Monguito
THREE WELL PUNTEAME'''' ;
(CUBA, 1991) @
................................. ..................... Already
spider
no web!
("No web" R. Ruiz Jr.)
AUTHOR: JUAN SANCHEZ JORGE ALVAREZ
With the passing of Monguito, The One, it is appropriate to share with the readers of these notes as a posthumous tribute to the artist who made us both to dance and enjoy the grace of his talent . Ramón Quian
comes deep from the land of Cuban rumba columbia drawer and the Athens of Cuba, Yumurí Sleeping Beauty, the sound and literary Matanzas, the birthplace of Danzon, Cuban national dance others. They say that as a child, an old foundation santero with Ana, King Chango prayers raised to guard the roads of the small because it would be great: "Father, the original Nah, you take care of this child," were the magic words of the priest in ocha.
Undoubtedly, the child's musical paths were sheltered by his art from his unique voice, who knows if plucked from some wemilere early in your home and rescued Sleeve opportunity for the son montuno, guaracha and salsa music.
has often been said (or written) in our Ramón Quian Monguito comes from a phonetic similarity with the people she served Matanzas crib but consider that in Cuba, the Pearl of the Caribbean, Ramon Mongo says or Monguito if not Ramon. Is worth observation.
After starting as a singer stroking the year 1946 when its captivating voice lavish musical groups of the province, decided to travel the hundred miles that separated him from the capital of the republic and inserted into the orchestra achieved Modernists with which he reached Early recognition in the music world in the Cuban capital which provided him access to the Model Set-continent anthology little studied Cuban music-founded by Andrés Echevarría and Felix Alfonso, a big moment for that musical format.
Recall that in the late forties, are the very Cuban was in a period Fully evolved sound when the sextets and their successors septetos had transposed the piano and expanded its rhythm section, as well as enable a more dissonant chorus to accompany the soloist and in these conditions, result sets. Such was the acceptance of the new format that Don Miguel Matamoros had already bowed to pressure to form his conjuntera, at which time Francisco Repilado and Bartolomé Maximiliano Moré, two greats of Cuban music, became part of their ensemble sound. For more details, please note also that at the time, Arsenio Rodriguez, "The blind beautiful", and was sitting chair with a whole why is not casual that Monguito has been requested by the model which had among its ranks later Conill Miguel Archangel, the Pinar del bolero made of Convergence, an admirable version, which many have striven in vain to imitate it in their eagerness sterile whole, because he sang Cuní to the accompaniment of another unique, the whole All Star Chapottín Felix. " Ramón Quian
travels to Mexico in the early 50's where he sang with the group of Alejandro Sosa and so does the band Los Brillantes. Visit the beaches of Acapulco, but with professional intentions, becoming part of the famed nightclub "El Cocotal" as an exclusive artist shared the stage with "Pepe Arévalo and mulattoes."
undertaken in 1962 journey to the capital of the world, which joins the Orchestra Broadway, and shortly after a mark his life together again, this time Arsenio Rodriguez with whom he recorded for the Roost label in 1963 . Ernesto Lecuona, the fundamental guanabacoense in the piano world is deserving of a tribute at Carnegie Hall's glittering New York and there are present, Monguito and Arsenio.
At the beginning of the sixties is with Pacheco and his New Tumbao, coinciding with the change of charanga to set induced by the lanky Dominican inspired by the cadence and accent of the Sonora Matancera. A Monguito despite his eternal smile, is granted a difficult nature causing a real rift with the noble of the sauce, Pete "Conde" Rodriguez, who is leaving to Pacheco in chivalric action, typical of his high office and will give the Joint Cuban Sensation Reinaldo Godínez Roig, whose stage name was Rey Roig.
During this time, 'Monguito "adds vocals to an album of Herbie' Big Boss' Mann entitled" Latin Mann "(1965). He also took part in the landings in live with the Tico All Stars: "Downloads Live At The Village Gate, Vol 1" (1965) and "Download Live At The Village Gate, Vol 3" (1967). In 1965, Alfredo "Chocolate" Armenteros, introduced him to Larry Harlow and from that moment was born a great friendship between the Cuban sonero 'The Marvelous Jew. " Monguito is who is responsible for the maracas on the debut album from Orquesta Harlow, "Heavy Smoking" (1965) for the Fania label, repeating on the next album, "Bajándote - Gettin 'Off" 1967; during this period recorded the hits "Bajándote", "Meta and Guaguanco" and "Cienfuegos" and is an open secret in the salsa community who initiated in soneo art Ismael Miranda.
'Monguito' was also the first lead singer who recorded for the Fania label, with LP "Pacheco Monguito Presents" (1967), showing his versatility in his vocal style to interpret especially guajiras "Along with the Canaveral" and "The player ", boleros like" This If You Want to Call "and" Tres Juanes "and guaguancó," Never go thinking "and" Me Voy Contigo. " He continued the work "Monguito The One and His Orchestra" (1968) "From Dirty Dancing" (1970), and "Hear / Listen To Me" (1971). To make matters worse, 'Monguito' was the first singer for the Fania All-Stars, performing the song "How I Like The Son" on the album 'Live At The Red Garter, Vol 1 "(1968) becoming a kind of letter of very nasal sonero.
In one of his frequent trips to Panama to receive the coveted award "The Golden Owl" as a prize for Best Singer of that year, and in 1971 the government of that country, headed by the late General Torrijos, gave him the "Gold Medal" for his artistic performances throughout the republic.
During the 70's, their production did not keep the same quantitative level, however recorded the LP "I do like fire!" (1972) and the mid-70's record "Monguito The One!". In 1979, produced by Roberto Torres, makes its debut on the SAR label, the LP "I'm Not Lying" by which he was awarded a Gold Record deserved
duality Successful in singer-director with SAR label repeats the formula for Laureate the 80's, this time, working for record label IVORY COAST-base-singing Sacodis seal an extraordinary Cuban sones and guajiras montunos who starred in plenty of space for solos, among which included "From Cuba To Africa" \u200b\u200b(1980 ), "The One Presents Laba Monguito Sosseh In USA / African Salsa Vol 1 and Vol 2" (1980), "Charanga Para Todos" (1980), "Doh Alberto A Manhattan USA: African Salsa Vol 3" (1980 ), "In Curacao" (1980), "Something Different" (1980), "Montuno Para Ti, Vol 1" (1981) alternating along the Peruvian singer Paul 'Melcochita' Villanueva, "Monguito The Only International "(1981) and" Alto Songo "(1984).
going on tour in 1980 performing in Wake of Africa, Mali, Lomey, Opalocka, Dakar, Cotonou and Adbijan, where the Minister of Agriculture presented him a gold record for his album on the label Socadis primitive, "From Cuba to Africa. " His works "Monguito The One" (1982) and "The One!" (1984) were produced by "The Wanderer" Roberto Torres for the label Taboga, a subsidiary of SAR. Also released on LP "I Am The Target" (1985) for the label Cayman. In 1993, he returned to revive the sound of his recordings in the SAR companies and Sacodis, with the work "El Padrino del son Montuno" (Sleeve Records) and "seasoned" (1995), produced by Roberto Torres in Miami for the label SAR.
For titles as examples have been cited in these lines, it follows that Monguito based his repertoire is his success, Cuban music production, particularly in regard to the issues further and closing conjunteros the circle of approaches, it is fair to acknowledge the presence of the music of Felix Chapottín and Miguelito Cuni's voice in the artistic performance of "The One". Pacheco recognized Pete "El Conde" Rodríguez timbre match with the creator of "El Carbonero" but in our humble opinion, closer is Ramón Quian of Cuni, the anthology sonero, one of the stars chapotinescas. The suspicion is immediate and the question arises: Was there or not intentional in the extraordinary resemblance between the two vocal expressions? To find the exact answer would have to resort to times, circumstances, paradigms and last and best resort Monguito ask himself in order to settle the complaint speculative. Obviously, the latter is no longer possible. On May 30, 2006, Monguito "The One", let's Eating Candy and the fire lit his undying musical Seasoning.
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