Search Results for: son cubano

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

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

Heir to the solid musical tradition of his family, Justo Betancourt was an incomparable sonero, possessing a unique personal style, He began his career at a very early age in his native Cuba, where he participated with orchestras and bands.

In the 1960s, he arrived in New York, where he launched a new and brilliant stage of his career, singing vocals for the legendary and inveterate group, La Sonora Matancera, which was already established in the city. Betancourt stayed with the group for five years.

In later years, he was a member of the chorus of several groups, including those of Eddie Palmieri and Ray Barretto.

At the end of 1976 Justo settled in Puerto Rico, fleeing the limitations of the New York environment and separating himself from the tours and recordings of Fania All Stars, to enter the modern and freer scene projected by groups such as Sonora Ponceña, Willie Rosario, Bobby Valentín and Roberto Roena, among others, from the island.

With young musicians including vocalists Sammy Gonzalez and Tito Rojas, he created his own orchestra which he called “Borincuba”, a name to reflect the mixture of Puerto Rican and Cuban artists.

In 1976 Johnny Pacheco in his interest to maintain the successful formula of the modernization of the sound of the Sonora Matancera as the typical sound of his group (the Tumbao Añejo), unites the voice of Justo Betancourt with that of his compatriot Celia Cruz, it was the first time that this duo of Cubans in exile was reunited, in the album “Recordando El Ayer” and in which the young pianist Papo Lucca was presented in a big way. Justo’s voice was recorded in the songs “La Equivocada” (a duet with Celia), “Ahora Sí” and “Guíllate”.

Celia, Johnny, Justo & Papo Recordando El Ayer 1976

That same year 1976, Justo is part of the ten vocalists that the Fania All Stars summons for his first production in a recording studio in the project “Tribute To Tito Rodriguez”, in which he performs the song “Cara De Payaso”, (the other vocalists were Santos Colón, Bobby Cruz, Cheo Feliciano, Héctor Lavoe, Ismael Miranda, Ismael Quintana, Pete “Conde” Rodríguez, Rubén Blades (his first recording with Fania All Stars) and Chivirico Dávila (his only recording with the group).

Fania All Stars Tribute To Tito Rodriguez 1976

To complete this productive year, Justo Betancourt joins percussionist Mongo Santamaría as the lead vocalist for the musical work “Ubane”, with the production of Marty Sheller, one of the important experimental albums of the salsa boom, a work that recovers the saxophone for the Salsa and bembé orchestra in the old Cuban Guaracha of the 50’s, and in which a constellation of New York, Cuban, Puerto Rican and Colombian musicians participate.

However, the album did not succeed in definitely catching on with the public and ended in the most unjust failure.

With his new orchestra, he recorded four albums, of which he recorded as lead singer in only two albums: “Distinto Y Diferente” (1977) which includes the songs: “No Estás En Nada”, “Distinto Y Diferente”, “Soy Profesional” and “Óyela”; and “¡Presencia!” (1978) which includes a tremendous new version of the bolero “Psicología” and the song, composed by Catalino “Tite” Curet Alonso, “Camarón”. Justo was always among the best and remained oblivious to the decadence of the industrial boom of New York Salsa at the end of the decade.

Justo Betancourt Distinto Y Diferente 1977

His secret was to remain bravo by performing authentic Caribbean music without the commercial additives imposed by Salsa.

The young singer who performed in the chorus and Justo’s student in Borincuba, Tito Rojas, became the lead singer in the following album “Con Amor” (1978), which Betancourt conducted and participated in the chorus.

Tito Rojas’ last work before splitting from Borincuba to start his solo career was the album titled only as “Borincuba”, in which Justo also served as musical director and backing vocalist.

Justo Betancourt Presenta Su Conjunto Borincuba Canta Tito Rojas Con Amor 1978

So in 1979, when Tito inherited the band, he started his solo career changing the name to Tito Rojas y el Conjunto Borincano¸ which had a short existence.

After a series of his own albums, he became the lead vocalist of the Puerto Rican Power Orchestra and appeared on their first two albums (1987 and 1989).

In 1990, Tito Rojas embarked on his solo career with the romantic salsa album “Sensual” which reached first place in the Latin Music Hit Parade in April.

In the following years, Betancourt, residing between New York and San Juan, continued in the inertia of the Fania contracts. In March 1979, when the Fania All Stars were part of the group of musicians who traveled to the island of Cuba to participate in the “Havana Jam Festival”, a musical exchange between the United States and Cuba organized by CBS and held at the Karl Marx Theater in Havana, Justo Betancourt and his compatriot Celia Cruz, for obvious political reasons, could not travel with the group; for this reason Justo decided to leave the All Stars.

Nevertheless, his contract with the Fania company remained in force, and that year he released another album titled “Justo Betancourt” (1979), produced by himself and Louie Ramirez, which included the songs “Yo Sin Ti” and “Qué Más Quieres De Mi”, among others.

In 1981, Betancourt returns to record again with the Sonora Matancera in an album entitled “Sonora Matancera Con Justo Betancourt”, produced by Javier Vásquez and recorded on the Bárbaro label, a subsidiary of Fania and owned by Jerry Masucci. On this album, four guest musicians appear for the first time to record with the Sonora: Pedro “Puchi” Boulong: on trumpet, José Daniel: on the tumbadora, Elpidio Vásquez Jr. (son of the bassist): on second bass, and Mario Hernández: on tres.

From this work the hit “Mala Pata” and a new version of the bolero “Hoy Sé Más” stand out.

In 1982, he recorded his last work on the Fania Records label “Leguleya No” (1982), with his own production company RMQ and with the arrangements and musical direction of Ray Santos and Javier Vásquez.

From 1982 onwards his appearances were variable, he participated in Israel Sardinas’ LP, “Israel, la Verdad” (1984), and participated in Celia Cruz and Tito Puente’s album “Homenaje A Benny Moré Vol. 3” in 1985, in one of the songs: “Tú Solo Tú”.

Except for these participations, he made no recordings between 1983 and 1989.

And so, there were plenty of reasons for Justo Betancourt, despite so many successes, to end up in virtual anonymity and indifference. He gradually withdrew from the world of the studios, although he continued to perform sporadically.

After years of recording silence, he returned in 1990 with his style with the album “Regresar” on his own label RMQ, of which he was the producer, director and did half of the arrangements written by Eric Figueroa.

In 1992 he released the album “El Bravo De Siempre”, for Rafael Viera’s RV Productions label, which featured the participation of Cuban percussion legend Carlos “Patato” Valdes, among other great Puerto Rican musicians.

In 1994 he participated in the project of Puerto Rican producer and musician Frank Ferrer called “Descarga Boricua”, alongside more than 30 experienced local and international musicians such as Ismael Miranda, Jerry Medina, Papo Vázquez, Juancito Torres, Alex Acuna, Mario Rivera, Pedro Guzmán and Ángel “Cachete” Maldonado, among others. There, and in several songs, he resorted to his superb vocal resources as in his good times. In the second work of the Descarga Boricua, edited in 1996, he participated briefly with some soneos in the song “Abrázate a Puerto Rico”, as well as in the third album of the reunion of the virtuous Puerto Rican musicians.

He returned to the recording studios again in 1998 with the CD “Mató” for the El Paso label in Puerto Rico, and from which the song “El Lema Del Guaguancó” stands out in the most vigorous style of Arsenio Rodríguez, composer of the song.

He also made his return as guest singer of the Fania All Stars for the concert of April 29, 2000 in Puerto Rico, a return that he made together with Ismael Miranda and Luigi Texidor to the group.

Justo Betancourt has participated as a backing vocalist in the recordings of many Latin music orchestras and works of renowned artists, such as La Conspiración de Ernie Agosto, Celia Cruz, Johnny Pacheco, Roberto Roena, Willie Colón, Eddie Palmieri, Willie Rosario’s orchestra, Héctor Lavoe, Adalberto Santiago, Kim De Los Santos, Van Lester and the Puerto Rican Power orchestra, among others.

In 2002 he participated for pianist Papo Lucca in the musical project “Festival de Boleros” with the song “En Cada Beso”, along with a constellation of Boricua singers and musicians.

Sources:

Por: Jose Ramon Tremaria

Ecued

Fania Stars

Also Read: Nicky Marrero is an innovator, timbalero and bongo player, living legend of our Afro-Latin and Caribbean music.

Juan Valdez Byte Dominican musician, arranger, composer and singer-songwriter.

Juan Valdez Born in San Juan de la Maguana on June 24, 1962. Son of Mrs. Martha Ramona Ybert and Mr. Jose Ignacio Valdez (Kiko), he is the eldest of 6 siblings (all musicians).

He started in his father’s band (also a musician) La Gran Dimensión, he was the first saxophonist of the municipal music band of his town where he studied solfeggio and saxophone with maestro Plinio Feliz. Later he studied piano at the school of fine arts of the same town.

Juan Valdez Ybet at the age of 19 he moved to Santo Domingo, capital of the Dominican Republic, where he became a pianist and arranger for the Rosario Brothers Orchestra, Aramis Camilo, Alex Bueno, Sergio Vargas, Alex Mansilla and Canaveral, pianist for Juan Luis Guerra and 440, then director and arranger for Luis Diaz, Michel El Buenon, Asdrubar, Felix Manuel, Big Bang Congreso del Bolero, Felix De Oleo, Jaqueline Estevez, Anthony Rios, Camboy Estevez, Homenaje a Felix del Rosario, among others.

He was also Director of the Television Programs: Buen Provecho with Yaqui Nuñez, Viceversa with Mariela Encarnación and Georgina Duluc, En Resumidas Cuentas and Sábado de Corporan.

Juan Valdez Ybet he has participated as a pianist in concerts and studio recordings with Aramis Camilo, Alex Bueno, Sergio Vargas, Luis Diaz, Michel El Buenon, Asdrubar, Felix Manuel, Felix De Oleo, popular concerts, Orquesta Sinfónica Nacional conductor Jose A. Molina, Grupo Cañaveral, Wilfrido Vargas, Fernando Villalona, Sandy Reyes, Henry Garcia, Grupo Licuado de Crispin Fernandez, Maridalia Hernandez, Milly Quezada, Juan Luis Guerra, Andy Montañez, Paquito Guzman, Tito Gomez, Zacarias Ferreira, Eddy Herrera, Hermanos Rosario, Kaki Vargas, Hector Acosta y Toros Band, The New York Band, Grupo Ilegales, Manuel Tejada, Jorge Taveras, Rasputin, Pablo Martinez, Marcos Hernandez, Luis Miguel del Amargue, Aniversario Telemicro, among others.

He has made Musical Arrangements (Orchestrator) for: Aramis Camilo, Alex Bueno, Sergio Vargas, Luis Diaz, Michel El Buenon, Asdrubar, Felix Manuel, Felix De Oleo, National Symphony Orchestra, Placido Domingo Jr, Grupo Canaveral, Wilfrido Vargas, Fernando Villalona, Sandy Reyes, Henry Garcia, Milly Quezada, Zacarias Ferreira, Olga Tañon, Manny Manuel, Mayra y Celines, Placido Domingo Hijo, Hermanos Rosario, Kaki Vargas, Hector Acosta y Toros Band, The New York Band, La Coco Band, Grupo Ilegales, Rasputin, Pablo Martinez, Jailine Cintron, Grupo La Linea, Premios Casandra, Primera y Segunda del Merengue, Que Viva El Merengue, Dimanchy, Conjunto Quisqueya, Giselle, Isha, Pakole, Manolé, Yanfourd, David Kada, Shadow Blow, Vakero, Gingers for Brugal, Coca Cola and Pastas La Famosa.

Juan he is also a professor of Piano and Popular Latin Orchestration at the National Conservatory of Music (CNM) since 2001 to date. He has been nominated for the Cassandra Awards since 1987 until the last Sovereign Awards.

Juan Valdez ByteBorn in San Juan de la Maguana on June 24, 1962.

Recognized by the green valley foundation in his town, by the city council and the syndic.

Recognized by the Grammy awards as an arranger and musician.

Arranger:

The Rosario Brothers: El Chicharron, Buena Suerte.

Aramis Camilo: Nena, Si la Ven, El Alicate, Hellow, Al Maestro Con Cariño, La india, A La Talalala, I Will Always Love You, Si Yo Pudiera (Salsa), Ya Te Digo Adiós.

Alex Bueno: Como Nadie (lyrics, composition and arrangement), Soy Rebelde, Una Lagrima Por tu Amor, Nuestro Juramento, Quien Soy Yo Sin Ella, Número C.

Quien Soy Yo Sin Ella, Número Cero.

Sergio Vargas: Marola, La Ventanita, La Pastilla, Bamboleo, Perla Negra, Se Acabo, Me Muero, El Merengue Se Baila Pegao, Dias de

Junio, Yo Soy, Muele, Maquina Olandera, Dudas, Por H o por R (Composicion y Arreglo), Perfume de Rosas, En Esta Casa Humilde, A Dar Amor, Tu Vacilandome, Tu Ausencia, Causas y Azares, Lejos, Ciclon, Que No Halla, Mas Fronteras, Amor De A Ratos, Que Linda, Mujeres, Dile Mas, Baile ae, Si Volvieras, Palo Palo, Eres Tu, Ramona, Musica para la fiesta, Soy Sergio, Ay Ombe, El Dolorcito, Jugue sin saber, Aunque mal paguen ellas, Magia, Sin Ella Sufro, Llore Llore, Lucerito.

Benny Sadel: Que pasará, Te He Prometido, Mis manos en tu cintura (Arrangement and Chorus), Homenaje a Wilfrido, Rompamos El Contrato, Quiero Ser, Por Que Yo Quiero, En Esta Navidad, Por Ti, Un Mal Sueño, Así Es La Vida, Yo Te Daba Amor.

Wilfrido Vargas: El Baile Del Perrito, Por La Plata Baila El Mono.

Fernando Villalona: Yo Soy Aquel, Sin Ti, Que Chuleria, Hoy Le Pido Al Señor, No Te Rindas (Bachata).

Rubby Perez: I Must Do It.

Eddy Herrera: Carolina, Callejón Sin Salida, Vete, Dueno De Nada, Desde Que Te Conoci, Lo Tiene Todo.

Hector Acosta (El Torito): Menos Que Nada, Sin Tu No Me Quieres, Déjala, Si Me Recuerdas (Salsa).

New York Band: Quien Piensas Tu Que Soy, Me Quedé Con Las Ganas.

Pochi y La CocoBand: Olvida Las Penas.

Diomedes: Balsie, Las Estrellas Brillaran, El Negro Chombo, Locos De Amor (Karen Records).

Kaki Vargas: Los Mosquitos Puyan (Complete Album), No Cojas Sola Pa Allá, El Hombre De Mamá, Muchachita De Los Limones, Arisleyda, Mampote, among others.

Juan Valdez Ybet

Also Read: Betsy Colombian Salsa, Bolero and Son Cubano Singer

Arabella la Sonera Mayor de Colombia in her Callejón on a Sunday in Barrio with Chico Matanza

Born on June 5th, Arabella, “La Sonera Mayor”, is from Bogota, Colombia.

Arabella With her first name “María Margarita Pinillos”, she is an excellent Salsa singer and composer who shined in the 70’s and 80’s with her record productions, whose consecration and fame, however, was not in her native country but in Venezuela.

His Caribbean music song that made him famous was “Callejón” and he stayed in Venezuela for a while.

In 1972 he settled in Venezuela, it was in this country where he managed to strengthen his career and achieve the great success he had, he recorded several albums in the company of great artists of the time. In 78 and 79 he formed a group called “Los Maraqueros”, with which he could freely make the music he really wanted to make, Cuban music of Trio Matamoros and Puerto Rico.

She felt great interest in music from a very early age, however she did not contemplate from that time to make professional music, it was until she was 13 years old that a friend enrolled her without prior consultation in a radio contest of the time called “Orquídea de Plata Phillips”.

But because she was not prepared she was disqualified, however as a result she was recommended to participate in the television contest “Michel Talento” the first contest for amateurs of Colombian television. From that contest she went on to be hired at the Tequendama Hotel, the most important hotel of the time, as the first woman to sing vallenatos at the Salón Monserrate with the company of accordionist Ángel Martínez.

Arabella la Sonera Mayor de Colombia in her Callejón on a Sunday in Barrio with Chico Matanza

Arabella’s name was born from the fact that they used to tell her that she resembled a model that visited Colombia who unfortunately committed suicide, her pianist suggested her to adopt that name as her artistic name and she accepted.

Considered for many years as the natural successor of Celia Cruz, and Celia said that Arabella was her successor due to her extraordinary vocal quality.

She settled in Caracas-Venezuela since 1982, obtaining success in Salsa thanks to the advice of the great announcer Phidias Danilo Escalona.

In her beginnings she formed her own group called “Los Maraqueros”, she also recorded with Pacho Galán and with “Los Hijos del Rey” of the Dominican Wilfrido Vargas in which she recorded 4 merengues in a trip she made to the Dominican Republic, Wilfrido himself located her to record with him and they were hits the theme Corazón, Corazón de Julio Iglesia.

Los Armónicos de Manolo Monterrey, Chucho Sanoja y su orquesta, Willy Pérez and with the Megatones de Lucho.

With the groups that accompanied him as a salsa soloist.

It is worth mentioning that the song “Mi Vida es Cantar” immortalized by Ursula Hilaria de la Caridad Cruz, “La Guarachera del Mundo”, the queen of salsa, was composed by Arabella, who gave it to the eternal Cuban and salsa luminary.

For a while she lived in Puerto Rico where she decided to become a musical show businesswoman, with this company she traveled to several Latin American countries with first class singers: Marvin Santiago, Oscar de Leon, Ismael Miranda, among others.

She finally announced her retirement from music after recording “La Musiquita” and “Yo te Vi”. After her retirement she moved to Miami, United States with her daughter, Margarita decided to dedicate herself to take care of her beloved daughter, her home and two cats and two dogs that are her favorites.

DISCOGRAPHY

– Más Allá Del Sabor (1990)

– Mi Son Es Un Misterio (1987)

– Puro Trópico (1987)

– La Musiquita (1987)

– Arabella (1985)

– Sabor Y Raza (1982)

– La Simpatiquisima (1980)

– Encontré Mi Amor (1979)

– Arabella (1978)

– Nelson Martinez y Arabella (1976)

– Nelson Martinez / Arabella Y Su Combo Tropical (1974)

SINGLES & EPs

– I Was Your Hunt (1990)

– Amiga La Vida / Sin Dejarte De Amar (1987)

– Mi Son Es Un Misterio / Mentiras (1986)

– Zape Pa’ Lla / Mentira (1986)

– Mentiras / Panamá (1985)

– Chico Matanza / Nu Sueño Mas (1982)

– Pal Campo/Mucho, Poquito, Nada (1978)

– Hija De Nadie (Flor Del Mal) / Arepas

– Domingo En El Barrio / Chico Matanza

– Mentiras / Espejismo

– Tómame Que Tómame / Con La Vara Que Midas (Take Me That Take Me / With The Rod That Midas)

Source:

William Aramburen Salsa Ephemeris

@arabellalasoneramayor

Also Read: Betsy Colombian Salsa, Bolero and Son Cubano Singer

Musical director of VibraSÓN Jake Jacobs is here

VibraSÓN is a musical group that makes life in the state of California, specifically in the San Francisco Bay Area, which has become one of the best options for festivals and nightclubs seeking fresh sounds in terms of salsa, swing and Latin music in general.

I was pleased to know about this great orchestra, its members and sound thanks to its work at Charley’s LG, Bar and Nightclub where Eduardo Guilarte, our editor, was working and directing everything related to the lineups and musical programming for Latin music nights, more specifically on Tuesdays.

When I made contact, the person who was kind enough to reply was musical director of VibraSÓN. Jake Jacobs, who at the same time works as a producer, percussionist and backing vocalist.

Jake Jacobs from VibraSÓN — Jake Jacobs, musical director of VibraSON

Talk with Jake Jacobs from the group VibraSÓN

Jake Jacobs comes from a very interesting background. His first contact with music took place with his father and uncle, both of whom were professional musicians, but Jake says he has always been interested in this world.

He studied classical piano and music theory at the University of Illinois and took some jazz piano lessons in his passage through the University of California. During these years, the musical director spent roughly 13 hours a day practicing with this instrument to master it as well as possible.

With time, he became interested in Latin music and dance, which also led him to take dance classes at university. With that knowledge acquired up to that moment, he went to visit New York and his trip coincided with the National Puerto Rican Day Parade (an event held annually in New York and other states to celebrate Puerto Rico and its traditions in the United States).

This event inspired Jake so much that he returned to the Bay Area with the intention to switch his dance classes to salsa classes. He became so good that he began to teach salsa dance classes himself to numerous students interested in learning these rhythms, something he has been done for over 20 years in widely recognized clubs and dance studios.

He used to provide these classes twice a week at the Cocomo Club, which was very important at the time and attracted more than 600 people every day. When bands performed live, the future leader of VibraSÓN began to know musicians, who, in turn, gave him music lessons and his first opportunities to play in bands.

Jake Jacobs with VibraSÓN — Jake Jacobs and the other members of VibraSÓN

Apprenticeships and classes with great musicians

One of the most impressive credentials that Jake can have is to have studied with some of the best musicians in the San Francisco Bay Area such as Edgardo Cambón, Karl Perazzo, Michael Spiro, Louie Romero, among others.

Evidently, all these luminaries have taught the producer much of what he knows and applies today, but he ensures that it was not easy to learn from so many ”teachers” at the same time, in both dancing and music performance.

Ensures that some of the most important things he learned have to do with technique and tips to be applied such as how to play the drums, the notes at the right times, silences and much more.

He points out that they all taught him valuable and important things, which are still very useful to this day. One of those great lessons was to practice and practice until he achieved the sounds he wanted, especially in Latin music.

VibraSÓN

Finally, in 2014, Jake decided it was time to put into practice everything he learned and create his own musical group with his own original details. This is how VibraSÓN came about.

The origin of his band’s name came from Luis Morales, one of its members. It is based on vibraphone, which is not widely used by the orchestras from the San Francisco Bay Area, but by the dancers and by this new group in their performances. As for the end of the name, it comes from ”son cubano”, a typical genre of the island Jake likes very much.

Although Club Cocomo unfortunately closed the following year, that didn’t stop VibraSÓN from making its way and becoming one of the most demanded groups in the Bay Area in recent years.

One of the things that Jake thinks makes his group unique is that there are very few people who use the vibraphone and, due to his training as a dancer, he is always looking to make the most appropriate music for that part of the audience for whom dancing is very important.

Jake Jacobs in San Francisco — Jake Jacobs performing on stage in San Francisco

How Jake and VibraSÓN read the crowd

For Jake and the rest of the band, it is very important to read the crowd and see how people react to the music they play at any time. They pay a lot of attention to the dance floor to see what works and what doesn’t with the people they play for that night.

Having played at clubs such as Charley’s, Bar Fluxus, La Peña Cultural, The Cigar Bar and Space 500, they have prepared a very generous repertoire for each performance. Just as they have written original music, they have also dedicated themselves to perform covers of the most buzzed-about artists in recent times in certain contexts, something that worked out for several orchestras when they need to draw on these resources to entertain the audience.

This wide repertoire that they now enjoy is what has allowed them to make diverse shows with lots of variety so that those present never get bored, even if they usually go to the same place.

Another thing they tend to do is add new arrangements and change genres to the covers they do so that they do not sound exactly like the originals and they can inject some of their essence, even if they are not songs written or sung by them originally. ”Even if they are covers, we always try to add our original arrangements so that the dancers enjoy them that much more” said Jake.

They have also learned to connect with the audience and know what the dancers and the general public want in order to give them exactly what they want. And they did not learn this overnight, but have observed in detail what other orchestras do to imitate what is good and useful.

Jake and VibraSÓN on stage — VibraSÓN performing on stage

Tours and future plans of VibraSÓN

At the end of the interesting talk, Jake told us that, for now, they only plan to record new music and other activities that are comfortable for all the members, since many of the musicians are in other orchestras and record for other people, so it is too complicated for them to tour with VibraSÓN. In addition to that, several of them have small children to care for, so it is impossible for them to travel for a long time.

He is so considerate because he always tries to keep the same members and preserve the unity of the group above all else. It has worked for them, as they have managed to made a name, which will continue to become popular over time.