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Search Results for: Son

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

José Antonio “Maceo” Rodríguez was a faithful cultivator of Son Cubano and participated in the Afro Cuban All Stars project

José Antonio “Maceo” Rodríguez was born on April 17, 1950 in Holguín, Cuba.

Famous sonero voice leader of the group Sierra Maestra, he began his career at the beginning of the eighties of the last century with the group Sierra Maestra, integrated by former students of the Polytechnic University José Antonio Echeverría, of Havana, with which he won a televised contest of new musicians.

José Antonio Maceo Rodríguez was a faithful cultivator of Son Cubano and participated in the Afro Cuban All Stars project.
José Antonio Maceo Rodríguez was a faithful cultivator of Son Cubano and participated in the Afro Cuban All Stars project.

He died at the age of 55 on November 6, 2005 in Copenhagen, Denmark, of a heart attack, after giving a concert with his group at the end of a tour of Europe.

He was born on April 17, 1950 in a modest country house in the vicinity of the Antonio Maceo Sugar Mill, in Cacocun, in the eastern province of Holguin.

Relatives and neighbors say that since he was a child he loved art, music, pirouettes and attracting attention.

October 20, 1976 in Havana, together with his classmates at the José Antonio Echevarría University Center, he founded the musical group Sierra Maestra, called at that time Grupo de Sones de la Facultad de Ingeniería Eléctrica.

Those young dreamers performed in the popular contest “Todo el Mundo Canta”, where they took off on a spiral of success in Cuba and the world.

They traveled to many countries promoting Cuban music. They participated in Festivals of international relevance in Australia, Bosnia, Canada, Croatia, Cyprus, United Kingdom, Greece, Ireland, Israel, Italy, Macedonia, Mexico, Portugal, Puerto Rico, Singapore, Slovenia, Turkey, Yugoslavia and the United States.

A faithful cultivator of Son, Rodríguez participated in the Afro Cuban All Stars project, nominated for a Grammy in 1998 and parallel to the Buena Vista Social Club.

José Antonio Maceo Rodríguez
José Antonio Maceo Rodríguez

His excellent voice, comparable according to critics to that of the great cultivators of the genre, was one of the emblematic of the current Cuban dance music scene.

She began recording in 1981 her first album, “Sierra Maestra Llegó con El Guanajo Relleno”, was a silver disc and received excellent reviews. He participated in the Afro Cuban All Stars project, and parallel to the Buena Vista Social Club.

The trumpet player José Alemañy, Cubanisimo, and Juan de Marcos González, founder of the Buena Vista Social Club, were his partners in the group for years, and together they undertook the task of recovering the tradition of famous sones and soneros, revitalizing the genre at a time when other musicians were opting for salsa and more commercial rhythms.

According to the Cuban composer, José Antonio Rodríguez not only possessed a very special voice, “he also had the courage and human qualities to remain faithful to that style, the son style, which is the mother of Cuban music”.

The repertoire of Rodriguez, known as Maceo among his friends and admirers, included, in addition to the great classics of traditional son, pieces that became very popular in his voice, such as Dame un traguito ahora or Esa mujer lo que quiere es que la miren.

Maceo, although small in stature, was an immense man, someone who could not conceive where to keep the torrent of voice he displayed without ostentation, so much musicality, intonation and love for Cuban music.

José Antonio was not only a great musician, he was a great person, very loved by his closest friends and in general by the people whose affection and admiration he won since the participation of Sierra Maestra in the Adolfo Guzmán contest and that thanks to his special way of interpreting the Cuban son, great musicians such as Ignacio Piñeiro’s Septeto were born again in the popular taste.

José Antonio Maceo Rodríguez y su Grupo
José Antonio Maceo Rodríguez y su Grupo

The singer died on November 6, 2005, just a few hours after finishing the European tour of Sierra Maestra with a concert at the Amager concert hall in Copenhagen.

With this presentation, the popular band put an end to the performance of all the Cuban artists who participated in the First International Latin Music Festival of that capital. The sonero’s remains were repatriated to Cuba, where he was buried.

Also Read: Bamboleo de Lázaro Valdés is another of those exquisite Cuban products, as well as sweet rum and mild cigars

Phil Robinson Sonero, composer and performer bandleader

North America / USA / New York

Phil Robinson born in S. Bronx, New York, of Dominican and Puerto Rican parents, lived his early years up-bringing in the Dominican Republic, surrounded by music and close family members that sang, recited poetry and performed.

At the age of five, Phil Robinson already sang songs from well known Spaniel child, singer, ‘Joselito’ and was singing and reciting poetry in school recitals and shows, literately, showing his natural talent as a singer and performer.

Phil Robinson
Phil Robinson

Phil Robinson began his professional career in 1973, when he began his musical journey as a lead singer for Orquesta Yare, in Vineland New Jersey.

Phil Robinson relocated to Los Angeles where he was noticed for his charisma, voice range and singing style often compared with Puerto Rican salsa singer Tito Allen, as he evolved, he became lead for Henry Mora and the LA Salsa All Star Salsa Orquestra, he collaborated with many of the local groups, from there on he became lead vocals  for Eric Matos and Orquesta La Caliente, Papo Rodriguez and La Sorpresa, recording two original songs composed by Nelson Montalvo title Fantasia and Mi Regalo, included in his 2005 CD, ‘Oye Salsa Sabor y Clave’.

During the time Phil Robinson was with Papo Rodriguez, Panamanian singer Camilo Azuquita, strolled into town and La Sorpresa became ‘Azuquita y su Melao’, Phil became Azuquita’s back up lead for a number of years, performing in many well-known venues such as Hollywood Palladium and with many renowned artists such as the late Celia Cruz.

Phil Robinson
Phil Robinson

In 1993 he joined Orlando Lopez Mazacote recording his first published cd project under the Fonovisa Record label Salsa Para El Mundo Entero, as the band lead vocals he performed many corporate events, concerts as LA Cinco De Mayo Festival, traveling to Ensenada Mexico, sharing stage with Willie Chirino and Andy Montañez to name a few. He also recorded it additional songs under OLM records Salsa Bravisima.

Phil Robinson paused his career for a bit and continue to collaborate with different local bands and returned to the stage with his band performing well-known places such as San Manuel Indian Bingo and Casino, Oxnard Festival, Fiesta Alegre Festival, private events and LA salsa venues, Conga Room, Rumba Room, Mama Juana, El Floridita, Santa Monica Monsoons and many other popular LA Salsa Venues

Phil Robinson has shared the stage with Adalberto Santiago, Tony Vega, Herman Olivera, Yolanda Rivera, Menique, Luigi Texidor, Wichy Camacho, Cuban singer Franco, Willie Chirino, Celia Cruz, and the list goes on.

After seven years Phil Robinson completed and published his new musical project, produced by Arturo Solar “Between Two Worlds ” a project that encompasses classical compositions from Armando Manzanero, Ted Koehler / Harold Arlen, Virgilio and Homero Exposito, Enrique Benitez, Vicente Garrido Calderon, Jesus Alejandro and originals composed by Phil.

Throughout 2017 Phil Robinson has continued to perform frequently in San Manuel Casino, Granda LA, the new Rumba Room, Granada LA, Cafe Sevilla, Granada LA, Oxnard Festival and Fiestalegre Fundraiser for Puerto Rico Huracane Maria.

Phil Robinson
Phil Robinson

2018 continues to be a year of success as we see it for Phil, many surprises will arise, follow the man with a unique stage presence, charisma y mucho sabor.

Phil Robinson thank you for your continued support and may God bless you all.

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.