Sonora Matancera

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Sonora Matancera_table_infobox_0

Sonora MatanceraSonora Matancera_header_cell_0_0_0
Background informationSonora Matancera_header_cell_0_1_0
Also known asSonora Matancera_header_cell_0_2_0 Tuna Liberal

Septeto Soprano Estudiantina Sonora Matancera Conjunto Sonora MatanceraSonora Matancera_cell_0_2_1

OriginSonora Matancera_header_cell_0_3_0 Barrio Ojo de Agua, Matanzas, CubaSonora Matancera_cell_0_3_1
GenresSonora Matancera_header_cell_0_4_0 Son, guaracha, bolero, guaguancó, chachacháSonora Matancera_cell_0_4_1
Years activeSonora Matancera_header_cell_0_5_0 1924 (1924)–presentSonora Matancera_cell_0_5_1
LabelsSonora Matancera_header_cell_0_6_0 RCA Victor, Panart, Stinson, Ansonia, Seeco, Tropical, Marvela, MRVA, Orfeón, Bárbaro, Fania, Taurus, Warner Music, Varsity, Discos FuentesSonora Matancera_cell_0_6_1
Associated actsSonora Matancera_header_cell_0_7_0 Las Hermanas LagoSonora Matancera_cell_0_7_1
WebsiteSonora Matancera_header_cell_0_8_0 Sonora Matancera_cell_0_8_1
MembersSonora Matancera_header_cell_0_10_0 Valentín Cané

Pablo Vázquez Gobín "Bubú" Manuel Sánchez "Jimagua" Ismael Goberna Domingo Medina José Manuel Valera Juan Bautista Llópis Julio Gobín Humberto Cané Carlos Manuel Díaz Alonso "Caíto" Rogelio Martínez Díaz José Rosario Chávez "Manteca" Calixto Leicea Pérez Prado Bienvenido Granda Ezequiel Frías Gómez "Lino" Ángel Alfonso Furias "Yiyo"Sonora Matancera_cell_0_10_1

Past membersSonora Matancera_header_cell_0_12_0 Bienvenido León

Daniel Santos Myrta Silva Celia Cruz Pedro Knight Miguelito Valdés Leo Marini Bobby Capó Nelson Pinedo Vicentico Valdés Estanislao Sureda "Laíto" Alberto Beltrán Carlos Argentino Celio González Elpidio Vázquez Carmen Delia Dipiní Javier Vázquez Willy Rodríguez "El Baby" Alfredo Armenteros "Chocolate" Ismael Miranda Justo Betancourt Linda Leida Gabriel Eladio Peguero "Yayo El Indio" Welfo Gutiérrez Olga Chorens Gloria Díaz Tony Álvarez Chito Galindo Toña la Negra Elliot Romero Emilio Domínguez "El Jarocho" Gladys Julio Hermanas Lago Israel del Pino Johnny López Jorge Maldonado Kary Infante Manuel Licea "Puntillita" Martha Jean Claude Máximo Barrientos Miguel de Gonzalo Pepe Reyes Raúl del Castillo Reynaldo Hierrezuelo "Rey Caney" Rodolfo Hoyos Tony Díaz Victor Piñero Vicky Jiménez Alfredo Valdés Roberto TorresSonora Matancera_cell_0_12_1

La Sonora Matancera is a Cuban/Afro-Cuban band that played Latin American urban popular dance music. Sonora Matancera_sentence_0

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. Sonora Matancera_sentence_1

Notable singers to have sung with the band include Bienvenido Granda, Daniel Santos, Myrta Silva, and Celia Cruz. Sonora Matancera_sentence_2

Early history: 1920s to 1940s Sonora Matancera_section_0

The founding of Tuna Liberal Sonora Matancera_section_1

The group was founded on January 12, 1924 in Barrio Ojo de Agua, a neighborhood in the city of Matanzas. Sonora Matancera_sentence_3

Culturally and demographically, this seaport is located in the most African region of Cuba. Sonora Matancera_sentence_4

The ensemble was initially named Tuna Liberal for political reasons. Sonora Matancera_sentence_5

The co-founders were Valentín Cané (director, tres, guitar and tumbadora, or as it is commonly called, conga. Sonora Matancera_sentence_6

He was also a songwriter and later on a singer) and Pablo "Bubú" Vázquez Gobín (contrabass). Sonora Matancera_sentence_7

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. Sonora Matancera_sentence_8

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. Sonora Matancera_sentence_9

At this point, the band was just a commonplace group and had not yet developed its distinctive sound. Sonora Matancera_sentence_10

The 1920s Sonora Matancera_section_2

In 1925, Gerardo Machado, then Cuban President, invited Tuna Liberal to play at a party for his birthday. Sonora Matancera_sentence_11

This marked a new acceptance for Afro-Cuban groups and a style of music that had previously been barred from certain restaurants and hotels. Sonora Matancera_sentence_12

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. Sonora Matancera_sentence_13

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. Sonora Matancera_sentence_14

Rogelio Martínez joined the group in 1926, after Caíto recommended him to Valentín Cané. Sonora Matancera_sentence_15

Another source indicates that Rogelio recommended Caíto to Valentín Cané, and that Caíto and Rogelio became members in 1927. Sonora Matancera_sentence_16

A third source posits that Caíto and Rogelio joined the collective in 1926; both had recorded with pianist and bandleader Antonio María Romeu. Sonora Matancera_sentence_17

The group lost Domingo Medina, Julio Gobín, and Juan Bautista Llópis in their attempt at a more modern sound. Sonora Matancera_sentence_18

In 1927, at the suggestion of Valentín Cané, the ensemble moved to Havana, intending to stay one week. Sonora Matancera_sentence_19

It remained there for the next thirty-three years. Sonora Matancera_sentence_20

Havana was home to a thriving music scene in the 1920s. Sonora Matancera_sentence_21

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. Sonora Matancera_sentence_22

The group alternated at these nightspots with other ensembles of the day, including 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. Sonora Matancera_sentence_23

At first the collective did not have an easy time due to the professionalism of the other tríos, cuartetos, sextetos, and septetos active at this time, but carved out a niche for itself in the Cuban capital. Sonora Matancera_sentence_24

The move to Havana proved to be consequential. Sonora Matancera_sentence_25

In 1928, the collective made its first recordings, for its first label, RCA-Victor. Sonora Matancera_sentence_26

The ensemble would eventually record for thirteen different labels. Sonora Matancera_sentence_27

In 1929, the band signed a contract to perform live on the airwaves of Radio Progreso, making appearances on this station for many years. Sonora Matancera_sentence_28

The 1930s Sonora Matancera_section_3

Son ensembles of this time added pianos to broaden their contrapuntal and harmonic vocabulary. Sonora Matancera_sentence_29

Trumpets, sometimes as many as three, replaced cornets. Sonora Matancera_sentence_30

The additional instruments meant sextetos and septetos evolved into conjuntos. Sonora Matancera_sentence_31

Septeto Soprano added a piano during this decade but did not expand its brass section until the 1940s. Sonora Matancera_sentence_32

Septeto Soprano made only one recording during this decade. Sonora Matancera_sentence_33

It was for RCA-Victor. Sonora Matancera_sentence_34

Some of the individuals important to the group's success began their long association with the collective in the 1930s. Sonora Matancera_sentence_35

In 1932, Rogelio Martínez was appointed co-director. Sonora Matancera_sentence_36

He was influential in determining the destiny of the conjunto. Sonora Matancera_sentence_37

Juan Bautista Llópis returned for a brief period, and a new percussionist, José "Manteca" Rosario Chávez, became a member. Sonora Matancera_sentence_38

Three more sources say that Manteca joined in 1929 while one other source states that this happened in 1935. Sonora Matancera_sentence_39

Manteca filled the vacancy created when Jimagua left. Sonora Matancera_sentence_40

The collective changed its name to Estudiantina Sonora Matancera in the early 1930s. Sonora Matancera_sentence_41

Each change in the group's name was indicative of a change in instrumentation and its corresponding stylistic change. Sonora Matancera_sentence_42

In 1935, vocalist Manolo Barquín occasionally sang with the group. Sonora Matancera_sentence_43

That year it adopted its formal name, Conjunto Sonora Matancera. Sonora Matancera_sentence_44

Calixto Leicea and Humberto Cané (son of Valentín Cané) became members in this year. Sonora Matancera_sentence_45

Another source claims Humberto Cané joined in 1929. Sonora Matancera_sentence_46

Calixto Leicea replaced Ismael Goberna, who retired because of poor health and died a few months later. Sonora Matancera_sentence_47

By then, Calixto had played and made his name with Sexteto Nacional (led by Ignacio Piñeiro), Chaveo y Su Grupo, Juventud Habanera, Sexteto Guarina, and María Teresa Vera. Sonora Matancera_sentence_48

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. Sonora Matancera_sentence_49

Calixto Leicea was an excellent songwriter and arranger. Sonora Matancera_sentence_50

The band recorded many of his compositions as well as arrangements. Sonora Matancera_sentence_51

The collective's theme song "Traigo un tono" is a guaracha composed in 1947 by Calixto. Sonora Matancera_sentence_52

Humberto Cané succeeded his father on tres and, en plus, sang. Sonora Matancera_sentence_53

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. Sonora Matancera_sentence_54

The departure of Humberto Cané in 1944 signaled the end of the tres as part of the permanent instrumentation of the group. Sonora Matancera_sentence_55

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. Sonora Matancera_sentence_56

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. Sonora Matancera_sentence_57

After 1944, he limited himself to arranging and composing. Sonora Matancera_sentence_58

In this decade, La Sonora Matancera 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. Sonora Matancera_sentence_59

There was a rivalry between Sexteto Nacional de Ignacio Piñeiro and Sonora Matancera. Sonora Matancera_sentence_60

The ensemble terminated its association with Radio Progreso by the end of the decade. Sonora Matancera_sentence_61

In 1939, it was signed to a contract by the ownership/management of Radio CMQ (or simply CMQ) for a series of live broadcasts. Sonora Matancera_sentence_62

The 1940s Sonora Matancera_section_4

Bienvenido Granda sang lead vocals from circa 1940 to 1954, the first truly important sonero to perform and record with the conjunto. Sonora Matancera_sentence_63

His association with La Sonora made it famous throughout the Spanish-speaking Caribbean. Sonora Matancera_sentence_64

No one recorded more tunes with the ensemble than Bienvenido Granda, as he made over 200 recordings between 1944 and 1954. Sonora Matancera_sentence_65

In 1942, La Sonora Matancera left CMQ. Sonora Matancera_sentence_66

It would now broadcast—with Bienvenido Granda as sonero—over the airwaves of RHC Radio. Sonora Matancera_sentence_67

Pedro Knight and Ezequiel "Lino" Frías left Arsenio Rodríguez's conjunto to join Sonora Matancera on the same day in 1944. Sonora Matancera_sentence_68

These two steered the collective towards a more modern sound. Sonora Matancera_sentence_69

The one gave the brass section more heft while the other enhanced the rhythm section. Sonora Matancera_sentence_70

Pianist Lino Frías anchored La Sonora's rhythm section until 1976. Sonora Matancera_sentence_71

He was also a superb composer and arranger. Sonora Matancera_sentence_72

In 1944, the conjunto made its next-to-last recordings for RCA-Victor. Sonora Matancera_sentence_73

It also was signed to a recording contract by the newly established Panart Records. Sonora Matancera_sentence_74

Original director Valentín Cané led the group till an asthmatic condition forced him to retire in 1946. Sonora Matancera_sentence_75

He continued to receive pay as if he were an active member of La Sonora Matancera till he died two years later. Sonora Matancera_sentence_76

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. Sonora Matancera_sentence_77

Carlos "Patato" Valdés also held this position for a few months. Sonora Matancera_sentence_78

Ángel "Yiyo" Alfonso Furias took over the tumbadora chair in 1948 and thus completed the quintessential lineup. Sonora Matancera_sentence_79

From 1948 to 1954, it consisted of: Sonora Matancera_sentence_80

Sonora Matancera_unordered_list_0

  • Calixto Leicea: first trumpet chair;Sonora Matancera_item_0_0
  • Pedro Knight: second trumpet chair;Sonora Matancera_item_0_1
  • Pablo "Bubú" Vázquez Gobín: contrabass;Sonora Matancera_item_0_2
  • Ezequiel "Lino" Frías: piano;Sonora Matancera_item_0_3
  • José "Manteca" Rosario Chávez: timbalitos, bongó and cencerro (also known as campana);Sonora Matancera_item_0_4
  • Ángel "Yiyo" Alfonso Furias: tumbadora;Sonora Matancera_item_0_5
  • Rogelio Martínez: Director, guitar and coro (background vocals);Sonora Matancera_item_0_6
  • Carlos Manuel "Caíto" Díaz Alonso: maracas and coro;Sonora Matancera_item_0_7
  • Bienvenido Granda: lead vocals, coro (whether he or some other sonero sang lead with the band) and claves.Sonora Matancera_item_0_8

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. Sonora Matancera_sentence_81

Apart from this prestigious academia, other nightspots where La 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. Sonora Matancera_sentence_82

The collective during this time also made live broadcasts on Radio Progreso. Sonora Matancera_sentence_83

Later that same decade 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. Sonora Matancera_sentence_84

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. Sonora Matancera_sentence_85

Its long tenure in the academias served La Sonora Matancera well as it transformed the ensemble into an excellent dance band. Sonora Matancera_sentence_86

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. Sonora Matancera_sentence_87

Together with this cooperative these bands made Cuba "El Paraíso Musical de las Américas" ("The Musical Paradise of the Americas"). Sonora Matancera_sentence_88

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". Sonora Matancera_sentence_89

In the period 1947–1948, the group made a number of recordings (Bienvenido Granda as lead singer on the majority of these numbers) as Conjunto Tropicavana or Conjunto Tropicabana. Sonora Matancera_sentence_90

The name change was to avoid legal problems, since the band was still under contract to Panart Records. Sonora Matancera_sentence_91

As this decade drew to a close, Sonora Matancera decided on a course of action that would become standard practice: the incorporation of non-Cuban lead singers into its ranks (without excluding the use of Cuban artists). Sonora Matancera_sentence_92

The first non-Cuban singers were Puerto Ricans, singer/composer Daniel Santos and guarachera/songwriter Myrta Silva. Sonora Matancera_sentence_93

Some of these vocalists were featured lead singers. Sonora Matancera_sentence_94

Others were invited to record a limited number of songs during a brief period of time. Sonora Matancera_sentence_95

Daniel Santos performed and recorded with the collective beginning in 1948. Sonora Matancera_sentence_96

His five-year stay with La Sonora helped it achieve world-wide fame. Sonora Matancera_sentence_97

The cooperative returned to airing live broadcasts at Radio Progreso in 1948 with Daniel Santos as the featured lead vocalist. Sonora Matancera_sentence_98

Myrta Silva was the first woman to join the musical collective. Sonora Matancera_sentence_99

Over a short time in 1949, she recorded four studio sessions with the conjunto. Sonora Matancera_sentence_100

She left by 1950. Sonora Matancera_sentence_101

Myrta returned in 1952 and made a number of live recordings. Sonora Matancera_sentence_102

In 1949, the ensemble recorded twenty-two songs for Ansonia Records. Sonora Matancera_sentence_103

The conjunto made said recordings using its real name. Sonora Matancera_sentence_104

That same year, moreover, it signed with Seeco Records, which was owned by New York City-based Sidney Siegel. Sonora Matancera_sentence_105

The first recording for this label was made on November 25, 1949, the guaracha "Tocando madera", with Bienvenido Granda as sonero. Sonora Matancera_sentence_106

The association with Seeco Records lasted until 1966, with the last recordings having been made in the prior year. Sonora Matancera_sentence_107

The source does not indicate if the group was still contractually obligated to Panart Records when it recorded for Ansonia and when it signed, as well as recorded, with Seeco. Sonora Matancera_sentence_108

Late 1940s to late 1950s Sonora Matancera_section_5

La Sonora Matancera's most successful period was from 1947 until 1959. Sonora Matancera_sentence_109

By the early 1950s, the ensemble made live broadcasts from the studios of Radio Progreso, Radio CMBG, and Radio CMQ. Sonora Matancera_sentence_110

These stations broadcast on shortwave radio, which helped increase the collective's popularity in Latin America. Sonora Matancera_sentence_111

During this decade, the band—besides these regular bookings on Cuban radio—had its calendar filled with club dates, film appearances, and tours overseas. Sonora Matancera_sentence_112

The majority of its recordings were made at this time. Sonora Matancera_sentence_113

Temporary change to Big Band style Sonora Matancera_section_6

Besides personnel and instrumental changes, Sonora Matancera, as already illustrated, underwent stylistic changes. Sonora Matancera_sentence_114

In 1950, the conjunto expanded to big band (orquesta) size, making a series of recordings with Daniel Santos. Sonora Matancera_sentence_115

Though these met with approval, the orquesta reverted to a conjunto. Sonora Matancera_sentence_116

About 1950, the ensemble recorded eighty tunes for Stinson Records using the name of Sonora Cubana. Sonora Matancera_sentence_117

It already had recorded ten numbers under this name and would record two additional songs as Sonora Cubana; the record company for these twelve tunes is not named by the source. Sonora Matancera_sentence_118

The lead vocalist on these recordings is Bienvenido Granda. Sonora Matancera_sentence_119

Addition of Celia Cruz, personnel changes and the first overseas tour Sonora Matancera_section_7

Celia Cruz succeeded Myrta Silva in 1950, performing and recording with the conjunto until 1965. Sonora Matancera_sentence_120

Fans of the cooperative at first did not accept Celia as a worthy replacement for Myrta, but by 1951 she had won the audience over. Sonora Matancera_sentence_121

In 1962, she married second trumpeter Pedro Knight, who later became her "protector, manager, and musical director". Sonora Matancera_sentence_122

Cruz's first recording with the conjunto was made on December 15, 1950. Sonora Matancera_sentence_123

It was for Seeco Records. Sonora Matancera_sentence_124

"Cao cao, maní picao" was an instant success, a "bombshell". Sonora Matancera_sentence_125

Seeco had an extensive distribution network, allowing it to ship its recordings of different artists, including La Sonora, throughout Latin America. Sonora Matancera_sentence_126

Personnel changes in 1954 included the replacement by Estanislao "Laíto" Sureda of Bienvenido Granda as male lead singer; Bienvenido left after a heated argument with Rogelio Martínez over money: he wanted higher pay than his colleagues, but in the collective all received the same salary. Sonora Matancera_sentence_127

One other personnel change occurred this year. Sonora Matancera_sentence_128

Elpidio Vázquez, a son of Bubú, replaced him on contrabass. Sonora Matancera_sentence_129

The conjunto made its first overseas tour in 1955. Sonora Matancera_sentence_130

It performed in Panama, Colombia, and Costa Rica. Sonora Matancera_sentence_131

In the course of the Colombia tour, Carlos Argentino joined the band as a singer and remainted till 1959. Sonora Matancera_sentence_132

Manteca left either in 1955 or in 1957, retiring as had other members through the years because of health matters. Sonora Matancera_sentence_133

Simón Domingo "Minino" Esquijarroza then became the percussionist. Sonora Matancera_sentence_134

In 1956, Celio González replaced Laíto on lead vocals (besides singing coro with Rogelio, Caíto, and Laíto and playing the güiro); he stayed until 1959. Sonora Matancera_sentence_135

Refresquito retired in 1957, and Javier Vázquez, another son of Bubú, then became the principal arranger. Sonora Matancera_sentence_136

In 1959, the conjunto undertook another overseas tour, playing in Peru, Chile, and Uruguay; the year is considered the ensemble's high-water mark. Sonora Matancera_sentence_137

The Middle Period: 1960s to 1970s Sonora Matancera_section_8

Leaving Cuba and its aftermath: 1960–1961 Sonora Matancera_section_9

The cooperative began the decade with a tour of Haiti, the Dominican Republic, Aruba, and Curacao, but the political upheaval following the Cuban Revolution affected the group greatly. Sonora Matancera_sentence_138

Having signed a lucrative contract to perform in Mexico City, the group, accompanied by Celia Cruz, left Havana on June 15, 1960. Sonora Matancera_sentence_139

Minino decided to stay; the conjunto never returned to Cuba. Sonora Matancera_sentence_140

On July 15, 1960 two new singers joined the group, Willy "El Baby" Rodríguez and Alberto Pérez Sierra. Sonora Matancera_sentence_141

Of the eleven new vocalists associated with La Sonora Matancera in the 1960s, only two remained for any appreciable amount of time, Willy "El Baby" Rodríguez and Justo "El Mulato" Betancourt. Sonora Matancera_sentence_142

In 1961, Mario "Papaíto" Muñoz joined the ensemble as the new timbalero/bongosero/campanero. Sonora Matancera_sentence_143

Additionally, Celio González returned and continued as sonero and güiro player until 1965. Sonora Matancera_sentence_144

1962–1965 Sonora Matancera_section_10

In 1962, Sonora Matancera established itself in New York City, where it continued to perform Cuban/Afro-Cuban urban popular dance music. Sonora Matancera_sentence_145

Its residency in New York would last for thirty-nine years, longer than their stay in Havana. Sonora Matancera_sentence_146

In 1965, Celia, Celio and Willy all ended their affiliation with the collective. Sonora Matancera_sentence_147

Celia Cruz went on to become a significant and celebrated performer of so-called salsa music, and was known as the "Queen of Salsa". Sonora Matancera_sentence_148

In that same year, Caíto and Lino were among the vocalists and instrumentalists gathered by Dominican-born Johnny Pacheco for a classic studio recording. Sonora Matancera_sentence_149

Besides Caíto and Lino two other musicians associated with La Sonora played on this album. Sonora Matancera_sentence_150

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). Sonora Matancera_sentence_151

A Time of Transition: 1966–1969 Sonora Matancera_section_11

Pedro Knight retired as a trumpeter in 1967 to be Celia Cruz's full-time manager. Sonora Matancera_sentence_152

Ramón Emilio "Chiripa" Aracena became the new second trumpet chair that same year. Sonora Matancera_sentence_153

Leo Marini, a vocal mainstay during the 1950s, renewed his association by recording an album with the cooperative in 1969. Sonora Matancera_sentence_154

The latter half of the decade saw the emergence of two new musical genres, the Boogaloo and the closely related shing-a-ling. Sonora Matancera_sentence_155

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. Sonora Matancera_sentence_156

Many New York-based groups recorded in this style to satisfy their record companies. Sonora Matancera_sentence_157

La Sonora Matancera also recorded an album, Sonora Boogaloo, even though they were recording at this time for their own label. Sonora Matancera_sentence_158

Soon after Sonora Matancera returned to their earlier style. Sonora Matancera_sentence_159

At the end of the 1960s six of the nine members of La Sonora were stalwarts of the glory years. Sonora Matancera_sentence_160

1970s Sonora Matancera_section_12

Over the course of this decade, soneros and instrumentalists came and went. Sonora Matancera_sentence_161

Instrumentational and stylistic changes were the order of the day as well. Sonora Matancera_sentence_162

During this time, La Sonora Matancera continued to record, perform at dance clubs, and tour overseas. Sonora Matancera_sentence_163

Early in the 1970s, the ensemble played at Carnegie Hall. Sonora Matancera_sentence_164

Eventually, it would travel to Europe, playing in Spain, France, Germany, and Finland. Sonora Matancera_sentence_165

In 1970, Justo Betancourt left, to be replaced by Gabriel Eladio "Yayo el Indio" Peguero. Sonora Matancera_sentence_166

This was a significant change in lead singers, for Yayo remained with Sonora Matancera for more than two decades. Sonora Matancera_sentence_167

He recorded only forty-four songs. Sonora Matancera_sentence_168

This does not negate the fact that Yayo was the most important sonero to perform and record with the cooperative in its later years. Sonora Matancera_sentence_169

In 1971, Chiripa left the ensemble. Sonora Matancera_sentence_170

Saúl Torres entered in his stead. Sonora Matancera_sentence_171

Carlos Argentino, a veteran of the golden age, rejoined and recorded with La Sonora in the same year. Sonora Matancera_sentence_172

In 1972, Leo Marini returned to the collective (without evidence of recording that year). Sonora Matancera_sentence_173

Between 1973 and 1977, the brass section comprised six different trumpeters. Sonora Matancera_sentence_174

The most prominent was Alfredo "Chocolate" Armenteros, a former member of Arsenio Rodríguez's seminal conjunto in the 1940s. Sonora Matancera_sentence_175

The individual members of the ensemble were seen by other artists as exemplars of their craft. Sonora Matancera_sentence_176

In 1975, Caíto sang on one of the cuts at a recording session at CBS Studios in New York City. Sonora Matancera_sentence_177

This recording session yielded a double album of Cuban dance music and Afro-Cuban folkloric music, the first of a two-album series. Sonora Matancera_sentence_178

These two albums are considered to be among the best recordings of Cuban/Afro-Cuban music made in the 1970s. Sonora Matancera_sentence_179

Chocolate was one of the instrumentalists assembled for this recording date, prior to his joining the cooperative. Sonora Matancera_sentence_180

After thirty-two years Lino Frías and La Sonora Matancera parted ways in 1976. Sonora Matancera_sentence_181

Lino went on to play on two albums recorded that year with a collection of top singers and musicians under the aegis of Cachao. Sonora Matancera_sentence_182

He was also the pianist and musical director on the first album made by Armando Sánchez and his conjunto. Sonora Matancera_sentence_183

He may have continued in this vein if not for poor health. Sonora Matancera_sentence_184

These three albums were recorded by small, independent labels not controlled by Fania Records. Sonora Matancera_sentence_185

Javier Vázquez followed Lino Frías as pianist and in so doing assumed dual responsibilities with the collective. Sonora Matancera_sentence_186

In 1977, Miguelito Valdés, having recorded with Sonora Matancera in 1951, did so once more. Sonora Matancera_sentence_187

Contemporary touches were added to the cooperative's instrumentation, with electronic piano, organ and electric guitar employed during this session. Sonora Matancera_sentence_188

Calixto Leicea stopped recording with the collective in 1978, although he accompanied La Sonora wherever it performed. Sonora Matancera_sentence_189

In that same year, recordings made in 1977 by Miguelito Valdés with the group were re-released. Sonora Matancera_sentence_190

Five veterans of the glory days were still active with the cooperative at the close of the 1970s. Sonora Matancera_sentence_191

The Late Period: 1980s to present day Sonora Matancera_section_13

The 1980s Sonora Matancera_section_14

The decade of the 1980s began with the departure of Yiyo, a member for thirty-two years. Sonora Matancera_sentence_192

He was replaced by Alberto Valdés. Sonora Matancera_sentence_193

Chocolate also left in this year, being succeeded by Héctor "Bomberito" Zarzuela, a long-time member of Pacheco's conjuntos. Sonora Matancera_sentence_194

This year saw the addition of a third trumpet and a third coro vocalist, bringing the number of instrumentalists and singers to twelve. Sonora Matancera_sentence_195

In 1980, the contrabass and the piano were replaced by electronic counterparts (in the case of the piano for the second time). Sonora Matancera_sentence_196

In this year Celia Cruz returned to record one more album. Sonora Matancera_sentence_197

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. Sonora Matancera_sentence_198

Critics saw experiments with electrical effects as emblematic of a loss of originality, although the attempt was a temporary one. Sonora Matancera_sentence_199

In 1981, La Sonora Matancera recorded an album for Bárbaro Records, a subsidiary of the Fania Records empire co-founded by Johnny Pacheco and Jerry Masucci. Sonora Matancera_sentence_200

The artists on this recording, for the most part, had been specially invited for the recording date. Sonora Matancera_sentence_201

The tres made its return on one number played by Mario Hernández, the much-admired Puerto Rican tresero. Sonora Matancera_sentence_202

Elpidio Vázquez, Jr. also performed on this date as the substitute bass player on one song. Sonora Matancera_sentence_203

He represented the third consecutive generation of his family to be a member of Sonora Matancera. Sonora Matancera_sentence_204

Justo Betancourt was the sonero. Sonora Matancera_sentence_205

The old guard continued to resurface. Sonora Matancera_sentence_206

Celia Cruz recorded a final album with the ensemble in 1982. Sonora Matancera_sentence_207

In 1984, the collective recorded with the singer Ismael Miranda. Sonora Matancera_sentence_208

He was for many years sonero with Larry Harlow's orchestra. Sonora Matancera_sentence_209

1985 was a year of change. Sonora Matancera_sentence_210

Bomberito left, to be replaced by Ken Fradley. Sonora Matancera_sentence_211

Fradley had been a charter member of Saoco, the short-lived but important conjunto. Sonora Matancera_sentence_212

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). Sonora Matancera_sentence_213

The individual members of Sonora Matancera, even at this late date, were held in high esteem. Sonora Matancera_sentence_214

The cooperative still attracted top talent, vocalists and instrumentalists alike. Sonora Matancera_sentence_215

In 1989, La Sonora celebrated its sixty-fifth anniversary of existence. Sonora Matancera_sentence_216

This landmark achievement was commemorated by concerts in Central Park and Carnegie Hall. Sonora Matancera_sentence_217

Their appearance at the last-named venue has been preserved on vinyl. Sonora Matancera_sentence_218

Of the fourteen soneros on this recording, nine were veterans of the gilded age. Sonora Matancera_sentence_219

This was the last occasion when these artists would perform with the collective. Sonora Matancera_sentence_220

In this year Javier Vázquez left after thirteen years as pianist and thirty-two years as chief arranger. Sonora Matancera_sentence_221

José Luis Cruz became the new keyboardist. Sonora Matancera_sentence_222

The 1990s Sonora Matancera_section_15

Caíto died in 1990 after sixty-three years with the group. Sonora Matancera_sentence_223

He was succeeded by Fernando Lavoy. Sonora Matancera_sentence_224

In 1993, La Sonora Matancera recorded an album in Mexico, De Nuevo, with Adalberto Santiago on lead vocals. Sonora Matancera_sentence_225

In the same year Willy "El Baby" Rodríguez rejoined La Sonora. Sonora Matancera_sentence_226

Sonora Matancera lost the services of Yayo el Indio in 1994. Sonora Matancera_sentence_227

He retired as the singer with the longest continuous tenure with the ensemble. Sonora Matancera_sentence_228

At this time the personnel lineup consisted of nine members. Sonora Matancera_sentence_229

Three of them were associated with the cooperative since at least the 1950s. Sonora Matancera_sentence_230

Later history: 2000 to 2013 Sonora Matancera_section_16

For traditionalists, the death of Rogelio Martínez on May 13, 2001 marked the end of La Sonora. Sonora Matancera_sentence_231

Javier Vázquez, with the blessing of Rogelio Martínez, Jr., leads a group of the same name in Las Vegas, Nevada. Sonora Matancera_sentence_232

Characteristic features Sonora Matancera_section_17

La Sonora Matancera is characterized by its use of two trumpets. Sonora Matancera_sentence_233

Furthermore, contrabass, piano, timbalitos, bongós, cencerro, and tumbadora are prominently featured. Sonora Matancera_sentence_234

Sonora Matancera was also distinguished by its backup singers, or coro. Sonora Matancera_sentence_235

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). Sonora Matancera_sentence_236

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. Sonora Matancera_sentence_237

The addition of Celia Cruz, according to Ned Sublette, made La Sonora "sound blacker". Sonora Matancera_sentence_238

Discography Sonora Matancera_section_18

Albums Sonora Matancera_section_19

Sonora Matancera_unordered_list_1

  • "Sonora Matancera: Sus Grandes Éxitos (para coleccionistas)". Recorded in Cuba from 1945 to 1947. Panart Records, LP-2061, Serie 2000.Sonora Matancera_item_1_9
  • "Daniel Santos con el Conjunto Sonora Matancera". Recorded in Cuba. Panart Records, Volumen 1, LP-2014, Serie 2000.Sonora Matancera_item_1_10
  • "Daniel Santos con el Conjunto Sonora Matancera". Recorded in Cuba. Panart Records, Volumen 2, LP-2076, Serie 2000 .Sonora Matancera_item_1_11
  • "Más ternura con la Sonora Matancera". Various lead singers. Recorded at Estudios CMQ. Seeco Records/SONO-RODVEN, LPS-2026. Compilation issued in 1989.Sonora Matancera_item_1_12
  • "Señor Babalú". Miguelito Valdés con Sonora Matancera y Noro Morales y Su Orquesta. Six sides are with Sonora Matancera and six sides are with Noro Morales. Recorded in the late 1940s (?) and the early 1950s. Tropical Records, TR 5010.Sonora Matancera_item_1_13
  • "Sonora Matancera. Canta: Bienvenido Granda". Recorded in Cuba in 1949. Ansonia Records, ALP 1225.Sonora Matancera_item_1_14
  • "Sonora Matancera. Canta: Bienvenido Granda. "En tu busca". Recorded in Cuba in 1949. Ansonia Records, Volumen 2, SALP 1535.Sonora Matancera_item_1_15
  • "Sonora Matancera". Recorded in Cuba apparently in 1950. Stinson Records, Volume I, Collector's Series, SLP 92.Sonora Matancera_item_1_16
  • "Sonora Matancera, 'Se formó la rumbantela'". Recorded most probably in Cuba apparently in 1950. Stinson Records, Volume II, Collector's Series, Grabaciones Mundiales C. A. 200–3018.Sonora Matancera_item_1_17
  • "Sonora Matancera presenta a Daniel Santos". Tropical Records, TR LP 5109.Sonora Matancera_item_1_18
  • "Grandes Éxitos de Daniel Santos con la Sonora Matancera". Tropical Records, TR LP 5134.Sonora Matancera_item_1_19
  • "La Época de Oro de Daniel Santos con la Orquesta Sonora Matancera". Recorded in Cuba in 1950. RCA FSP-230(e), Volumen II (1950).Sonora Matancera_item_1_20
  • "Una Noche en Caracas con la Sonora Matancera". Various lead singers. Seeco Records, SCLP 9060, Serie de Oro.Sonora Matancera_item_1_21
  • "Canta Nelson Pinedo (Nelson Pinedo Sings). Nelson Pinedo con la Sonora Matancera". Seeco Records, SCLP 9062, Serie de Oro.Sonora Matancera_item_1_22
  • "Canta Celia Cruz (Celia Cruz Sings)". Seeco Records, SCLP 9067, Serie de Oro.Sonora Matancera_item_1_23
  • "Baile con la Sonora Matancera". Carlos Argentino and Estanislao "Laíto" Sureda, lead vocals. Seeco Records, SCLP 9072.Sonora Matancera_item_1_24
  • "Cuba's Queen of Rhythm. Celia Cruz accompanied by Sonora Matancera". Seeco Records, SCLP 9101, Gold Series.Sonora Matancera_item_1_25
  • "Grandes Éxitos de Bienvenido Granda con la Sonora Matancera". Seeco Records, SCLP-9123-H, Gold Series.Sonora Matancera_item_1_26
  • "¡Ahí Viene la Sonora Matancera! (Here Comes Sonora Matancera) con Celio González". Seeco Records, SCLP 9126, Gold Series.Sonora Matancera_item_1_27
  • "Reminiscencias". Leo Marini con la Sonora Matancera. Recorded in Cuba on June 11, 1958. Seeco Records, SCLP-9128-H, Gold Series.Sonora Matancera_item_1_28
  • "La Incomparable Celia". Celia Cruz with Sonora Matancera. Seeco Records, SCLP 9136.Sonora Matancera_item_1_29
  • "Grandes Éxitos de la Sonora Matancera (Great Hits of Sonora Matancera)". Bienvenido Granda, lead vocals. Seeco Records, SCLP 9151.Sonora Matancera_item_1_30
  • "Vicentico Valdés con la Sonora Matancera". Recorded in Cuba on Dec 18, 1958, Estudios CMQ. Seeco Records, SCLP-9154-H, Gold Series.Sonora Matancera_item_1_31
  • "El Inimitable Carlos Argentino con Sonora Matancera". Seeco Records, SCLP-9172. Gold Series.Sonora Matancera_item_1_32
  • "Más Éxitos de Sonora Matancera. Canta Celio González". Seeco Records, SCLP-91770. Gold Series.Sonora Matancera_item_1_33
  • "En El Aire. Carlos Argentino con la Sonora Matancera". Seeco Records, SCLP-9191. Gold Series.Sonora Matancera_item_1_34
  • "La Dinámica Celia Cruz con la Sonora Matancera". Seeco Records, SCLP-9192. Gold Series.Sonora Matancera_item_1_35
  • "Reflexiones de Celia Cruz con la Sonora Matancera". Seeco Records, SCLP-9200.Sonora Matancera_item_1_36
  • "Sonora Matancera en México. Cantan Willy y Alberto". Seeco Records, SCLP-9203.Sonora Matancera_item_1_37
  • "Celebremos Nochebuena con Sonora Matancera". Various lead singers. Seeco Records, SCLP 9206. Gold Series.Sonora Matancera_item_1_38
  • "Canciones Premiadas de Celio González con la Sonora Matancera". Seeco Records, SCLP 9207. Gold Series.Sonora Matancera_item_1_39
  • "Canciones Premiadas de Celia Cruz con la Sonora Matancera". Seeco Records, SCLP-9215. Gold Series.Sonora Matancera_item_1_40
  • "México, qué grande eres. Celia Cruz acompañada por la Sonora Matancera". Recorded in Mexico. Seeco Records, SCLP-9227. Gold Series.Sonora Matancera_item_1_41
  • "La Sonora Matancera. Los Reyes del Ritmo". Cantan Celio González y Willy "El Baby" Rodríguez. Seeco Records Inc., SCLP 9229. Gold Series.Sonora Matancera_item_1_42
  • "La Tierna, Conmovedora, Bamboleadora Celia Cruz con la Sonora Matancera". Seeco Records, SCLP 9246. Gold Series.Sonora Matancera_item_1_43
  • "Sonora Matancera en Puerto Rico. Cantan Celio y Willy". Seeco Records, SCLP-9254. Gold Series.Sonora Matancera_item_1_44
  • "Canciones Inolvidables. Celia Cruz con la Sonora Matancera". Seeco Records, SCLP 9267. Gold Series.Sonora Matancera_item_1_45
  • "Un Brindis Musical por Daniel Santos con Sonora Matancera". Seeco Records, SCLP 9279. Gold Series.Sonora Matancera_item_1_46
  • "Algo Especial por la Sonora Matancera". Bienvenido Granda and Estanislao "Laíto" Sureda, lead vocals. Seeco Records, SCLP-9284.Sonora Matancera_item_1_47
  • "Sarará". Sonora Matancera. Various lead singers. Seeco Records, SCLP 9324.Sonora Matancera_item_1_48
  • "La Sonora Matancera los invita a bailar". Various lead singers. Tropical Records, TRLP-5125.Sonora Matancera_item_1_49
  • "Escucha Mis Canciones. Leo Marini con la Sonora Matancera". Tropical Records, TRLP-5162.Sonora Matancera_item_1_50
  • "Lo Inédito de la Sonora Matancera". Various lead singers. Eco Records/Peerless Records, Serie para Coleccionistas, ECO-25974-9.Sonora Matancera_item_1_51
  • "La Sonora Matancera del Ayer y Sus Cantantes". Various lead singers. Discos Fuentes/Seeco Records Celebrity Series, Vol. 3, Serie Coleccionista, 314082.Sonora Matancera_item_1_52
  • "Sonora Boogaloo". Recorded in 1968–1969. MRVA Records, MRVA 1002.Sonora Matancera_item_1_53
  • "Continuación de Reminiscencias de Leo Marini". Recorded ca. 1969. MRVA Records, MRVA 1005. Re-edited on Orfeón Records, Orfeón 12-937 minus two songs.Sonora Matancera_item_1_54
  • "Salsa con la Sonora Matancera". Three disc boxed set. Welfo Gutiérrez and Gabriel Eladio "Yayo El Indio" Peguero, lead vocals. Orfeón Records, JM-206.Sonora Matancera_item_1_55
  • "Mister Babalú". Miguelito Valdés con la Sonora Matancera. Recorded in 1977. Orfeón Records, JM-233.Sonora Matancera_item_1_56
  • "Pruebe la Salsa de la Sonora Matancera". Orfeón Records, 12-054. Re-edited on LP-16H-5134 in 1978.Sonora Matancera_item_1_57
  • "Welfo Mr. Salsa con la Sonora Matancera". Welfo Gutiérrez, lead vocals. Orfeón Records, 12-1049.Sonora Matancera_item_1_58
  • "Salsa Afrocubana". Miguelito Valdés con la Sonora Matancera. Hecho en México. Orfeón Records, LP-12-1066. This album is a re-release of the above-listed "Mister Babalú". Compilation issued in 1978.Sonora Matancera_item_1_59
  • "Celia Cruz y la Sonora Matancera". Recorded in 1980. Orfeón Records, JM-322.Sonora Matancera_item_1_60
  • "Sonora Matancera con Justo Betancourt". Recorded in 1981. Produced by Javier Vázquez. Bárbaro Records, B 207 0798.Sonora Matancera_item_1_61
  • "15 Éxitos de la Sonora Matancera". Various lead singers. Cubalegre Records, DDD-1439. Compilation released in 1982.Sonora Matancera_item_1_62
  • "Celia Cruz con la Sonora Matancera. Feliz Encuentro". Recorded in 1982. Produced by Javier Vázquez. Bárbaro Records, JM B 212. Serie 0798.Sonora Matancera_item_1_63
  • "BIDISCO/32 Éxitos. Bienvenido Granda con la Sonora Matancera". Peerless Records, Double Album, ADP-530-1. Compilation issued in 1984.Sonora Matancera_item_1_64
  • "30 Años de la Sonora Matancera". Various lead singers. Seeco Records, SSS 3000, Gold Series. Compilation released in 1989.Sonora Matancera_item_1_65
  • "40 Años de la Sonora Matancera". Various lead singers. Seeco Records, Seeco Sonic Sound Series, Double Album, SSD 1001.Sonora Matancera_item_1_66
  • "50 Años de la Sonora Matancera". Various lead singers. Seeco Records, Double Album SSD 4001, Compilation issued in 1975.Sonora Matancera_item_1_67
  • "60° Aniversario de la Sonora Matancera". Various lead singers. Seeco Records/Peerless Records, MSTV 4003-5/MCTV 4003-9. Compilation released in 1984.Sonora Matancera_item_1_68
  • "Celebrando con la Sonora Matancera/65 Aniversario". Various lead singers. Seeco Records/TH-RODVEN Records, Inc. TH-2630. Compilation issued in 1989.Sonora Matancera_item_1_69
  • "Gilda Mirós Presents: Sonora Matancera Live! from Carnegie Hall. 65th Anniversary Celebration". Various lead singers. Recorded in 1989. Team Enterprises, Double Album T-7030.Sonora Matancera_item_1_70

Cassette Tapes Sonora Matancera_section_20

Sonora Matancera_unordered_list_2

  • "La Sonora Matancera. Recordando A Cuba". Various lead singers. Recorded in Cuba. Panart P-8001.Sonora Matancera_item_2_71
  • "Canta Bienvenido Granda (Bienvenido Granda Sings). El Nuevo Sonido". Seeco Records, SCLP 9065, Gold Series.Sonora Matancera_item_2_72
  • "Argentina's Favorite Troubadour. Leo Marini Sings". Leo Marini con La [sic] Sonora Matancera. Seeco Records, SCCA 9071.Sonora Matancera_item_2_73
  • "Carlos Argentino Sings". Carlos Argentino/Sonora Matancera. Seeco Records, SCCA 9100. Gold Series.Sonora Matancera_item_2_74
  • "Desfile de Estrellas". La Sonora Matancera. Various lead singers. Seeco Records, SCCA 9120, Gold Series.Sonora Matancera_item_2_75
  • "Grandes Éxitos de Celia Cruz con La [sic] Sonora Matancera". Seeco Records, SCCA 9124, Gold Series.Sonora Matancera_item_2_76
  • "Yo Canto Para Ti (I Sing For You)". Carlos Argentino con La [sic] Sonora Matancera. Seeco Records, SCCA 9127, Gold Series.Sonora Matancera_item_2_77
  • "La Sonora Matancera Llegó. Canta Celio González". Seeco Records, SCCA 9156, Gold Series.Sonora Matancera_item_2_78
  • "Alberto Beltrán con la Sonora Matancera. Canta Sus Mejores Éxitos". Seeco Records, SCLP-9302.Sonora Matancera_item_2_79
  • "Cuba's Foremost Rhythm Singer Celia Cruz. Accompanied by Sonora Matancera". Seeco Records, SCCA 432.Sonora Matancera_item_2_80

Compact Discs Sonora Matancera_section_21

Sonora Matancera_unordered_list_3

  • "La Sonora Matancera 'En Vivo'". Edición Limitada. One song from a film and live recordings. Various lead singers. Bohío Records.Sonora Matancera_item_3_81
  • "La ola marina". Conjunto Sonora Matancera. Recorded in Havana, Cuba in 1944. Tumbao Cuban Classics, TCD-114. Compilation released in 2002.Sonora Matancera_item_3_82
  • "Se formó la rumbantela". Sonora Matancera. Recorded in Havana, Cuba in the mid-1940s. Tumbao Cuban Classics, TCD-045. Compilation issued in 1994.Sonora Matancera_item_3_83
  • "Bobby Capó con La Sonora Matancera". Recorded in Cuba on June 9, 1948 and January 4, 1952. Seeco Records, SCCD-9356, Gold Series.Sonora Matancera_item_3_84
  • "Daniel Santos y Bienvenido Granda con la Sonora Matancera". Vol. 2. Recorded live in Havana, Cuba in 1949, 1950, and 1953. CD Sonora.Sonora Matancera_item_3_85
  • "La Guarachera de Cuba. Celia Cruz con la Sonora Matancera". Recorded at Estudios CMQ, 1950–1953. Tumbao Cuban Classics, TCD-091.Sonora Matancera_item_3_86
  • "Celia Cruz con La [sic] Sonora Matancera". Vol. 5. Live recordings on Radio CMQ, 1951–1952. Bárbaro Records, CD 230. Compilation released in 1995.Sonora Matancera_item_3_87
  • "Sonora Matancera Live on the radio 1952–1958". Various lead singers. Harlequin Records, HQ CD 79.Sonora Matancera_item_3_88
  • "Sonora Matancera Live on the radio 1952–1958". Vol. 2. Various lead singers. Harlequin Records.Sonora Matancera_item_3_89
  • "Celia Cruz con La [sic] Sonora Matancera". Vol. 1. Live recordings on Radio Progreso, 1953–1954. Bárbaro Records, CD 226. Compilation issued in 1995.Sonora Matancera_item_3_90
  • "Celia Cruz con La [sic] Sonora Matancera". Vol. 2. Live recordings on Radio Progreso, 1955. Bárbaro Records, CD 227. Compilation released in 1995.Sonora Matancera_item_3_91
  • "Celia Cruz con La [sic] Sonora Matancera". Vol. 3. Live recordings on Radio Progreso, 1956. Bárbaro Records, CD 228. Compilation issued in 1995.Sonora Matancera_item_3_92
  • "Algo Nuevo de lo Añejo de la Sonora Matancera". Para coleccionistas. Live recordings. Various lead singers. Yumurí Records. 1032.Sonora Matancera_item_3_93
  • "Algo Nuevo de lo Añejo de la Sonora Matancera". Para coleccionistas. Live recordings. Various lead singers. Yumurí Records, Volume II.Sonora Matancera_item_3_94
  • "Algo Nuevo de lo Añejo de la Sonora Matancera". Para coleccionistas. Live recordings. Various lead singers. Yumurí Records, Volume III.Sonora Matancera_item_3_95
  • "La Sonora Matancera. ¡En Vivo!. Inéditas". Live recordings. Various lead singers. Cubanacán Records, CUCD 1707.Sonora Matancera_item_3_96
  • "Los Últimos de Celio González acompañado por la Sonora Matancera". Seeco/Tropical, STR 90523.Sonora Matancera_item_3_97
  • "La Inolvidable Sonora Matancera". Various lead singers. Notes by Carlos Deiby Velásquez. Discos Fuentes/Seeco Records, D16197.Sonora Matancera_item_3_98
  • "La Sonora trae un tono. La Sonora Matancera en CMQ, 1957". Cantan Celio González y Carlos Argentino. Tumbao Cuban Classics, TCD-096.Sonora Matancera_item_3_99
  • "La Sonora Matancera. El nuevo sonido fabuloso". Cantan Elliot Romero y Justo Betancourt. Seeco Records, SCCD 9282. Gold Series.Sonora Matancera_item_3_100
  • "La Niña de Guatemala en Ritmo de Guantanamera". La Sonora Matancera. Various lead singers. West Side Latino Records Corp., WSCD-4311. Compilation released in 2000.Sonora Matancera_item_3_101
  • "Sonora Matancera-Ismael Miranda". Recorded in New York City in 1984. Produced by Javier Vázquez. Fania Records, Música Latina International, JM 632.Sonora Matancera_item_3_102

Filmography Sonora Matancera_section_22

Sonora Matancera_unordered_list_4

  • "El nacimiento de la rumba", 1937.Sonora Matancera_item_4_103
  • "Tam Tam Edén", 1937. Filmed in Havana, Cuba. 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.Sonora Matancera_item_4_104
  • "El ángel caído", 1948. With Daniel Santos and Rosita Quintana.Sonora Matancera_item_4_105
  • "Escuela de modelos", 1949. With Alberto Garrido.Sonora Matancera_item_4_106
  • "Música, mujeres y piratas", 1950. With Leopoldo Fernández, "Pototo", and Aníbal de Mar, "Filomeno".Sonora Matancera_item_4_107
  • 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.Sonora Matancera_item_4_108
  • "La mentira", 1952. With Bienvenido Granda, Marga López and Jorge Mistral.Sonora Matancera_item_4_109
  • Cinnamon Skin, 1953. With Sara Montiel, Pedro Vargas and Fernando Casanova.Sonora Matancera_item_4_110
  • "A romper el coco", 1954. With Amalia Aguilar.Sonora Matancera_item_4_111
  • "Me gustan todas", 1954. With Adalberto "Resortes" Martínez, Eulalio "Piporro" González and Rosita Fornés.Sonora Matancera_item_4_112
  • "Una gallega en La Habana", 1955. With Nelson Pinedo, Celia Cruz, Ramón "Diplo" Rivero and Niní Marshall.Sonora Matancera_item_4_113
  • "¡¡Olé Cuba!!", 1957. With Celia Cruz, Celio González, Pototo and Filomeno.Sonora Matancera_item_4_114
  • "Amorcito corazón", 1961. With Celia Cruz, Alberto Pérez Sierra, Willy "El Baby" Rodríguez, Rosita Quintana and Mauricio Garcés.Sonora Matancera_item_4_115

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: Matancera.