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Cano Estremera’s career as a solo singer was characterized by ups and downs.

Maybe it was not successful or prolific in terms of recording, but he maintained a presence on the show business thanks to his talent as a clever improviser.

His first solo album El Niño de Oro (1986) follows the line of traditional salsa with songs such as “Viernes social”, “Nací y así soy” and including two boleros, among them, “Emborráchame de amor” recorded before by Héctor Lavoe.

Then he produced the album Salvaje ’88 (1988), “El Toro”, the covers of “Ámame en cámara lenta”, “Te amaré”, and a merengue version of the Brazilian song “Pleno verano”.

In the next two discographic works, Estremera dabbled in romantic or sensual salsa. Phonograms Dueño del Soneo Vol. 1 (1989) and Dueño del Soneo Vol. 2 (1990) did not have sufficient impact on the salsa community.

After the hit “El Toro”, his public expected a hardcore salsa record in line with the title used for both productions. However, the self-proclaimed “Dueño del Soneo” could not prove it in those recordings, but in his live performances.

In 1990, Cano made the world record for consecutive soneos without repeating verses. His exploit begins in the town of Guánica with 105 soneos without repeating any rhyme. Weeks after, he improved the record to 128 in Yabucoa and finally reegistered 130 in Juana Díaz in front of five thousand spectators.

Staring in the 90’s, the musical career of Cano Estremera has stalled by several factors. After years of never recording, he resumed his career with the album Cambio de Sentido (1994).

In this production, Cano could find the balance between romantic and traditional salsa, but with an identity of its own. Novelty songs such as “Pobre diablo” and “Profesor de décimo grado” stand out, where he added some mischief in the soneos.

The record includes the salsa ballads “Por ti me casaré” (Eros Ramazzotti) and “Alguien” (Camilo Sesto). We also find songs that tell urban stories in “Con ojos de dólar” and “Compañera de trabajo”. Thanks to this production, Cano Estremera returned to the stage in force.

The best part of Carlos E. Estremera’s musical work is found in the last three productions. His voice in full maturity, a pre-defined style and a reputation of being an irreverent sonero helped him to make three masterpieces. In the album Punto y Aparte (1996), song lyrics perfectly fit his character.

The personality of the singer is portrayed in songs like “Amigo de qué”, “Se busca”, “Un loco como yo” and “Llorando me dormí”, the latter was recorded before by Ismael Rivera.

Years later, he reappeared with the recording entitled Diferente (1999) where he solidified his place as a salsa legend.

All the numbers are excellent from start to finish, especially “Agüita pura” and “La salsa está buena”.

By the first decade of the new century, Estremera produced his greatest work Ópera Ecuajey (2008) in tribute to El Sonero Mayor Ismael Rivera.

This was an unprecedented concept album in his professional career. Cano Estremera always sought to evolve and diversify as an artist.

In his personal shows, he performed classic boleros and salsa songs which were hits in other singers.

Estremera delights us with the classics “Periquito Pin Pin”, “Boranda” “La esencia del guaguancó” and many more with arrangements adapted to his tone.

Furthermore, he also reinterpreted the hits that he recorded with Bobby Valentín with new arrangements that not resemble the originals at all.

Estremera’s last recordings were the singles: Bello amanecer, Uno se Cura, Después de Todo, La Profecía with José Lugo Guasabara (2012), La Dieta, (2014), and Los Cobrones (2016).

Cano Estremera was a complete artist in the improvisation on stage

Pulmonary fibrosis fulfilled by the very fact of being an albino impacted on the health of the renowned salsa singer.

Carlos Enrique Estremera Colón, simply “Cano Estremera” for the Caribbean crowd who knew him and applauded him with the title of “Dueño del Soneo”, passed away in his native Puerto Rico around 2:00 p.m. on Wednesday, October 28, 2020.

He was born on September 2, 1958 in Santurce, San Juan, where he also passed away.

Source:

Saúl López García © 2020 and Augusto Felibertt © 2021

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Is a commitment to music and his people

Percussionist, Flautist, Arranger, Composer and Director of the Orchestra “La Masacre” Julio Castro López was born on April 30th in Santurse, Puerto Rico.

He was also percussionist with legends such as Eddie Palmieri, Héctor Lavoe, Tito Puente, Richie Ray & Bobby Cruz and Tommy Olivencia.

Born in Santurce, but raised in the town of Bayamon, Julio Castro López is rapidly approaching five decades as a musician.

From 17 years old, he is a professional musician since the age of 17 as well as being a percussionist with Rafael Cortijo, Mario Ortiz, and the Orchestra of Babó Jiménez.

He has fond memories of his trips abroad with maestro Cortijo in the 1960s.

In salsa, there are artists who, despite their importance, are largely unknown to the general public, even the most avid supporters of the movement.

However, this apparent indifference is not consistent with the respect and consideration their fellow musicians have for them, as was the case of conguero and flutist Julio Castro, especially when he is associated with La Masacre, a project he founded in 1979.

Julio Castro & La Masacre New Generation Orchestra 1979

In any event, the dream of having his own orchestra came true. In the case of Castro, as the natural culmination of the many experiences in the salsa ambiance, which led him to lead one of the most interesting bands to the late ’70s.

At the beginning in Puerto Rico, we find Julio Castro as a member of the orchestra led by the pianist Fernando Ojeda, which was a group whose vocal part was in charge of Sammy Marrero, long before this singer was part of Raphy Leavitt and his Selecta Orchestra.

Subsequently, he was in the La Única Orchestra for a short while at the beginning of the salsa boom in the city of skyscrapers and met Junior Córdova, later the vocalist for La Compañía of saxophonist Bobby Rodríguez. As a fun fact, it should be pointed out that Córdova would later write “Dolor, esquina, miseria”, one of first hits of Julio Castro as a soloist with his group La Masacre.

Julio Castro Y Orquesta La Masacre Mamey 1980

His first album brought eight songs that are still reminded by the followers of the expression.

Lyrics with an experiential content, not without social burden, made such an impression on the general public. Two examples, we must mention “Las Amistades” and, above all, “Dolor, esquina, miseria” composed by Junior Córdova, who was a partner of Julio Castro since the days of the La Unica Orchestra as we mention before.

Given the factors outlined previously, it is necessary to highlight Humberto ‘Tito’ Nieves’s participation in the vocal part. Tito, who came from recording with Johnny Ortiz and Taiborí, was emerging as a singer who worked in the highest registers at that time, a certainly innovative trend which was emerging in the pathway chalked out by vocalists of the stature of Lalo Rodríguez and Néstor Sánchez.

Julio Castro & his La Orqueta la Masacre,Vocals: Nestor Sanchez  1984

However, the stay of Nieves in La Masacre was brief. A few months later, he became part of the Conjunto Clásico, a project that Ramon Rodriguez had been pondering since the days he was a backup singer for Johnny Pacheco and his Tumbao.

Rodríguez, who is an outstanding composer before being a choirboy, joined forces with Raymond Castro to create this ensemble in which the vocal part of Tito Nieves was its hallmark.

Nevertheless, being part of the Clásico, Tito was still known as “El Pregonero” in allusion to the first hit he imposed with La Masacre.

La Masacre was a musical concept that, in the format oJulio Castrof the conjunto or expanded soundtrack, brought together diverse musicians with common aesthetic music interests. This idea led by , his testimony is the commitment with his music and his people.

Facebook: Julio Castro y su Orquesta La Masacre

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Héctor Lavoe y Willie Colón

A finales de los sesenta, el mundo fue testigo de un interés por la música latina, y esta vez, el sonido se llevó a cabo en Nueva York con condimentos puertorriqueños y dominicanos y un condimento basado en los sabores culturales que se mueven en la Gran Manzana.

Fue una mezcla de sonoridades latinas aromatizadas por las calles de Nueva York, que resultó en una especie de guarnición musical que se llamó Salsa.

Concretamente en el año de 1967, que es cuando este sonido cobra vida de la mano de la combinación más letal concebida por nuestra música latina, Héctor Lavoe y Willie Colón.

El primero es oriundo de Ponce con un registro vocal envidiable que se fue a probar suerte a Estados Unidos con tan solo 17 años. El siguiente era un neoyorquino de ascendencia puertorriqueña con el oído más privilegiado de su generación, unido por Johnny Pacheco para iniciar el imperio de los primeros chicos malos de la música latina con el disco “El Malo”.

Esta es la primera producción de Willie Colón que realmente se empieza a grabar en el 66 desde Alegre Records. Sin embargo, el sello cerró y el proyecto se detuvo hasta que recibió la propuesta de Fania Records con la condición de buscar un nuevo vocalista, y es entonces cuando apareció Héctor para terminar el disco.

Cuando se estrenó en el 67, fue un bombazo en todos los sentidos, desde la estética hasta los sonidos sofisticados que Willie capturó como líder de orquesta al traer elementos de mambo-jazz, son montuno, timbales diabólicos por parte de Nicky Marrero, Guaguancó, blues. pianos y Boogaloo.

Todo el mundo hablaba de la trágica vida de Héctor Lavoe, pero Willie Colón vio más allá de eso, e hizo once álbumes de estudio, lo vio como un dulce chico de campo con buen sentido del humor. Lo vio como el mito antes de convertirse en tal.

Willie Colón & Héctor Lavoe, este dúo es considerado uno de los más importantes de la música salsa.

Criado entre los “chicos malos” del Bronx, Nueva York, Willie Colón se ha hecho a sí mismo a pulso y ritmo, innovando y esforzándose siempre por ofrecer algo diferente. Y no fue fácil. Así que tuvo que inventar otro Willie con el que nadie se enredara.

Así nació “El Malo” con una niñez poco común, también es “El Malo” de Salsa, el que cambia las reglas en cada disco. Su familia era de Puerto Rico y llegó a Nueva York en la segunda década del siglo XX. Su madre tenía 16 años.

Su abuela fue la que le regaló su primera trompeta, le enseñó a hablar español, también tocó música tradicional a cambio de que él le leyera el periódico.

Willie tocaba la trompeta y ese parecía ser su instrumento. Luego escuchó el solo de trombón de Barry Rogers quien tocó la pieza “Dolores la Pachanguera” con Joe Cotto y también descubrió lo que hacía Mon Rivera con el bombo y el trombón y nunca quiso volver a tocar la trompeta.

William Anthony Colón Román es una leyenda viviente. No cualquiera celebra más de medio siglo de carrera musical sin mostrar demasiadas cicatrices en su vena artística.

Así nació “El Malo”, con una niñez poco común, lo que también lo llevó a adoptar el nombre a su pasión por la música, pasando a ser conocido como El Malo de la salsa. Cambia las reglas introduciendo algo diferente con cada álbum. Su familia era de Puerto Rico y llegó a Nueva York en la segunda década del siglo XX. Su madre tenía 16 años en ese momento. Su abuela le regaló su primera trompeta, le enseñó a hablar español y también le tocó música tradicional a cambio de que leyera el periódico.

Willie tocó la trompeta como su instrumento hasta que escuchó el solo de trombón de Barry Rogers a dúo con Joe Cotto en la pieza “Dolores la Pachanguera” desviando su interés por ese instrumento pero descubriendo lo que hacía Mon Rivera con el bombo y el trombón. lo llevó a no volver a tocar la trompeta.

William Anthony Colón Román es una leyenda viviente. No todo el mundo celebra más de medio siglo de carrera musical sin mostrar demasiadas cicatrices en su vena artística lo que lo convierte en un ícono de la salsa.

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