Sonora Matancera

Sonora Matancera is a Cuban/Afro-Cuban band that played Latin American urban popular dance music. Led for more than five decades by guitarist, vocalist, composer, and producer Rogelio Martínez, musicologists consider it an icon of this type of music.

Early History: The Founding of Tuna Liberal

The group was founded on January 12, 1924 in Barrio Ojo de Agua, a neighborhood in the city of Matanzas, capital of the province of the same name in west central Cuba. Culturally and demographically, this is the most African region of Cuba. It was initially named, for political reasons, Tuna Liberal. The co-founders were Valentín Cané (director, tres, guitar and tumbadora, or as it is commonly called, conga. He was also a songwriter and later on a singer) and Pablo "Bubú" Vázquez Gobín (contrabass). The other original members were Manuel "Jimagua" Sánchez (timbales), Ismael Goberna (cornet/trumpet), Domingo Medina, José Manuel Valera, Julio Gobín, Juan Bautista Llópis (guitarists), and Eugenio Pérez, vocalist. One source believes Valera and Bautista Llópis were the vocalists while a second source holds to the position that Eugenio Pérez was the sole sonero. At this point, the band was just a commonplace group—irrespective of its popularity in Matanzas and the outlying area—playing primarily son, that most basic of Cuban/Afro-Cuban rhythms. The ensemble had not developed as of yet its own distinctive sound in relation to its interpretation of the various and sundry genres comprising the musical architecture of Cuba.

Early History: Personnel, Instrumentational, and Stylistic Changes in the 1920s

In 1926, several members joined and others left. The name of the band was changed to Septeto Soprano. One source claims this was due to the voice of supposed new vocalist Eugenio Pérez, though he left a few months later. A different source credits the new name to the vocal range of the singer and maracas player, Carlos Manuel "Caíto" Díaz Alonso, who became a member the same year.

Additionally, Rogelio Martínez joined the group in 1926, after Caíto recommended him to Valentín Cané. Another source indicates that Rogelio recommended Caíto to Valentín Cané, and that Caíto and Rogelio became members in 1927. A third source posits that Caíto and Rogelio joined the collective in 1926. Be that as it may, they had recorded with the charanga francesa of the much-admired pianist Antonio María Romeu prior to joining Septeto Soprano.

The group lost the services of Domingo Medina, Julio Gobín, and Juan Bautista Llópis in the attempt to elaborate a more modern sound. The band experienced many more changes—in personnel, instrumentation, and musical styles—in their nearly eight decade history. Each change in personnel and instrumentation altered the group's sound.

In 1927, at the suggestion of Valentín Cané, the ensemble relocated to Havana, intending to stay one week. It remained for the next thirty-three years.

The move to La Habana proved to be consequential. In 1928, the collective made its first recordings (these were for RCA-Victor; eventually, the ensemble recorded for thirteen different labels).

Havana was home to a thriving music scene in the 1920s. Septeto Soprano played their first engagements in La Habana at such popular nocturnal haunts as El Teatro Alhambra, El Centro Gallego, El Centro Asturiano, La Casa de los Médicos, El Club de los 20, El Club de los Anaranjados and other dance clubs. It competed for the public's attention, if not affection, with first-rate ensembles of the day, the likes of Sexteto Habanero, Sexteto Munamar, Sexteto Boloña, Septeto Nacional de Ignacio Piñeiro (one source asserts that this ensemble was a sexteto, not a septeto, at this time), Sexteto Pinareño, and Sexteto Gloria Cubana being among these, alternating with said bands at these nightspots. At first the collective did not have an easy time of it due to the professionalism of the tríos, cuartetos, sextetos, and septetos active at this time. The quality and professionalism of its musicianship allowed Septeto Soprano to triumph, carving out a niche for itself in the Cuban capital.

The collective ended the decade on a high note. In 1929, it signed a contract to perform live on the airwaves of Radio Progreso Cubano (or, as it was familiarly called, Radio Progreso), making appearances at said station for many years. Septeto Soprano had arrived. The ensemble was no longer merely a provincial phenomenon.

Early History: Personnel, Instrumentational, and Stylistic Changes in the 1930s

Septeto Soprano began the decade by once again recording for RCA-Victor. This was the sole occasion over this span of time during which the group recorded. The band would not do so for many years afterwards.

The 1930s were momentous. Some of the individuals important to the group's success began their long association with the collective in that period.

The inclusion of piano in son ensembles broadened their contrapuntal and harmonic vocabulary. Similarly, replacing the cornet with the trumpet, and the addition of a second and even a third trumpet, changed the sound and structure. Owing to these evolutionary changes, sextetos and septetos were converted into conjuntos. Septeto Soprano was not adverse to these technical and structural advances. The band incorporated the piano into its instrumentational profile during this decade. The expansion of the brass section would have to wait until the 1940s.

In 1932, Rogelio Martínez was appointed co-director. He was influential in determining the destiny of the conjunto. Juan Bautista Llópis returned for a brief period, and a new percussionist, José "Manteca" Rosario Chávez, became a member. Three more sources say that Manteca joined in 1929 while one other source states that this happened in 1935. Manteca filled the vacancy created when Jimagua left.

The collective changed its name to Estudiantina Sonora Matancera in the early 1930s. Each change in the group's name was indicative of a change in instrumentation and its corresponding stylistic change.

In 1935, vocalist Manolo Barquín occasionally sang with the group. That year it adopted its definitive name, Conjunto Sonora Matancera. Furthermore, Calixto Leicea and Humberto Cané (son of Valentín Cané) became members in this same year. Another source claims Humberto Cané joined in 1929. Calixto Leicea replaced Ismael Goberna, who retired because of poor health and died a few months later. By then, Calixto had played and made his name with Sexteto Nacional (lead by Ignacio Piñeiro), Chaveo (or Chareo) y Su Grupo, Juventud Habanera, Sexteto Guarina and María Teresa Vera. As was common with musicians of his generation throughout Latin America, he had been a member of a government-sponsored municipal band, La Banda Municipal de Matanzas, prior to embarking on a career as a professional musician, getting a firm musical education in the process. Calixto Leicea was an excellent songwriter and arranger. The band recorded many of his compositions as well as arrangements. The collective's theme song "Traigo un tono" is a guaracha composed in 1947 by Calixto. It served as the conjunto's calling card on its frequent radio broadcasts and numerous live presentations.

Humberto Cané succeeded his father on tres and, en plus, sang. Valentín Cané, having ceded to his eldest son the tres chair, remained a valuable member of the collective, as he still sang, composed and—in a new role—played tumbadora. The departure of Humberto Cané in 1944 signaled the end of the tres as part of the permanent instrumentation of the conjunto. The ensemble did not use it for many years afterwards.

Dámaso Pérez Prado (later, in the 1950s, famous as El Rey del Mambo) was the group's first pianist and one of its earliest arrangers from 1936 to 1939. Severino "Refresquito" Ramos was the primary arranger, as well as pianist, from 1939 (but especially since 1942) to 1944 and, as such, principal architect of the sonic identity of this conjunto. After 1944, he limited himself to arranging and composing.

In this decade, La Sonora faced strong competition from such ensembles as Sexteto Guarina, Juventud Habanera de Joseíto Fernández, Sexteto Nacional de Ignacio Piñeiro, Sexteto Segundo Nacional, Trío Matamoros, Sexteto Casino (it would later become a conjunto), Sexteto María Teresa Vera, Conjunto Kubavana, Belisario López, and Orquesta Antonio María Romeu. Possibly, there are those who still recall the rivalry between Sexteto Nacional de Ignacio Piñeiro and Conjunto Sonora Matancera.

By the end of the decade the ensemble had terminated its long association with Radio Progreso. In 1939, it was signed to a contract by the ownership/management of Radio CMQ (or simply CMQ) for a series of live broadcasts.

Early History: Personnel, Instrumentational, and Stylistic Changes in the 1940s

Bienvenido Granda sang lead vocals from circa 1940 to 1954, the first truly important sonero to perform and record with the conjunto. His association with La Sonora Matancera made it famous throughout the Spanish-speaking Caribbean. No one recorded more tunes with the ensemble than Bienvenido Granda, as he made either 205 or 217 recordings from 1944 or 1945 to 1954.

In 1942, La Sonora left CMQ. It would now broadcast—with Bienvenido Granda as sonero—over the airwaves of RHC Radio.

On the same day in 1944, Pedro Knight and Ezequiel "Lino" Frías joined, leaving the Arsenio Rodríguez conjunto. These two steered the collective towards a more modern sound. The one gave the brass section more heft while the other enhanced the rhythm section. Pianist Lino Frías anchored Conjunto Sonora Matancera's rhythm section until 1976.

Two other important developments occurred in 1944. The conjunto made its next-to-last recordings for RCA-Victor. It also was signed to a recording contract by the newly-established Panart Records.

Original director Valentín Cané led the group till an asthmatic condition forced him to retire in 1946. He continued to receive pay as if he were an active member of La Sonora Matancera till he died two years later. In 1946, in place of Valentín Cané, Tata Güines, who was a member of the groundbreaking ensemble led by Israel "Cachao" López in the late 1950s and the early 1960s, became the conguero for a short time. Carlos "Patato" Valdés followed him that very year for a few months.

Ángel "Yiyo" Alfonso Furias took over the tumbadora chair in 1948 With the incorporation of Yiyo into the band under discussion, all the pieces of the puzzle finally fell together to create the collective's unmistakable style. It had taken over two decades to get to this point. The quintessential Conjunto Sonora Matancera lineup, from 1948 to 1954, consisted of:

• Calixto Leicea: first trumpet chair;
• Pedro Knight: second trumpet chair;
• Pablo "Bubú" Vázquez Gobín: contrabass;
• Ezequiel "Lino" Frías: piano;
• José "Manteca" Rosario Chávez: timbalitos, bongó and cencerro (also known as campana);
• Ángel "Yiyo" Alfonso Furias: tumbadora;
• Rogelio Martínez: Director, guitar and coro (background vocals);
• Carlos Manuel "Caíto" Díaz Alonso: maracas and coro;
• Bienvenido Granda: lead vocals, coro (whether he or some other sonero sang lead with the band) and claves.

La Sonora Matancera honed its skills over a generation—from the late 1920s to the late 1940s—in the academias de baile (a special type of dance hall), such as the famous Marte y Belona, where nightly La Sonora drew record crowds of the best dancers. Apart from this prestigious academia, other nightspots where Conjunto Sonora Matancera entertained the dancing public in the early 1940s were El Habana Sport, another academia de baile, Centro Castellano, La Tropical (one source lists a dance hall called La Cervecería Tropical; it is not at all clear if these two are one and the same) and Las Playitas. The collective during this time also made live broadcasts on Radio Progreso. Later that same decade La Sonora Matancera frequently played in such top dance venues as El Club Atlético Santiago de Las Vegas, Quibikán, Centro Gallego, El Edén Concert, Sans Souci, El Tropicana and Centro Asturiano. At this time La Sonora always performed on the feast day of August 15, known as La Tutelar, at El Liceo Guanabacoa while Arsenio Rodríguez y Su Conjunto Orquestal Todos Estrellas and Antonio Arcaño y Sus Maravillas (Cachao and his brother Orestes López were members of this orchestra at the time) engaged in a musical mano a mano on the same day at El Manantial de la Cotorra. Its long tenure in the academias served Conjunto Sonora Matancera well as it transformed the ensemble into an excellent dance band.

In the 1940s, the conjunto more than held its own against such important groups as Orquesta Casino de La Playa, Arsenio Rodríguez, Orquesta Ideal, Cheo Belén Puig, Antonio Arcaño y Sus Maravillas, Conjunto Jóvenes del Cayo, and Orquesta Almendra. Together with this cooperative these bands made Cuba "El Paraíso Musical de las Américas" ("The Musical Paradise of the Americas").

From the mid-1940s till the end of the 1950s, the collective had a program as "artistas exclusivos" ("exclusive artists") on Radio CMQ called "Cascabeles Candado". It was one other means of making itself known to fans of Cuban/Afro-Cuban urban popular dance music.

As this decade drew to a close, La Sonora Matancera decided on a course of action that would become standard practice for the group. This was in essence a simple measure: the incorporation of non-Cuban lead singers into its ranks without, however, the exclusion of Cuban artists. The first two such vocalists were Puerto Rican, Daniel Santos, the esteemed singer/composer and Myrta Silva, the famous guarachera/songwriter.

Daniel Santos performed and recorded with the collective beginning in 1948. His five year stay with La Sonora helped it achieve world-wide fame. The cooperative returned to airing live broadcasts, according to one source, at Radio Progreso in 1948 with Daniel Santos as the featured lead vocalist.

Myrta Silva was the first female member of this musical cooperative, joining it in 1949. Myrta Silva would remain with the collective for a short time. This is reflected in the fact that she made just four studio recordings with the conjunto. The live recordings made by Myrta number more than that.

The Golden Age: Late 1940s to Late 1950s

Conjunto Sonora Matancera's most successful period was from 1947 until 1959. By the early 1950s, the ensemble made live broadcasts from the studios of Radio Progreso, Radio CMBG and Radio CMQ. These stations broadcast on shortwave frequency bandwidth which helped to increase the collective's popularity in Latin America. During this decade, the conjunto—besides these regular bookings on Cuban radio—had its calendar filled with club dates, film appearances, and tours overseas. The majority of its recordings were made at this time. Over such an abbreviated period, these musicians and singers—with contributions by composers and arrangers—brought into being a memorable catalog.

A Significant, yet Temporary, Stylistic Change

Besides personnel and instrumentational changes, La Sonora Matancera, as already illustrated, underwent stylistic changes. An important example is the following. In 1950, the conjunto expanded to big band (orquesta) size, making a series of recordings with Daniel Santos. Though these met with approval, the orquesta reverted back to being a conjunto. Other, equally transitory, stylistic changes would follow in the 1960s and the 1980s.

Additional Personnel Changes

Celia Cruz succeeded Myrta Silva in 1950, performing and recording with the conjunto until 1965. Myrta returned to the ensemble for a brief spell during 1952. Fans of the collective at first did not accept Celia as a worthy replacement, for they viewed Myrta as an idol, rejecting anything new or different. Even the president of Seeco Records—with whom La Sonora recently had signed a recording contract—was disinclined to having Celia succeed Myrta. Rogelio Martínez, a shrewd judge of talent and the consummate businessman, gave his unconditional support to her. Eventually, Celia was accepted by the dancing public. Rogelio's support was validated through dint of her prodigious ability and hard work.

One source, as regards their affiliation with Seeco Records, claims Conjunto Sonora Matancera was under contract from 1949 till 1966. A second source declares said contractual arrangement was in place from 1950 to 1965. Whatever the case may be, the fact remains that this label had an extensive distribution network, allowing it to ship its recordings of different artists, including La Sonora Matancera, throughout Latin America. This was an additional important factor in helping La Sonora attain recognition—and its concomitant fame—outside of Cuba.

The year 1954 saw two further changes in personnel. The first one concerned a change in instrumentalists while the second one involved a change in relation to soneros. Elpidio Vázquez, a son of Bubú, replaced him on contrabass. Estanislao "Laíto" Sureda succeeded Bienvenido Granda as male lead singer, at times singing coro with Rogelio and Caíto. Bienvenido left after a heated argument with Rogelio Martínez over money. He wanted higher pay than his colleagues. This was impossible because the band was a cooperative. All, including the director, received the same salary.

Conjunto Sonora Matancera made its first overseas tour in 1955. It performed in Panama, Colombia and Costa Rica. Its reputation had been made by then.

Depending on the source, Manteca, who had been a mainstay of the rhythm section, left either in 1955 or in 1957, retiring as had other members through the years because of health matters. Simón Domingo "Minino" Esquijarroza then became the percussionist. As with many aspects of La Sonora Matancera's history, available information is uncertain.

Laíto remained with the ensemble till 1956. In that year, Celio González replaced Laíto on lead vocals (besides singing coro with Rogelio, Caíto, and Laíto and playing the güiro). He stayed until 1959.

Refresquito retired in 1957. Javier Vázquez, another son of Bubú, then became the principal arranger.

In 1959, La Sonora undertook another overseas tour. It played in Peru, Chile and Uruguay. This year must be considered the high watermark of the ensemble. Major changes would in no time make their presence known.

Middle Period: The 1960s/Leaving Cuba and Its Aftermath: 1960-1961

The collective began this decade with yet one more tour. It performed in Haiti, the Dominican Republic, Aruba, and Curacao. The circumstances of the cooperative's existence were about to radically change.

The political upheaval in Cuba at the dawn of the 1960s—and its socioeconomic consequences—affected Conjunto Sonora Matancera. The subsequent history of the band was a direct result of said upheaval.

Having signed a lucrative contract to perform in Mexico City, the group, accompanied by Celia Cruz, left Havana on June 15, 1960. Minino decided to stay. The conjunto never returned to Cuba. Presumably, this was due to its opposition to the recent Cuban Revolution. A new challenge, greater than any ever presented by other Cuban/Afro-Cuban ensembles, was now faced by La Sonora Matancera. How was the collective to continue cultivating the native rhythms of their homeland in a foreign setting?

On July 15 of that same year two new singers joined the group. These were Willy "El Baby" Rodríguez and Alberto Pérez Sierra.

From 1960 to 1969 eleven new vocalists were associated with La Sonora. Of these, only two remained for any appreciable amount of time, Willy "El Baby" Rodríguez and Justo "El Mulato" Betancourt.

In 1961, Mario "Papaíto" Muñoz joined the ensemble as the new timbalero/bongosero/campanero. Additionally, Celio González returned in this very year and continued as sonero and güiro player until 1965.

Middle Period: The 1960s/The Silver Age: 1962-1965

The years 1962 to 1965 were a fleeting silver age in the history of the collective. The year 1962 was consequential for the ensemble. In that year Conjunto Sonora Matancera established itself in New York City, where it continued to perform Cuban/Afro-Cuban urban popular dance music. Its residency in New York would last for thirty-nine years, longer than their stay in La Habana.

Major personnel changes were undergone in 1965. Celia, Celio and Willy all ended their affiliation with the cooperative.

In that same year, Caíto and Lino were among the vocalists and instrumentalists gathered by Dominican-born Johnny Pacheco for a classic studio recording. Obviously, the singers and musicians of La Sonora Matancera were highly respected by their peers; Conjunto Sonora Matancera was, to say the least, much admired. Cognoscenti view this album as one of the top ones in Latin jazz descargas and, quite possibly, the best recording produced by the Fania Records behemoth before its embrace of crass commercialism. Besides Caíto and Lino two other musicians associated with La Sonora played on this album. One was from the past (Patato) and one was a trumpeter who would be invited to participate in a 1981 recording session (Pedro "Puchi" Boulong).

Middle Period: The 1960s/A Time of Transition: 1966-1969

Pedro Knight retired as a trumpeter in 1967 to be Celia Cruz's full-time manager. Ramón Emilio "Chiripa" Aracena became the new second trumpet chair that same year.

In 1969, Leo Marini, a stalwart of the halcyon glory days, renewed his association with the cooperative. He stayed long enough to record an album.

The latter half of the decade saw the emergence of two new musical genres, the boogaloo (also spelled "bugaloo") 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. It was extremely popular for not too many years. Few were the New York-based groups that were not obligated by their record companies to get on the boogaloo/shing-a-ling bandwagon. La Sonora Matancera was no exception as it recorded an album with the word "boogaloo" in its title. This is so even though La Sonora was recording at this time for its own label. Its flirtation with the trendy boogaloo was not of long duration. Soon enough Conjunto Sonora Matancera went back to playing unadulterated Cuban/Afro-Cuban urban popular dance music.

At the end of this decade six of the nine members of La Sonora Matancera were mainstays of the glory years. The core of the collective was still in place.

Middle Period: Personnel, Instrumentational, and Stylistic Changes in the 1970s

Over the course of this decade, change was the one constant. Both soneros and instrumentalists came and went. Instrumentational and stylistic changes were the order of the day as well.

During this time, La Sonora continued to record, perform at dance clubs and tour overseas. Early in the 1970s the conjunto played at Carnegie Hall. Eventually, it would travel to Europe. The conjunto played in Spain, France, Germany, and Finland.

In 1970, Justo Betancourt left, to be replaced by Eladio "Yayo el Indio" Peguero. This is a significant change in lead singer, for Yayo remained with Conjunto Sonora Matancera for more than two decades. That being said, he recorded a mere forty-four songs in all. This does not negate the fact that Yayo was the most important sonero to perform and record with the cooperative in its later years.

Change did not abate. In 1971, Chiripa ended his association with the ensemble. Saúl Torres entered in his stead. Interestingly, Carlos Argentino—a veteran of the golden age—returned and recorded once again with La Sonora Matancera in this same year.

In 1972, Leo Marini rejoined the collective. There is no evidence to suggest that he recorded with the cooperative in this year.

Between 1973 and 1977 six different trumpeters comprised the brass section. Of these, the most prominent one was Alfredo "Chocolate" Armenteros, a member of Arsenio Rodríguez's seminal conjunto in the 1940s.

For some time the individual members of the ensemble had been seen by other artists as exemplars of their craft. In 1975, Caíto sang on one of the cuts at a recording session at CBS Studios in New York City. This recording session yielded a double album comprised of Cuban dance music and Afro-Cuban folkloric music, 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. This was prior to his joining the collective.

After thirty-two years, Lino Frías and La Sonora parted ways in 1976. He did not abandon his musical calling. Rather, other opportunities beckoned. For example, Lino played on two albums recorded that same year by a collection of top singers and musicians under the aegis of Cachao. On each of these recordings he is the pianist on two of five cuts. Lino Frías was, as well, the pianist and musical director on the first album made by Armando Sánchez and his conjunto. Undoubtedly, he would have continued in this vein if not for poor health. These three albums were recorded by small, independent labels not controlled by the Fania Records colossus. There are those who argue that said labels positioned themselves as the antithesis to the ongoing commercialization of Cuban/Afro-Cuban "música típica" at the hands of Fania. In any event, Javier Vázquez followed Lino as pianist and in so doing assumed dual responsibilities with the collective.

In 1977, Miguelito Valdés, having recorded with Conjunto Sonora Matancera in 1951, did so once more. It would appear that the old guard was propping up the ensemble. Still and all, contemporary touches were added to the cooperative's instrumentation. Electronic piano, organ and/or electric guitar were employed at this session. Purists felt that such a step was taken as a means of keeping the conjunto relevant. From their point of view said move drew the band away from its acoustic roots.

Calixto Leicea stopped recording with the collective in 1978. Even so, he would accompany La Sonora Matancera wherever it performed. In this same year, recordings made in 1977 by Miguelito Valdés with the group were re-released.

The close of this decade saw five members of La Sonora who were veterans of the golden days still active with the cooperative. The spirit of the classic edition of the band was very much alive.

After the 1970s decline inevitably reared its head as Conjunto Sonora Matancera entered into its extended twilight period. The glory years were shortly a thing of the past. The ensemble experienced many more personnel changes in the decades to come.

Late Period: Personnel, Instrumentational, and Stylistic Changes in the 1980s

The decade of the 1980s began with the departure of Yiyo, a member for thirty-two years. He was replaced by Alberto Valdés. Chocolate also left in this year, being succeeded by Héctor "Bomberito" Zarzuela, a long-time member of Pacheco's conjuntos. This year saw the addition of a third trumpet and a third coro vocalist, bringing the number of instrumentalists and singers to twelve.

The year 1980 witnessed a development criticized by some. The contrabass and the piano were substituted by their electronic counterparts (in the case of the latter for the second time). Said development is seen by these critics as being emblematic of a loss of originality. For all that, it was a temporary attempt at being au courant. In this year Celia Cruz returned to record one more album, Celia Cruz y la Sonora Matancera. Further experimentation with electric instrumentational effects continued.

In 1981, La Sonora recorded an album for Bárbaro Records, a subsidiary of the Fania Records empire co-founded by Johnny Pacheco and Jerry Masucci. The artists on this recording, for the most part, had been specially invited for the recording date. On said album the tres made its return on one number in the person of Mario Hernández, the much-admired Puerto Rican tresero. If only for a little while, the tres was once again part and parcel of the ensemble's instrumentation. Elpidio Vázquez, Jr. also performed on this date as the substitute bass player on one song. He represented the third consecutive generation of his family to be a member of Conjunto Sonora Matancera. Justo Betancourt was the sonero.

The old guard continued to resurface. Celia recorded a final album with the ensemble in 1982.

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. The last-named had been a charter member of Saoco, the short-lived but nevertheless important conjunto. Two artists constituted the coro on Saoco's first album, one of them a member of La Sonora Matancera (Yayo el Indio) and the other one a sonero who would record with La Sonora in the following decade (Adalberto Santiago). The individual members of Conjunto Sonora Matancera, even at this late date, were still held in high esteem. By the same token, the collective itself continued to be a magnet for top talent, vocalists and instrumentalists alike.

In 1989, La Sonora Matancera celebrated its sixty-fifth anniversary of existence. This landmark achievement was commemorated by concerts in Central Park and Carnegie Hall. Their appearance at the last-named venue has been preserved on vinyl. Of the fourteen soneros on said recording nine were veterans of the gilded age. This would be the last occasion during which 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. José Luis Cruz became the new keyboardist.

The 1990s

In 1990, Caíto, after sixty-three years with the group, died. Fernando Lavoy was recruited to fill this vacancy.

The year 1993 saw La Sonora Matancera record an album in Mexico, De Nuevo, with Adalberto Santiago on lead vocals. In this same year Willy "El Baby" Rodríguez rejoined La Sonora. Conjunto Sonora Matancera lost the services of Yayo el Indio in 1994. He retired as the singer with the longest continuous tenure with the ensemble. At this time the personnel lineup consisted of nine members. Three of them were associated with the cooperative since at least the 1950s.

Later History: 2000 to 2013

For traditionalists, the death of Rogelio Martínez on May 13, 2001 marked the demise of Conjunto Sonora Matancera. For all that, Javier Vázquez, with the blessing of Rogelio Martínez, Jr., leads a group in Las Vegas, Nevada called by this name.

Characteristic Features

Conjunto Sonora Matancera is characterized by its melodic, yet propulsive, use of two trumpets. Quite often these were played in such tight unison that other than the solos taken by the first trumpet one could not differentiate between the two. Furthermore, contrabass, piano, timbalitos, bongós, cencerro, and tumbadora are prominently featured.

La Sonora Matancera was also distinguished by its backup singers, or coro. It usually consisted of Rogelio Martínez and Carlos Manuel "Caíto" Díaz Alonso, whose falsetto delivery was derived from a traditional singing style of the earliest soneros (called in Cuba voz de vieja).

Discography

Albums

• "Sonora Matancera: Sus Grandes Éxitos (para coleccionistas)". Panart Records, LP-2061, Serie 2000. Recorded in Cuba from 1945 to 1947.
• "Sonora Matancera. Canta: Bienvenido Granda". Ansonia Records, ALP 1225. Recorded in Cuba in 1949.
• "Sonora Matancera. Canta: Bienvenido Granda. "En tu busca". Ansonia Records, SALP 1535, Volumen 2. Recorded in Cuba in 1949.
• "Sonora Matancera". Stinson Records, SLP 92, Volume I, Collector's Series. Recorded in Cuba apparently in 1950.
• "Sonora Matancera, 'Se formó la rumbantela'". Stinson Records, Volume II, Collector's Series, Grabaciones Mundiales C. A. 200-3018.
• "Daniel Santos con el Conjunto Sonora Matancera". Panart Records, LP-2014, Serie 2000, Volumen 1. Recorded in Cuba.
• "Daniel Santos con el Conjunto Sonora Matancera". Panart Records, LP-2076, Serie 2000, Volumen 2. Recorded in Cuba.
• "Sonora Matancera presenta a Daniel Santos". Tropical Records TR LP 5109.
• "Grandes Éxitos de Daniel Santos con la Sonora Matancera". Tropical Records TR LP 5134.
• "La Época de Oro de Daniel Santos con la Orquesta Sonora Matancera". RCA FSP-230(e), Volumen II (1950). Recorded in Cuba in 1950.
• "Señor Babalú". Miguelito Valdés con Sonora Matancera y Noro Morales y Su Orquesta. Tropical Records, TR 5010. Six sides are with Sonora Matancera and six sides are with Noro Morales. Recorded in the late 1940s (?) and the early 1950s.
• "Una Noche en Caracas con La Sonora Matancera". Various lead singers. Seeco Records, SCLP 9060, Serie de Oro.
• "Canta Nelson Pinedo (Nelson Pinedo Sings). Nelson Pinedo con La Sonora Matancera". Seeco Records, SCLP 9062, Serie de Oro.
• "Canta Celia Cruz (Celia Cruz Sings)". Seeco Records, SCLP 9067, Serie de Oro.
• "Baile con La Sonora Matancera". Carlos Argentino and Estanislao "Laíto" Sureda, lead vocals. Seeco Records, SCLP 9072.
• "Cuba's Queen of Rhythm. Celia Cruz accompanied by Sonora Matancera". Seeco Records, SCLP 9101, Gold Series.
• "Grandes Éxitos de Bienvenido Granda con La Sonora Matancera". Seeco Records, SCLP-9123-H, Gold Series.
• "¡Ahí Viene La Sonora Matancera! con Celio González". Seeco Records, SCLP 9126, Gold Series.
• "Reminiscencias". Leo Marini con la Sonora Matancera. Seeco Records, SCLP-9128-H, Gold Series. Recorded in Cuba on 11-06-1958.
• "La Incomparable Celia". Celia Cruz with Sonora Matancera. Seeco Records, SCLP 9136.
• "Grandes Éxitos de la Sonora Matancera (Great Hits of Sonora Matancera)". Bienvenido Granda, lead vocals. Seeco Records, SCLP 9151.
• "Vicentico Valdés con La Sonora Matancera". Seeco Records, SCLP-9154-H, Gold Series. Recorded in Cuba on 12-18-1958, Estudios CMQ.
• "El Inimitable Carlos Argentino con Sonora Matancera". Seeco Records, SCLP-9172. Gold Series.
• "Más Éxitos de Sonora Matancera. Canta Celio González". Seeco Records, SCLP-91770. Gold Series.
• "En El Aire. Carlos Argentino con la Sonora Matancera". Seeco Records, SCLP-9191. Gold Series.
• "La Dinámica Celia Cruz con la Sonora Matancera". Seeco Records, SCLP-9192. Gold Series.
• "Reflexiones de Celia Cruz con la Sonora Matancera". Seeco Records, SCLP-9200.
• "Sonora Matancera en México. Cantan Willy y Alberto". Seeco Records, SCLP-9203.
• "Celebremos Nochebuena con Sonora Matancera". Various lead singers. Seeco Records, SCLP 9206. Gold Series.
• "Canciones Premiadas de Celio González con la Sonora Matancera". Seeco Records, SCLP 9207. Gold Series.
• "Canciones Premiadas de Celia Cruz con la Sonora Matancera". Seeco Records, SCLP-9215. Gold Series.
• "México, qué grande eres. Celia Cruz acompañada por la Sonora Matancera". Seeco Records, SCLP-9227. Gold Series. Recorded in Mexico.
• "La Sonora Matancera. Los Reyes del Ritmo". Cantan Celio González y Willy "El Baby" Rodríguez. Seeco Records Inc., SCLP 9229. Gold Series.
• "La Tierna, Conmovedora, Bamboleadora Celia Cruz con la Sonora Matancera". Seeco Records, SCLP 9246. Gold Series.
• "Sonora Matancera en Puerto Rico. Cantan Celio y Willy". Seeco Records, SCLP-9254. Gold Series.
• "Canciones Inolvidables. Celia Cruz con La Sonora Matancera". Seeco Records, SCLP 9267. Gold Series.
• "Un Brindis Musical por Daniel Santos con Sonora Matancera". Seeco Records, SCLP 9279. Gold Series.
• "Algo Especial por la Sonora Matancera". Bienvenido Granda and Estanislao "Laíto" Sureda, lead vocals. Seeco Records, SCLP-9284.
• "Sarará". Sonora Matancera. Various lead singers. Seeco Records, SCLP 9324.
• "Más ternura con La Sonora Matancera". Various lead singers. Seeco Records/SONO-RODVEN, LPS-2026. Recorded at Estudios CMQ, Havana, Cuba.
• "La Sonora Matancera los invita a bailar". Various lead singers. Tropical Records, TRLP-5125.
• "Escucha Mis Canciones. Leo Marini con la Sonora Matancera". Tropical Records, TRLP-5162.
• "Lo Inédito de la Sonora Matancera". Serie para Coleccionistas. Various lead singers. Eco Records/Peerless Records, ECO-25974-9.
• "La Sonora Matancera del Ayer y Sus Cantantes". Vol. 3, Serie Coleccionista. Various lead singers. Discos Fuentes/Seeco Records Celebrity Series, 314082.
• "Salsa Afrocubana". Miguelito Valdés con la Sonora Matancera. Orfeón Records, LP-12-1066. Hecho en México. 1978.
• "Sonora Matancera con Justo Betancourt". Bárbaro Records, B 207 0798. 1981.
• "15 Éxitos de la Sonora Matancera". Various lead singers. Cubalegre Records, DDD-1439. 1982.
• "Celia Cruz con La Sonora Matancera. Feliz Encuentro". Bárbaro Records, JM B 212. Serie 0798. 1982.
• "BIDISCO/32 Éxitos. Bienvenido Granda con La Sonora Matancera". Peerless Records, Double Album, ADP-530-1. 1984.
• "30 Años de la Sonora Matancera". Various lead singers. Seeco Records, SSS 3000, Gold Series. 1989.
• "40 Años de la Sonora Matancera". Various lead singers. Seeco Records, Seeco Sonic Sound Series, Double Album, SSD 1001.
• "50 Años de la Sonora Matancera". Various lead singers. Seeco Records, Double Album SSD 4001, 1975.
• "60° Aniversario de la Sonora Matancera". Various lead singers. Seeco Records/Peerless Records, MSTV 4003-5/MCTV 4003-9. 1984.
• "Celebrando con la Sonora Matancera/65 Aniversario". Various lead singers. Seeco Records/TH-RODVEN Records, Inc. TH-2630. 1989.
• "Gilda Mirós Presents: Sonora Matancera Live! from Carnegie Hall. 65th Anniversary Celebration". Various lead singers. Team Enterprises, Double Album T-7030. 1989.

Cassette Tapes

• "La Sonora Matancera. Recordando A Cuba". Various lead singers. Panart P-8001. Recorded in Cuba.
• "Canta Bienvenido Granda (Bienvenido Granda Sings). El Nuevo Sonido". Seeco Records, SCLP 9065, Gold Series.
• "Argentina's Favorite Troubadour. Leo Marini Sings". Leo Marini con La Sonora Matancera. Seeco Records, SCCA 9071.
• "Carlos Argentino Sings". Carlos Argentino/Sonora Matancera. Seeco Records, SCCA 9100. Gold Series.
• "Desfile de Estrellas". La Sonora Matancera. Various lead singers. Seeco Records, SCCA 9120, Gold Series.
• "Grandes Éxitos de Celia Cruz con La Sonora Matancera". Seeco Records, SCCA 9124, Gold Series.
• "Yo Canto Para Ti (I Sing For You)". Carlos Argentino con La Sonora Matancera. Seeco Records, SCCA 9127, Gold Series.
• "La Sonora Matancera Llegó. Canta Celio González". Seeco Records, SCCA 9156, Gold Series.
• "Alberto Beltrán con la Sonora Matancera. Canta Sus Mejores Éxitos". Seeco Records, SCLP-9302.
• "Cuba's Foremost Rhythm Singer Celia Cruz. Accompanied by Sonora Matancera". Seeco Records, SCCA 432.

Compact Discs

• "La Sonora Matancera 'En Vivo'". Edición Limitada. One song from a film and live recordings. Various lead singers. Bohío Records.
• "Bobby Capó con La Sonora Matancera". Seeco Records, SCCD-9356, Gold Series. Recorded in Cuba on 9-06-1948 and 4-01-1952.
• "La Guarachera de Cuba. Celia Cruz con la Sonora Matancera". Tumbao Cuban Classics, TCD-091. Recorded at Estudios CMQ, 1950-1953.
• "Sonora Matancera Live on the radio 1952-1958". Various lead singers. Harlequin, HQ CD 79.
• "Algo Nuevo de lo Añejo de la Sonora Matancera". Para coleccionistas. Live recordings. Various lead singers. Yumurí Records. 1032.
• "Algo Nuevo de lo Añejo de la Sonora Matancera". Para coleccionistas. Live recordings. Various lead singers. Yumurí Records.
• "La Sonora Matancera. ¡En Vivo!. Inéditas". Live recordings. Various lead singers. Cubanacán Records, CUCD 1707.
• "Los Últimos de Celio González acompañado por la Sonora Matancera". Seeco/Tropical, STR 90523.
• "La Inolvidable Sonora Matancera". Various lead singers. Notes by Carlos Deiby Velásquez. Discos Fuentes/Seeco Records, D16197.
• "La Sonora trae un tono. La Sonora Matancera en CMQ, 1957". Cantan Celio González y Carlos Argentino. Tumbao Cuban Classics, TCD-096.
• "La Sonora Matancera. El nuevo sonido fabuloso". Cantan Elliot Romero y Justo Betancourt. Seeco Records, SCCD 9282. Gold Series.
• "La Niña de Guatemala en Ritmo de Guantanamera". La Sonora Matancera. Various lead singers. West Side Latino Records Corp., WSCD-4311. Compilation issued in 2000.

Filmography

Unless otherwise indicated, information on individual cinematographic works was found in the fifth source cited in the References section. Additionally, three other sources yielded data with regard to the titles of certain films, with one of these pointing to an alternate date for the year of production of one movie. The majority of these films were made in Mexico during the heyday of that country's cinema.

• "El nacimiento de la rumba", 1937.
• "Tam Tam Edén", 1937. Filmed in Havana, Cuba. As previously mentioned, 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.
• "Piel Canela", 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.

Published Works Concerning the History of Conjunto Sonora Matancera

In the first source mentioned in the References section, Cristóbal Díaz Ayala cites a book written by the well-known Puerto Rican radio personality Gilda Mirós. He does not, however, give any information other than the author's name. Neither does Díaz Ayala supply complete data on the third, fourth and fifth works listed. Be that as it may, he does credit Ramírez Bedoya's study with being the most comprehensive one to date. The final book listed is not, per se, about La Sonora Matancera. Nonetheless, it has been included because of two reasons. First, the band was under contract to Seeco Records for a decade and a half, its longest relationship with any record company. Second, La Sonora made the majority of its recordings for this label. Information on all these works, with the exception of the last one, was found in the first source cited in the References section.

• Serna, Carlos E. and Marco T. Barros Ariza. La Sonora Matancera, Más de 60 Años de Historia Musical. Medellín, Colombia: Editorial Fuentes, 1990.
• Valverde, Humberto. Memorias de la Sonora Matancera. Univalle, Colombia: Editorial Caimán Records, 1997.
• Zaldívar, Mario. El mito de la Sonora Matancera. San José, Costa Rica. 1999.
• Portaccio Fontalvo, José. Ochenta Años de la Sonora Matancera. Bogotá, Colombia. 2004.
• Ramírez Bedoya, Dr. Héctor. Historia de la Sonora Matancera. This is a two volume work.
• Edwards, David and Mike Callahan. Seeco Album Discography. New York: Quartet Books, 2002.

External links

• Discography Florida International University Libraries