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45 years of salsa career of ‘el más que canta’ was in style
On Sunday, February 5, 2023, at about 5:00 p.m. Puerto Rican time, the curtain of the Coca Cola Music Hall rose to give way to a radiant Domingo Quiñones.
El más que canta’ arrived ready to share his voice and his usual nostalgic smile with the audience.
The 45th anniversary party began, the melodic style of the saxophone in charge of Jorge Baez. A minute after the orchestra played the first notes, Domingo let out a loud war cry that sounded like: “Puerto Rico”. Immediately, the first two songs were played: Chica romántica & Poeta y guerrero.
After a brief greeting in which Domingo thanked his fans for their support, the most emblematic songs of his career were heard, such as: Tú cómo estás, Soy, Enséñame, El progreso, Busco un amor, Falco de valor, Salsumba, Cuando se necesitan más, Fuera de control, Río abajo, Deseo salvaje y Devórame otra vez, A que no te atreves, Se necesita un milagro, Pasarás al libro del recuerdo, Lo reconozco y No voy a dejarte ir.
Keeping the rhythmic base going, Charlie Padilla was in charge of the tumbadoras, in perfect sync with Javier Oquendo on the bongos and Pablo Padín on the timbales. It was clear that Domingo was backed by a luxurious orchestra, under the musical direction of pianist, music producer, arranger, composer, singer and dancer: Carlos García. Ricardo Lugo accompanied with his impeccable bass playing. Ramón Sánchez complemented the perfection of the stage behind the keyboard.
The wind section was formed by Ángel Hernández and Jesús Alonso on trumpets, and Eliut Cintrón and Víctor Vázquez on trombones. In the choirs, the vocal forcefulness and precision of Jorge Yadiel, Nahyra Pérez and David Carrero was heard.
About an hour into the celebration, Domingo decided to do a conga solo, what a surprise we were in for! The conga solo was very well done.
An hour and a half into the concert, Gilberto Santa Rosa, Luisito Carrión and Carlos García sang with Domingo Quiñones the song En el mismo barco, composed by Domingo in the midst of the COVID-19 pandemic.
The arrangement of the song allowed the wind instrumentalists to have their way with the big spoon before giving way to a very heavy rumba in the percussive corner.
A moment of great emotion was the one that gave way to the song Río abajo, with the accompaniment of Luis ‘Perico’ Ortiz in his impeccable trumpet solos, in addition to accompanying Domingo in the chorus.
This intervention made clear the affection that Domingo and Perico have for each other. It must be because when Domingo decided to pursue his dream as a soloist, he was part of ‘Perico’s’ orchestra.
For this celebration, our Domingo Quiñones gave way to a repertoire that summarized very well those 45 years of career. More than singing, Domingo interpreted with that emotionality of his best times. The audience vibrated with his performance. His histrionic ability, his interpretative quality and the charisma with which he captures the audience’s attention, kept them captive for hours.
Photo credits: Félix Guayciba
Bella Martínez Writer, researcher of Afro-Caribbean music and author of Un conguero para la historia, Las memorias de Jimmie Morales.
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Multi-Percussionist Carlos Navarro and his Son Y Clave Orchestra
Who is Carlos Navarro?
There have been many celebrities, orchestras, groups of all genres who played their part in the salsa cultural movement in the United States, but we cannot deny that bandleader Carlos Navarro and his Son Y Clave Orchestra played a very important role, since they achieved many goals in the Latin music scene in California, specifically in Los Angeles.
Carlos Navarro was a child of the couple formed by Rafael Navarro and Maria De Jesus Velasquez de Navarro, being at the same time the brother of Alexis Enrique (the famous singer Cherry Navarro), Manuel, Rene, Lelys and Audy. The whole family decided to move to Caracas, the parish of El Valle, where all the children continued their studies.
The first one to start an artistic career at a very young age was his older brother Alexis, who would later be known as Cherry Navarro in the artistic field. Carlos followed the same steps and also dedicates himself to music, but focused on salsa, mambo, merengue, and Latin jazz.
Las Versalles
In the early 80’s, specifically in 1983, the artist served as co-founder and percussionist in one of the first and most important orchestras in Los Angeles, California, with styles of Salsa, Guaguancó, Merengue, cha cha chá, and Latin Jazz.
This group was called Las Versalles and hired many musicians based in the same city. Here you can see some of the main members and their instruments, Güiro: Carlos Navarro and Jorge Luis Balmaseda, Vocalist, Piano, Arranger: Fito Foster, Vocalist, Guitar, Flute, and Arrangements: Niño Jesús, Bass: Geraldo Zuldo and Luis López, Trumpets: Carleton Smith and Robert Hernández, Trombo: Arturo Velazco, Violin: Gene Hugo, Congas: Humberto Hernández and José “Papo” Rodríguez, Timbales: Héctor Andrade and Edwin Rolland, Backing Vocals: Fitto Foster, Niño Jesús, Bobby Rivas, Jorge Luis Balmaseda and Bass in ‘’Cama Y Mesa’’: Cuco.
Son Y Clave
In 1999, the producer, percussionist and singer founded the Son Y Clave Orchestra and became a very important group in the nightlife of Los Angeles and surrounding areas.
One of the most attractive things for spectators of the places where they perform is the ease with which they dance and execute choreography, which are highly contagious, fast and elegant at the same time.
This diversity of performance styles is another one of the many things that has led this orchestra to the summit. In the same way, they have participated in all kinds of festivals, congresses, concerts and much more. They also had an important participation in salsa nights at venues in Los Angeles and the Bay Area such as El Floridita, where they played with Son Y Clave every Monday, until Carlos had to leave for a while and left talented musician Johnny Polanco in charge.
They have been so popular in the last few years that they have managed to open for world famous bands such as the Rolling Stones, who counted on the talent of the orchestra to grace their performances in one of their most important tours.
God & Salsa and more
They have also been involved in major film projects such as ”Almost A Woman”, whose director has a long-standing friendship with Navarro. They participated in both the promotional trailer and various parts of the film, especially where there are parties and dancing.
Kaplan was so pleased with Carlos’ work in ”Almost A Woman” that she decided to contact him again to work hand in hand on a project titled ”UNO” which is based on one of the most famous Latin American TV hosts, the famous Renny Ottolina. Once again, Son Y Clave will join forces with the renowned filmmaker to put music to ”UNO”.
”Almost A Woman” had a lot of repercussion at the time, but the film for which they became known in recent years was ”God & Salsa”. Carlos Navarro himself was the main responsible for composing much of the original music that was part of the soundtrack of the film. In addition, they were also present at the filming, displaying their great talent and dedication to the audience.
Currently, Navarro has a lot of contacts, friendships and dealings with other figures and producers of the stature of classical guitarist Yalil Guerra, with whom he has participated in multiple musical projects both with his orchestra and at the production level.
He has also shared the stage with important talents in Los Angeles such as Tito Nieves, Luis Barbarán, Guillermo Canales, Ernie Valenzuela, Melissa Campos, Roosevelt Córdova, among many others.
La Sonora Matancera musical congregation of long trajectory and its sound quality, is one of the most popular in the Caribbean island “Cuba”
It was founded in Matanzas in 1924 under the name of La Tuna Liberal.
Its first members were: Valentín Cané, director and tres player, Manuel Valera, guitar and second voice, Manuel Sánchez (Jimagua), timbal, Ismael Governa, cornetín, Pablo Vázquez Govín (Bubú), double bass, Domingo Medina, guitar, Ismael Goberna, cornetín, Julio Govín, guitar, José Manuel Valera, guitar, Juan Bautista Llopis, guitar.
In 1926 Carlos Manuel Díaz Alfonso (Caíto), falsetto voice and maracas, and Rogelio Martínez Díaz (El Gallego), guitar, joined the group and it adopted the name Sexteto Soprano.
On January 12, 1927, under the name of Estudiantina Sonora Matancera, they moved to Havana. In November of that year they recorded their first two recordings for the Victor label: Fuera, fuera, chino, by José Manuel Valera, and El porqué de tus ojos, by Valentín Cané.
With the definitive name of Conjunto Sonora Matancera, it began its transmissions on the radio station El Progreso Cubano (later Radio Progreso). At that time it appeared on Radio Atwater Kent; in 1932, at the suggestion of Rogelio Martínez Díaz, it took the name of Sonora Matancera, and began its performances in the Havana Sport dance academies, and later in Marte and Belona, and later became part of the cast of CMQ Radio. In 1935, trumpeter Calixto Leicea joined the group; in 1939, composer, pianist and orchestrator Severino Ramos, who gave the Sonora its distinctive sound with his orchestrations.
In 1944 pianist Lino Frias and trumpeter Pedro Knight Caraballo joined the group, who with Calixto Leicea formed the most interesting trumpet duo in the history of Cuban ensembles; in 1945 singer Bienvenido Granda Aguilera; in 1948, Angel Alfonso Furias (Yiyo), tumbadora. At this time the Sonora Matancera was formed by Rogelio Martínez Díaz, director, guitarist and chorus; Pablo Vázquez Govín (Bubú), double bass; José del Rosario Chávez (Manteca), timbal; Ángel Alfonso Furias (Yiyo), tumbadora, who replaced Valentín Cané; Calixto Leicea, first trumpet; Pedro Knight Caraballo, second trumpet; Lino Frías, pianist; Carlos Manuel Díaz Alfonso (Caíto), falsetto voice and maracas; Bienvenido Granda, singer and claves; and Celia Cruz, who soon became the stellar singer we knew and the mainstay of the Sonora Matancera hits. Thus began a period that critics have called the golden age of the Sonora.
In 1950, with the advent of television, the Sonora Matancera was one of the first musical groups to perform on this medium. It also signed a contract with the Seeco record company, with whose recordings it made a name for itself in the international market. In 1952, Raimundo Elpidio Vázquez replaced his father, Pablo Vázquez, on double bass (when Rogelio Martínez Díaz died in 2001, he took over the leadership of the group).
In 1926, it changed its name to “Septeto Soprano”. That same year, Carlos M. Díaz “Caíto” accompanied Eugenio Pérez in the choir.
Later in 1927, on Caíto’s recommendation, Rogelio Martínez joined the group and the name of the group was changed to Estudiantina Sonora Matancera.
With a great desire to improve the group travels to Havana where they get in touch with the record company “RCA Victor” and make their first recording on January 12, 1928.
At the beginning of the thirties, the group began to adapt to the new rhythms that were appearing at that time as well as adapting new instruments, such as the grand piano, which was played for the first time in the group by Dámaso Pérez Prado, who years later would become the “King of the Mambo”.
But it was in 1935 when the group took the name La Sonora Matancera, and with this change it introduced a new trumpet player: Calixto Leicea, who replaced Ismael Goberna, who died a few months later due to health problems.
The unforgettable José Rosario Chávez “Manteca”, who replaced the resigned “Jimagua”, also joined the band. Humberto Cané joined the group playing the tres and his father Valentín Cané began playing the tumbadora.
In 1938, Dámaso Pérez Prado retired and left the vacant piano position to Severino Ramos, who soon after became the musical arranger of the group.
During the first years of the forties they made presentations in dance academies, cabarets and in Radio Progreso Cubano, they also included in their repertoire: guarachas, montunos.
On January 6, 1944, two musicians from Arsenio Rodriguez’s group joined the group: Lino Frias (author of the popular song Mata Siguaraya) who began to play the piano and Pedro Knight who became the second trumpet player of the Sonora Matancera.
In the month of December, Bienvenido Granda enters the band recommended as vocalist, being his first recording “La Ola Marina” by Virgilio González, and with him they sign a contract with the nascent record label Panart Records. Valentín Cané, Israel del Pino, Caíto and Humberto Cané made recordings with this label.
In the middle of 1946 the founder Valentín Cané suffers asthmatic problems that force him to leave the group, dying two years later. Before the group joined Panart Records, it recorded other songs for the “Varsity” label, without the name of the Sonora Matancera appearing on the labels, here the first version of “Se Formó la Rumbantela” by Pablo Cairo, “Tumba Colorá”, “El Cinto De Mi Sombrero”, Bienvenido Granda and Humberto Cané participated in these numbers.
Members
Trumpets: Calixto Leicea and Pedro Knight
Double Bass: Elpidio Vázquez, replacing his father Pablo Vázquez, “Bubu”.
Piano: Lino Frías
Timbales, Bongó and Campana: José Rosario Chávez “Manteca” Chávez
Tumbadora: Ángel Alfonso Furias “Yiyo”.
Guitar and Choir: Rogelio Martínez
Maracas and Chorus: Carlos Díaz Alonso “Caíto”.
Claves and Choir: Bienvenido Granda.
Last January 13, 2023 they turned 99 years old and are still going strong from generation to generation.
Source:
Enrrique “Culebra” Iriarte, Venezuelan pianist, arranger and orchestra conductor.
Bibliography: Ecured Cuba
You can read: Carlos “Patato” Valdés one of the best percussionists in the history of Latin Jazz
Son Del Monte’s musical director and timbalero Manuel Rivera
Who is ”Manny”
Manuel ”Manny” Rivera is the musical director and timbalero of the Son Del Monte Orchestra. We had the great opportunity to have a friendly conversation with him to know in detail his beginnings, career, groups, role as musical director, among other things.
Time in the Yambú Orchestra
After apologizing for his deficits in the Spanish language, he continued by thanking us for the opportunity to tell his story and describe his time in the Yambú Orchestra, which was the first group in which he could start developing his talents in the 70’s. ”what we wanted to do at that time was make a mix between jazz with typical music because the pianist, who was of African descent, was who wrote the music with musical director and bassist Ramón Rodríguez”. It is presumed that the pianist focused a lot on these genres because of his roots, but his colleagues were fine with it.
Although he loved jazz, Manuel began to notice that it was not very danceable for the audience, which is what caused him to become interested in charanga, a genre that was already very famous in New York City in those years. That’s how he decided to immerse himself in this set of rhythms because he liked to see people go to the dance floor and enjoy themselves.
He also liked Yambú’s style a lot, but felt he had to take a more accurate path for what he was feeling at the time.
Similarities of Son Del Monte with other jazz big bands and members
I was a bongo player, but I started playing timbales because they are widely used in charanga. What I was looking for was to do a similar thing to what Eddie Palmieri did with La Perfecta, who used trombones and a flute mixed with timbales to achieve a charanga sound” said Rivera on this subject. He also added that ”I also wanted to avoid monotony of charanga so I also started using trombones, violin and a flute. This is what I have baptized as chajunto, a mixture of charanga with the characteristics of an ensemble (conjunto in Spanish) ”.
He also pointed out that New York does not have an orchestra like his because he did not want to do the same thing that all groups of this kind do, but something different and novel. ”Son Del Monte is charanga with something more for the people, not only violin and flutes,” said the artist. ”I have three singers with three different styles and they are Puerto Rican Luis Ayala, Colombian Armando Son Giménez and Puerto Rican-Dominican Luisito Soto Junior,” he added.
The Son Del Monte Orchestra also features from the talent of flutist Mauricio Smith Junior, violinist Erick Salazar, trombonist Juanga Lakunza, trombonist Charlie García, bassist Bert Castro, conguero Joe González, pianist Andy Colón, among others. This is the group that has stuck by his side for more than six years in spite of the storms and they always perform together.
Opinion on the academic training of musicians
Rivera was one of the best students at Harbor’s Conservatory of Music in Manhattan, New York and he thinks that institution had done so mucho good for folk music because of all the talent that graduated there. After studying there, he began to read percussion music and learned to play batá, tumbadora, Colombian rumba, guaguancó, yambú, and so on.
The musician stresses the importance of studying, as this knowledge helps to understand the clave, the moment to start playing an instrument, the chime, the reading of music, discipline and many more. Before this, Manuel played led by the spirit and sensations, but his teachers at the conservatory taught him to have the technical tools necessary for being even more professional.
What is more important, experience or studies?
”Definitely experience. I have seen many great artists learn to read music without going to a conservatory and a great example of that is Roberto Roena, who did not need that learning to be who he was. However, that is something that not everyone can do” said Manuel. I can also mention the case of Tito Rodriguez who was not a musician guided by the lyrics, but he knew very well what he wanted. These are some of the many examples of privileged artists who only needed accumulated experience to achieve wonders with their work”.
However, this does not mean studies are not important, as they can teach things that can be useful later on and under some circumstances.
Covid-19
”The pandemic did not let us do anything on stage. The guys went to the studio from time to time or we met virtually, as we do now. It was so sad because there are many venues that have failed to open their doors again. Since the pandemic started, we have not seen as much activity in New York as it used to be before” expressed the artist sadly.
Also of concern to the musical director of the Son Del Monte Orchestra is that this situation has put many musicians out of work, at least in the industry. Active musical groups have very few members in the vast majority of the cases, contrary to his and the orchestra he conducts. He hopes that it will improve with time.
Read also: Founder of the Son Latino de Orlando Orchestra Carlos Rodríguez