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The owner of the Soneo’s solo career Cano Estremera

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.

Cano Estremera's career as a solo singer was characterized by ups and downs.
The owner of the Soneo’s solo career Cano Estremera

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

A pulmonary fibrosis inherent to his albino condition took its toll on the health of the renowned salsa singer.
Cano Estremera was a complete artist when it came to improvising 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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May 8, 2021 Day of the Cuban Son

On May 8, Cuban Son Day is celebrated on the birth of Miguelito Cuní and Miguel Matamoros, great exponents of the Creole genre.

This article is dedicated to exalt the most Creole of Cuban music, especially son.

 

This day is a tribute to this music-dance expression and to the musical legacy of its great exponents included Miguel Matamoros and Miguelito Cuní, reported the Cuban Music Institute.

The Official Gazette of the Republic said on 2 October that the Decree 19 of the Council of Ministers recognizes Cuban son as part of the intangible heritage since 2012.

This day is a tribute to this musical-dance expression and to the musical legacy of its great exponents, Miguel Matamoros and Miguelito Cuní, informed the Cuban Institute of Music.
May 8th Cuban Son Day

This declaration consolidates the file for its proposal to this candidacy.

The information has also been shared by the chief proponent of this initiative, maestro Adalberto Álvarez, who said on his Facebook page that the joy of having our Son Day is very great.

Cuban son is a vocal and sanceable instrumental genre that constitutes one of the basic forms within Cuban music that blends African musical elements with Spanish musical elements.

May 8 is a representative day, since the births of Miguelito Cuní and Miguel Matamoros are commemorated, that is why this date was the one proposed, said the 2008 National Music Award.

Likewise, the Caballero del Son, as Adalberto Álvarez is known, declared that this is only part of the task, since we already have the Day of the Cuban Son, we still have to get the son to be named Intangible Heritage of Humanity.
May 8 is a representative day

In addition, the Caballero del Son, as Álvarez is known, stated that this is just a part of the task, so we already have Cuban Son Day, we still have to get son to be named an Intangible Heritage of Humanity.

This is a vocal and danceable instrumental genre that constitutes one of the basic forms within Cuban music that blends African musical elements with Spanish musical elements.

It reportedly was born in the easternmost region of Cuba and was developed in provinces such as Guantánamo, Baracoa, Manzanillo and Santiago de Cuba in the late 19th century, even though there are testimonies that the most ancien Cuban sones date back to the 16th century such as the Son de la Má Teodora by the 1562 and performed by two Dominican sisters, Micaela and Teodora Ginés.

 DECREE 19, CUBAN SON DAY Single Article. To declare May 8 “Day of the Cuban Son” as a tribute to this music-dance expression and to the musical legacy of its great exponents. IT SHALL BE PUBLISHED in the Official Gazette of the Republic of Cuba. DONE in the Palace of the Revolution, Havana, to the next two days of September 2020, “YEAR 62 OF THE REVOLUTION”.

BE IT PUBLISHED in the Official Gazette of the Republic of Cuba. GIVEN at the Palace of the Revolution, in Havana, on the 2nd day of the month of September 2020, "YEAR 62 OF THE REVOLUTION".
The Cuban Son was born from the blending of Afro-Cuban and Spanish crossbreeding.

History of Cuban Son

Cuban Son was born by mixing Afro-Cuban and Spanish cross-breeding. Its origin is intimately linked to Changüi, considered as the mother rhythm of son.

Son came from the East to Havana around 1909. The “Cuarteto Oriental”, created in 1916, became the Sexteto Habanero in 1918, establishing itself as the traditional format of the son bands. In the 1920s, with the emergence of commercial radio broadcasting, the rise and popularization of son began, being the Septeto Nacional de Ignacio Piñeiro one of the main representatives from this time.

The upper classes of Cuba, who are fond of danzón (Cuba’s first native genre) sat watching son warily, seeing it as a slumming and classless genre. However, son was gaining popularity and ended up imposing on danzón, which was consigned to oblivion.

Apart from the fans son has always had in Cuba, the importance of this genre also lies in the influence it has had on the emergence of other genres such as son montuno, mambo, and salsa. In contrast of danzón, son has always been present in Cuba, either directly or within other later musical genres.

Son montuno is a type of son that was played and danced in the last part of Danzón. The importance of this son was its influence in the creation of salsa, in both in music and dance.

Dancing

This dance is only played at the last minute in a salsa club room if the deejay is Cuban, and hardly anyone dances it well.

The base of this dance is three steps followed by a pause, such as salsa. The figures are very simple and similar to those of Cuban salsa. The fundamental difference with salsa is the way of taking the steps. They are more energetic, such as mambo, with a wider hip movement and the pause more marked than in salsa. In other words, instead of the rhythm fast-fast-slow on salsa. In the case of son, it could be considered as fast-fast-fast-fast-slow.

The rhythm of son is, in general, slower than that of salsa, which allows the dancers to recreate in adornments and flirtations. The rhythm is better followed with the key, which is usually very marked.

There are no enchuflas, which are typical of Cuban salsa. The side steps, cockroach style, the couple turn, the walk, the side walk, the side walk, and the step forward-back are widely used.

A very typical and spectacular figure is when the man crouches or even is placed in a horizontal position, leaning the point of the foot on the floor, and the girl takes hom by his hand and walks around him, making him turn the sole of his foot.

Source:

great exponents of the Creole genre.
Cuban Son Day is commemorated on May 8 on the occasion of the birth of Miguelito Cuní and Miguel Matamoros.

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Gerson Aranda “La Tabla de Caracas”.

Restarting again our usual reviews, this time we return with a special guest, the virtuous and spectacular Venezuelan percussionist Gerson Aranda, who kindly gave us this interview from the city of Buenos Aires, Argentina, where he is currently based.

 

Gerson Aranda Rodil was born on March 8, 1973, in the Concepción Palacios maternity hospital in the parish of San Juan, Caracas.

He is the son of Pedro Aranda and Ana Teresa Rodil. Gerson, welcome to the salsa column that is currently at the forefront of Afro-Caribbean music worldwide and in which our Venezuelan musicians make themselves known, project themselves and share their artistic life with our regular readers.

To begin with, we want to know how did you get started in music and who were your mentors? -Thank you Professor Carlos Colmenárez for this opportunity that you give me to share with my dear brothers from my country and other countries around the world. Well, I have been a musician since I can remember, thanks to my parents, brothers, cousins and uncles.

Since I was very young, my father Pedro Aranda, was the founder of the Sonero Clasico del Caribe, who recorded the first two productions of this famous group, which celebrated my birthday, since my father always brought them to my house.

I was raised in the parish of Catia, in Cútira and well, the whole neighborhood would come into my home to listen to the famous Sonero Clásico, and they would listen to the songs: Carmelina, Papá Montero, El enterrador and many more.

Well, since I was a child I had an interest in music, because at home they used to play those rumbas and I had the desire to play the congas and bongo.

Gerson Aranda Rodil was born on March 8, 1973, at the Concepción Palacios maternity hospital in the parish of San Juan, Caracas.
Gerson Aranda “La Tabla de Caracas”

But there was a tres player, a great friend of the family, who met a lot with my father, who was also a tres player, bassist and guitarist; then he saw my interest in percussion and took me to the Sarría school of the maestro Orlando Poleo, who saw me playing despite my young age, he told the tres player René Zambrano, let him always come, because he has interest and conditions and that’s when things started.

At that time those greats like Gerardo Rosales, José Martínez Viruta, Willian Troconis, Wladimir Rivero, Miguelito Urbina were studying and well in that concern I began to study theory and solfeggio with Professor Carlos Ramírez, in the “Tucosan” school and then I studied percussion with Professor Jesús Blanco, known as “El Totoño”. From there my musical career practically began and at the age of 13 I started playing professionally with “El Trabuco Venezolano”, Swing y Color, Magia Caribeña, Hildemaro, Trina Medina, Grupo Repicao, Los Incorregibles, Pasión Juvenil, Grupo Mango and many more orchestras.

Gerson, I understand that you accompanied Soledad Bravo musically and performed advertising jingles? Indeed Professor Carlos, I had the joy of playing with her and toured the world and let me tell you that at that time I did advertising jingles for products on television and radio.

-Gerson, you are known as “La Tabla”, referring also to your hard hands to play the tumbadoras with very accurate hits.

I was raised in the parish of Catia, in Cútira, and well, the whole neighborhood would come into my home to listen to the famous Sonero Clásico, and they would listen to the songs: Carmelina, Papá Montero, El enterrador and many others.
Gerson, you are known as “La Tabla”, referring also to your hard hands to execute the tumbadoras with very accurate blows.

Now then, tell us, which international artists have you accompanied? Well my friend Carlos, I had the honor of accompanying Celia Cruz, Cheo Feliciano, Luigi Texidor, Junior González, Larry Harlow, Marvin Santiago, Willie Colón; among many; thanks to the fact that Naty and his Orchestra and Magia Caribeña, were the base orchestras for those artists.

I also played with Silva and Guerra, of Mauricio and Manuel. Hey Carlos, I also accompanied Justo Betancourt, Adalberto Santiago, Ismael Miranda, Andy Montañez, Jhonny Pacheco y Casanova, Pete Conde Rodríguez and others.

Gerson, what are your current projects in Argentina? -Carlitos, in Argentina I am well thank God, because I have a big band called “La Salsa Brava”, I play a lot and now with the problems with the COVID-19, everything is paralyzed, but I have been very active for three years in all the “boliches”, name given to the night clubs and I have accompanied Los Adolescentes, Rey Ruiz, Charlie Sepúlveda, Jimmy El León, Charlie Aponte, among many others.

My band is made up of Venezuelan, Argentinean, Colombian and Cuban musicians. I have earned respect and they call me “maestro”; I am also giving classes to advanced percussionists, with techniques of different genres and rhythms, unknown to them, since here what is known is the Cuban timba and salsa brava.

Excellent Gerson, apart from the full band, do you have other smaller formats? Yes, I have a sextet called “La Crisis”, because when there is not much money, we make it available and play music by Joe Cuba, Conjunto Libre and others. With “Salsa Brava” I am about to record my production, which I suspended due to my accident before coming to Buenos Aires and the other thing is that my comadre Indira Velasquez came over there and I made a Sonora Matancera format, which is called “Sonora Consoltura” and we have made several presentations and people are very happy with that genre, since they are getting to know what a pachanga, a danzón, among others, is.

Apart from that, I am also doing advertising jingles again. What can you tell us about the Tributo Orchestra and El Guajeo? -The thing about Tributo and Cheo, is that since I was very young I had the fortune that before Tributo and Bailatino existed, we formed the group “Repicao”, which was a school band formed by: Édgar Dolor Quijada, Tuky Torres, José Soto Mortadelo, Prisco Oropeza, Manuel Barrios, Cheo Navarro, Catú Rodríguez and myself, which we played emblematic themes and from here begins the affinity with Cheo and from there, then he arms Tributo and tells me to conform his staff, which was integrated by: Alberto Crespo, José Soto Mortadelo, Jhonny Rivero, Javier Vivas, Johán Muñoz, Eliel Rivero, Osquita, Marcial Istúriz, Édgar Dolor Quijada, Gonzalo Díaz, Rónald Gómez and my substitute is Miguel Urbina and we recorded several albums. They are my friends and we are still in contact, and with “El Guajeo”, the experience was wonderful with the great Alfredo Naranjo. Professor Carlos, I tell you in all honesty that the musical level in Venezuela is very superior and out of this world, with all due respect.

a tres player, a great friend of the family, who used to meet a lot with my father, who was also a tres player, bass player and guitarist.
Gerson Aranda “La Tabla de Caracas”

-Gerson, who are the members of your band of musicians in Argentina? Professor Carlos, it is made up of A Barquisimetana named Lauremys Vanesa on trombone, Catalina Keiti (trombone), Luis Sulbarán (trumpet), Bruno Espinola (trumpet), Ángel Vargas (piano), Bernardo Vásquez (bass), Esteban Leandro “El Puca” (singer), Felipe Figueroa (singer), Deiby Bandre (bongo), Martín Barrera (congas) and me on timbales; It’s my orchestra called “La Salsa Brava”, here in Buenos Aires.

Your social networks? My social networks are: [email protected]. Instagram: Orquesta La Salsa Brava. Facebook: Gelson Aranda Musician. Cell: +54 911 36244963.

Well friend Gerson, for me it was a pleasure to have had you as the protagonist of this installment of Salsa Escrita “La Columna Salsera de Barquisimeto”, through International Salsa Magazine, www.salsagoogle.com and at the same time we wish you the greatest success and continue to represent us worthily outside our borders, giving “tabla” to percussion. Thank you professor and friend Carlos Colmenárez for this opportunity that you give to all the artists of Afro-Caribbean music to project us worldwide in your prestigious salsa column and may God bless and protect you greatly and you know that you count on your brother Gerson Aranda.

Gerson Aranda “La Tabla de Caracas”
Gerson Aranda “La Tabla de Caracas” y su Sexteto

By: Professor MSc. Carlos Colmenárez  Correspondent in Venezuela for International Salsa Magazine

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“Cuando se acaba el amor”, Stefany Castillo’s new theme song

“CUANDO SE ACABA EL AMOR”

 

Stefany Castillo – La Sonerita del Callao

Peru, one of the South American countries known for its variety and impressive ecosystems, overflowing landscapes, beautiful cities full of history, culture, traditions, beaches, fauna, flora… and, of course, its delicious and famous gastronomy.

This time we have Stefany Castillo, a Peruvian singer who was born and educated in the Barrio Estibadores del Callao, near Callao, a port city located in the constitutional province of Callao, in the center-west of Peru, is known for being the port of Callao, the largest and first maritime port in Peru, through which 90% of the import and export cargo of the Andean country moves.

The Buenos Aires musical influence would push her into the musical world and six years ago, trying her luck in some local groups and daring to sing on stage; Three years later, he developed his project, first in digital format which he called “La Sonerita del Callao” and then with the company surrounded by eleven musicians he formed an orchestra, known as “La Sonerita del Callao 4 Orquesta”.

Album of " La Sonerita del Callao "
Cuando se acaba el amor – Stefany Castillo

Currently Stefany Castillo has surrounded himself with a team of professionals and connoisseurs of the Afro-Caribbean, Antillean and Latin sound, and he has periodically been publishing successful singles that have allowed him to become a recognized name and place on local and international circuits. “Mal Hombre”, “You Desire” and “La Sonerita Llegó” are his musical letters of introduction to the salsa flock that have arrived thanks to the opportunity that radios and platforms around the world have given him.

Regarding the new cut in promotion of the title “When Love Ends”, he makes it known that it is from the signature of Eddie Villanueva, a chalaco (Callao, Peru) resident in Switzerland, Road Manager of the Mercadonegro Orchestra, representative of La Sonerita Del Callao and pleasant revelation in the composition. The arrangement of the song has been entrusted to the renowned Venezuelan trumpet musician, arranger and producer Oscar “Chucky” Codero who lives in Holland; And, to round off the task, the musicians listed below have been summoned to become the special musical framework for the characteristic and heartfelt performance of Stefany Castillo, La Sonerita Del Callao:

Author: Eddie Villanueva Chininín
Arrangement: Óscar “Chucky” Cordero
Lead Vocal: Stefany Castillo, La Sonerita Del Callao
Timbal, Bongo, Tumbadoras, Maracas, Giiro: Rodrigo Rodríguez
Bass: Dimitris Christopoulos
Trombones: Johan Alexis Escalante H.
Backing vocals: Robert “El Chamo” Marcano $ Rodrigo Rodríguez
Trumpets: Óscar “Chucky” Cordero
Piano: Óscar Iván Lozano (OILO)
Vocal Coach: Óscar Huaranga (Bambú Records, Lima – Peru)
Sound and Mix Engineer: José Mendoza
Mastering: 440 Studios By Fernando Álvarez (Madrid – Spain)
Recorded at: Go Studio (Zurich – Switzerland)
Musical Producer: Rodrigo Rodríguez Puerta
Executive Producer: Eddie Villanueva Chininín
APR: Eddie Villanueva and Rodrigo Rodriguez
General Coordination: Serafín Castillo
General Production: Eddie Villanueva

SWING LATINO PRODUCTIONS

If you want more contact information, access the following links below:

 

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Son Divas with new energy

The orchestra formed by Puerto Rican women will back to work and will release its first album in the coming months.

 

Son Divas is here to stay. This was stated by Aníbal de Gracia, manager, producer, and creative director of the girl group. After a short recess caused by the pandemic, Son Divas has just released the single ‘Mujer de acero’, which will be part of the first album they are working on and is scheduled to be released between March and summer.

“During this time in which many projects had been delayed as a result of the pandemic, many people told me that Son Divas should record an album. After thinking and appraising how much the group had made progress since its beginnings, I thought that it was the right time for that first recording.

We have already recorded some songs and others are in the process and we hope to release it between March and summer, but observing what happens with the matter of the pandemic,” said de Gracia, manager and producer of Son Divas.

They are Divas from Puerto Rico and they come with a lot of energy.
Son Divas of Puerto Rico

The musician/orchestra director also noted that more than 100 female musicians, among other guests, will participate in the record production.

“We decided that we were supposed to invite the largest possible number of women, not only of Puerto Rico, but of the entire world. We want to finish recording the album, be able to release it into the marketplace and, and look forward to the moment when we can play it live,” he said.

Son Divas is recording a song in conjunction with the Cuban orchestra Anacaona, the first women’s orchestra in the world. The Cuban group was founded by the Castro sisters in the 1930s. According to de Gracia, Dominican musician Wilfrido Vargas had contact with the Anacaona orchestra during the 70s, and in this way, developed the concept of Las Chicas del Can.

Ya hemos grabaWe have already recorded some songs and others are in process and we hope to release it between the month of March and the summer, of course, observing what happens with the pandemic issue," said de Gracia, manager and producer of Son Divas.
Son Divas records a song in conjunction with the Anacaona Orchestra from Cuba

“Although the album will have a romantic theme, it will be varied. Songs to dance salsa, merengue, and even a Latin jazz track can be found here. It will have a combination of new songs with some covers. ‘Eclipse total del amor’, a salsa version of a song popularized by Lissette Alvarez;

‘Mala novia’, ‘Una loca como yo’ and ‘Mujer de acero’, a song we already released in promotion. These are some of the tracks of the album”.

De Gracia began training the girls from Son Divas in 2017 after participating in a music festival in St. Kitts where he shared the stage with the Anacaona orchestra the previous year. After being impressed by these Cuban girls he decided to start a similar project in Puerto Rico.

“After recruiting girls, getting a whole lot of rehearsal, and overcoming the drawbacks of Hurricane Maria, we recorded the first single ‘Mala novia’, a song by Mel Martinez and arrangement by Ramon Sanchez. We managed to be played on the radio and it opened a lot of doors.

After that, we had to deal with the pandemic issue and the musical activity had stopped.
Son Divas, Nico Camilo, Gilberto Santa Rosa, Anibal De Gracia, Luz Mary Parra, Victor Manuelle and Lilly Aponte

We made several performances in Puerto Rico and went to St. Kitts. We recorded a second single titled ‘Una loca como yo’ in collaboration with Gilberto Santa Rosa and Victor Manuelle on backing vocals.

After that, we had to deal with the pandemic and musical activity had been stopped. Now, we are back to work again. We are working on the album that is sure people will like very much because it is being done with passion, love, and very good musical quality”, de Gracia said.

Son Divas is led by Nicole Yomara Santiago (musical director and trumpeter); it features singers Nico Camilo, Luz Mary Parra and Lilly Aponte. Zuleyka Martínez (saxophone), Nicole Vargas (trumpet), Ileana González (trumpet), Irem Díaz (bass), veteran virtuous Amuni Nacer (piano), Dali Marie (conga and bongo) and Daizalee M. Félix (timbal). The latter two appeared on the album.

The orchestra made up of Puerto Rican women
Son Divas with new energy

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