Sonora Matancera - Recordings

Recordings

Conjunto Sonora Matancera was prolific. Over the course of almost 70 years, it recorded a plethora of songs, some more than once, either by the same performer or by two different artists. The ensemble recorded at least 1,063 tunes, with the overwhelming majority originally committed to acetate by this collective. A number of these are classic recordings. The impact of La Sonora Matancera is far-reaching, and many prominent Latin musicians re-recorded some of its original musical numbers. Such New York-based musicians include Machito y Su Orquesta (also billed as Machito y Sus Afrocubanos or Machito and His Afro-Cuban Orchestra, either Machito himself or his sister Graciela on lead vocals), José Curbelo y Su Orquesta, Miguelito Valdés and His Orchestra, Joe Loco, Tito Puente and His Orchestra, Tito Rodríguez and His Orchestra (alternatively called Tito Rodríguez y Su Orquesta), The Alegre All-Stars, Eddie Palmieri and His Conjunto La Perfecta, Pacheco y Su Viejo Tumbao (later on succeeded by Pacheco y Su Tumbao Añejo), Willie Colón, Héctor Lavoe, Libre, Saoco (Henry Fiol, co-founder of this particular conjunto, singing lead), Ismael Miranda y Su Orquesta, Súper Típica de Estrellas, (Gonzalo Fernández, director), Miguel Quintana y Los Soneros de Oriente, Tito Allen and Willie Rodríguez. Some of these performers began their careers in Cuba and continued singing/performing and recording in the United States. Such is the case with Machito, Graciela, José Curbelo and Miguelito Valdés. In addition, bands from other countries have re-recorded songs first put on vinyl by La Sonora, including El Gran Combo de Puerto Rico, Tommy Olivencia y La Primerísima, La Sonora Ponceña, Óscar D'León and Alquimia (this conjunto is promoted as "La Sonora del XXI", meaning "La Sonora of the 21st Century"). At least one tune was re-recorded on two separate occasions by the same artist. Several songs were re-recorded by more than one performer or group.

The group's records covered a myriad of themes — love and its consequences, the absurdities and struggles of life, the pleasure and pain of friendship, a philosophical approach to the art and science of living, political matters, and the joy of dance. Some recordings were humorous, some featured double entendres. Most recordings were in Cuban Spanish, which incorporates many Amerindian and African words. Some were partially or wholly in Abakuá (a secret language and its associated men's initiatory fraternity with roots in the Cross River region of southeastern Nigeria and southwestern Cameroon; the language is Congolese in origin) or in Lucumí the Cuban name for the Yoruba language of West Africa. One song was partially in English, another in Papiamento, and four were in Haitian Creole.

Conjunto Sonora Matancera played and recorded almost all the rhythms created in Cuba — particularly the guaracha. It played and recorded, as well, rhythms from other Caribbean and Latin American countries.