DOCSLIB.ORG

English Musicians Biographies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
English Musicians Biographies ROBERTO FONSECA Javier R. Zalba Suárez (flautist, saxophonist, clarinetist) Javier was graduated from the Cuban National School of Arts (ENA) as a clarinettist in 1976 and in as a flautist from the Professional Studies School “Ignacio Cervantes” in 1984. At the end of the 70s he started his professional career as a clarinet teacher at the ENA. During the 80s he took part of the “Orquesta Cubana de Musica Moderna”, and he became a member of the ensemble of the pianist and composer Jose Maria Vitier. He participated in different projects with Chucho Valdés, with Bobby Carcassés in the orchestra of the Tropicana Cabaret, or with the group “Oru”. In 1997 he created with Roberto Fonseca his own Latin jazz ensemble called “Temperamento”. In 2000 he joined the Buena Vista Social Club orchestra. Several times he has been invited as a member and soloist by the Cuban National Symphony Orchestra and many other chamber ensembles as well. He participated in diverse international tours including the most important Jazz Festivals around the world. Moreover he wrote three books, two of them about Cuban music; “Sax Soneando” and “Flute Soneando”, and a didactic one, “Technique for the Saxophone”. Joel Hierrezuelo Balart (percussionist) Joel was born in Habana in 1972. During his childhood he was surrounded by all kinds of musical instruments. When he was 12 he started singing and playing percussions in amateur bands. In the mid 90s he graduated as a music professor and started touring with Ricoson in France. Back in Cuba he began playing percussions in the band “Temperamento” with Roberto Fonseca. In 1997 he moved to France and played in various bands. He shared stage with well-known artists such as Tito Allen, Celia Cruz, Jimmy Bosh, or Jose Mangual Junior. At the end of the 90s he took part in numerous musical adventures as a percussionist. He recorded with Enma Baya, Salome de Bahia or Bob Sinclair. In 2001, he founded Mambi with Carlos Miguel Hernandez, Luis Manresa and Fino Gomez among others. In 2006, he re-entered Roberto Fonseca band as a percussionist and they started performing in major international tours. Montuno Producciones y Eventos Tel +34 93 363 3600 – Fax +34 93 363 3450 Email [email protected] Web www.montuno.com www.robertofonsecacom www.myspace.com/robertofonseca He participated in Zamazu and played in important festivals such as the Montreal Jazz Festival (Canada), Umbria Jazz (Italy) or Jazz in Marciac (France). On November 2008 he recorded the new album from Roberto Fonseca “Akokan”. At the same time Joel continued to perform in formations such as Sabor, and his own group Mambi. Omar González Sánchez (bass player) Omar González Sánchez was born in 1971 in Cuba. He was graduated as a musical director by the National School of Instructors of Arts in 1990. Since then he started his professional career and he had the chance to play with musicians like Sergio Vitier, Mario Morejón or Giraldo Piloto Barreto, and he joined musical groups like “Oru”, “Oye como va” or “Giraldo Pilto and friends”. From 2000, Omar joined other projects; Habana Report, Hernán López Nussa trio, or the Cuban artist Yusa, with whom he had the chance to tour in renewed festivals such as Jazz Festival of Martinica, Jazz Spectacular festival from Vancouver in Canada, or Sous les pommiers de Coutance festival in France, apart from that he played in places all around the world. From 2000 he joined the group of the pianist Roberto Fonseca “Temperamento”. With them he carried out amazing tours in all kind of jazz festivals in Russia, Spain, Turkey, Germany, Lebanon, Italy, Belgium, Denmark, Finland, Australia or New Zealand. Together with Roberto he recorded “No Limit”, “Elengo”, “Zamazú” and “Akokan”. At the same time, Omar had played also with Santiago Feliú, Francis del Río, Sexto Sentido, Bobby Carcasés and he also participated as a bass player in the soundtrack of Benny Moréʼs film. Ramsés Manuel Rodríguez Baralt ( guitarist) Ramsés was born in 1971 in Cuba. He started his musical career when he was only 11 years old. In 1995 he worked together with Ernán Lopez Nussa for four years and he had the opportunity to play in festivals all over the world, like the Festival World Music in Copenhagen or the International Festival Jazz in Paris. Montuno Producciones y Eventos Tel +34 93 363 3600 – Fax +34 93 363 3450 Email [email protected] Web www.montuno.com www.robertofonsecacom www.myspace.com/robertofonseca Afterwards he started his own musical career and he had the fantastic opportunity to share stage with Silvio Rodríguez, Eduardo Aute or Chucho Valdés. In 2006 he joined Roberto Fonseca on his tour in Europe, presenting his album Zamazu. After that he became one of the most important figures accompanying Roberto until now. Moreover, he participated in the recording of the CD “Gracias” by Omara Portuondo which is the winner of a Latin Grammy 2009 and it is nominee for the Grammy award 2010. He also participated in the recordings of “La Flor” by Omara Portuondo, “Song Book” by Ibrahim Ferrer, “Bossacubana” by Sexto Sentido. Montuno Producciones y Eventos Tel +34 93 363 3600 – Fax +34 93 363 3450 Email [email protected] Web www.montuno.com www.robertofonsecacom www.myspace.com/robertofonseca .
Load more

Recommended publications
  • Features, July 09 12/6/09 11:12 Page 21
    Features, july 09 12/6/09 11:12 Page 21 sacred in my house.” Fonseca is nothing if not eclectic, as his He recorded his first album En El Comienzo at career decisions testify – the track EGREM with Javier Zalba’s latin fusion group ‘Llego Cachaito’ even features on the Temperamento and received the country’s 1999 soundtrack to the Will Smith film, Cubadisco Award for best jazz album. Three solo Hancock. works followed. In 2001, he hit the international stage Oh, and then there’s his as the youngest member of the Buena Vista Social infamous sartorial sponsor, Club, shadowing their ailing maestro Rubén Agnès B. The Parisian González then replacing him on his retirement designer became his self- (“sharing the stage with him was a dream; I’d just appointed stylist after stand there watching him play for hours”). being blown away by But it was the subsequent world tours of Buena one of his concerts; he Vista solo artists Ibrahim Ferrer and Omara has since Portuondo that really saw him shine; not one international review of Ferrer, from Asia to South America, failed to mention his charisma and talent. “My generation had sort of lost touch with the traditional stuff,” he said when I interviewed him in played at Havana for Zamazu, an album that references hip- one of her hop, rap and drum ’n’ bass. “But the Buena Vista shows. The track ‘Como musicians were always introducing new ideas from En Las Peculias’ – a other styles and genres. Ibrahim taught me so many hazy, delicate piece on things: especially that music should be simple, and piano, bass and drums – played from the heart and that no matter how famous is dedicated to both and important you are, you must never forget where France and his savvy you came from.” stylist.
    [Show full text]
  • Omara Portuondo, La Voz Que Acaricia
    Omara Portuondo, la voz que acaricia Por ALEJANDRO C. MORENO y MARRERO. En anteriores artículos he profundizado en la vida y obra de grandes compositores de la música latinoamericana de todos los tiempos. Sin embargo, en esta ocasión he considerado oportuno dedicar el presente monográfico a la figura de la cantante cubana Omara Portuondo, la mejor intérprete que he tenido el placer de escuchar. Omara Portuondo Peláez nace en la ciudad de La Habana (Cuba) en 1930. De madre perteneciente a una familia de la alta sociedad española y padre cubano, tuvo la gran fortuna de crecer en un ambiente propicio para el arte. Ambos eran grandes aficionados a la música y supieron transmitir a la pequeña Omara el conocimiento del folklore tradicional de su país. Al igual que su hermana Haydee, Omara inició su trayectoria artística como bailarina del famoso Ballet Tropicana; sin embargo, pronto comenzaron a reunirse asiduamente con personalidades de la talla de César Portillo de la Luz (autor de “Contigo en la distancia”), José Antonio Méndez y el pianista Frank Emilio Flynn para interpretar música cubana con fuertes influencias de bossa nova y jazz, lo que luego sería denominado feeling (sentimiento). No hay bella melodía En que no surjas tú Y no puedo escucharla Si no la escuchas tú Y es que te has convertido En parte de mi alma Ya nada me conforma Si no estás tú también Más allá de tus manos Del sol y las estrellas Contigo en la distancia Amada mía estoy. (Fragmento de “Contigo en la distancia”). Su primera aventura musical como voz femenina tuvo lugar en el grupo Lokibambia, donde conoce a la cantante Elena Burke, quien introduce a Omara Portuondo en el Cuarteto de Orlando de la Rosa (agrupación con la que recorre Estados Unidos en una gira que duró alrededor de seis meses).
    [Show full text]
  • Artelogie, 16 | 2021 Diaspora, De/Reterritorialization and Negotiation of Identitary Music Practic
    Artelogie Recherche sur les arts, le patrimoine et la littérature de l'Amérique latine 16 | 2021 Fotografía y migraciones, siglos XIX-XXI. Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores Electronic version URL: https://journals.openedition.org/artelogie/9381 DOI: 10.4000/artelogie.9381 ISSN: 2115-6395 Publisher Association ESCAL Electronic reference Iván César Morales Flores, “Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid”, Artelogie [Online], 16 | 2021, Online since 27 January 2021, connection on 03 September 2021. URL: http://journals.openedition.org/artelogie/9381 ; DOI: https://doi.org/10.4000/artelogie. 9381 This text was automatically generated on 3 September 2021. Association ESCAL Diaspora, de/reterritorialization and negotiation of identitary music practic... 1 Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores This text is part of the article “La Rumba de Pedro Pablo: de/reterritorialization of Cuban folkloric, traditional and popular practices in the Madrid music scene of the 21st century” published in Spanish in the dossier “Abre la muralla: refracciones latinoamericanas en la música popular española desde los años 1960”, Celsa Alonso and Julio Ogas (coords.), in Cuadernos de Etnomusicología, Nº 13, 2019, as a result of the Research Project I+D+i: “Música en conflicto en España y Latinoamérica: entre la hegemonía y la transgresión (siglos XX y XXI)” HAR2015-64285- C2-1-P.
    [Show full text]
  • Buena Vista Social Club Presents
    Buena Vista Social Club Presents Mikhail remains amphibious: she follow-up her banduras salute too probabilistically? Dumpy Luciano usually disannuls some weighers or disregards desperately. Misguided Emerson supper flip-flap while Howard always nationalize his basinful siwash outward, he edifies so mostly. Choose which paid for the singer and directed a private profile with the club presents ibrahim ferrer himself as the dance music account menu American adult in your region to remove this anytime by copying the same musicians whose voice of the terms and their array of. The only way out is through. We do not have a specific date when it will be coming. Music to stream this or just about every other song ever recorded and get experts to recommend the right music for you. Cuban musicians finally given their due. These individuals were just as uplifting as musicians. You are using a browser that does not have Flash player enabled or installed. Music or even shout out of mariano merceron, as selections from its spanish genre of sound could not a great. An illustration of text ellipses. The songs Buena Vista sings are often not their own compositions. You have a right to erasure regarding data that is no longer required for the original purposes or that is processed unlawfully, sebos ou com amigos. Despite having embarked on social club presents songs they go out of the creation of cuban revolution promised a member. Awaiting repress titles are usually played by an illustration of this is an album, and in apple id in one more boleros throughout latin music? Buena vista social.
    [Show full text]
  • Omara Portuondo English Biography
    OMARA PORTUONDO Biography The story of the life of Omara Portuondo (Havana, 1930) reads like something out of a film script. The daughter of a well-to-do family and a mother of Spanish descent, she relinquished everything to marry a handsome black member of the Cuban national baseball team – a fact that she kept secret since mixed marriages were frowned upon in Cuba at that time – Omaraʼs first encounter with music was at a very early age. Just as in any other Cuban home, the future singer and her siblings grew up with the songs which her parents, for lack of a gramophone, sang to them. Those melodies, some of which still form part of her repertoire, were young Omaraʼs informal introduction to the world of music. However, before taking up singing as a career, a fortuitous event led her to first try her hand at dancing, following in the footsteps of her sister Haydee, who was a member of the dance company of the famous Tropicana cabaret. One day, in 1945, two days before the opening night of a big new show, one of the dancers gave in her notice. Having watched her sister rehearse for hours on end, Omara knew the steps by heart and so was offered the vacant place in the company. “It was a very classy cabaret”, Omara recalls, “but it didnʼt make any sense. I was a shy girl and was embarrassed at showing my legs”. It was her mother who actually convinced her not to let the opportunity go by and so she began a dancing career that led her to form a legendary duo with Rolando Espinosa and, in 1961, to become a teacher of popular dance at the Escuela de Instructores de Arte.
    [Show full text]
  • Folder Roberto Ohne Beschnitt Marken.Indd
    Roberto Fonseca AKOKAN Born in 1975 (Havana) into a musical family, Roberto Fonseca – career took an unexpected turn. “I went to the EGREM studios to re- despite having been described in many different ways (“the most cord Angá Díaz’s album, invited by him, and when I got there I saw promising and important talent in Cuban music”, “A true revelation many people who were legends to me …, Rubén González, Cachaíto who stands out among pianists of his generation”) – remains faithful López, Guajiro Mirabal…… in two months my whole life changed.” to the wish he has had since the beginning of his career: ”I want my music to reach people who don’t know me, and I dream of one day Shortly afterwards, he was invited to be support pianist to the great becoming a point of reference for my audience…” maestro Rubén González, as part of the renowned Orquesta de Ib- rahim Ferrer and that same year he joined the management com- He started studying piano at the age of 8, though his initial passion pany Montuno. “My God, sharing the stage every night with Rubén was percussion. This interest from such an early age would clearly González was a real dream; I’d just stay there, staring at him play influence his trademark “percussive” piano-playing style. His first for hours”. A dream that toured all over the world, with over 400 “job” was as the drummer for a band doing covers of Beatles songs. concerts, promoting Ibrahim Ferrer’s records next to great legends At the age of 14, he created his first compositions, drawing inspi- such as Cachaíto López, Guajiro Mirabal and Manuel Galbán, among ration from the Afro-Cuban genre: “At school we used to regard others.
    [Show full text]
  • Roberto Fonseca Band Feat. Omara Portuondo Roberto Fonseca Piano
    Autour du monde / iPhil 13–17 ans / Luxembourg Festival 2014 Mercredi / Mittwoch / Wednesday 12.11.2014 20:00 Grand Auditorium Roberto Fonseca Band feat. Omara Portuondo Roberto Fonseca piano, keyboards, vocals Joel Hierrezuelo Cuban percussions, coros Ramsés Rodríguez drums Yandi Martínez bass, double bass Omara Portuondo vocals Dans le cadre de Luxembourg Festival L’éternelle pulsation Roberto Fonseca Band feat. Omara Portuondo Guillaume Bregeras La main droite attaquant les aigus du clavier. La gauche suspen- due en l’air. Les yeux clos puis grands ouverts, le regard perdu loin. Très loin. Roberto Fonseca accompagne chacune des notes de «Llego Cachaito», hymne pour ses fidèles, par un trait saillant qui jaillit de son visage. Expressif, il l’est. Attachant, tout autant. Suspendu, au-dessus de tout, lorsqu’il s’installe derrière son pia- no, l’icône de la nouvelle génération des maîtres cubains marche sur l’air. La loi de la gravité ne semble pas s’appliquer à lui com- me à ses semblables, c’est aussi simple que cela. Pour compren- dre sa musique, il faut lâcher prise, la laisser infuser dans son esprit comme une évidence. Délicieuse évidence… Un tempo d’avance Sans en rajouter, il indique la route à suivre avec grâce. Il est de la trempe de ceux qui connaissent instinctivement la voie, la bonne voie. Ceux qui créent le chemin là où personne n’imagine passer. Comme un maître d’échec, il anticipe toujours un coup d’avance. Cette dynamique, aussi inexplicable qu’elle puisse être en musique, se comprend pourtant très bien. Elle est d’abord le fruit d’une réflexion, d’une préparation.
    [Show full text]
  • JUAN DE MARCOS & the AFRO-CUBAN ALL STARS After
    JUAN DE MARCOS & THE AFRO-CUBAN ALL STARS After gaining international fame for reviving the classic sound of Cuban son, tres master Juan de Marcos turned the Afro-Cuban All Stars into a sensational showcase for Cuba’s most prodigious young musicians. While long revered in Latin America and Europe as a founding member of Cuba’s great son revival band Sierra Maestra, de Marcos first gained notice in the US as founder of the Buena Vista Social Club. It was de Marcos who assembled Ibrahim Ferrer, Eliades Ochoa, Ruben Gonzalez and the rest of the crew for Ry Cooder when he came to Havana looking for illustrious old timers. But de Marcos is just as interested in promoting Cuba’s brilliant young musicians as in highlighting Cuba’s senior talent. The Afro-Cuban All Stars not only features a rotating, multi-generational cast; the group draws on both classic Cuban styles, like son and danzón, and contemporary dance rhythms like timba. “What I’m trying to do is create a bridge between contemporary and traditional Cuban music,” de Marcos says. “I’m trying to mix both things so people can realize that Cuban music didn’t stop in time, that it developed in this long period when Cuban music disappeared from the market.” Juan de Marcos was born in Havana in 1954 and grew up surrounded by music (his father was a singer and played with Arsenio Rodríguez amongst others). At university he studied hydraulic engineering and Russian before working as a consultant at the Agronomic Science Institute, gaining his doctorate in 1989.
    [Show full text]
  • Presentación De `Magia Negra´: Omara Portuondo, Mágica, Irrepetible Y Siempre Cubana Martes, 20 De Enero De 2015
    Presentación de `Magia Negra´: Omara Portuondo, mágica, irrepetible y siempre cubana Martes, 20 de Enero de 2015 En la presentación de su Magia Negra, la Diva del Buena Vis­ta Social Club interpretó temas que se incluyen en esta entrega como Ogguere y una versión del clásico That Old Black Magic, y otros que siempre son bien recibidos como Adiós felicidad, Tal vez y La sitiera. Concierto de Roberto Fonseca, su grupo Temperamento y Omara Portuondo, presentando el CD Magia Negra, en el Teatro Mella. La Habana, Cuba. Foto: Yander Zamora Alain Valdés Sierra - Granma.- Omara Portuondo fue acompañada por Roberto Fonseca y otros músicos de probada valía. Un concierto de Omara Portuondo siempre es un suceso bien recibido. La Diva cubana se las ingenia para hacer de cada aparición un momento único, memorable y emotivo. Omara, a secas, como me gustaría llamarla, si ella lo permite claro está, hace gala en cada mo­mento de esa criollez que la ha convertido en una artista universal y de la que se aprovecha, gracias por eso, para lograr ese ambiente íntimo en sus conciertos, sea cual sea el motivo. Ahora la razón es la presentación de su más reciente disco titulado Magia Negra, The Begining (Sello Colibrí del Instituto Cubano de la Música), que compartió este domingo con un público que abarrotó el habanero teatro Mella. Para la ocasión la Novia del Feeling se hizo acom­pañar de músicos de probadísimas dotes interpretativas y que, capitaneados por el reconocido pianista Roberto Fonseca, le imprimieron a la presentación un sello único, en parte por la calidad de los arreglos hechos a cada uno de los temas.
    [Show full text]
  • “¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova
    “¿QUÉ DICE USTED?”: DISCOURSES OF FEMININITY IN NUEVA TROVA CUBANA by JULIANNE L. GRAPER A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2014 THESIS APPROVAL PAGE Student: Julianne L. Graper Title: “¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova Cubana This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Juan Eduardo Wolf Chairperson Loren Kajikawa Member Carlos Aguirre Member and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014 ii © 2014 Julianne L Graper iii THESIS ABSTRACT Julianne L. Graper Master of Arts School of Music and Dance June 2014 Title: “¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova Cubana Following the Revolution of 1959, the Cuban government implemented policy reforms geared towards increasing women’s rights. Despite these efforts, however, sexism persists in Cuban society. This difference between rhetoric and reality is reflected in the song genre, nueva trova, which foregrounds a progressive agenda for women’s rights but continues to marginalize their participation. Prominent nueva trova performers Silvio Rodríguez and Pablo Milanés advocate women’s rights in their songs, but their music remains couched in patriarchal structures that prevent women from speaking for themselves. Sara González, one of the first prominent female nueva trova composers, was able to integrate into government-supported trova institutions by adopting a masculine, revolutionary aesthetic, which she then adapted to feminist themes to combat the ideological disparity.
    [Show full text]
  • OMARA PORTUONDO 85Th Anniversary
    OMARA PORTUONDO 85th Anniversary Buena Vista Social Club™ Diva celebrates her music and life with a special tour accompanied by special guests “With our music we Cubans have exported more dreams and pleasures than with our tobacco, more sweetness and energy than with all our sugar. Afro-Cuban music is fire, savour and smoke; it is syrup, charm and relief. It is like sonorous rum, which brings people together and makes them treat each other as equals. It brings the senses to dynamic life.” Fernando Ortiz There was fresh spring rain in Havana when I strolled into Egrem Studios in the first weeks of the new millennium, a studio where decades of gorgeous music have seeped into the walls. Hearing the warm voice of Omara Portuondo live and close up is always a joy and there she was, singing her version of “He Perdido Contigo” (“I’m lost without you”) a typically swooning , romantic song. Omara was recording an album “a dark, smoky, two-in-the-morning record, full of yearning and lost love” as producer Nick Gold described it. The album was her first solo album since the miraculous success of the Buena Vista Social Club. It was through that record and Wim Wenders’ film of the same name that many non-Cubans discovered Omara. For Wenders and so many others, the highlight of the film was the touching duet of her and Ibrahim Ferrer singing “Silencio” “And my soul, sad and sorrowful/wants to keep secret its bitter pain.” As they take the applause, a tear forms in Omara’s eye and Ibrahim removes his handkerchief from his pocket and gently wipes away the tear.
    [Show full text]
  • Bolero - César Portillo De La Luz/ 3’33 2
    Portada Vol. IV: NUESTRA OMARA PORTUONDO 1. NOCHE CUBANA/ Bolero - César Portillo De La Luz/ 3’33 2. NO PUEDO SER FELIZ/ Canción - Adolfo Guzmán/ 1’56 3. QUÉ EMOCIÓN/ Canción - Orlando De La Rosa/ 2’05 4. NO TE IMPORTE SABER/ Canción - René Touzet/ 3’59 5. COMO UN MILAGRO/Canción - Juanito Márquez/ 3’52 6. MÍA LA FELICIDAD/Canción - Eugenio Pedraza Ginoris/ 2’47 7. VOY A SER FELIZ/Canción - Jorge Estadella/ 2’47 8. LA ERA Está PARIENDO UN CORAZÓN/Canción - Silvio Rodríguez/ 3’20 9. EVOCACIÓN/Bolero - Tania Castellanos/ 3’23 10. TE DOY UNA CANCIÓN/Canción - Silvio Rodríguez/ 3’28 11. SOY CUBANA/ Son Montuno - José R. Sánchez/ 2’35 12. LA TIERRA DEL SON/ Son - Ramón Alom/ 2’09 13. LÁGRIMAS NEGRAS/Bolero-Son - Miguel Matamoros/ 4’19 14. POR QUÉ Y POR QUÉ/Balada - Armando Larrinaga/ 3’56 15. CUALQUIER DÍA/ Canción - Martín Rojas/ 4’57 16. LO QUE YO SUEÑO/Bolero - Alberto Vera/ 2’59 17. TAN BREVE QUE …/Canción - Martín Rojas/ 3’32 18. EN NOSOTROS/Canción -Tania Castellanos/ 5’00 19. PENSAMIENTO/Bolero-Danzón - Rafael Gómez/ 4’47 20. NANA DE HAYDÉE PORTUONDO/ Nana D. P. / Texto: Olga Navarro / 4’31(Bonus Track) 21. SEÑORA SENTIMIENTO/Canción - Ela O´Farrill/ 4’47 (Bonus Track) Intérprete: D’Aida Título: Original de Cuba Código: 917 Tirada: 1000 Fecha envío a Fábrica: Abril de 2013 Fabricado en: Colombia / CD-Systems Calle 3ra #1008 e/ 10 y 12. Playa, La Habana, Cuba. Telf.: (537) 204 1524 www.egrem.com.cu “Siente La Música” Género: Compilación de Archivo Diseñador: Ricardo Monar Producción y selección musical: Jorge Rodríguez Características Técnicas: estuche de cartón, 4 fundas para 4 CD’s.
    [Show full text]