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The Bolero: endangered?

The author, bolero Colombian scholar, believes that, although love never goes out of style, the bolero is heading into oblivion. (In the photo, Bobby Integrated hood Caney Group)

Orlando Rolon Montenegro (*)

Satiago of Cali / Colombia

Bolero is the rhythm of love but love but never gets fashionable bolero olvido.Hace is heading to a couple of years I wrote an essay on one of the most popular dance genres: The rhythmic afrohispanocaribe Bolero. I was aware that although love never gets old, the pace is on track to fade in the radio stations, TV, record labels, heart and body of lovers. On the dance floor is not programmed by a shortage of dancers. The most surprising was the muse flew very far from the skulls of the composers and arreglistas.Acaso because its subject is worn out or exhausted.

From the market perspective is to understand what is happening today. The music for some time ceased to be an inspiration and almost heavenly state of the soul in communion with the estrus-to be a simple and rough business, perhaps the most tasteless of the globalization of the economy and other activities of mankind. A custom-manufactured product and now working as writers, arrangers and the vast majority of casual players.

In the letter to which I referred at the beginning, pointed out that not every day they are born mortal scientists saw the light of life and everything was invented and discovered. So there were available to continue building knowledge bases and the Bolero is no exception to this rule.

The uncertainty of today with the overall cornering romance is not new, starts from the moment it is not historically accurate as possible with any degree of accuracy the date of birth of the genre to spread its roots from Europe to America.

Cuban scholars like Dr. Cristobal Diaz Ayala boricua have written since 1830 began to flow gender dropwise into the arms of the Creole Song and Zapateo-preceded by the English Country Dance Country Dance French and then in our Caribbean sank their roots in Haiti and, on the occasion of the revolution on the island swam to Cuba to become Anti initially Afro-Cuban Dance, Dance, Habanera and Danzon. Other precedence over the emergence of the Danzon-1879.

One of the approaches and consensus among historians is that musicógrafos have written that the Bolero of our America, which was issued from 1885-1886 - there was absolute clarity in their origin and meaning. Converge it was more the product of a startup. Without any similarity the Iberian Bolero rhythmic and not as semantic as it was a dance of light movement, which called Volero (to fly and gypsy dance with acute and rapid movements that simulated the flight of birds) accompanied by guitars, wooden crates and hand clapping.

was precisely the pen of a tailor in Santiago de Cuba, empirical musician, guitarist and musical director de la Trova in Santiago de Cuba, José Pepe Sánchez (March 19, 1856 - 1918) with its composition Tristezas that was formally recognized as the creator of the first Bolero.

music written in 2 periods of 16 bars each, instrumental passage separated by 1 run melodically with the guitar strings and known as the Parade. From this work, Cuba, Puerto Rico, Mexico, Colombia, Venezuela, Panama and the rest of the Caribbean Mediterranean who brought other spices to the large pot of Bolero. Even Brazil, Chile, Argentina, Peru, Bolivia and the rest of the continental and insular American. The rest is a history of more than 120 years.

will not go because that is not the purpose of this nota.Su simple lyric, but it shakes the soul and the body still is praised: give me your sorrows Sorrows mujerprofundo doubt me pain.

No proof of love that shows through

how I suffer and I suffer for you.

adverse Luck is with me, keeps

broaden my passion.

gave me a kiss

one day and put it in your heart.

Worn themed Bolero?

Among the tangle, the clear and indisputable is that in his extensive decanting the Bolero has always been in the service of love. Have you walked barefoot in the world making their own stories that have served with excitement to the senses to embrace forward to his lyrics.

The mission has never faded-dress and impregnate amatory language lovers to gather. Furthermore, as the result of a mix between pop culture with all its ethnic heritage, it was possible to interpenetrate so that they melt so solidly that appear as one.

The marriage of Africanized Europe and America recently discovered with all its implications.

is inconceivable to accept that the inspiration and the speech has been castrated Bolero a cut of the brain and emotions of the composers, arrangers and performers.

I am more inclined to think that some of the responsibility is attributable to the consumer society of today that dragging its services in recent decades, reached the gates of the Century 21 desensitized and conditioned to a life of their way to be disposable junk. With sex as part of the physical immediacy only. Mind on the provoking sharp for orgasm and ejaculation as passengers on the speed of light. Reflection of the irrational animal instinct. Nothing different from a herd in which the dominant male as a stud all reserves the right to enter to whichever female is going through and cause. A simple violation. Distant amorous caresses and plots to seduce the cool and liaison bodies of a couple at the rhythmic beat of a Bolero.

In the absence of the foreplay before making love: Is there anything left after the event? Not be better to keep the sweet memory of the conquest sincere or not induced by a passionate Bolero? Do not forget that the condition of universality of the genre favors the right and ability to violate borders and language barriers. Even beyond the technology and modernity. Where do not I hear a Bolero? It is not uncommon to see Amasis (strongly embraced) in a corner on a tile to a couple of Europeans enjoying the dance of a hot and provocative Latin American Bolero.

Although currently not understand the lyrics Castilian (English) the melody will penetrate through the pores and exciting. Or vice versa. It is the only genre that globalization emotions in the most natural and simple language: The status romántico.Por visceral, has stood the test of all fashions and trends in music, opening his arms to all possible mergers and hybridizations: Bolero Son, Bolero Cha, Bolero, Mambo, Bolero Montuno, Bolero Pop Bolero Guajira, etc ... without losing their identity and establishes mission: to serve the fans.

Reasons for gender is almost forgotten and in danger of extinction

It's true that not many Boleros write as before. Survive the old repertoire. The epilogue ends hearing listening to the classics. We have to look very closely at the new creations.

And everything changes and passes, it seems that sick remain seated while waiting for another reborn: Agustín Lara, Rafael Hernández, Tite Curet, César Portillo, Sofronín Martinez, Alfonso de La Espriella, Armando Manzanero, Consuelo Velasquez, etc ... Still, boleros Festivals abound, like that of Havana, Santiago de Cuba, Cartagena de Indias, Riohacha, Medellín, Cali, Barranquilla, San Juan, Panama, Mexico and many others who had hand Aged and counted radio programs are struggling to keep afloat.

Still: The Bolero is the way to oblivion. One swallow does not make a summer.

Little is recorded, the youth is not interested in learning to dance and appear very few singers. For them life lost. To make matters worse, dying the great composers and arrangers, leaving orphans in the cold light of gender and which are not foreseen flying their flags again: Just because the genre and not commercial. Little or nothing sells. So not interested in cultivation. It's easier to jump, bitch and give bland spin around like crazy to have elegance and rhythm to dance.

This reality is complex to address.

healthy also understand that what I write here is not dogmatic and open arms to the useful and constructive debate. Rather an invitation to build an opinion. Remove the story without trying to understand it is a disservice to ideologies. With the crystal clarity on the possible differences between Cuban and English Bolero. They only approached in the name. On another occasion I will indicate to the 3x4 and 2x4 of the bars in cahoots accomplice.

Does stopped using the Bolero to love? "Gone serenades? No ... not the shit! Perhaps the piece worthless Those green eyes (1929) Cuban outburst fluid Nino embobao Menéndez (love) Conchita, a beautiful Cubiche Utrera with eyes that kill. And it was the brother of the lady who helped to compose and arrange the theme anthology. The arrechera (heat) climaxes by listening Love me too much of the great Cuban Maestro Gonzalo Roing. And then what else?

Love me much, my sweet love

lover

that you always adore,

me with your kisses and your touch

acallaré

my sufferings.

When

really loves me like I love you,

is impossible for me so separate sky

live.

possibly

The questions are my guidelines for regarme (Extended) shell on the beach. Recognize in individual analysis that there is a dark hand but few face and contradict visible because they fear losing their status of In. No need to test the shifting mud land for them to realize that not only can be killed. It is metaphor.

The Payola (pay at the station to spread a disc) is a universal monster here and there. Programmers and DJs are far to understand that to preserve the centenary gender must be renewed daily audience. After all, the letters will still panders to the lovers and lovers. And it is a ball if they are not ton: No. Every love is a feeling, a new failure, another story of disappointment and pain opens the way to remove nail another nail.

The irony is that just as bad calls abound Salsa Schools and other genres, I am looking in the Yellow-eyed and full sun an academy that teaches dance Bolero. Where to get hungry looking tenderly loving their bodies burn and draw a spark to braid instigator Bolero frenzied. Take the heart beat, the brain then move the legs and the soul forces that fuel the arms to help us push harder to be loved. Now I'm going to plagiarize the Master musicógrafo and compatriot Cesar Pagano: Let us invade the corrupter of children and adults: The Bolero.

I believe that gender is not going away, would be tantamount to denying the feelings of humanity or that they are deaf or closed to caress and love. Is it what the feelings are extinguished, too?

not deny the nostalgia we visit from time to time and at that moment what better than an electrifying Bolero in a sublime desired company to stop the adrenaline and pheromones flooding the bed. The genre is as old and as rich as love, a kind of universal grammar lovers.

(*) The author is Editor of the Journal Melómanos

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Millin: The Daniel Santos Sonora had sounded better than

In January 2007 I spoke with Emilio Rivera ¨ Millin ", a ex-veteran of the Korean War, who has devoted many years to rescue musical jewels belonging to the popular culture of Puerto Rico and the Mainland. His work focused in the years 1947-1949, when Daniel Santos, after leaving New York after unsubscribe in the army, he decides to go to the island in search of new horizons. Daniel Alli formed an orchestra called Bonrinqueña Sonora, bringing together those who would be big players in the international escanario.

Jose Emilio Castellanos
From Puerto Rico
Millin
a kid listening to Daniel Santos in traganíqueles calls, jukeboxes or belloneras the neighborhood where he lived a few blocks from Trastalleres, where Daniel was born precisely .

When I was 13 years Daniel Millin returned to Puerto Rico looking for new directions. He had been in the army in World War II, and life had changed in New York. In San Juan, decided to form a group under the color of sound. In 1947 The Chief · search of the best musicians that were on the island and in a short time had his group, La Sonora Boricua, placing four trumpets, which sounded much stronger and different from the Sonora Matancera.

Little is known about the Sonora Boricua, though some scholars say it sounded better than the Sonora Matancera. Emilio Rivera

Millin ¨ ¨, passionate collector of music, has devoted part of his life to rescue it part of the story of Daniel Santos, and brought together, with support from two friends collectors, the 36 pieces were recorded between 1947 and 1949. Then transformed into two-CD collection, with plenty of information to be released through talks and radio programs.

Millin, who in turn is one of the founders of the Collectors Club of San Juan, I said that musicians who belonged to the Sonora Boricua were very famous before and after coming to this great group. One of them, singer, trumpeter and trombonist Pete Sepulveda, helped recostruir this story. Of this group survive Sepúlveda, Luis Elmore and John Zamora.

All group's original recordings were made in 78's, one number for each side. Not yet released the LPs (LP). Millin

not explain why they started to leave the LP, around the years 1951 or 1952, the record companies RCA Secco and made a record length of Sonora Boricua, which they did with other groups.

reveals that in 1992 bought a CD from the "Secco" with the name ¨ Grandes Exitos de Daniel Santos Sonora Matancera ¨, and was surprised when I heard and in four of the recordings are listened saxophones, clarinets and other instruments does not have the Sonora Matancera.
The following is his account of what was his task to rescue the persistent ¨ ¨ musical treasure of the late 40's, born in a radio studio in Puerto Rico.

"When I finish listening to the album I find that there are only recorded two songs with the Sonora Matancera, which are the sailboat Bolero" ¨, written by the Daniel Santos, bolero and mambo "Rain or Shine," by RB McLean, which were recorded by Daniel with the Sonora Matancera in 1950. I also find in this recording the bolero "Rosa" by Leopoldo Gonzalez (although I think I wrote Daniel) and the bolero "returned" by Leopoldo Gonzalez, who recorded Daniel with the Orchestre de Moncho Usera on March 18, 1946, the song Jíbara, Robert Cole, Romance del Campesino and the bolero "On my Honor" by M. Jiménez, recorded by Daniel with the Orchestra of Rafael González Peña, also in 1946 ¨.

"The other six numbers on this recording with La Sonora Boricua are always with you, Bolero Robert Cole, Song of the Highlands, Song Jíbara Robert Cole, My Word of Honor, Bolero Daniel Santos; Bello Mar, Bolero Daniel Santos, A. San Lazaro, René Márquez Bolero Red, and here in Heaven, Bolero Ramon Jr. Galguera ° After listening to this album, "adds Millin, I gave myself the task of giving to know everything I could about the Sonora Boricua Daniel Santos. "

" I kept looking at my club and find a compact of Perez Prado and his Orchestra, the house also Secco with the name of "Latin Dance Party", and turned to surprise when I found on this disc is supposed to Perez Prado and his orchestra, four issues of Daniel Santos "La Sonora Boricua" The seven and a half of Justi Barreto - Guaracha; Chambeleque Mercedes Alvarez and Florencio Hernandez, Guaracha, Always With You by Robert Cole - Bolero, and, You do not have sort of Hemeregildo Cárdenas - Guaracha ¨.

"In this compact" Latin Dance Party "do not even mention the name of Daniel Santos. However, there is an LP with the same cover and title that preceded the CD and here if you happened to mention to Daniel, only to say that Daniel sings these four numbers with Perez Prado. Error or nonsense? "As a nine songs had already kept looking at my old records and found five more songs on an LP for RCA Victor: Martin EI Loco, Daniel Santos, Guaracha; The Trumpets of Mario Recio, guaracha, El Rey del Bombo, Daniel Santos, Guaracha; At best, Robert Cole, Bolero, and Why do you doubt my love?, Daniel Santos, bolero. "

"With these fourteen songs on tape started recording what became the first recording rather long time for "Sonora Boricua. This was the year 1993 and the first copy I gave my friend Osvaldo Castillo, collector of San Juan. "

"After two years, since mid 1995, I returned to the issue of Sonora Boricua, organized my thoughts and started writing notes of all he remembered of the" Sonora Boricua. "I was in the presentation Group made at twelve noon from the Radio Station Theater WIBS, which was located in Building Industrial Cotton, Avenida Fernández Juncos Santurce, the next to where the coffee is made Yaucono. "

" In this same building was also Ochoa Records Studio, I have understood was the only house in Puerto Rico recording and recordings made him the big companies of all artists that they represented. Here were almost all recordings of Sonora Boricua Daniel Santos. "

" The group took a long time in these programs at noon and often had to cut classes to arrive on time and get a seat. When I could not be listened to by radio. I was then 14 years. "

" The speakers who took turns cheering the program, since there was no one fixed as they were the privileged voices of radio and masters of ceremony at that time. These were King Arenas, Fidel Cabrera, Jose Angel Gutierrez and Jose Manuel (Memel) Alvarez, the only living of cuatro.La Sonora Boricua, like all bands, had his song with which began and ended the auditions, which was very nice and was written by Daniel Santos. I well remember the tune and every time I sing by imitating the voice of Daniel Santos. I kept looking for more songs recorded by "La Sonora Boricua" and found the Guaracha "They formed The Quarrel" by Pablo Cairo and "EI Bobo of cassava" Marcos Perdomo until completed eighteen numbers with Bolero "Heart" of Juan Ramón Balseiro, with the help of fellow collector Don Axel Rivera. "

" Thus was born the first compact Sonora Boricua "recorded by this server. This compact I gave copies to some 22 or 23 friends all collectors. Before we go giving away copies, the Puerto Rican friend and broadcaster "Rafy Torres" invited me to his famous Bohemian Saturday, after I told him about my project with the "Sonora Boricua" because it seemed interesting. I took the CD twice to his program on Radio Station AM.En WKAQ calls both programs were swift and listeners began to ask where she had got that record, who I was and many requesting copies. Others were surprised they had never hear of "La Sonora Boricua" and I answered all the questions I did in the air. "

" The only number that listeners knew was "Song of the Highlands", and which was the subject who used the Labour Department for job offers. Before the recording many believed was with La Sonora Matancera. "

"I kept looking for more recordings and this time with the help of his friend Oswaldo Oganez, great collector who got me guaracha" EI Granite Corn René Márquez Red, "I touched mine" Paul Cairo and "Fighting with her" by Daniel Santos and with the collaboration of Jaime Jaramillo collector friend, I got enough to make a second CD. "

" Daniel took his Sonora Boricua to Curacao, Aruba and Santo Domingo. He stayed in the air had a trip to Venezuela by a disagreement arose between Daniel and several of the musicians, and soon after came the ú1timos days of "La Sonora Boricua" at the end of 1949. "

" I tried by all means to get a photo of the group, but it seems that there is, as there is no LP, cassette or CD, or a recording of the song in the set, except for my recordings caseras.Ya in the year 2002 I managed to make the second CD which included 16 songs rather than the 18 recorded in the first CD sum 34 because we could not get two numbers of the 36 that are "As are the kisses" and " Rumba has value "both the Cuban composer Pablo Cairo."

"Of all the songs recorded by La Sonora Boricua, twenty-two were with the company" Secco "and fourteen with RCA Victor, for collectors who are interested in these recordings I have a list available. "

" The bear was none other than our great composer Roberto Cole, the pianist was Joe White, who was later in the César Concepción Orchestra and others. The conga touched a boy of 19 named Rafael Cortijo ... "

The musicians who made up" The Sonora Boricua "were

Daniel Santos, Director, singer and composer;
Joe White, Pianist and arranger ;
Robert Cole, Bassist, composer, arranger,
Victor Rodriguez, First Trumpet and arranger;
Pete Sepulveda, Second trumpet and singer;
Juan Zamora, Third Trumpet;
Nestor Romin, Fourth Trumpet;
Tito Henriquez, guitar and choir :
Rafael Cortijo, Tumbadora, requinto ;
Luis · Elmore ¨ Sanchez, congas Second, soneos and chorus;
Adalberto Rivera, Bongo;
Gino Picart, singer and chorus.

"The group had no drummer and personally I did not need to have a Rafael Cortijo, although he was very young and was a master of the congas. A group with this group of outstanding musicians had to be good. As you noticed The group had four trumpets, something very rare at that time, as most of the sets only had two trumpets. I can think that was one of the early music ensembles of its kind that used four trumpets. "

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Matancera Agustine Velez: While there is love, there

Master Agustine Velez Rolon responds to Montenegro:" While there will be a guitar bolero. While we have triplets, have nights of boleros. While there is love, there bolero. Whoever doubts that come to Puerto Rico "in the graph and Jhonny Albino Trio San Juan.

By: Agustine Velez Jiménez

Bolero Latino / Puerto Rico

Much has been said of death caused by the bolero ballad and the boost given to it by the multinational record. They may have some truth in this, because they no longer have to be a singer. Just wear little clothing if female and good looks and swagger if you are male and the voice is not required to be "star", but have noticed that are disposable. Only use as others appear better pretty face or figure. Therefore, these "idols do not last, and if they do is just immature audiences that have no basis for comparison, they believe that consumerism puppets singers really are.

However, the bolero has never died, at least in our Puerto Rico, and among Latin American countries. The so-called Hispanics who fled their homeland are more likely to listen to those produced by the labels. In his native country had their bolero.

While there exists a guitar bolero. While we have triplets, have nights of boleros. While there is love, there bolero. Whoever doubts that come to Puerto Rico. Here we have all year, festivals of triplets. There are countless places to hear trios. Throughout the island remains the tradition of bohemia. A girl, a boy and a guitar, equivalent to one night of love boleros.

We are a small island of four million inhabitants, but with almost a thousand registered and active triplets. Not to mention the impromptu. Take a walk on a Sunday and you will find many places with string music, there will also be Jibaro music, but predominantly bolero. We have guitar virtuosos anywhere in proportion to our population. Every day somewhere presents a trio and their songs are boleros. Although their repertoire is mostly Puerto Rican composers. For something we have to Rafael Hernandez, Pedro Flores, Don Felo, Placido Acevedo, Benito De Jesus Bobby Capo and Sylvia Rexach, to supply an inexhaustible repertoire.

addition, Puerto Rico is the crossroads of the Americas in the Caribbean. Throughout Mexico, all of Cuba, all of Venezuela, Colombia and bambucos, Argentina, Ecuador, with its corridors, Chile, Peru and waltzes, to supply us with beautiful romantic music for our triplets interleaved with boleros. Here at least there bolero for a while. Here are stations boleros as a basis for programming. Here we get continued production of Latin American boleros. Although we have not disclosed the great big hits stations made, there is always room for them in record stores.

In Puerto Rico I have seen sites where bohemia met to ask the ultimate success of the ballad, but the old boleros of 40 and 50. Kept alive the old issues of our adolescence and early youth. Remember brother, that those times?

can be the land of salsa and reggaeton, but we fell in love in time of bolero. Love or spite is bolero rhythm, the memory of our parents is time bolero, and dance .... There is something better than a tight little bolero?

In Puerto Rico and in our spirit ... the bolero lives .... We refuse to publish the obituary burial of our boleros. I said.

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bolero Agustine Velez, patriarch boleros collectors admired

By Jose Emilio Castellanos
from Puerto Rico

Allan The day he arrived home from Caguas his grandfather was filled with emotion as if before the birth of their first child. Immediately had to solve another issue. Without thinking went out in a short time was back with a giant truck cava. Then came the hard task of moving what was in the room to take his grandson, one of the most valuable and comprehensive collections of Latin American popular music on the Continent. Thus was born Study-library-disco on wheels. (In the graph, Agustine Velez, Jose Emilio Castellanos.)

's grandfather is not given to write, but when he speaks becomes a captivating writer, a kind of oral historian in the field of popular music American. It would be difficult to find information with strict order and keep his memory conceptualization: dates, characters, anecdotes, in a monologue that flows with the excitement of a professor before his disciples.

So are the games at home, surrounded by guitars, stories, great figures of the past 50 years, members of famous trios filled with stories and music to a whole continent. Or legends of the stature of Blanca Rosa Gil.

These Agustine Velez Jimenez, who had the good fortune of meeting in the International Latin Music Conference which addressed the issue of Bolero, held at the Smithsonian Institution in Washington, DC, 2002. Were present, among other figures, two legends of the song, Olga Guillot and Ruth Fernandez, figures of the stature of Chucho Avellanet, Rafael Basurto Lara, and a group of academics and scholars. Everything went behind closed doors in a basement near the main castle.

Augustine is a native of Arecibo, and grew up in Manati and Rio Piedras, Puerto Rico. To not get in trouble say that I was born after World War II but before ... His passion for music comes from his father, a teacher, who had been living between harmonies and rhythms of the time, tangos, paso dobles, Couples, waltz ... and boleros.

will soon publish an interview he recently did to Augustine Velez in Puerto Rico. For now, we know his passion in his own words, to respond to the thesis of Montenegro Orlando Rolon, who believes that the bolero is heading into oblivion. The two papers it showed them in the previous pages.