Search Results for: Son

Eduardo Herrera. The Man Behind Every Song – The Story of His Music

Latin America / Puerto Rico / Puerto Rico

“There’s a wide variety of artists, singers, and famous orchestras in different parts of the world, but that doesn’t mean you can’t discover new artists who have the motivation and desire to boost their musical talent. Here, we have as our guest Eduardo Herrera, a salsa and ballad singer.

Eduardo is the son of Puerto Rican parents, raised in New York with a ‘boricua sazón’ (Puerto Rican flavor/style). From a very young age, he fell in love with music, and over time, he gained many musical experiences in different genres with Latin nuances and foreign fusions.

He mentions that when he was younger, he participated in youth choirs on stages and attended concerts of great artists, learning the lyrics of urban music. As time passed, he captivated the perfect school that shaped his unique style; it includes spiritual music, Latin rhythms, and the influence of American styles without abandoning his Puerto Rican roots. He also mentions that he had the opportunity to share and collaborate with very famous artists who influenced him with their exceptional style and talent, even to this day.

Eduardo Herrera comments that his music is a collection of life experiences that many people identify with. It has no age or time; it has ‘sazón,’ Caribbean rhythm, and soulfulness.

It simply identifies what no one else sees or knows in or about you. In fact, his songs tell stories; they tell your life, his, and mine. Each story on a bus or train in New York, each event in family life or with a stranger, the stories of the fans, among others.”

“Eduardo Herrera comments that his music is a collection of life experiences that many people identify with. It has no age or time; it has ‘sazón,’ Caribbean rhythm, and soulfulness.

When you hear the melody, you fall in love; when you pay attention to the lyrics, you are captivated; when you listen to it again, you turn it into something that identifies you, regardless of your age, race, condition, or gender. It simply identifies what no one else sees or knows in or about you. In fact, his songs tell stories; they tell your life, his, and mine. Each story on a bus or train in New York, each event in family life or with a stranger, the stories of the fans, among others.

Eduardo Herrera - El Amor — Eduardo Herrera – El Amor

In the course of his life, he mentions that it was a transition as he went through many positive and negative life experiences, which allowed him to gain different meanings for the emotions he felt, whether real or false. All these experiences helped him help others, such as in personal growth.

In ‘Salsa‘ and ‘Balada,’ he has found his perfect space to express what he carries in his life’s baggage. Hoping that many couples will have a happy life to the rhythm of his music. Eduardo told us, ‘To achieve that emotional catharsis that lifts you up from any tragedy, it is necessary to LOVE YOURSELF BEFORE LOVING SOMEONE.’ So remember that when you listen to Eduardo Herrera’s music: ‘LOVE YOURSELF BEFORE LOVING SOMEONE.’

Recognizing the value of an individual and appreciating their abilities while learning from mistakes, that is what defines every song you will hear from Eduardo. The message will arrive; it’s up to you for the outcome to be happy. Because you learn from the difficulties in the process, the final result depends on how you handle the ‘tests’ to qualify yourself in feelings for the life you choose to live.

If you wish to know more about him:

Facebook: https://www.facebook.com/eduardoherrerasalsa
Instagram: eduardoherrerasalsa
Email: [email protected]
Phone: 787 399 5064

Toña La Negra The Unequaled Velvet Voice of Tropical Song

On November 19, 1982, in Mexico City, Antonia del Carmen Peregrino Álvarez, better known as “Toña La

Toña la Negra, passed away. She was a prominent Mexican singer and actress of African descent, famous for her interpretations of boleros and tropical songs by the composer Agustín Lara, who considered her “the greatest female singer of all time” due to her “highly personal style,” “the power of her expression, and the velvet of her privileged throat.”

Toña La Negra The Unequaled Velvet Voice of Tropical Song

Antonia Peregrino was born in the city of Veracruz, in the La Huaca neighborhood, on November 2, 1912.

Her father, Don Timoteo Peregrino Reyes, played the guitar and worked as a freight opener for the crates arriving at the port; he was also one of the founders of the Veracruz Port Commercial Loaders and Openers Guild.

Her mother, Doña Daría Álvarez Campos, sang at family gatherings.

Her paternal grandfather, Don Severo Peregrino, was Haitian and had emigrated to Mexico in the 19th century.

By 1927, she had married Guillermo Cházaro Ahumada, who took her to Mexico City with their first child, who was only forty days old.

On July 16, 1929, she debuted at the cabaret El Retiro. While performing there, where she was known as La Peregrina, she met Don Emilio Azcárraga Vidaurreta. It was Azcárraga, along with Enrique Contel, who christened her “Toña La Negra.”

On November 19, 1982, in Mexico City, Antonia del Carmen Peregrino Álvarez, better known as “Toña La Negra”, passed away.

She began to gain recognition with her interpretation of the song “Enamorada” (In Love) by Agustín Lara. Lara also produced tracks for her such as “Lamento Jarocho,” “Veracruz,” “Noche Criolla” (Creole Night), “Oración Caribe” (Caribbean Prayer), “Palmera” (Palm Tree), “La Clave Azul” (The Blue Key), and “La Cumbancha.” They presented these together in a musical revue at the Teatro Esperanza in December 1932, achieving such success that they had to extend their performances for a long time.

Her voice tone was rather deep, with a velvety and rounded sound, and impeccable vocal techniquecharacteristics that became her interpretive signature.

Azcárraga added her to the cast of the XEW radio station, where she sometimes performed accompanied by Lara and other times by the Alfredo Girón orchestra.

Shortly thereafter, her spectacular performances began at the Teatro Politeama, across from Las Vizcaínas and next to San Juan de Letrán street.

Her recordings for the RCA Victor label constitute one of the most precious musical legacies in the history of the bolero.

One of the first records she cut for this label contained the song «El Cacahuatero» (The Peanut Vendor); this recording dates back to the 1930s. For RCA Victor, she recorded several long-play albums, including Caleidoscopio musical con Toña la Negra (Musical Kaleidoscope with Toña la Negra), Noche Criolla, vol. II, and La Sensación Jarocha, vol. III (The Jarocha Sensation, vol. III).

In the mid-sixties, she signed an exclusive contract with Discos Orfeón, where she recorded the last albums of her career.

“Este amor salvaje” (This Wild Love), “Por qué negar” (Why Deny It), “Obsesión,” “Mentiras tuyas” (Your Lies), “Y sin embargo te quiero” (And Yet I Love You), “Noche criolla,” “Pesar” (Grief), “Vereda tropical” (Tropical Path), “Cada noche un amor” (A Love Every Night), “Angelitos negros” (Little Black Angels), “Lágrimas de sangre” (Tears of Blood), “Estás equivocado” (You Are Wrong), “De mujer a mujer” (From Woman to Woman), “Como golondrinas” (Like Swallows), “Diez años” (Ten Years), and “Cenizas” (Ashes) are some of her successful titles recorded on over 75 LP records, some of them for the Peerless label. Already famous for many years, she recorded two songs with the legendary Sonora Matancera in 1974.

In her final years, due to some health issues, she gradually withdrew from the stage and recording.

Toña La Negra always maintained a very reserved personal life. With her first husband, the musician Guillermo Cházaro Ahumada, she had three children: Ramón (b. 1932), Guillermo (b. 1933), and Ernesto (1935–1979). Toña and Cházaro Ahumada separated in 1945.

Later, in 1955, she remarried the Veracruz-born bassist Víctor Ruiz Pazos, known as “Vitillo.” This marriage lasted until 1963. In an interview, Ruiz Pazos spoke about Toña’s artistic qualities:

Her commitment, her feeling when she sang, her style, the way she did it, how she expressed things musically; I have lived a long time, I have heard many fabulous singers, but none of them come close to Doña Toña.

The German filmmaker Christian Baudissin made a documentary about Toña La Negra for television in 1993, featuring interviews with her ex-husband, the musician Vitillo (Víctor Ruiz Pazos), and other artists who knew her during her lifetime.

Collaborators:

Los Mejores Salseros del Mundo

Dj. Augusto Felibertt

Also Read: Santa La Salsera and Diva of Mexico with her unique voice and style will continue to conquer us all

Son 14 The History of the Orchestra and the Success of “A Bayamo en Coche”

The Son 14 orchestra was founded in Santiago de Cuba in 1977 by vocalist Eduardo “El Tiburón” Morales (born in Cuba in 1935) and pianist and musical director Adalberto Álvarez.

As the name suggests, it is a 14-member ensemble dedicated to performing son, the national musical genre of Cuba. In 1978, Lázaro Rosabal (born in Santiago de Cuba in 1953) joined the group.

They quickly recorded several albums for the local EGREM label, many of which became bestsellers throughout Latin America, allowing them to undertake extensive tours across the Americas and Europe.

In 1992, co-founder Álvarez left the band to form his own group. Nevertheless, Son 14 continued its journey under the musical direction of Rosabal.

In addition to their continued success in the Latin market, the band began to gain international recognition, first with the song “El Son De La Madrugada,” included on the compilation Cuba – Fully Charged (Earthworks Records, 1993), and later with the release of Son – The BIG SOUND (Tumi Records, 1995), a compilation of their material from the Álvarez era.

After introducing a modern, vibrant version of son and its variations (son montuno, bolero son, etc.) to non-Latin audiences, Tumi Records commissioned a new recording at Cuba’s EGREM studios. Released in 1996 as part of the Cuba Explosion series, the album Cubanía proved that the band had not lost an ounce of its musical talent and energy under Rosabal’s direction. Three years later, the group released La Máquina Musical, which incorporated Colombian tropical rhythms into their sound, promoting the album with a European tour that included a performance at the Cuba Presente Festival at the Barbican Centre in London. (Source: AllMusic)

The Milestone of “A Bayamo en Coche”

The album A Bayamo en Coche (A Bayamo by Carriage) was released in 1979, with its biggest hit being the title track itself. The album’s opening song, composed and arranged by Adalberto Álvarez from Camagüey, instantly transformed him into one of the leading figures in popular Cuban dance music from that year on.

The song “A Bayamo en coche” not only revives traditional son and enriches it with new sounds but also artistically recreates a cherished tradition rooted in Bayamo, the cradle of Cuban nationality. In this city, coches (horse-drawn carriages) are used for pleasure rides and recreation, and the song’s lyrics narrate these moments.

The album contained other tracks that were hugely popular in Cuba between 1978 and 1980, such as “Calle Enramada” (a son elegy to that main Santiago street), “El Son De La Madrugada” (with a beautiful later version by Omara Portuondo), “Se quema la trocha,” and “Elena la cumbanchera,” which turned the record into a landmark within this genre of Cuban music. Most of the tracks were performed by Tiburón Morales, the group’s lead vocalist.

Tribute to The Gentleman of Son

Recently, Son 14 founder Adalberto Álvarez, known as “El Caballero del Son” (The Gentleman of Son), was honored with a concert at the Karl Marx Theatre. This event celebrated his 46 years in music and the 35th anniversary of his later orchestra, Adalberto Álvarez y su Son.

The concert was a memorable tribute to the work of the composer of “A Bayamo en coche.” Some of his best songs were performed by notable Cuban musicians:

Septeto Santiaguero (Son para un sonero)
Pancho Amat and Alain Pérez (Tu fiel trovador)
Alexander Abreu (Pura imagen)
Paulo F. G. (Fin de semana)

At other points, Frank Fernández performed a duet accompaniment with the voices of Adalberto Álvarez and Jorge Luis Rojas, “Rojitas,” on Santa Cecilia.

Additionally, Rojitas sang with Tania Pantoja (Vivir lo nuestro) and solo (Y qué tú quieres que te den). Robertón and Lele, vocalists from Van Van, performed Agua que cae del cielo, while the orchestra Adalberto Álvarez y su Son took on De Cuba pa’l mundo entero, Son de la madrugada, and Los caminos de Ifá.

En La Sala Show “El Saraito” Adalberto Álvarez (R.I.P) Fundador, Director. Arreglista y Pianista del Son 14 de Cuba, Dj. Augusto Felibertt y Vicente López

That night, Maestro José Luis Cortés highlighted Álvarez’s musical quality, focusing specifically on “A Bayamo en coche,” the song that, in 1979, announced the existence of a great artist to the public. Álvarez was capable of bringing son to Cuban art schools and has defended Cuban son with grace and artistry, all while staying true to the essence of one of the dance music genres that best represents Cuban identity. (Source: Joel del Río, Cibercuba)

“A Bayamo En Coche” Album Details (1980)

No.	Track	Genre	Composer
01.	A Bayamo En Coche	Son	Adalberto Álvarez
02.	El Son De La Madrugada	Son guaguancó	Adalberto Álvarez
03.	Se Fue Mi Amor Y No Lo Vi Partir	Bolero son	Adalberto Álvarez
04.	Calle Enramada	Son	Pedro Gómez
05.	Elena La Cumbanchera	Son	Gerardo Martínez
06.	Se Quema La Trocha	Bachata-Son	Adalberto Álvarez
07.	Tal Vez Vuelvas A Llamarme	Son montuno	Adalberto Álvarez
08.	Gimen Las Rosas Por Una Triste Ilusión	Bolero	Adalberto Álvarez
09.	Vamos, Háblame Ahora	Bachata-son	Adalberto Álvarez

Musicians who participated in the recording (1979):

Director, Acoustic Piano, Keyboards: Adalberto Álvarez
Vocals, Minor Percussion: Eduardo “El Tiburón” Morales, Héctor Wedderbron, Daniel Carmenates
Bass: Jorge Machado
Guitar: Efisio Barroso
Trumpet: Eduardo Sánchez, Guillermo Femández, José Fernández, Dagoberto Rodríguez
Trombone: Lázaro Rosabal
Tumbadora (Conga Drum): Ubaldo Canes
Bongó, Cowbell: Guillermo Viera

Recorded at: EGREM Studios (1979)

Collaborators:

L’Òstia Latin Jazz

Dj. Augusto Felibertt

Also Read: Luis Conte: The Cuban-American percussionist who fuses Cuban son with global music

Compay Segundo The Eternal Patriarch of Cuban Son

Máximo Francisco Repilado Muñoz better known as Compay Segundo (1907-2003) The voice that conquered the world in the nineties.

Máximo Francisco Repilado Muñoz, globally known as Compay Segundo, is one of the most emblematic and essential figures in traditional Cuban music.

Born on November 18, 1907, in Siboney, Santiago de Cuba, his life was a dedication to music that culminated in a late, but well-deserved, global fame before his passing in Havana on July 13, 2003.

Máximo Francisco Repilado Muñoz, known worldwide as Compay Segundo

Origins and Musical Training

Compay Segundo was raised in a highly musical and manual environment. His father, Máximo Repilado, was a bricklayer and a great lover of traditional santiaguera music, while his mother, Caridad Muñoz, provided a strong cultural influence.

Coming from a large family, his brother Lorenzo Repilado was also an active figure in the Santiago music scene.

His beginnings were typical for the era. Compay started his career as a clarinetist in the Santiago Municipal Band, consolidating his training by later joining the Army Band. In the 1930s, he migrated to Havana, a crucial step that fully integrated him into the capital’s professional circuit.

Compay Segundo se crio en un ambiente musical y manual

Los Compadres and the Birth of the Name

The stage that would give him his artistic name and national fame was the formation of the Dúo Los Compadres in the 1940s alongside Lorenzo Hierrezuelo.

The Nickname: The name “Compay Segundo” (Second Compadre) arose because Máximo Repilado always sang the low harmonic or “second” voice (segundo) in the song, while Hierrezuelo performed the main voice. Hence, the affectionate Cuban diminutive “Compay” (short for compadre) plus “Segundo” (Second).
National Success: The duo became a sensation throughout Cuba, leaving behind unforgettable classics of son oriental such as “Macusa,” “Mi Son Orientál,” and the early version of what would become his most famous song: “Chan Chan.”

Compay created the armónico, a hybrid between a Spanish guitar and a Cuban tres, with 7 strings

The Armónico: His Instrumental Contribution

One of Compay’s most unique contributions was the invention of the “armónico,” an instrument he designed himself. It is a seven-string hybrid, halfway between the traditional Spanish guitar and the Cuban tres. This instrument allowed him to simultaneously execute bass lines, harmony, and melody, creating a unique sound that became the foundation of his style.

The Buena Vista Social Club Phenomenon

When it seemed Compay’s career was waning, destiny reserved the most glorious stage for him. In 1997, at the age of 90, he was invited by American musician Ry Cooder to participate in the recording of the album “Buena Vista Social Club.”

Global Fame: The success of the album and the subsequent documentary directed by Wim Wenders catapulted him to worldwide fame.
The Anthem: His unmistakable voice and the magical rendition of the song “Chan Chan” turned him into an international superstar, leading him to perform on the world’s most prestigious stages and bringing Cuban son to audiences of all ages.

Legacy and Family Continuity

Compay Segundo left behind a repertoire of songs considered national treasures. His most prominent tracks include “Chan Chan,” “Sarandonga,” “Las Flores de la Vida,” “Orgullecida,” and the popular bolero “Veinte Años,” which he popularized.

Compay was a father to at least nine children. His musical legacy not only lives on through his recordings but also through the activity of his descendants:

Basilio Repilado (1954–2012): Founder and arranger of the Grupo Compay Segundo.
Salvador Repilado: Upright bass player and current director of the Grupo Compay Segundo, the official international touring ensemble.

Furthermore, the younger generations (grandchildren and great-grandchildren) such as Yohel, Alejandro, and Yurisley Repilado continue the tradition in Havana with the ensemble “Los Herederos de Compay Segundo” (The Heirs of Compay Segundo), ensuring that the unmistakable sound of the Patriarch of Cuban Son continues to resonate in Cuba and the world.

Collaboration:

Sr. Eduardo Guilarte

Also Read: Son Cubano is one of the most popular musical styles in Cuba and Kiki Valera is one of its leading exponents

Cristobal Verdecia and his quartet Son Qba in Miami

As we all know, Cuba is an endless source of talent and never tires of proving it. Today, we are really honored to be able to talk to one of its greatest exponents in the city of Miami and it is arranger, producer, bandleader, and bassist Cristóbal Verdecia, who very kindly agreed to talk to us for a few minutes about his life and career both in Cuba and in the United States, his home for more than 10 years.

Cristobal with his basses — Cristobal Verdecia with his two basses

Cristóbal’s beginnings and inspirations for entering the world of music

The first reference that Cristobal had at a musical level was his uncle Israel “Kantor” Sardiñas, who was the vocalist, bassist, and pianist for the legendary band Los Van Van. The artist always wanted his nephew to learn to play instruments, more specifically the piano, but Cristóbal had other hobbies at the time and did not pay much attention to him. Then, in 1982, Sardiñas packed suitcases and left Cuba in search of better opportunities, but not before leaving his piano, bass, and guitar to the young Cristóbal to use them in his place.

It was then that he finally became truly interested in music, and the instrument that most caught his attention at the time was the bass. Seeing this sudden love for the instrument, Cristóbal’s father decided to enroll him in the Guillermo Tomás Music Conservatory when he was about 10 years old. He greatly improved his skills with the bass and began playing with local jazz bands, but his academic training was not yet complete.

Some time later, he enrolled at the Ignacio Cervantes Conservatory, where his teachers, in his own words, were two of the best bassists to come from Cuba: Silvio Vergara, now deceased, and Carlos Del Puerto. At this institution, he studied electric bass and double bass.

From there, Cristóbal began playing with increasingly prestigious bands such as Pachito Alonso y Su Kini Kini, Paulo FG y Su Élite, Adalberto Álvarez y Su Son, Havana D’Primera, among many others. Being with Pachito, he had the opportunity to share with artists of the stature of Roberto Hernández “Robertón” (current Los Van Van singer), “El Lele,” the Mengual twins, among others. It was Robertón who gave him some advice about how to improve the quality and raise the level of his work.

Cristobal and his uncle — Cristobal Verdecia and his uncle Israel “Kantor” Sardiñas

In the case of Paulo G Y Su Élite, he had the opportunity to serve as musical director for about five years in the band, which provided great learning for the future.

Subsequently, Alexander Abreu, director of Havana D’Primera, had the idea of forming his own band with the best musicians in Cuba and that each musician had a substitute. That was where Cristóbal joined and became part of the first album, “Haciendo Historias.”

Move to the United States

When Cristóbal made the decision to leave Cuba, the first country he visited was Mexico, where he spent about four years and also played with many other bands. However, the idea of forming his own project was already on his mind for some time.

When he finally turned this idea into reality, the artist and his band accompanied singers who arrived alone, which provided him the expertise to face the future professional challenges that awaited him.

Julio Cesar, Cristobal, Marciano, and Franklin — Guitarist Julio Cesar rodriguez, bassist Cristobal Verdecia, percussionist Marciano Hernandez and tresero Franklin Reytor

Once his cycle in Mexico concluded, he moved to Miami in 2012 to continue growing in music, as he believed that the city offered him an opportunity that his previous country of residence did not. One of the first things he wanted to do was to revive his quartet Son Qba, which he had started in Mexico, but he was advised to take the time to learn how everything worked there first and then follow the path he wished.

This is how Cristóbal also managed to play with several local artists and bands to understand the dynamics of the place, such as Tony Succar, Issac Delgado, Timbalive, Aymée Nuviola, Grupo Niche, Gonzalo Rubalcaba, Albita Rodríguez, Buena Vista All Stars, among others. All this path traveled finally led him to be able to resume Son Qba with the full works in 2019.

Today, Son Qba consists of our guest Cristóbal Verdecia, tresero Franklin Reytor, percussionist Marciano Hernández, singer and guitarist Julio César Rodríguez, and singer José “Pepito” Gómez.