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Mariana “The Sonera of Venezuela and for the world”

Janett Guevara García, artistically known as Mariana “La Sonera de Venezuela”, was born in La Pastora, Caracas on January 19, daughter of Reina García and Vicente Guevara.

Daughter of Reyna García and Vicente Guevara, she is the oldest of six siblings and from a very young age she showed her taste for music; an activity that has been her eternal passion, and has led her to make 12 record productions.

She is the oldest of six siblings and from a very young age she showed her taste for music; an activity that has been her eternal passion and has led her to make six record productions.

Educated in a convent school, she always participated and stood out in cultural events, until on one occasion she was suspended for telling the mother superior that there was a song called “La Cárcel” by Septeto Juventud that she wanted to sing at a cultural event.

At the age of 14, during her high school education, she learned to play drums and participated in the choir of the Caricuao Parish church where she lived.

As the years went by, Mariana was invited by Mr. Naty Martinez to a rehearsal, who was impressed when he heard her and decided to make a musical production.

That is when Mariana’s true pilgrimage began, going through stages earning the admiration of salsa greats.

In past years, she received praise from Queen Celia Cruz and has the guarantee and support of the singers of the Fania Stars, the Gran Combo de Puerto Rico, José Alberto El Canario and even her great friend and fellow countryman Oscar D’León.

Oscar El Sonero del Mundo y Mariana La Sonera de Venezuela

Mariana has been worthy of awards such as “El Congo de Oro” at the Barranquilla salsa festival.

She has been praised by personalities such as Don Tite Curet Alonzo. Mariana alternates her exciting career with the media, where she has a radio program dedicated to our Latin music “Sonsoneando con Mariana” winner of the 2010 Excellence Award, as a popular radio space in the Vargas State Venezuela.

She recently participated in the heartfelt tribute to the 50 years of artistic career of maestro Elio Pacheco, founder of the Latin Dimension, where she recorded an excellent song called “Al Olvido”.

She received praise from the Cuban queen Celia Cruz, and has the support of singers such as the Fania Stars, José Alberto “El Canario”, the Gran Combo de Puerto Rico and even her friend and confidant Oscar D’ León.

“Oscar represents more than a friend to me; he is like a brother. When he has a presentation in Vargas he does not hesitate to call me to see us and talk about our projects. I thank him a lot for his advice, because it has helped me to be where I am. The responsibility of being La Sonera de Venezuela falls on my shoulders.”

Y así quedó esta Sonera para su noche boleros

She has managed to release 12 musical productions. Among her best-known songs are “Frases hecha” in 1996, recorded in Peru and “Eres más fuerte que yo” by the composer Enrique Hidalgo.

Awards obtained

La Sonera has been worthy of multiple awards, including the “Congo de Oro” at the Barranquilla Salsa Festival, as well as the nomination three times in a row for the Vargas Excellence.

She has also received plaques as Female New Artist of the Year and Best Sonera in Caribbean Representation.

“I will never forget when they gave me the Catatumbo de Oro in Maracaibo, in the year 2000. It is one of my greatest achievements.”

Mariana La Sonera en el Santuario de La Divina Pastora en Barquisimeto

My family is my life

At just 18 years old, Mariana became a mother for the first time. “It is something that very few people know, but my first husband mistreated me physically, verbally and psychologically. The only thing I can be thankful for from that relationship is the existence of my son.”

She is currently a speaker, producer, and host of her own radio show “SONSONEANDO CON MARIANA,” broadcast Monday through Friday from 12:00 AM to 2:00 PM on Dial Azul 95.9 FM. At the same time, she directs her own group and is part of Jeque y su Banda, the Rumberos Callejón orchestra, directed by the experienced timbalero Carlitos Padrón, where she shares the stage with Rodrigo Mendoza, Wilmer Lozano, among others.

Edgar Dolor, Hayzalex, El Jeque, Janett Trejo, Mariana, Frederick, Carlitos Hurtado

Research Sources:

Djane. Shina Rojas

Luisana Brito, [email protected]

Also Read: “Canelita Medina” Caribbean popular music loses one of its best exponents

De Tierra Caliente founder Bronson Tennis talks about his career and band

There have been many American musicians who have fallen to the charms of Latin music, which is a practically inexhaustible source of genres allowing them to experiment with in many ways. One of them is Bronson Tennis, with whom we have been fortunate to talk about his interesting career and current musical group, De Tierra Caliente.

Bronson playing — De Tierra Caliente founder Bronson Tennis playing the guitar

Bronson’s beginnings in music

Bronson Tennis began to put his eyes on music when he was just a child, when he was very attracted to the 1990s alternative rock movement in the United States. When he was only 11 years old, his parents bought him his first bass guitar and later he also wanted to learn to play the guitar and sing.

In family matters, Bronson and his three brothers are musicians and several of his cousins and uncles have also been musicians. In addition, his mother was a fine artist and his grandmother was an art teacher.

Both in school and church, the boy always chased opportunities to sing and show his vocal skills to anyone who wanted to hear. He also took advantage of all these spaces to learn as much as he could about music until he was old enough to exercise it professionally.

Today, his main instrument is the guitar, although he also plays the cavaquinho (an instrument of Portuguese origin which is widely used in samba) and the roncoco, which is an adaptation of the Andean charango that he uses to play salsa and Cuban son.

Bronson posing for the camera — Bronson Tennis playing the guitar while posing for the camera

Professional debut in music

Bronson also told us that he began his career path as a bassist and chorister in several musical groups in the city of San Diego between 2006 and 2009. He then spent some time in Philadelphia, where he also played with other bands from a variety of genres.

It is interesting that he lived in Buenos Aires, Argentina, where he also worked as a bassist and singer in some bands. In fact, in that same country, he helped form a Caribbean funk band in which he learned a lot about these genres so foreign to what he played in his childhood and youth. He stayed about four years in Argentina, specifically between 2009 and 2012, until he moved to Brazil for about six months to continue learning more and more about Latin music, but it was not his last stop in South America, as he was also in Colombia for a while more.

Following this, he returned to Philadelphia and decided to form his own orchestra which he named De Tierra Caliente.

Prior to De Tierra Caliente

When Bronson returned to Philadelphia, he had the chance to meet some musicians from the Puerto Rican music scene in that city and saw that they had similar outlooks on music, so they got back in the saddle to prepare a formal project amongst themselves.

The artist assures that it was in Argentina where he learned what it takes to move forward with his band. ”Argentines are people who do everything with strength and confidence, whether in music or in soccer. No matter who or what they have to face, as they take on all the challenges with confidence and that is something we could all learn from Argentina.” Bronson said of his stay in that country.

Bronson and his band — (L to R) Papo Buda, Bronson Tennis, Eubie Nieves, Andy Meyer and Steve Cochran

In Brazil, he studied percussion and learned Portuguese, while Colombia taught him to play salsa, champeta, vallenato and many other genres. In short, each country he has visited gave him tools to facilitate his learning in everything about Latin music in various areas.

Precisely thanks to all this acquired knowledge is that Bronson finally felt able to form his own band in 2014 in union with fellow musicians who understood what he wanted to carry out.

How De Tierra Caliente started

Upon his return to the United States, Bronson was very clear that he wanted to incorporate all those elements learned in South America and the Caribbean, but giving them his own touch. It was then that he met conguero Papo Buda, with whom he agreed on much and began the recruiting process for the rest of the musicians.

After that, Bronson and Papo could add more artists to the group, resulting in a fairly consistent group over time. Since its founding, very few musicians have left the band and Bronson and those who remain have an excellent relationship with all of them despite no longer being band mates.

Among his greatest inspirations, Bronson mentioned many artists and groups of various nationalities and genres such as El Gran Combo de Puerto Rico, the Brazilian composer and singer Paulinho da Viola, the group Caribe Funk and many others.

De Tierra Caliente playing live in Yardley

The Son Rumbero Academy: E-Learning in virtual classrooms reached the world of dance

Latin America / Venezuela / Caracas

The Son Rumbero Academy, in step with technological advances, now opens a virtual classroom that will allow you to access an interesting range of online courses open to all through distance education processes with invited international instructors.

The teaching and learning processes are led hand in hand by education professionals, people who handle various tools and techniques that allow reaching the objectives of generalized instruction, now, the means and the contexts that affect this process are in the same way. of great importance to meet the aforementioned goals, hence the institutions invest so much time in physical improvements for the setting of the spaces destined to unite these processes.

It is not new to speak that technological means have invaded all areas of knowledge, there is no longer an area or content that is not already in process or in the process of being taught through the internet, hence the term distance learning. It is not something that escapes from the normality of our day to day.

Professor José Manuel Pérez, director of the Son Rumbero Academy with a great career in the field of salsa and education professional in the area of computer science, is carrying out a process of teaching dance through virtual means, in this case, using the so famous virtual classrooms, where it focuses on asynchronous and asynchronous communication processes by which, the didactic interaction with the students predominates as the elementary basis of teaching, the student becomes the main center of self-information managing their learning through tutors and classmates from the open classroom for the specific dance specialty, is learning to dance by learning, it is doing it between appropriate means and environments.

Aula Virtual - Son Rumbero Academy — Aula Virtual – Son Rumbero Academy

The ways and methods of how to educate in the world of dance have always been maintained, in fact many people look for different alternatives given the circumstances of their tasks, work, home, occupations, in itself, an endless number of causes motivate the desertion when it comes to complying with schedules and routines in dance halls or gyms…

How many do not avoid entering this face-to-face modality due to little free time or the long time it takes to travel to a location, hence new ideas arise that facilitate access to world of dance from any corner of the world and at the time you want, and who would not like to adjust their classes to the hours and days they prefer, even more so if they can change them weekly according to their availability.

The Son Rumbero Academy project is not an original project, E-Learning and virtual classrooms have been in the educational world for several years, only that for the context of dance it was present in tutorial videos, a positive element but more of the same circle for some:

With a virtual classroom, the teaching process is extended, it not only depends on what the student has seen and practiced, in this we obtain constant supervision of the process, teachers dedicated to nourishing theoretical information and practicing something extremely important when understanding music and shaping it in dance it is about taking evaluations, participating in forums or conversations with several students in the same classroom, surveys, tutorial videos, correction process by videos sent to the teacher, easy access to multimedia elements…

from songs to explanatory audios, a world full of of elements that support to a greater degree the fact of learning from any dance discipline, not to mention seminars or professional courses, certifications of improvements in methodological processes in teaching for teachers and instructors, going from evaluation processes for dance competitions to complete percussion courses, a whole world of knowledge and elements given to the me You work in dance and now in music.

For this month of April, the project will begin with 3 high-impact courses, one on Cuban folklore dictated by Mr. Damian Ballester, a certification for instructors based on planning, evaluation and methodological processes of teaching by Professor José Manuel Pérez , closing with a theoretical-practical seminar on the complex of the rumba soon dictated by a professional in this area, director of one of the largest Cuban groups and participate in endless documentaries oriented to the complex of the rumba, a surprise that They will give us soon.

In the same way, they are betting on a new teaching method for beginners, those who perhaps want more privacy when starting steps in the world of salsa or another genre, new media that can contribute to the development of the diffusion of salsa in the world.

The invitation is now open for you to follow the accounts of the son rumbero academy on Instagram and Facebook at @sonrumbero, by the numbers of its offices in Colombia +573022582306, Venezuela +584122110104, Chile and soon in Peru and Argentina.

Larry Harlow and Ismael Miranda: beginning of the so-called “Salsa Arseniana” in honor of the music of Arsenio Rodriguez, the creator of Son Montuno and “King of Guaguanco”

Extracted from the book called: “El origen y la creación de la Salsa”; creator: Mon Rivera, promoter: Al Santiago.

For sale on Amazon kdp, by clicking on the following link:

With which is attached a complete summary of the musical work of Larry Harlow with Ismael Miranda from its creation in 1966 to 71.

At the end is the original song of Arsenio: “Oiga mi Guaguanco”, with the fabulous musical arrangement of Harlow himself in “Salsa Clasica”, with the exquisite singing of the “Niño Bonito de Puerto Rico” Ismael Miranda.

Larry Harlow and Ismael Miranda: 1966 – 1971 with trombones.

Julio Cesar Galindo Alarcón Diplomático de Peru Ministro (R), Historiador Musical. Autor de Libro sobre Creacion de la Salsa

Lawrence Ira Khan, better known in the music scene as Larry Harlow, affectionately known as “The Wonderful Jew”, was born in Brooklyn, New York, on March 20, 1939 and died in New York on August 20, 2021, American musician, orchestra conductor, pianist, composer, musical arranger, producer, creator of the so-called “Latin Opera”, in 73 he was one of the most important disseminators of Afro-Cuban Jazz, “Arseniana” Salsa and Classical Salsa, confirming at the highest level the use of the trombone and the USA instrumental technique, corroborated as the two most important characteristics that identify the new American Musical Movement.

The beginning of Larry’s musical work must be analyzed from his return from Cuba in 1959, after having traveled to the island in the mid 50’s, to know and study Cuban music in its different rhythms, but because of the Revolution he had to return to New York; finding the boom and enthusiasm produced by the Pachanga spread by Charlie Palmieri, Pacheco, Quijano, Orlando Marin, Mon, Eddie Palmieri, Ray Barretto, Richie, among others.

At the end of 65 he forms his orchestra with trombones and application of the instrumental technique of Jazz; he signs a contract with the “Fania” label and plans to record his first album.

In 1966 he recorded his first album called “Heavy Smokin” with Felo Brito’s vocals; L.P. little known, in which stand out: “Tu Tu Ratan”, “Maria la O”, “Rica Combinación”, “Mi Guaguancó”, “Orchestra Harlow” and “Adios Mamá”.

In the same year he recorded his second album called “Gettin’ Off” or “Bajándote”, sung by Ramón Quian: “Monguito” el Unico, an excellent full-length album that was a great success.

Some of the highlights are “Bajandote”, “Guarachita”, sung by Vickie; “Tu no lo creas”, “Meta y Guaguancó”, “Coco May May” and “Cienfuegos”.

In ’66, a young teenager appears singing in Andy Harlow y su Sexteto’s group.

Andy gave him to his friend Joey Pastrana at the beginning of 67 to record the album “Let’s Ball”, in which the young singer Ismael Miranda had his first hit with the song “Rumbón Melón”.

Larry Harlow who lacked a good singer, offered the job to Ismael, who without hesitation accepted it immediately; and debuted with Larry on his third album in 67 called “El Exigente” and thus began the WONDERFUL DUPLE OF LARRY HARLOW AND ISMAEL MIRANDA, who together formed a sensational duet, amazing and impressive, in the History of Classical Salsa.

In “El Exigente” with the debut of the “Niño Bonito de Puerto Rico”, the songs “El Exigente”, “Las luces”, “Rumba me llaman” and “El Mejor” stand out. The following year, in 1968, he recorded the album, “Orchestra Harlow presenta a Ismael Miranda”. With this unsurpassable combination, the Classic, Brava and Hard Niuyorquina Salsa begins in the unique style of the “Judío Maravilloso” with the singing of the fabulous Ismael Miranda, one of the most attractive, fine and sharp voices in the history of Salsa, in which stand out the songs: “La Contra- ria”, “Jaguey”, “Yo me voy”, “Lamento Cubano”, “Bobby’s Boo-galoo, ‘Rumba a la vida’ and ‘Mi Guajira si’.

In 1969 he recorded his fifth album and third with Ismael Miranda, called “Mi Mono y Yo”, in which he continues the teaching of Classical Salsa with Afro-Cuban Jazz fusion, in which almost all the songs stand out: “El Malecón”, “Voy para la luna”, “Amorcito Ven”, “Jovenes del Muelle”, “Ven Rumbero Ven”, “Para donde tu vas”, “Mi Madre” and “Traigo Guajira”. With these last two albums, Larry with Ismael had achieved the expected success; and they had become the favorite orchestra in all the Salsa Concerts that had already become customary in the weekends of the Big Apple. In ’69, the author witnessed for a month these Salsa Dance Concerts that were usually given in the halls of the Hotels of the New York districts.

DIPLOMATICO DE PERU, MINISTRO (R); HISTORIADOR MUSICAL; AUTOR DE LIBRO SOBRE CREACION DE LA SALSA.

In 1970, Larry introduces the electric piano in his orchestral format; this motivates him to title his album of the same year: “Electric Harlow”. With the recording of this album really begins the so-called “Salsa Arseniana” of Larry, coinciding with the last year of life of the great Cuban musician Arsenio Rodriguez, the father of Son Montuno and “King of Guaguancó”, Legend and undisputed genius of the development of Cuban music; but, however, having been the most important Cuban musician of the twentieth century, for his contribution of having created the Son Montuno and the modernization of Guaguancó, has NOTHING TO DO WITH THE CREATION OF SALSA: BUT YES; FOR HIS VALUABLE CONTRIBUTION, WITH THE DEVELOPMENT OF THE MOVEMENT CREATED BY MON.

In “Electric Harlow” stand out: “La Revolution”, the wonderful Salsa arrangement of “Oiga mi Guaguancó”, by Arsenio Rodríguez, “Guasasa”, “Con Dulzura”, “Donde va Chichi” and “Tu Cosita Mami”. In 71 he recorded his album “Abran Paso”, and here we have to refer to Ismael Miranda as a singer-songwriter; because if from his first album recorded with Larry: “El Exigente”; he had already shown his composer’s fiber, having composed some songs together with Harlow; in this 71 album: “Abran Paso”, he confirms and ratifies his conditions as a singer-songwriter, composing five themes of his authorship, successfully distinguishing the theme of the same name of the album: ‘Abran Paso’, ‘Donde lle- vas el Son’, ‘Abandonada fue’, ‘Oigan bien mi Guaguancó’ and ‘Dolor y Amor’. Other highlights include: “Se casa la Rumba” and ‘Vengo Virao’, by Tite Curet Alonso.

Orchestra Harlow Vocal Ismael Miranda – Electric Harlow

Having died the penultimate day of 70 Arsenio Rodriguez, Larry Harlow, a few months later had the idea of offering him a posthumous tribute, which materialized with the recording in 71 of an album “Homenaje Póstumo”, which was called “Tribute to Arsenio Rodriguez”, including four hit songs by Arsenio: “Tumba y Bongo”, ‘No me llores’, ‘Sueltala’ and ‘El Terror’; ‘Arsenio’, Harlow’s theme with Ismael Miranda and ‘Saludos a todos los Barrios’, by Lázaro Prieto. The Harlow Orchestra in the last two albums was integrated with: Conductor and piano: Larry Harlow; Singer: Ismael Miranda; Trumpets: Larry Spencer and Ralph Castrello; Trombones: Lewis Khan, Leopoldo Pineda and Sam Burtis; Bass: Lydio Fuentes; Congas: Frankie Rodríguez; Bongó: Manny Oquendo; Timbal: Phil Newsum; and Tres y Cuatro: Yomo Toro, in “Abran Paso”.

Finally, Larry Harlow participated as pianist in “Red Garter”; and also as pianist and producer in “Chee-tah”. Ismael Miranda did it as a singer in the two concerts of the “Fania All Stars” in ’68 and ’71.

Julio Cesar Galindo Alarcón

Diplomat of Peru Minister (R), Musical Historian. Author of a book on the Creation of Salsa.

Also Read: Larry Harlow ”El Judío de la Salsa”: innovative and irreverent

His name is: Elio Osácar Douguet, and artistically we know him as: Sonny Bravo

Interview conducted by journalist and music researcher Robert Téllez M., on February 4, 2017 and originally published later on the SONFONÍA portal. Interview provided by the author for International Salsa Magazine (ISM).

Robert: His name is: Elio Osácar Douguet, and artistically we know him as: Sonny Bravo When and where were you born?

Sonny: I was born on October 7, 1936 in West Harlem, New York City.

Robert: Are you of Cuban descent?

Sonny: Yes, my grandparents were born in Havana, three in Santiago de las Vegas and one (maternal grandfather) in Bejucal. My parents were born in Key West, FL, and raised in Tampa, FL.

Robert: Tell me about your father Santiago “Elio” Osacar.

Sonny: Obviously, my first mentor! Santiago Osácar Colomá, born October 12, 1911 in Key West, FL, raised in Tampa, FL. He and his two older brothers, Juan and Tomás, founded the Sexteto Tampeño in 1928. He married my mother, Elisa Douguet Bravo in February 1932 and they settled in New York around 1933. Shortly thereafter he joined the Caney Quartet as bassist and second voice. At that time he also formed and recorded with his own group, the Conjunto Moderno. Later he was also a member of Monchito y su Orquesta. But he always returned to Caney! Until his death in the summer of 1957, from a pancreatitis attack he suffered on the stage of the Chateau Madrid in NY.

Robert: Maestro Sonny, is it true that you played baseball, but due to an injury you turned to music?

Sonny: Yes, it was in an amateur league in Miami where I was raised, my father was the manager! I was a pitcher and after pitching a complete game, while it was drizzling; the shoulder pains started the next day and that’s as far as my brief career went.

Robert: Did you write arrangements for Conjunto Caney?

Sonny: I only wrote one, “Añorado Encuentro” (Piloto y Vera), but it was never recorded.

Robert: What groups did you work with in Miami?

Sonny: My first job was with the Conjunto Casino de Miami. I also worked with several orchestras (Juanito Sanabria) and several combos (Cheo Venero, Gonzalo Barr). From 1959 to 1961 I was with Conjunto Caney. Then (1961-1963) with Mandy Campo, with whom I made my first tour outside the U.S., it was to Aruba and San Juan, Puerto Rico. Between 1963 and 1964 I worked with José Fajardo. He played dances in Miami on Saturdays and in New York clubs the rest of the week. When he decided to stay in New York, he convinced me to return with him.

Robert: Is the Típico Charanga format your favorite?

Sonny: Yes! I would like to have the same format we used on Alfredo de la Fé’s LP (Toca, Alfredo Toca) with the modern harmonies that can be heard in my arrangement of “El casabe,” my adaptation of Humberto Perera’s arrangement of “Que rico bailo yo,” and my arrangement of my own song, “Toca, Alfredo toca.”

Robert: What pianists influenced your playing?

Sonny: Charanga genre: Jesús López. Ensemble genre: Lilí Martínez. Big band and combo genre: Pedro “Peruchín” Jústiz. Variety of genres: Rubén González.

Robert: How did you become involved with the José Fajardo Orchestra?

Sonny: In 1963, bassist Nilo Sierra took me to the Palladium to meet Fajardo. After I married my first wife, I returned to Miami, and was able to contact him. During 1963 I played with him the dances I mentioned above and also toured with him to Venezuela, Mexico, Santo Domingo, and Puerto Rico. Fajardo stayed to fulfill his contract at the San Juan Hotel, but Orestes Vilató and I returned to New York. Orestes because of melancholy, and I, because I found out that my wife was going to give birth in January 1965.

Robert: As I understand it, when you settle in New York, you start playing with: Willie Bobo, Bobby Valentin and Ray Barretto What would you highlight about your work with Barretto?

Sonny: Between 1965 and 1966 I was Raul Marrero’s musical director. Besides what you mentioned, I also played with Vicentico Valdés, Mauricio Smith, Cortijo, Maelo and La orquesta Broadway, at that time. With Ray Barretto (and his charanga format) I only worked for two weeks, that was in October 1966, until the return of his pianist, Edy Martínez, who had stayed in Colombia after a tour. I felt very comfortable with Barretto’s group and I would have liked to continue playing with him.

Sonny was born on October 7, 1936 in West Harlem, New York City.

Robert: How did your integration with La Tipica 73 come about?

Sonny: I was there from the beginning. The group (unnamed) started in the summer of 1972 with musicians from various orchestras in a “jam session” (descarga) format, with the purpose of filling out the week with stews on Mondays, Tuesdays and Thursdays, that is, the laziest days in clubs and dance halls. Alfredo de la Fe was one of the original musicians. He and I played with Fajardo at that time.

There was also Bobby Nelson (flute) from Charlie Palmieri’s orchestra. Instigated by Johnny “Dandy” Rodriguez and with the support of several promoters and club managers, we decided to strengthen the group, create an ensemble and take the risk of competing with the already established groups.

Robert: Where did the idea of making the record production “Intercambio Cultural” come from?

Sonny: Johnny Rodriguez made the connection when he went to Havana on vacation. When he returned, he convinced Jerry Masucci to initiate the arrangements so that he could record at EGREM’s studios.

Robert: Was Típica 73 blocked because they had performed and recorded in Cuba and that’s why the group disbanded? Or were there other reasons…

Sonny: That’s the only reason!

Robert: What do you remember about your experience with Conjunto Clasico?

Sonny:

Side A: A lot of work, good music, good musicians.

Side B: Out of 20 songs, there were 19 solos of three and only one piano solo!

Robert: Maestro Sonny, you were present in several stages of Tito Puente’s orchestra, did you replace Jorge Dalto?

Sonny: Yes, in the Latin Jazz Ensemble. Jorge had his own group called “InterAmerican Band”. In the salsa band, I replaced Ruben Rivera. Eventually, the two formats came together to form a super-combo.

Robert: Of all the arrangements you have done in your career, which is your favorite?

Sonny: I have several, by format.

COMBO:

Typical ’73:

Chachagüere
Tula
Rumba caliente

BIG BAND:

Latin Giants of Jazz:

Gua Cha Rumba
I have to conform
I don’t bother

Mambo Legends Orchestra:

Conmigo, candela brava 2.

CHARANGA:

Alfredo de la Fé:

Toca, Alfredo Toca
El Casabe

Robert: And your favorite piano solo?

Sonny: I have two. El casabe (Alfredo de la Fe LP), because of the relaxed son montuno tempo and because of my favorite format: ¡Charanga moderna! And ¿Adónde vas? (Tito Puente’s LP) because it was recorded live and I could extend the solo, and because it’s the King’s orchestra!

Robert: On January 28, 2003 there was a historic reunion in Puerto Rico, which culminated with the release of the album TIPICA 73 LIVE. How did you live that experience?

Sonny: The audience enjoyed it, but not me. There was flavor and swing, but the piano had a damaged key and I was almost completely out of tune and the choruses were pretty weak. The record was bootlegged before it was released.

Robert: Of today’s pianists, who would you single out?

Sonny: In the Afro-Caribbean Jazz genre (Latin Jazz) there are a ton of Cubans like Chucho Valdés, Gonzalo Rubalcaba, Hilario Durán, Ernán López-Nussa, Harold López-Nussa, Aldo López-Gavilán, Iván “Melón” Lewis, Alexis Bosch, Yan Carlos Artime, Rolando Luna, Ramón Valle, Manuel Valera, Daniel Amat, the Venezuelan Luis Perdomo, the Colombian Edy Martínez, etc. In the genre they call salsa, my favorite: Papo Lucca, the poet of the piano, impeccable flavor and swing. Eddie Palmieri is Eddie Palmieri! Oscar Hernandez, Ricky Gonzalez, Edwin Sanchez and Yeissonn Villamar.

Robert: What future do you see for salsa?

Sonny: Unfortunately, I think it is diminishing with the disappearance of the old guard. We need to remember and respect tradition, but we also need to move forward, developing genres and sub-genres. For example, in Cuba, dance is developed and danzonete and danzón emerge. They develop the son and the son montuno, the guaracha, the mozambique, the mambo, the ritmo pilón, the ritmo pa’ cá, etc., emerge. Then came the songo and the timba, all based on the son. Where is the development of the New York, Puerto Rican, Caribbean or South American “salsa”? It is still more or less the same since the day it was discovered. If it were not for the innovations in Cuba, there would be no groups such as: Los Van Van, NG La Banda, La Ritmo Oriental, Klimax, etc. And please don’t talk to me about “salsa monga” or “bachata” or “reggaeton”, which, in my humble opinion, are not innovations, but aberrations!

Exclusive interview with Sonny Bravo

Interview by music journalist and researcher Robert Tellez M.

Also Read: Robert Tellez is undoubtedly “El más que sabe de salsa” (The one who knows the most about Salsa)