Early History
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 singer) and Pablo "Bubú" Vázquez Gobín (contrabass). The other original members were Manuel "Jimagua" Sánchez (timbales), Ismael Goberna (cornet/trumpet) and Domingo Medina, José Manuel Valera, Julio Gobín and Juan Bautista Llópis (guitarists). 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 yet developed its own distinctive sound in relation to its interpretation of the various and sundry genres comprising the musical architecture of Cuba.
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 new vocalist Eugenio Pérez, though he left a few months later. A different source credits the new name to the vocal pitch 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, recommended by Caíto to Valentín Cané. Another source indicates that Rogelio recommended Caíto to Valentín Cané, and that Caíto and Rogelio joined the collective in 1927. The group lost the services of Domingo Medina, Julio Gobín, and Juan Bautista Llópis in the attempt to elaborate a more modern sound. Many other personnel changes followed.
Each change in personnel and instrumentation altered the band's sound. 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. Septeto Soprano was not adverse to these technical and structural advances. Owing to these changes, septetos and sextetos were converted into conjuntos. In 1927, at the suggestion of Valentín Cané, the ensemble relocated to Havana, intending to stay one week. It remained for the next 33 years.
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, joined. Two more sources say that Manteca became a member in 1929 while a like number of sources state that this happened in 1935. As with many aspects of La Sonora's early history, available information is uncertain. The collective changed its name to Estudiantina Sonora Matancera in the early 1930s. In 1935, vocalist Manolo Barquín occasionally sang with the group. That year it adopted its definitive name, Conjunto Sonora Matancera.
Read more about this topic: Sonora Matancera
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