Label: Seeco - SCCD-9151 • Format: CD Album, Reissue • Country: US • Genre: Latin • Style: Guaracha, Bolero, Son Montuno
The group was founded on January 12,   Conmigo Misma Peleo (Tiento) - Antoñita Peñuela - A Mi Aire Barrio Ojo de Agua, a neighborhood in the city of Matanzas. The ensemble was initially named Tuna Liberal for political reasons.
At this point, the band was just a commonplace group and had not yet developed its distinctive sound. This marked a new acceptance for Afro-Cuban groups and a style of music that had previously been barred from certain restaurants and hotels.
Havana was home to a thriving music scene in the s. The move to Havana proved to be consequential. Inthe collective made its first recordingsfor its first label, RCA-Victor. Inthe band signed a contract to perform live on the airwaves of Radio Progresomaking appearances on this station for many years. Son ensembles of this time added pianos to broaden their contrapuntal and harmonic vocabulary.
Trumpets, sometimes as many as three, replaced cornets. The additional instruments meant sextetos and septetos evolved into conjuntos. Septeto Soprano added a piano during this decade but did not expand its brass section until the s.
Septeto Soprano made only one recording during this Cuando No Estás - La Sonora Matancera Con Bienvenido Granda - Grandes Éxitos De La Sonora Matancera . It was for RCA-Victor. Some of the individuals important to the group's success began their long association with the collective in the s. Manteca filled the vacancy created when Jimagua left. The collective changed its name to Estudiantina Sonora Matancera in the early s.
Calixto Leicea replaced Ismael Goberna, who retired because of poor health and died a few months later. Calixto Leicea was an excellent songwriter and arranger. Afterhe limited himself to arranging and composing. The ensemble terminated its association with Radio Progreso by the end of the decade.
Bienvenido Granda sang lead vocals from circa tothe first truly important sonero to perform and record with the conjunto. His association with La Sonora made it famous throughout the Spanish-speaking Caribbean.
No one recorded more Day Of Sadness, Days Of Gladness - Larry Hogan - Simple Song Of Love with the ensemble than Bienvenido Granda, as he made over recordings between and The one gave the brass section more heft while the other enhanced the rhythm section.
In Windsor Beaver - Blister - The Revenge of Tommy Lobster, 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.
From toit consisted of:. Sonora Matancera honed its skills over a generation—from the late s to the late s—in the academias de baile a special type of dance hallsuch as the famous Marte y Belona  where nightly La Sonora drew record crowds of the best dancers. From the mids till the end of the s, the collective had a program as "artistas exclusivos" "exclusive artists" on Radio CMQ called "Cascabeles Candado".
In the period —, the group made a number of recordings Bienvenido Granda as lead singer on the majority of these numbers as Conjunto Tropicavana  or Conjunto Tropicabana.
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. Some of these vocalists were featured lead singers. Others were invited to record a limited number of songs during a brief period of time. Daniel Santos performed and recorded with the collective beginning in The cooperative returned to airing live broadcasts at Radio Progreso in with Daniel Santos as the featured lead vocalist.
Myrta Silva was the first woman to join the musical collective. Over a short time inshe recorded four studio sessions with the conjunto. Myrta returned in and made a number of live recordings.
Inthe ensemble recorded twenty-two songs for Ansonia Records. The conjunto made said recordings using its real name.
La Sonora Matancera's most successful period was from until The majority of its recordings were made at this time. Besides personnel and instrumental changes, Sonora Matancera, as already illustrated, underwent stylistic changes. Inthe conjunto expanded to big band orquesta size, making a series of recordings with Daniel Santos. Aboutthe ensemble recorded eighty tunes for Stinson Records using the name of Sonora Cubana. 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.
The lead vocalist on these recordings is Bienvenido Granda. Celia Cruz succeeded Myrta Silva inperforming and recording with the conjunto until Fans of the cooperative at first did not accept Celia as a worthy replacement for Myrta, but by she had won the audience over.
Inshe married second trumpeter Pedro Knight, who later became her "protector, manager, and musical director". Cruz's first recording with the conjunto was made on December 15, It was for Seeco Records. One other personnel change occurred this year. The conjunto made its first overseas tour in It performed in PanamaColombiaand Costa Rica.
Manteca left either Harmless Monster - CocoRosie - Tales Of A Grasswidow  or inretiring as had other members through the years because of health matters. The cooperative began the decade with a tour of Haitithe Dominican RepublicArubaand Curacao Cuando No Estás - La Sonora Matancera Con Bienvenido Granda - Grandes Éxitos De La Sonora Matancera  but the political upheaval following the Cuban Revolution affected the group greatly.
Having signed a lucrative contract to perform in Mexico Citythe group, accompanied by Celia Cruz, left Havana on June 15, Its residency in New York would last for thirty-nine years, longer than their stay in Havana. InCelia, Celio and Willy all ended their affiliation with the collective. One was from the past Patato and one was a trumpeter who would be invited to participate in a recording session Pedro "Puchi" Boulong  .
Pedro Knight retired as a trumpeter in to be Celia Cruz's full-time manager. Leo Marini, a vocal mainstay during the s, renewed his association by recording an album with the cooperative in The latter half of the decade saw the emergence of two new musical genres, the Boogaloo and the closely related shing-a-ling. Many New York-based groups recorded in this style to satisfy their record companies.
La Sonora Matancera also recorded an album, Sonora Boogaloo even though they were recording at Automatic Lover - Unknown Artist - 20 Disco Night Fever time for their own label.
Soon after Sonora Matancera returned to their earlier style. At the end of the s six of the nine members of La Sonora were stalwarts of the glory years. Over the course of this decade, soneros and instrumentalists came and went. Instrumentational and stylistic changes were the order of the day as well.
During this time, La Sonora Matancera continued to record, perform at dance clubs, and tour overseas. Early in the s, the ensemble played at Carnegie Hall. InChiripa left the ensemble. Between andthe brass section comprised six different trumpeters. The individual members of the ensemble were seen by other artists as exemplars Cuando No Estás - La Sonora Matancera Con Bienvenido Granda - Grandes Éxitos De La Sonora Matancera their craft.
This recording session yielded a double album of Cuban dance music and Afro-Cuban folkloric music,  the first of a two-album series. These two albums are considered [ by whom?
Chocolate was one of the instrumentalists assembled for this recording date, prior to his joining the cooperative. These three albums were recorded by small, independent labels not controlled by Fania Records.
Calixto Leicea stopped recording with the collective inalthough he accompanied La Sonora wherever it performed. Five veterans of the glory days were still active with the cooperative at the close of the s.
The decade of the s began with the departure of Yiyo, a member for thirty-two years. This year saw the addition of a third trumpet and a third coro vocalist, bringing the number of instrumentalists and singers to twelve.
Inthe contrabass and the piano were replaced by electronic counterparts in the case of the piano for the second time. The artists on this recording, for the most part, had been specially invited for the recording date.
Justo Betancourt was the sonero. The old guard continued to resurface. Celia Cruz recorded a final album with the ensemble in Inthe collective recorded with the singer Ismael Miranda. Bomberito left, to be replaced by Ken Fradley. The cooperative still attracted top talent, vocalists and instrumentalists alike.
InLa Sonora celebrated its sixty-fifth anniversary of existence. This landmark achievement was commemorated by concerts in Central Park and Carnegie Hall. This was the last occasion when these artists would perform with the collective. He was succeeded by Fernando Lavoy. At this time the personnel lineup consisted of nine members. La Sonora Matancera is characterized by its use of two trumpets.
Sonora Matancera was also distinguished by its backup singers, or coro.
Dosadan Dan (Heaven Knows) - Siluete - VIS Siluete, Ghost Camp - Dromax - Weed Undead, Fortunate Son - Creedence Clearwater Revival - Willy And The Poor Boys, Bird Dog - Everly Brothers - The Very Best Of The Cadence Era, Third Movement: Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Assai - Tempo I - Brahms*, Phi