results in many areas of emotional, work, and social life.
Would you recommend this therapy in insomnia and other sleep disorders?
The question is whether I recommend it as a unique therapy or as a complementary therapy. In medicine you cannot act in a “religious” way and in this regard I mean discard any belief other than your own. Music therapy promotes relaxation, serenity, inner peace and, in that sense, it helps to reduce insomnia, nightmares or night terrors. But a lot of times, it will be necessary to combine it with other treatments. This always depends on the seriousness of the problem.
As a doctor, would you consider that this frequency raises consciousness or achieves effects at levels higher than simply sleep improving?
As to whether the frequency 432 Hertz raises consciousness, as the question puts it, I am not in a position to affirm or deny it. It may be necessary to specify that in our brain there are many types of waves of different frequencies.
As to whether the frequency 432 Hertz raises consciousness, as the question puts it, I am not in a position to affirm or deny it. It may be necessary to specify that in our brain there are many types of waves of different frequencies. Brain waves regulate our thoughts, emotions and behaviors. They are measured in hertz or cycles per second and these electrical patterns are divided into five in human beings: gamma, beta, alpha, theta and delta. For purposes of this presentation, I will just talk about alpha waves. The so-called Alpha waves predominate when the Central Nervous System is at rest, relaxed but awake and alert. If there is an alpha deficit, the individual has trouble relaxing. We would say that the brain is idling, relaxed and at rest, but ready for action if necessary at the same time. This frequency helps mental coordination, mind/body integration, calmness and alertness. Music therapy has been linked to the stimulation of alpha brain waves.
However, we got a long way to go. The brain, the grand master of our lives, seems opposed to being discovered in all its magnificence. It is our “Moon’s far side”.
(*) Professor Oscar Battaglini Suniaga. Msc in Musicology
Psychiatrist Argelia Melet
What are the brain waves?
As Dr. Melet has told us, brain waves play a fundamental role in the behavior of our brain and the way it works. Then we will classify brain waves according to their different types:
Gamma: of all the types of brain waves, gamma brain waves are those that appear more frequently, but with a much smaller amplitude. Their most common presentation is 40 Hertz and it is believed that they are the waves that most relate to the process of conscious perception, although there is not yet wide agreement betwween scholars on the subject.
Beta: these electromagnetic oscillations are those that are activated when the brain is in a certain kind of awareness in which a certain degree of attention is required, such as a speech delivered before an audience or a hard test. During this stage, waves have an greater frequency than the rest of its types.
Alpha: these waves are usually more frequent than theta waves, but are related to a state of relaxation where the body has its eyes closed, but not asleep. They slow down when sleeping, but are altered when opening the eyes or thinking about doing it.
Theta: Theta waves are generally associated with the early stages of sleep. Contrary to the case of beta waves, they make the body relax either when awake or when sleeping.
Delta: these waves have an extremely low frequency, which means the brain is asleep and may even dream off in some cases. there is potential for them appearing while in a coma or severe brain damage.
Classification of brain waves
Neurolinguistic programming and its use as a tool for mass manipulation
It is the interchange of thoughts and habits through a set of techniques that involve perception and communication. It is also known as a branch of neuroscience that studies the connections between behavior, thought and language. There were many political personalities who saw huge potential in this tool and one of them was Josehp Goebbels, who soon found out that culture and language were two fundamental aspects in the achievement of his political objectives.
It was this infamous character who gave rise to the study of what is now known as neuromarketing, in which seemingly insignificant details such as voice, tone, gestures, body language and even sounds are absolutely controlled. It is no coincidence that Goebbels took over German radio as a whole in order to monitor the programmes at will. Soon it becomes clear that the aim of this measure was not just to inform, but also to manipulate people’s thoughts and, as a reult, their way they talked and behaved in everyday life.
One of the best examples was the installation of loudspeakers in various crowded public spaces such as squares or markets. As a result, those who were not attracted by the official programming ended up listening to it against their will. To that is added a loud siren that sounded each time there was an important announce to make, so everyone had to get closer to loudspeakers to hear what was being said. Anyone failling to do this was heavily criticized.
The programming included Hitler’s speeches alternated with an set of cultural and cultural programs. There were not few state officials who insisted on the multiple mood benefits of listening to them, when the reality was that they sought to modify and manipulate people’s psyches by alternating musical pieces and sounds pleasant to the ear with the political statements they wanted to etch on the minds of citizens. Had the Nazi regime been pioneer in the use of certain sonic frequencies to generate reactions in brain waves? Had we ever been the victims of this type of manipulation without even noticing it? Only time and science will tell.
Joseph Goebbels, the man who took over German radio by order of Hitler
I had recently spoken with broadcaster and event promoter Jesús “Chuy” Martínez about his beginnings, career, experiences, unpublished facts and other details concerning his brilliant career in the entertainment world. Without further delay, we will carefully read his words and enjoy the stories he has to offer.
Jesús “Chuy” Martínez some years ago
Good morning, this is Karina Garcia, North America director for International Salsa Magazine. I am very happy today to have a very special guest, who is none other than broadcaster, promoter and organizer of events born in the Dominican Republic, specifically in the city of Pacheco, Jesus ¨Chuy¨ Martinez, with whom we will have the pleasure of talking. How are you today, Mr. Martinez?
Very well. I am here ready for your interview.
Okay, Mr. Martinez. You have a long and successful career in the world of the arts. Could you start telling us how it all started and what made you turn to the entertainment world?
It all started in New York City in 1970 when I began to do activities in lakes. In New Jersey, there were many lakes and we started doing dances with Pete ¨el Conde¨ Rodriguez and many other orchestras. After doing a few activities in New York, I moved to the city of Los Angeles, where I worked for a radio station called 107.1 FM KMAX starting with two hours of tropical music and we lasted about three years. We started with two hours and then we had five hours per day. We were supported by some record labels that gave us all the music, especially Fania Records and TH Company. We brought all the music to Los Angeles, which was practically in its infancy. There was no tropical music. There were only three stations that were only dedicated to playing norteño music, so we were an option for the California audience. We had salsa, Merengue, Colombian, Venezuelan, New Yorker, and Puerto Rican music. We started the program with two hours a day, came to have five hours a day and it was a success for the public, but at that time, FM radio stations were only present in the houses. At that point, FM did not yet exist, which started appearing in cars and cassettes in 1979 or 1980. Prior to that, a thing called cartridge was used, but with the coming of FM stations in cars with cassettes, this frequency began to become stronger because people could still listen to the radio in their vehicles and homes. That was a process that in which made the radio strong and able to work with FM. I worked at KMX radio for about three years and then I went to other places like Radio Cali KLOVE as an account executive before I started a new program at KFOX 93.5 FM in 1982. At that time, we did activities in nightclubs like Virginia, Los Globos, Sombrero, among others, and we used the different orchestras of the time like the Siba orchestra and Azuquita Y Su Melao. All that was a process in the 70s. Then, we started in the 80’s to do FM radio with all the guarantee of the radio in the cars, which was when we began to work in discos like Candileja, La Bamba, and Escondite. Something important was the experience gained and, in view of my studies as a sound engineer, I learned a lot about equalization and all that stuff. I went to Cali, Colombia a few times and then to Venezuela, where I learned equalization and the system for discotheques. We had not only the 80’s, but many South Americans in Los Angeles like Venezuelans, Colombians, Ecuadorians, Peruvians, and Central Americans. Something that helped to internationalize the rhythm in Los Angeles was to take Saturdays and most Sundays to make projections at KFOX 93.5 FM. In the case of Saturdays, we had four hours of Central American music, we had a large audience of Salvadorans, Guatemalans, who listened to our program.
Jesús “Chuy” Martínez interviewing Oscar D’ León at Kfox 93.5 fm in 1990
All right. Taking into account the emergence of the FM frequency in cars, playback devices, the internet, and digital media, could you say that people like you have had to modernize and reinvent themselves to stay relevant in the market?
That’s right. At the time of the existence of record companies like Fania, Sony, RMM, MP, everything was easy and everybody could project their music in the 80s and 90s. First, people used LPs and cassettes, but the first CDs began to appear in 1986, so no one wanted the old LPs and cassettes anymore. Music was played on the radio where I did my show and at KLOVE, where salsa artists like Grupo Niche with their song Cali Pachanguero were played. Then Marc Anthony and many other artists appeared, so record companies promoted you and you had the ease of projecting a singer, but by the year of 1996, people no longer wanted CDs because modern technology came in and everyone started downloading music with the new internet system. All of this has contributed to a total change and it is the same thing that exists now, which makes it difficult to project an orchestra or a soloist. There is no longer the question of radio promotion and now everything is digital, so we have had to adapt to the new technical internet system with all its means of communication.
Would you consider that this new system has been beneficial to fans and detrimental to artists at the same time?
That is right. They do not have the opportunities they had before. In the late 80’s and early 90’s, there were many record companies with which everyone could be promoted, facilitating the projection of an artist in the market quickly. Now it is different and a determining factor was the death of most of the good artists from Fania and other companies like Pacheco and Larry Harlow, so young people who want to project themselves do not have the record label and the CD. They have to use other methods such as the internet, the downloading songs, and the sale of songs. There are some DJs who are experts at downloading music and there are many channels focused on providing DJs with both video and audio.
Poster announcing Oscar D’ Leon and Grupo Niche’s concert at the Palladium Hollywood in 1987
There are many web portals dedicated to offering music through which people can get songs without even spending a cent, so the artist makes nothing to offer his art.
That is true, but there are companies dedicated to selling songs on an individual basis. They can charge up to 99 cents per song and different things that have been invented. There are artists who gain some profit from selling their songs, but it is not what it used to be. In times gone by, people used to buy CDs, but now there are some DJs who are specialists in downloading music and connected to sites which offer the possibility to download videos and songs in exchange for a monthly allowance. I know about five DJs who have the ability to download songs, but it is not the same as before. We are in the year 2021 and things are not easy for new artists who are making themselves known because they no longer have so many benefits.
Modern salsa and memorable experiences
What do you think of current salsa?
There are quite a few orchestras here in Los Angeles, which perform at the Mayan, the Granada and Steve’s Steak House. There are many orchestras that project themselves through their performances, but with COVID-19, everything has gone way down in terms of concerts. We are doing concerts, but in a very limited way because the community had great fear of going to the venues, especially now that there is talk of the Delta variant. People are really scared and it is unbelievable what is going on in the California artistic scene, the world with the COVID problem and people’s fear of getting infected. That is why a large part of the population does not go to concerts, except for the youth that defies the moment and is not afraid.
Poster made by KFOX 93.5 FM, the radio station where Martínez worked
Could you tell me which venues are open for dancing salsa in Los Angeles?
Granada, Steve’s Steak House and the Mayan are the most active for tropical music. The Mayan is hosting the largest number of concerts. Toño Rosario’s was a success and Jerry Rivera will come soon, so let’s see what happens. Other promoters are going to bring La Sonora Ponceña and different singers, but there is no certain that people will come for all that has happened.
Could you tell me which is the most memorable experience you have had in your career?
The most memorable experience was when Frankie Ruiz had a concert at the Bonaventure Hotel and the man went to jail the same day (laugh). That was the greatest trouble because there were so many people interested in seeing him and he never came. That was a really bad experience in life. I did a lot of dances with Oscar D’ León, Eddie Santiago, La Orquesta Inmensidad. The first time Grupo Niche came here in 1986, with whom we did dances with Oscar D’ León and La Misma Gente at the Hollywood Palladium. We also worked with Ray Barreto, Pastor López, Santiago Cerón, La Orquesta Inmensidad, Andy Montañéz, Lalo Rodríguez and many other artists. Before there were many orchestras in a single event, but now people get used to one orchestra and several DJs.
A final message to those who go into the arts
Tenacity and perseverance at work, Hard work, hard work, hard work. You should study the field when you want to do something, be sure that your idea is good and avoid failing.
Poster announcing Frankie Ruiz’s concert at the Bonaventure Hotel in 1989
Many musical genres that emerged over the years, among them are the salsa genre which was a boom in the decade between the 60s and 70s, being a movement that mixes African and Caribbean sounds, which has been adopted by male artists already that in those times the woman who played a musical instrument was frowned upon and it was not accepted that they were in music, however this did not stop and the experience made the artist and she spent many years, female groups managed to exist in Salsa.
In this October 2021 edition, we have the opportunity to interview Yamira Blanco Ramos, a salsa singer who participated in the orchestra made up of fourteen women who cultivate Cuban popular music, fusing the most traditional rhythms with contemporary sound, also known as “Las Mulatísimas del Sabor ”, have achieved a seal that distinguishes them and are appreciated by both critics and dancers from all over Cuba and from various countries around the world.
Photo by Yamira Blanco
He was in the hands of the prestigious guitarist Efraín Amador during his beginnings and in turn began his studies at the National School of Art (ENA) and then continues the same at the Higher Institute of Art of Havana (ISA), where he graduated with a Degree de Oro, during his student years he always stood out for his active participation in groups of different formats, from duos to septets; Later, he had the opportunity to participate in the 2001 Mujer International Guitar Festival in Costa Rica, where he performed with the Plectro trio, made up of guitar, tres and lute.
He joined the Anacaona group, starting in September 2006 with his tres to enrich the musical spectrum of the group and after a year (January 2007) he joined the Los Galanes quintet simultaneously, under the musical direction of Armando Vidal , vocalist of said group, with whom he performs a musical work based on traditional Cuban music.
In 2008 he recorded with the quintet the album Suena por mi Cuba with the Egrem label, and later with a small format of the Anacaona group, he recorded in 2008 the musical theme “Parampampan”, for the filmmaker’s musical film Chico y Rita Spanish Fernando Trueba; and after a year (2009) he participated with the Anacaona group in an artistic tour in Canada and also attended different jazz festivals and “World Music”, including the third edition of the Aruba Jazz Festival.
As of 2010 Yamira together with the Anacaona group, on their tour to Curacao they presented the show “Viva Cuba”, with the purpose of raising funds for the fight against breast cancer, organized by the Sinte Rose Foundation of said country. This tour brings the Aruba International Film Festival to a close.
Photo of Yamira Blanco posing at the piano
Later they resumed their participation with the Anacaona Orchestra in the Santa Lucía Jazz Festival in 2011, being its 20th edition, where they were together with leading jazz players from the international arena, shining for their improvisations on the different themes that they performed with the orchestra. both on the tres and on the guitar.
In 2012 they celebrated their 80th anniversary of this musical institution, making an extensive tour throughout the country in addition to multiple radio and television programs and in August they performed with the group at the PDVSA salsa festival. , in Venezuela, alternating with salsa groups from that country.
They began to record the album De Cuba soy, in 2013 under the Colibrí label, a phonogram dedicated to celebrating the eight decades of artistic life of the Anacaona group, then Yamira assumed the direction of the Quinteto Los Galanes, being appointed by its vocalist and founder, who decides to retire, so she poses new challenges in the music that is the inspiration of this young and talented Cuban tresera.
In 2015:
I participated in the documentary Mix The World by Grammy nominated filmmakers Alex Elena and Steve’s Baughman.
Son Latino, a music septet that he has directed since 2015, is made up of a format of three, guitar, double bass, bongos, tumbadora, singer, trumpet and minor percussion.
Works multiple genres such as son, song, cha cha cha, bolero, rumba, guaracha, bachata, merengue and the interpretation of current Cuban timba, starting from its purely traditional format.
It is a group that seeks to defend Cuban popular music from more contemporary harmonic and rhythmic sounds, with good taste and a high aesthetic sense in creation, seeking its own stamp with auditory and visual identity.
In 2020 Yarima Blanco becomes a Soundwear artist and records with several guests the CD Pa mi tres, a co-production between the Recording Company and Musical Editions, Egrem, and Soundwear Production that will have its presentation and launch in 2021.
The phonogram is a journey through the sounds of Cuban and Caribbean popular music based on 12 unpublished songs where the authorship of Yarima herself, the Puerto Rican Tomás Pérez and the Cubans Yunior Molina, César Lozada and Juan Antonio Gil stand out.
With musical production by the hand of the Latin Grammy award Roniel Alfonso Mella, they participate as special guests in several of the songs on the album: maestro Pancho Amat, Alain Pérez, Kelvis Ochoa, Rolando Luna, Bárbara Zamora, singer from Anacaona, among other important Cuban musicians.
Photo of Yamira Blanco Live
Now if you want to know the exact list of the different activities that he carried out throughout his musical career, you can see them here:
Participation in Festivals:
Discography
2001
International Woman Guitar Festival, Costa Rica
2006
Cuba le canta a Serrat vol. 2, discography –Discmedi
2009
Aruba Jazz Festival
2007
No lo puedo Evitar, Anacaona -Bis Music
2009
Canadian Jazz Festivals
2008
Suena por mi Cuba– Quinteto “Los Galanes” – EGREM
2009
La Nuits D’Afrique Festival in Montreal Canada
2008
“Parampampan” – tema para el Largometraje Chico y Rita
2010
Aruba International Film Festival
2013
De Cuba soy – Anacaona – Colibrí
2011
20th edition of the Santa Lucia Jazz festival
2019
Lágrimas de la cantante Cassandra Nuñez –Egrem
2012
PDVSA Salsa Festival, Venezuela
2020
Pa mi tres, Egrem – Soundwear Production
2019
Salsa Festival in Bogotá Colombia Park
2020
Jazz Plaza Cuba Festival. Collaboration with Dominican-American Cassandra Núñez.
2020
Concerts and show in tribute to the bolero and its relationship between Mexico and Cuba, Mexico City, under the direction and musical production of Rosario Castro.
International Salsa Magazine / www.SalsaGoogle.com and its correspondent, Professor Carlos Colmenarez from Barquisimeto, Venezuela have the privilege to present one of the most important bastions of our Latin music in the Caribbean.
In this opportunity we honor in our salsa column, the Venezuelan percussionist Heyzer Cabrera, born in the city of Caracas, on May 3, who already has more than 30 years of musical career, because at the age of 7 years old he was part of the Venezuelan Children’s Choir, directed by Professor Raul Cabrera, his uncle.
At the age of 15 he began his interest in percussion, with the help of his great friend and also percussionist Juan Pablo Barrios and at 17 he began his career as a professional musician with the “Orquesta Canela” in 1994 and since then he has been part of many groups of the salsa genre, such as: “El Combo de Venezuela”, “La Negramenta” and accompanying international artists such as Andy Montañez, Van Lester and Pedro Arroyo.
Heyzer Cabrera, brilliant and virtuoso Venezuelan percussionist
In 2013, he began his project to make a recording studio, which is called “A Tempo Récords” and in parallel he studied sound engineering at the academy (Audio Place), under the guidance of Jesus Sanchez and Jean Sanchez. In his career as a sound technician he has participated as a producer of several orchestras and in 2019, he gets his first recognition by being nominated in the production “Con Todo” by Coco y su “Sabor Matancero”, for Record of the Year, Salsa Genre, at the Pepsi Music Awards in Caracas.
Heyzer, at the international level you have had presentations? Indeed Professor Carlos, in 2018 I had the pleasure of being in Cali, Colombia, with the orchestra “La Negramenta”, in La Topa Tolondra and the reaction of the public was of great emotion, chanting all the songs of the orchestra; later in 2019, I returned to Cali, but with the orchestra “Noche Caliente” and soon we will return to the neogranadino country.
And with Juan Pablo Barrios, you were part of his wonderful jazz-salsa band? Hey, yes, I was part of that wonderful orchestra for 8 years.
With Juan Pablo Barrios, I was part of his wonderful jazz-salsa band.
Heyzer, with which of the percussion instruments do you feel better for its execution? My friend Carlos, with all the irons equally, that is: timbales, congas and bongos.
Also, Heyzer Cabrera has just become part of the musical project “Ritmo Caliente”, the group formed by the musicians: Cheo Navarro, Alfredo Naranjo, Jhoán Muñoz, José Soto, Miguel Urbina, Rodrigo Mendoza on vocals and of course, Heyzer on percussion and also the first personal single entitled “Mi social”, was recorded in Cabrera’s studios.
For those who wish to contact and hire the excellent percussionist Heyzer Cabrera, you can do so at 0412-9782696, through Instagram: heyzer_drums, atemporecords. Facebook: Heyzer Cabrera and A Tempo Récords.
Heyzer Cabrera has just become part of the musical project “Ritmo Caliente”.
From Salsa Escrita, International Salsa Magazine / www.SalsaGoogle.com and all its staff, we wish the greatest success to this bastion of Venezuelan percussion.
Everything prior to the 20th century is in the History of Salsa, since what happened in the Caribbean is common to mankind.
As in the rest of the world, salsa in Venezuela entered in the 60s from the new sounds created in New York, and driven by musicians like Federico Betancourt (Federico y su combo latino), or radio programs like La hora de la salsa, although rumba and Cuban son were already rooted since the 40s and 50s.
On this occasion we have the opportunity to interview the Peruvian Sonera called Fanny Almanera also known as La Sonera del Callao, her nickname comes from her native country El Callao, Peru.
She was born on January 23 and is the 9th daughter of her parents (Don Héctor Almenara and Carmen Barreto), from a very young age she knew and learned many things about the music of both parents; in the lyrical genre thanks to his mother and his best teacher Dona Ana María Parodi and with respect to his father who is / was a collector of the best exponents of Salsa (especially Cuban and Puerto Rican music), both listened almost all the time to Justo Betancourt, La Lupe, Candido Fabre, Benny More, Ismael Rivera, Los Papines, Irakere, Luis “Perico” Ortiz, among others.
When she turned 16, she realized that she was passionately and in love with the dynamic salsa genre and made the decision to leave the choir and classical music, since her love and her taste is for the salsa musical, thanking her father greatly for showing her , show him and listen to the best collection of salsa music to date … “Music is like medicine … it fills the soul and innovates over time” and over time, while gaining his experience, his own audience would give him their nickname La Sonera del Callao and with the favor of God take his parents, especially his father, to Cuba.
Memory of the brave Sonero Cano
She also had the honor of participating for the first time in the choir to Junior Gonzales and alternate Grandes with Peruvian Orchestra such as Peru Salsa by Beto Villena, Las Estrellas de la Maquina by Boris Gomez, La Nueva Generación by Franco Covetto, during that time chosen as the best nobel voice of the salsa genre for the 80s; and at the same time he made several recordings for different groups, likewise he recorded an unpublished song of his own entitled “Yo Te Espero”.
Unlike other musicians, Fanny Almanera during this season met and currently has friends of renowned musicians, who interacted with her and her family, even before becoming a singer.
Ray Barreto and singing Adalberto Santiago de Fannia
Between the 70s and 80s, Las Leyendas Latinas arrived in Peru with Ray Barreto and Adalberto Santiago, who gave him the great opportunity to sing with them “Quitate La Máscara”, then with Linda Caballero (La India), the song “Mi Primera Rumba ”, Then with the salsa pharaoh Oscar de León with the song“ Toro Mata ”and also with the great Lebrón Brothers with the song“ Sin Negro no hay Guaguancó ”. With the Owner of the Soneo Carlos “El Cano” ESTREMERA the song “Amame en Camara Lenta”, with Frankie Vazquez “El Cuarto de Tula”, with Yolanda Rivera the song “Rumba en el Patio”, Vity Ruiz brother of Frankie Ruiz the song “La Cura”, with Aldalbeto Santiago on the song “Nadie se Salva de la Rumba”.
In all these golden opportunities, he managed to ask her many questions to perfect her singing, including knowing more about how to rhyme the phrases and after a while with her imposing voice, Fanny captured the attention of the greats of salsa, representing Callao and for which the Chalaco people named it “La Sonera Del Callao”.
Singing with Linda Caballero, the best known India and Fanny La Sonera del Callao
She tells us that she is very happy with this great experience acquired, especially that she met many internationally recognized artists, many met them in person and others thanks to social networks, expressed by many who have a very beautiful voice, which is why she sang many songs musical expressing that at the time of singing he likes it because it is his passion with all his steps (vocalization, expression, movement).
During the Covid-19 pandemic it affected her like the rest of the world, in her case the recordings of her musical themes could not be made as before since the recording studio did not work as before, she had to sing with a smaller group of people, they couldn’t get together to practice; Although he was on a halt due to the pandemic, he was able to record a challenger “El Virus Se Mata Con Musica”, invited by a Cuban musician which was also recorded by Cuban artists, which was successful as it was heard in different parts of the world.
Thank God, despite all the complications that arose regarding her musical career, she achieved many things during this pandemic and also remained active thanks to social networks and is currently activating social activities in clubs, where They work in small groups live or online.
Fanny Almenara, continues with her impeccable musical career, loving music and recording a song entitled “Amor de mis Amores”, a salsa version with the Orquesta NG del Callao Director Franco Crovetto.
For her vast artistic career, she was awarded by different musical associations and by the company Pinsen Callao, Asocosalsa Peru (Ceremony Tite Curet, Busto Hector Lavoe, Charlie Palmieri and 25 Anniversary of Artistic Life (Okonkolo Association) and a few days ago she received the award The Miami Radio Salsa Superior Award Director Richard Roman (“La Dama De La Salsa” Award)
Fanny La Sonera del Callao the Los Award award from Radio Salsa Superior of Miami Director Richard Roman
After his voice reached Cuban pages like the page “Benny More”, “Un Millón De Adalsoneros” and “Al Son Del Pinar Del Rio” She was invited to the day of Son 8 de mayo led by the gentleman of son Adalberto Álvarez, later I also record a song authored by the Reyna del merengue Milly Quezada “Gracias A Ti” dedicated to those who are always in the front line such as doctors and nurses in Covid 19 and the latest that the production of the song La Sitiera Tributo has recorded to the Cuban diva Omara Portuondo in which Nelson Gonzales participated in the tres, Eddie Montalvo on the congas, Nohelia Zambrano from Colombia on the violin and Luis Perico Ortiz on the Trumpet
