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Leo Mendoza and “El Sonero Natural”

Latin America / Venezuela / Caracas

Get to know the new song “El Sonero Natural” by Leo Mendoza

Did you know that great international musical talents have emerged in Venezuela? This is due to the fact that in this Latin land, the seasoning is experienced, the joy is experienced, the desire to excel is seen, they demonstrate their talent to all those who see and listen to them. In this opportunity, we have a new talent to present; Meet the Caracas musician Leonardo Mendoza, also known as “Leo Mendoza”.

He tells us that since he was a child he felt a deep inclination for music, specifically salsa, this was because his father Héctor Mendoza, a record collector, was always putting on music, from salsa bands such as: Johnny Pacheco, Héctor Lavoe, Oscar D León, Rubén Blades, Willie Colon, among others.

Leo Mendoza and “El Sonero Natural”
Leo Mendoza and “El Sonero Natural”

This was only the first indication of his inclination and dedication to music, especially to singing in the salsa genre, practicing his favorite artists even within his family gatherings; Starting in 2008, he joined the group “Salsa Son y Fuego”, where he worked for 2 years, and thus continued his path of musical training until in 2016, participating in a festival organized by the Mayor’s Office of Caracas, he competed with a theme of his authorship entitled “Sonero al Natural” receiving the ovation and acceptance of the viewing public.

Intruments of Leo Mendoza and “El Sonero Natural”
Intruments of Leo Mendoza and “El Sonero Natural”

The qualifying jury was made up of Mariana Guevara the “Sonera de Venezuela”, Cheo Valenzuela “El Sonero de la Dulzura”, Juan José “el Indio” Hernández and the teacher Andy Durán, with their participation he managed to achieve 3 mentions, best unpublished song, 2nd place as interpreter and best arrangement of the song “Sonero al Natural” by Maestro José “Tuky” Torres, on this occasion he presents his first single “Sonero al Natural”, which is an invitation to good rumba and feeling sonero… If you want to know more about Leo Mendoza or his new musical theme, find out through:

 

The great ‘Soneros Summit’ in Barranquijazz – Courtesy of Radio Nacional de Colombia

Latin America / Colombia / Barranquilla

Courtesy of Radio Nacional de Colombia of the Barranquijazz  2018 for International Salsa Magazine.

This is how the great ‘Cumbre de Soneros’ was lived in Barranquijazz this 15th of Sep-2018.

In a special gala that included the participation for the first time of the Antonio Arnedo Quintet, a determining musician in the languages ​​of Colombian jazz, in which he magnificently managed to introduce the public on a journey through the traditional sounds of the different regions of Colombia under that concept that has come to be known as World Jazz, the atmosphere was warming up for the enjoyment of one of the most vibrant nights of Barranquijazz 2018.

Photo of The great Soneros Summit in Barranquijazz
Photo of The great Soneros Summit in Barranquijazz

The first of the protagonists of the summit to go on stage was Hermán Olivera, the so-called ‘Sonero of the 21st century’, who demonstrated that he is indeed “the bridge between yesterday and today”, as he says in one of his proclamations in ‘ The heir to flavor’, a piece included on his solo album ‘La voz del Caribe’, a nickname given to him some time ago by Eddie Palmieri, the leader of the orchestra in which Herman has been a member for more than 20 years.

Then it was Ray de la Paz’s turn, who raised the level of the public’s enthusiasm after performing the greatest hits of his career, achieved together with the late arranger and conductor Louie Ramírez. The New Yorker exhibited his powerful voice with the pieces: ‘Everything collapsed’, ‘Only you and I’, ‘Liar’, ‘Let’s go from here’ and ‘Being in love’.

Later, the ‘Pretty Boy’ Ismael Miranda was present. In his greeting to the public he mentioned: “We saw that they did some brutal Olympics and the world found out”, referring to the Central American and Caribbean Games recently held in the arena.

Photo of the artists at the great Soneros Summit in Barranquijazz
Photo of the artists at the great Soneros Summit in Barranquijazz

Miranda performed ‘Caretas’, ‘The corners are’ and ‘Don’t tell me it’s too late’. For the closing, Ismael Miranda called Ray de la Paz and Hermán Olivera to the stage, and together they inspired their best soneos, wasting their talent on the song ‘Abran Paso’.

With this show of the highest level, Barranquijazz closed its cycle of galas.

By: Robert Tellez.

More information:

https://www.radionacional.co/noticia/musica/asi-se-vivio-la-gran-cumbre-de-soneros-barranquijazz

Virgilio Martí participated as aVirgilio Martí participated as a vocalist in the Grupo Folklórico Experimental Newyorkino in which he composed the song “Cuba Linda”

Virgilio Martí, born in the year 1919 Havana, Cuba, Rino Rumbero, Singer, Composer, Arranger, Percussionist, Actor and Orchestra Director, well known since the late 40’s, especially as a guaguancó singer.

He began touring the world in 1949 and met his later wife in 1960 in Peru.

Virgilio Martí participated as a vocalist in the Grupo Folklórico Experimental Newyorkino in which he composed the song "Cuba Linda".
Virgilio Martí participated as a vocalist in the Grupo Folklórico Experimental Newyorkino in which he composed the song “Cuba Linda”.

That same year, he settled in New York, participating in the local scene.

He participated in the LP “Patato y Totico” in 1967, he also participated with his brother Eloy Martí, in a Quintet accompanied by Gene Golden, for the year 1979.

Israel López (Cachao), Arsenio Rodríguez, Héctor Cadavieco, Francisco Valdés, Papaíto, Tony Mayari and Mario Cadavieco also worked on that album.

He participated in the “Grupo Folklórico Experimental Newyorkino”, where he was their vocalist and percussionist, in 1975. During his stay with them, he composed the song “Cuba Linda”.

"Grupo Folklórico Experimental Newyorkino, donde fue vocalista y percusionista del mismo, en 1975
“Grupo Folklórico Experimental Newyorkino, donde fue vocalista y percusionista del mismo, en 1975

Another work of Martí of great remembrance is the album entitled: “Saludando A Los Rumberos”, published by the Caimán label in the early 80’s and in which the Cuban acts as vocalist and main star. In it, Martí is involved with talents such as: Tony Cofresí, Andy and Jerry González, Yomo Toro, Paquito Pastor, Ray Romero, Claudio Roditti and Ignacio Berroa, among others.

Virgilio Martí, born 1919 Havana, Cuba.
Virgilio Martí, born 1919 Havana, Cuba.

“Iya Modapue”, constitutes in itself, a guaguancó with open rumba being at the same time the favorite number of the “Grupo Folklórico”, and even the first groove that was recorded.

The levels of experimentation and the freedom to unload several rhythms in a single musical performance are the factors producing the attraction of the musicians for “Iya Modupue” (which means Thank You Mother).

The vocal part is in the hands of Virgilio Martí. The trumpet of “Chocolate” Armenteros, the trombones of José Rodríguez and Reinaldo Jorge, the flute of Gonzalo Fernández and the percussion of Frankie Rodríguez stand out.

“Se Me Olvidó” – a bolero by Lolita de la Colina – but adapted in guaguancó to the style of the Grupo Folklórico, which, by the way, turned out to be the piece with the greatest radio airplay in the tropical environment and, therefore, the one that would open the doors to the group. The song was performed by Virgilio Martí, who also plays the congas. In “Se Me Olvidó”, the violin of Cuban Alfredo de la Fe, the quinto of Julito Collazo, the street redoblante of Jerry González and a Mexican marimba played by Andy González in counterpoint to the notes of the double bass, also played by Andy, stand out.

Here it is worth mentioning that Alfredo de la Fe is a virtuoso violinist and among his many performances, I remember his work with Eddie Palmieri, Larry Harlow (the wonderful Jew), the Fania All-Stars and the avant-garde Típica 73.

In the early 80’s he formed a band with brothers Andy and Jerry González, and percussionist Ignacio Berroa.

It is worth mentioning Virgilio Martí’s 1985 performance in the film by Cuban filmmaker León Ichaso entitled: “Crossover Dreams” (Sueños truncados). In it, the Havana native plays the role of “Cheo Babalú” and sings the song “Llora Timbero”.

In this film production made in New York City, the actor Rubén Blades, who plays the role of “Rudy Veloz”, also participates. There they sing the song “Todos Vuelven”.

In 1990, he contributed to the “Soundtrack” of the movie Azúcar Amarga.

He maintained a great skill in converting songs from other genres into rumba arrangements. We can mention the adaptation of the song by Brazilian composer Jorge Ben, “Más Que Nada”, which appears on the LP with Patato y Totico. Martí died on October 17, 1995. (Tom Data “Facebook”)

Virgilio Marti - Guaguanco (1979)
Virgilio Marti – Guaguanco (1979)

Virgilio Marti – Guaguanco (1979)

Tracks:

  1. Amanecer (Armando Manzanero)
  2. Todos vuelven (Rafael Otero)
  3. A tus pies (D.R.) (Agustin Lara)
  4. My childhood (Laureano Martinez)
  5. Saluting the rumberos (Manolo Albo)
  6. I’m going to divide it (R. Livi)
  7. Acanapon (D.R.)
  8. The little handkerchief (D.R.)
  9. Que susto (Virgilio Marti)
  10. Odiame (Rafael Otero)

Information realized (June 1, 2024)

Sources:

DiscoGS

Spotify Virgilio Marti

Virgilio Marti Youtube

Also Read: Justo Betancourt Querol Cuban sonero and singer famous for his interpretation of the song “Pa’ bravo yo”

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

Over the last century, this style of traditional Cuban music has contributed to many other musical genres, including jazz, cha cha cha, mambo, salsa, songo and timba.

Cuban Son is one of the most popular musical styles in Cuba and Kiki Valera is one of its greatest exponents.
Cuban Son is one of the most popular musical styles in Cuba and Kiki Valera is one of its greatest exponents.

Cuban son is the music that made the Buena Vista Social Club worldwide stars in the late 1990s, but Kiki Valera comes from a family of musicians whose involvement with Cuban son predates BVSC by decades.

Kiki Valera is the eldest son of the famous septet La Familia Valera Miranda, a multi-generational traditional music group from Santiago de Cuba.

Since the 19th century, La Familia Valera Miranda has played an important role in Cuban culture by collecting and preserving the deep-rooted traditions of the legendary Sierra Maestra mountain region.

Their debut album, “Antología Integral Del Son”, released in 1982, helped initiate the explosion of interest in traditional Cuban music.

Kiki, like most of her family, is a virtuoso. A multi-instrumentalist, composer, arranger, sound engineer and producer, he is best known as one of the world’s best players of the Cuban cuatro, a medium-sized guitar with 8 strings grouped in sets of 2.

Kiki Valera is the eldest son of the famous septet La Familia Valera Miranda, a multigenerational group of traditional music from Santiago de Cuba.
Kiki Valera is the eldest son of the famous septet La Familia Valera Miranda, a multigenerational group of traditional music from Santiago de Cuba.

Kiki learned the Cuban tres under the guidance of his father Felix as a child.

He later attended one of Cuba’s most prestigious music schools, the Esteban Salas Conservatory, in Santiago de Cuba and by the age of 15 was touring internationally.

Kiki continues to conduct, compose, arrange and perform internationally. She also performs and teaches in Seattle, Washington, where she contributes to the vibrant Pacific Northwest music scene.

His current project features several other internationally renowned artists, including Coco Freeman (former singer for Adalberto Alvarez y su Son and NG La Banda), vocalist Carlos Cascante (three-time Grammy Award winning vocalist for the Spanish Harlem Orchestra), trumpeter Alexis Baró (Cubanismo and Omara Portuondo) and bongocero Pedro Vargas (Barbarito Torres’ band). (Kiki Valera)

“Vacilón Santiaguero” is Kiki Valera’s second solo release in the United States after many distinguished years as the director of La Familia Valera Miranda in Santiago de Cuba.

He goes beyond his core group to present collaborations with some Grammy® award winning musicians and features his favorite trumpet players, some born in Cuba, some born in the U.S., but all with reputations jus????ficadas for playing Cuban music for love, if not DNA.

Son Cubano is one of the most popular musical styles in the world.
Son Cubano is one of the most popular musical styles in the world.

“Vacilón” is one of those words that doesn’t have a perfect English equivalent to Cuban Spanish, but something that’s a really good time (a little rum or aguardiente always helps).

So what sets this project apart from the vast mountain of excellent traditional albums already out there? Not only is there Kiki’s custom-made Cuban cuatro, which brings a unique texture to the sound, rather than a tres, but, in his jazz-influenced hands, you’ll occasionally hear twists and turns in his improvisations that you probably weren’t expecting when you first glanced at the song titles, which are mostly Cuban evergreens.

Thanks to Kiki’s creative arrangements, this is no mere recycling of covers of these classic songs.

Kiki is as exacting with the recording, mixing and mastering work as he is with the arrangements.

Much of the recording and mixing was done in Kiki’s custom home studio, and Grammy® winner Michael Lazarus mastered the project.

The result will be an audiophile’s delight, a reason, I might add, to want the physical product for your collection (Kiki Valera).

Kiki Valera – Vacilón Santiaguero (2024).

Tracks:

  1. Este Vacilón (Felix Valera Miranda)
  2. El Ají de Cocina (Felix Valera Miranda)
  3. Sobre una Tumba una Rumba (Ignacio Piñeiro)
  4. El Penquito e’ Coleto (Francisco Repilado “Compay Segundo”)
  5. Funfuñando (Arsenio Rodriguez)
  6. La Guajira (Olga de Blanck)
  7. Mari-Juana (Juana María Casas)
  8. Muñequita Feliz (DR)
  9. El Empanadillero (Teodoro Benemelis)
  10. Pájaro Lindo (Felipe Neri Cabrera)
  11. Dos Gardenias (Isolina Carrillo)
  12. El Cuarto de Tula (Sergio Gonzales Siaba)

Musicians:

Kiki Valera (Cuban cuatro, guitar, bass, harpsichord, maracas and backing vocals).

Pedro Vargas (congas, bongos and backing vocals)

Steve Guasch (Backing vocals)

Carlos Cascante (Lead vocals on tracks #1,#4,#5,#7,#9,#10,#12)

Francisco “Coco” Freeman (Lead vocals on tracks #2,#11)

Joshuah de Jesus (Lead vocal on tracks #3,#8)

Raquel Zozaya (Lead vocals on track #6).

Special guests:

Alexis Baró (Trumpet on tracks #1, #3, #4, #6, #9, #11).

Steve Mostovoy (Trumpet on tracks #1, #3, #3, #6, #11)

Michael Rodríguez & Jonathan Powell (Trumpet on track #8)

Pete Nater & Dennis Hernández (Trumpet on tracks #2, #5, #7, #12)

Brian Lynch & Thomas Marriott (Trumpet on tracks #1#0)

Leon Q Allen (Trumpet on track #4)

https://www.kikivalera.com/

Also Read: Yilian Cañizares, an excellent Cuban musician, studied in her hometown in the strictest tradition of the Russian school of violin

From Parroquia San Agustín del Sur is Son Marín ¡Aquí Empezó la Cosa…!

In order to delve a little into what the group Son Marín was, we must necessarily refer to the late musician Jesús Blanco or “El Pure” as everyone called him.

Jesús Giselo Blanco was his first name, born in Mirandino, but settled in Caracas when he was still a child.

To talk about his musical beginnings is to evoke part of the history of the Son in our country, since “El Pure” before arriving to the San Agustin Parish had already participated with old groups such as Conjunto Rex and the well remembered Sonora Caracas.

Son Marín ¡Aquí Empezó la Cosa...!!
Son Marín ¡Aquí Empezó la Cosa…!!

El Pure Blanco was recognized in San Agustin Marin as a true builder of musicians since, with his work as a musical artisan, besides having created the first music school in Marin, many young people were nurtured and formed with his teachings.

Jesús “el Pure” Blanco was a key character in the formation and integration of several groups in Barrio Marín, among them we remember the aguinaldo group Los Juveniles, Los Gaitetricos, Los Super Cremas, La Nueva Generación and of course his biggest dream, the “Son Marín”.

The group Son Marín had several stages, starting in 1981 when in Barrio Marín an improvised musical group was organized to receive at the International Airport of Maiquetía the Grupo Madera that was arriving from an important presentation in an International Festival in the city of Avignon, France.

That small group was formed by: Eliel Rivero (trombone), Jorge Rondón(flute), Enrique Palacio (Bass), Arnaldo Blanco(tres), Renny Mendoza (Bongó), José Luis Mendoza (Tumbadora) Luciano Reyes (singer), Pablo” Pabloco” Martínez (singer) and Jesús “Pure” Blanco was the director.

As fate would have it, that group, which was only a provisional “vente tú” organized by Pure, later became another of the emblematic groups of San Agustín, SON MARÍN.

In particular we remember pleasantly the participation of Son Marin as a representation of the San Agustin del Sur Parish, in the Afro-Caribbean Music Festival “La 5ta Esencia de la Salsa” held on June 17, 1983 at the Nuevo Circo de Caracas, by then the group had not yet recorded their first album, but we had already had the opportunity to listen to a demo with a couple of numbers that came to promote the announcer Hector Castillo in his radio program on the now defunct Radio Aeropuerto.

Son Marin
Son Marin

Over time the group grew and new instruments were added; and of course the inclusion of other musicians, such is the case of Jesus Guzman the popular “Paicosa” who enters as guitarist to later become the bassist and musical director of the group, it was the idea of “Paicosa” with the support of “Pabloco“, to expand the group’s equipment incorporating Hugo Olivero’s sax, Josue Silva’s trumpet, Randal Monasterio’s piano, while the percussion was reinforced with Juber Ramirez.

Already with a more solid group and with a view to a greater projection within the Venezuelan salsa music scene, the only thing missing was the recording of the album, which began in September 1986, with the collaboration of Mauricio Silva in the arrangements and the inclusion of several guest musicians.

Unfortunately, a month after the recording began and without being finalized, Jesús “el Pure” Blanco died, however his voice and feeling were reflected in this album that was finally released in 1987, quickly gaining strength and penetrating the taste of the music lover public after the composition of Pablo Martínez, AQUÍ EMPEZO LA COSA, a tribute to this neighborhood that has given so many important musicians, a cradle of soneros as Gonzalo Martínez says in the song.

The voice of Pure Blanco was recorded in the song LA CAÑA; all the numbers were original pieces except for the song “Sin Compromiso” by the Brazilian Chico Buarque, but with an excellent adaptation of the lyrics by Pablo Martínez and Joseito Romero.

To end this biographical sketch, I leave here part of the thanks contained in the back cover of the album from Son Marín.

San Agustin del Sur
San Agustin del Sur

JESUS BLANCO “Pure” every joy lived with this work, makes us feel you more.

SON MARIN… This is where it all began!!! (1987) Mucer International DL-7140

SIDE A

1.- HERE I STARTED THE THING (Pablo Martínez)

2.- SIN COMPROMISO (Chico Buarque) Lyrics Adaptation: Pablo Martínez/Joseito Romero

3.- YOUR HOLY BLESSING (Pablo Martínez)

4.- EL BUHONERO (Pablo Martínez)

SIDE B

1.- LA CAÑA (Rafael Quintero/Pablo Martínez)

2.- RECUERDOS (Rafael Quintero/Pablo Martínez)

3.- VOLVAMOS A EMPEZAR (Rafael Quintero/Pablo Martínez)

4.- BENITO EL CHICHERO (Jorge Rondón)

Members:

Randal Monasterio (Piano)

Arnaldo Blanco (Tres)

Jesús Guzmán (Bass, Conductor)

Josue Silva (Trumpet)

Hugo Salinas (Trombone)

Hugo Olivero (Saxophone)

Jorge Rondón (Flute)

Jimmy Fariñas (Congas)

Fidel Martínez (Bongo/Campana)

Juber Luis Ramírez (Timbales, bongo, bell)

Gonzalo Martínez (Vocal)

Pablo Martínez (Vocal)

Jesús Blanco (Vocal)

Pablo Martínez/Gonzalo Martínez/Arnaldo Blanco/Mauricio Silva/Daniel Silva (Backing Vocals).

Guest Musicians:

José Pepe Vera (Saxophone)

Raúl Agras (Trumpet)

Mauricio Silva (Piano/Trombone)

Felipe Blanco (Conga/Güiro)

José “Cheo” Escobar (Conga)

Douglas Guevara (Tumbadora)

Daniel Silva (Bass)

Other Credits:

Arrangements and Musical Direction: Mauricio Silva

Recording Technician: Fernando Hernández

Sound Engineer: Fernando Hernández and Mauricio Silva

Executive Production: Wolfgang Roldan

General Direction: Mauricio Silva (Cortesía Sonográfica)/Son Marín (Mucer Internacional)

Recording Studio: Sonomatrix

Photos: Pedro Hernández.

Also Read: If you want to listen to Tasty Salsa tune in to Ritmo Sabor y Salsa with Nesmary J. Gómez