Кубалық «La Sonora Matancera» тобының тарихы

Cuban band

La Sonora Matancera is a Cuban band that played Latin American urban popular dance music. Founded in 1924 and led for more than five decades by guitarist, vocalist, composer, and producer Rogelio Martínez, musicologists consider it an icon of this type of music. Notable singers to have sung and recorded with the band include Bienvenido Granda, Daniel Santos, Myrta Silva, Miguelito Valdés, Leo Marini, Celia Cruz, Nelson Pinedo, Vicentico Valdés, Estanislao "Laíto" Sureda, Alberto Beltrán, Carlos Argentino, and Celio González.

The group was founded on January 12, 1924 in Barrio Ojo de Agua, a neighborhood in the city of Matanzas. Culturally and demographically, this seaport is located in the most African region of Cuba. The ensemble was initially named Tuna Liberal for political reasons. One source believes Valera and Bautista Llopis were the vocalists

Personnel changed in 1926, and the name of the band was changed to Septeto Soprano, due to supposed new singer Eugenio Pérez (according to one source), though he left a few months later. A third source posits that Caíto and Rogelio joined the collective in 1926; both had recorded with pianist and bandleader Antonio María Romeu. The group lost Domingo Medina, Julio Gobín, and Juan Bautista Llopis in their attempt at a more modern sound. intending to stay one week. It remained there for the next thirty three years. The ensemble would eventually record for thirteen different labels. In 1929, the band signed a contract to perform live on the airwaves of Radio Progreso, making appearances on this station for many years.

Pedro Knight retired as a trumpeter in 1967 to be Celia Cruz's full time manager. The latter half of the decade saw the emergence of two new musical genres, the Boogaloo and the closely related shing a ling. These musical styles were born in New York City of the admixture of Latin — specifically Cuban/Afro Cuban rhythms — and rhythm and blues in its incarnation as soul music. Many New York based groups recorded in this style to satisfy their record companies. La Sonora Matancera also recorded an album, Sonora Boogaloo, even though they were recording at this time for their own label. Soon after Sonora Matancera returned to their earlier style. At the end of the 1960s six of the nine members of La Sonora were stalwarts of the glory years. the first of a two album series. These two albums are considered to be among the best recordings of Cuban/Afro Cuban music made in the 1970s. Chocolate was one of the instrumentalists assembled for this recording date, prior to his joining the cooperative. After thirty two years Lino Frías and La Sonora Matancera parted ways in 1976. He was also the pianist and musical director on the first album made by Armando Sánchez and his conjunto. He may have continued in this vein if not for poor health. These three albums were recorded by small, independent labels not controlled by Fania Records. Javier Vázquez followed Lino Frías as pianist Contemporary touches were added to the cooperative's instrumentation, with electronic piano, organ and electric guitar employed during this session. Five veterans of the glory days were still active with the cooperative at the close of the 1970s. Rhythm instruments, violins and organ can be heard on several of the recorded numbers, but were possibly an electronic illusion on the part of the pianist and not the actual instruments themselves. In 1984, the collective recorded with the singer Ismael Miranda. He was for many years sonero with Larry Harlow's orchestra. 1985 was a year of change. Bomberito left, to be replaced by Ken Fradley. Two artists constituted the coro on Saoco's first album: Yayo el Indio (a member of La Sonora) and Adalberto Santiago (a sonero who would record with La Sonora Matancera in 1993). Of the fourteen soneros on this recording, nine were veterans of the gilded age. This was the last occasion when these artists would perform with the collective. In this year Javier Vázquez left after thirteen years as pianist and thirty two years as chief arranger. The group's style in the 1940s was described as "white" or "mulato" in comparison to other groups in the same genre; while race in 1940s/1950s Cuba didn't necessarily mean much in terms of audience it did affect which clubs groups could play in, and access to record production and distribution. One source says that the title of this film short is "Tam Tam: la historia de la rumba" and that it was shot in 1936. "El ángel caído", 1948. With Daniel Santos and Rosita Quintana. "Escuela de modelos", 1949. With Alberto Garrido. "Música, mujeres y piratas", 1950. With Leopoldo Fernández, "Pototo", and Aníbal de Mar, "Filomeno". Ritmos del Caribe (also known as "Borrasca"; one source claims that "Borrasca" is the name of a totally different movie), 1950. With Daniel Santos, Amalia Aguilar and Rita Montaner. "La mentira", 1952. With Bienvenido Granda, Marga López and Jorge Mistral. Cinnamon Skin, 1953. With Sara Montiel, Pedro Vargas and Fernando Casanova. "A romper el coco", 1954. With Amalia Aguilar. "Me gustan todas", 1954. With Adalberto "Resortes" Martínez, Eulalio "Piporro" González and Rosita Fornés. "Una gallega en La Habana", 1955. With Nelson Pinedo, Celia Cruz, Ramón "Diplo" Rivero and Niní Marshall. "¡¡Olé Cuba!! ", 1957. With Celia Cruz, Celio González, Pototo and Filomeno. "Amorcito corazón", 1961. With Celia Cruz, Alberto Pérez Sierra, Willy "El Baby" Rodríguez, Rosita Quintana and Mauricio Garcés.