Frank M. Figueroa
Free Article
“MAYOR”: A LEVEL OF ACHIEVEMENT IN LATIN MUSIC
by
Frank M. Figueroa
Left to right: Rafael: Cortijo, Ismael Rivera Tony Chiroldes, Martín Qui?bones, Beny Moré and Sammy Ayala. The photo was taken at the WKAQ-TV studios during Moré’s visit to Puerto Rico in 1956. (Photo courtesy of Jaime Jaramillo) In Cuba and other Latin American countriesvn countries, musicians and composers use the term “mayor” to express: “first,” “main,” “outstanding,” “leading,” “foremost” and “premiere.” In Spanish it could mean “principal,” “primero,” “importante,” “superior” and “mejor.” In military bands the term has always been used as “drum major” (tambormayor) and “first sargeant” (sargento mayor). The adjective “mayor” when attached to nouns such as “sonero,” “rumbero,” “timbero,” and “danzonero” as well as to the name of musical instruments, serves to recognize the achievement of a certain level of proficiency. When an individual is given the title of “mayor” he or she is placed in a category with others who have attained the same degree of mastery in their field. The title, therefore, is not held in exclusivity by any one person. In some cases, a geographical designation is attached to the title, for example “El Sonero Mayor de Cuba” (Cuba’s Sonero Mayor) or El Sonero Mayor de Colombia (Colombia’s “Sonero Mayor”.)
The title can be conferred by anybody, but usually it is done by individuals of some prominence such as writers, radio personalities, other artists and at times by self appointment. Therefore, it is very difficult to keep track of the recipients of this honor and the legitimacy of their claim to it.
One of the earliest Cuban musicians to be called “mayor” was the famous rumbero Malanga (José Rosario Oviedo). Learning with the other great rumberos of his time, Malanga became a good percussionist specializing in the timba drum, which is another name for the tumbadora or conga drum. The rumbero and timbero died mysteriously in 1923 and was mourned by all his fans. Arsenio Rodríguez immortalized Malanga with his song Llora timbero in which he calls him Timbero mayor.
Other rumberos like Malanga have also been honored with the name “Rumbero Mayor.” Rumberos are singers, dancers and percussionists who play, sing and dance to the rhythm of congas or cajones (wooden boxes). One of the most important is Chano Pozo others are Manana, Mulence, Andrea Baró, Goyito and Saldiguera.
The term “mayor” can also be heard in songs of the early 1930s such as the conga Una dos y tres.The lyrics of which begins with: Al tambor mayor de alante no hay quien lo pueda igualar. (The premiere, leading drum cannot be equaled.) Some songs refer to the quinto mayor and to players of other instruments. The list would include: Isaac Oviedo as “El Tresero Mayor,” Chucho Valdés “El Pianista Mayor,” Tito Puente “El Timbalero Mayor” a title also given to Manny Oquendo, Israel López Cachao “El Bajista Mayor” and Richard Egües “El Flautista Mayor.” Several percussionists have earned the title of “Conguero Mayor” among them are: Ray Barretto, Poncho Sánchez, Carlos “Patato” Valdés, Tata Güines, Gregorio Díaz Alfonso and Miguel “Angá” Díaz. In Puerto Rico, David Ortiz “La Mole” is known as “El Quinto Mayor.”
The designation has also been extended to artists who have excelled in different musical genres. Cuban singer Barbarito Diez was known as “El Danzonero Mayor.” Flutist and band leader Antonio Arcaño was also given the same title. Dancer Ricardo Benedit Varela “Angoa” shared the title with the other two. In recent years, Cuban singer Danny Lozada has been identified as “El Charanguero Mayor.” New York pianist Eddie Palmieri has also been advertised as “El Montunero Mayor.”
Some bands have added “Mayor” to their name. In Venezuela, Oscar D’León called his group “Salsa Mayor.” In Havana, Cuba, there is a timba group also using the name “Salsa Mayor.” In Colombia there is a very popular band called “Quinto Mayor” led by Diego Gale and in New York City a rumba group organized by conga player Gene Golden that also calls itself “Quinto Mayor.” Los Angeles, California, boasts its “Son Mayor.” Perhaps as further proof that there is no limit to the use of the adjective “mayor,” in Colombia there is a “Cocinero Mayor” (A Premiere Cook) featured in a tune by Fruko y sus Tesos.
In recent years a controversy has arisen over the title “Sonero Mayor.” In the following pages we shall try to shed some light on that dilemma. First, we have established above, the meaning and usage of the term “mayor.” It should also be clear that nobody has exclusive claim to the title. It can be freely conferred by any one on whomever is considered worthy of it. Second, there should be no doubt that as far as can be established, the designation in question was first given to Cuban singer Beny Moré. By the time he returned to Cuba in 1950 from his residency in Mexico, he was already known as “El Sonero Mayor.” The title was bestowed upon him by his fans and echoed by radio personalities and newspaper writers. He is identified as such in several album covers. In turn, Beny conferred the title on other singers. He was a very generous man and freely gave recognition to other vocalists. In 1950, when singer Abelardo Barroso had met with some financial difficulties, Beny called him “El Sonero Mayor de Cuba” to help him get back on his feet. Moré also gave the title to Miguelito Cuní when he left Beny’s Orquesta Gigante in 1956, after singing with the band for a short time. Cuní’s name later appeared accompanied by that title on several album covers.
Moré’s bighearted gesture has been misunderstood when he called Puerto Rican singer Ismael Rivera “El Sonero Mayor.” That happened when Beny Moré visited Puerto Rico on a personal appearance tour. The Cuban singer was brought to the island by promoter Tony Chiroldes for a series of performances that were held from April to July of 1956. In an interview with researcher Rafael Figueroa Hernández, Ismael Rivera gave some details of his meeting and developing friendship with Moré.
Further documentation of Beny conferring the title on Ismael is furnished by Puerto Rican radio and television personality Gilbert Mamery. He said as follows:
It is very important to note that Beny called him “El Sonero Mayor de Puerto Rico” differentiating him from other “Soneros Mayores” natives of other countries. This should clarify once and for all what Beny Moré meant when he gave Ismael a very specific title. Beny Moré was “El Sonero Mayor de Cuba” a distinction given to him by his fans that he could not renounce or transfer to somebody else. As we have stated before, that title has been used by others such as: in Colombia (Saulo Sánchez), in Venezuela (Oscar D’León), in California (Félix “Fito” Reinoso) and in Cuba (Raul Planas, considered the last “Sonero Mayor.” It may be a bit premature to name the last member of this classification because as long as there are singers improvising to Afro- Caribbean rhythms, there is the possibility of more “Soneros Mayores” emerging.
We hope that the facts included here help to answer the concerns about the meaning and use of the title “Mayor,” expressed by some fans and students of Latin American music. Specifically, we feel that we have clarified the matter of Beny Moré’s naming Ismael Rivera “El Sonero Mayor de Puerto Rico.” The quote from such a credible source as Gilbert Mamery should put an end to any argument on that subject. However, we feel that aside from the evidence presented, merely applying common sense one would arrive at a reasonable account of what happened.
If the question is whether Beny was the first to call Ismael Rivera “Sonero Mayor” or not, that is next to impossible to determine. Nevertheless, that fact doesn’t seem to be of great significance in the careers of Beny Moré and Ismael Rivera. Suffice is to say that a great artist who had been given that title earlier, decided in 1956, to share it with another deserving artist.
If the matter of concern is what Beny specifically meant when he bestowed the title on Ismael, once again employing some common sense would help. It is ridiculous to think that Moré intended the title given to Ismael to be exclusive. We know he had previously given it to Abelardo Barroso and Miguelito Cuní and perhaps others. Given this act, it makes a lot of sense to think that Moré , as stated above, called Ismael “El Sonero Mayor de Puerto Rico,” being fully aware that he had named others to the same title.
In closing, Beny Moré was justified in calling Ismael Rivera “sonero” in 1956, when at that time Ismael had not recorded anything but four tunes with the Orquesta Panamericana which were: the plenas El charlatán, La vieja en camisa, La sazón de la Abuela and Cha Cha in Blue. None of them can be considered sones. However, Ismael had been singing guarachas, sones, mambos and guaguancós throughout his career starting briefly at first with the Conjunto Monterrey led by Moncho Muley, continuing with Lito Peña’s Orquesta Panamericana and eventually with Cortijo and his Combo. We should also note that while singing bombas and plenas with Cortijo he was displaying all the qualities of a good sonero which included: thorough command of the clave, good phrasing and imaginative improvisation. Therefore, Beny Moré, who had heard Ismael Rivera sing on radio and television as well as in clubs such as The Black Magic in Miramar, Puerto Rico, was well qualified to call Rivera “Sonero Mayor.” There was no one better than the man who wore the title himself, to welcome Ismael Rivera into the fraternity of “Soneros Mayores.”
With your permission, I would like to include the following paragraph taken from an article I wrote about Ismael Rivera a few years ago.
The title can be conferred by anybody, but usually it is done by individuals of some prominence such as writers, radio personalities, other artists and at times by self appointment. Therefore, it is very difficult to keep track of the recipients of this honor and the legitimacy of their claim to it.
One of the earliest Cuban musicians to be called “mayor” was the famous rumbero Malanga (José Rosario Oviedo). Learning with the other great rumberos of his time, Malanga became a good percussionist specializing in the timba drum, which is another name for the tumbadora or conga drum. The rumbero and timbero died mysteriously in 1923 and was mourned by all his fans. Arsenio Rodríguez immortalized Malanga with his song Llora timbero in which he calls him Timbero mayor.
Other rumberos like Malanga have also been honored with the name “Rumbero Mayor.” Rumberos are singers, dancers and percussionists who play, sing and dance to the rhythm of congas or cajones (wooden boxes). One of the most important is Chano Pozo others are Manana, Mulence, Andrea Baró, Goyito and Saldiguera.
The term “mayor” can also be heard in songs of the early 1930s such as the conga Una dos y tres.The lyrics of which begins with: Al tambor mayor de alante no hay quien lo pueda igualar. (The premiere, leading drum cannot be equaled.) Some songs refer to the quinto mayor and to players of other instruments. The list would include: Isaac Oviedo as “El Tresero Mayor,” Chucho Valdés “El Pianista Mayor,” Tito Puente “El Timbalero Mayor” a title also given to Manny Oquendo, Israel López Cachao “El Bajista Mayor” and Richard Egües “El Flautista Mayor.” Several percussionists have earned the title of “Conguero Mayor” among them are: Ray Barretto, Poncho Sánchez, Carlos “Patato” Valdés, Tata Güines, Gregorio Díaz Alfonso and Miguel “Angá” Díaz. In Puerto Rico, David Ortiz “La Mole” is known as “El Quinto Mayor.”
The designation has also been extended to artists who have excelled in different musical genres. Cuban singer Barbarito Diez was known as “El Danzonero Mayor.” Flutist and band leader Antonio Arcaño was also given the same title. Dancer Ricardo Benedit Varela “Angoa” shared the title with the other two. In recent years, Cuban singer Danny Lozada has been identified as “El Charanguero Mayor.” New York pianist Eddie Palmieri has also been advertised as “El Montunero Mayor.”
Some bands have added “Mayor” to their name. In Venezuela, Oscar D’León called his group “Salsa Mayor.” In Havana, Cuba, there is a timba group also using the name “Salsa Mayor.” In Colombia there is a very popular band called “Quinto Mayor” led by Diego Gale and in New York City a rumba group organized by conga player Gene Golden that also calls itself “Quinto Mayor.” Los Angeles, California, boasts its “Son Mayor.” Perhaps as further proof that there is no limit to the use of the adjective “mayor,” in Colombia there is a “Cocinero Mayor” (A Premiere Cook) featured in a tune by Fruko y sus Tesos.
In recent years a controversy has arisen over the title “Sonero Mayor.” In the following pages we shall try to shed some light on that dilemma. First, we have established above, the meaning and usage of the term “mayor.” It should also be clear that nobody has exclusive claim to the title. It can be freely conferred by any one on whomever is considered worthy of it. Second, there should be no doubt that as far as can be established, the designation in question was first given to Cuban singer Beny Moré. By the time he returned to Cuba in 1950 from his residency in Mexico, he was already known as “El Sonero Mayor.” The title was bestowed upon him by his fans and echoed by radio personalities and newspaper writers. He is identified as such in several album covers. In turn, Beny conferred the title on other singers. He was a very generous man and freely gave recognition to other vocalists. In 1950, when singer Abelardo Barroso had met with some financial difficulties, Beny called him “El Sonero Mayor de Cuba” to help him get back on his feet. Moré also gave the title to Miguelito Cuní when he left Beny’s Orquesta Gigante in 1956, after singing with the band for a short time. Cuní’s name later appeared accompanied by that title on several album covers.
Moré’s bighearted gesture has been misunderstood when he called Puerto Rican singer Ismael Rivera “El Sonero Mayor.” That happened when Beny Moré visited Puerto Rico on a personal appearance tour. The Cuban singer was brought to the island by promoter Tony Chiroldes for a series of performances that were held from April to July of 1956. In an interview with researcher Rafael Figueroa Hernández, Ismael Rivera gave some details of his meeting and developing friendship with Moré.
Beny came to Puerto Rico and worked with us in the ”The Taberna India” television program. Cortijo accompanied Beny just as he had other artists such as: Rolando Laserie. Olga Guillot and Xiomara Alfaro. Beny and I became good friends. He came here to the Calle Calma. Later I took him to the Llorens Torres Housing Project, and let me tell you that I was an admirer of his before I became a professional singer. It was a great honor for me to be baptized as the “Sonero Mayor” by him.
Further documentation of Beny conferring the title on Ismael is furnished by Puerto Rican radio and television personality Gilbert Mamery. He said as follows:
On July 4, 1956, in the last live performance I was able to stage, I had the opportunity to present “El Bárbaro del Ritmo”, Beny Moré. You can imagine, Beny with Cortijo and Ismael Rivera as well.
Then the Cortijo Combo began to play an instrumental number. I’m standing next to Ismael and Beny Moré and I said: “Ismael, “El charlatan.’ That’s what you have to sing. That is your current hit.” He said to me: “No, no, before this monster of music I don’t dare sing.” Then Beny said to him: “Look my black friend, I’m going to tell you something. I have named you “El Sonero Mayor de Puerto Rico” and you cannot make your promoter and me look bad. So get on with it” and with that he pushed him on stage.
It is very important to note that Beny called him “El Sonero Mayor de Puerto Rico” differentiating him from other “Soneros Mayores” natives of other countries. This should clarify once and for all what Beny Moré meant when he gave Ismael a very specific title. Beny Moré was “El Sonero Mayor de Cuba” a distinction given to him by his fans that he could not renounce or transfer to somebody else. As we have stated before, that title has been used by others such as: in Colombia (Saulo Sánchez), in Venezuela (Oscar D’León), in California (Félix “Fito” Reinoso) and in Cuba (Raul Planas, considered the last “Sonero Mayor.” It may be a bit premature to name the last member of this classification because as long as there are singers improvising to Afro- Caribbean rhythms, there is the possibility of more “Soneros Mayores” emerging.
We hope that the facts included here help to answer the concerns about the meaning and use of the title “Mayor,” expressed by some fans and students of Latin American music. Specifically, we feel that we have clarified the matter of Beny Moré’s naming Ismael Rivera “El Sonero Mayor de Puerto Rico.” The quote from such a credible source as Gilbert Mamery should put an end to any argument on that subject. However, we feel that aside from the evidence presented, merely applying common sense one would arrive at a reasonable account of what happened.
If the question is whether Beny was the first to call Ismael Rivera “Sonero Mayor” or not, that is next to impossible to determine. Nevertheless, that fact doesn’t seem to be of great significance in the careers of Beny Moré and Ismael Rivera. Suffice is to say that a great artist who had been given that title earlier, decided in 1956, to share it with another deserving artist.
If the matter of concern is what Beny specifically meant when he bestowed the title on Ismael, once again employing some common sense would help. It is ridiculous to think that Moré intended the title given to Ismael to be exclusive. We know he had previously given it to Abelardo Barroso and Miguelito Cuní and perhaps others. Given this act, it makes a lot of sense to think that Moré , as stated above, called Ismael “El Sonero Mayor de Puerto Rico,” being fully aware that he had named others to the same title.
In closing, Beny Moré was justified in calling Ismael Rivera “sonero” in 1956, when at that time Ismael had not recorded anything but four tunes with the Orquesta Panamericana which were: the plenas El charlatán, La vieja en camisa, La sazón de la Abuela and Cha Cha in Blue. None of them can be considered sones. However, Ismael had been singing guarachas, sones, mambos and guaguancós throughout his career starting briefly at first with the Conjunto Monterrey led by Moncho Muley, continuing with Lito Peña’s Orquesta Panamericana and eventually with Cortijo and his Combo. We should also note that while singing bombas and plenas with Cortijo he was displaying all the qualities of a good sonero which included: thorough command of the clave, good phrasing and imaginative improvisation. Therefore, Beny Moré, who had heard Ismael Rivera sing on radio and television as well as in clubs such as The Black Magic in Miramar, Puerto Rico, was well qualified to call Rivera “Sonero Mayor.” There was no one better than the man who wore the title himself, to welcome Ismael Rivera into the fraternity of “Soneros Mayores.”
With your permission, I would like to include the following paragraph taken from an article I wrote about Ismael Rivera a few years ago.
Why was Ismael Rivera deserving of the title “El Sonero Mayor”? Simply because he was the epitome of a sonero. He had charisma, originality, an authentic barrio sound, great inventiveness, an irreverence towards the rigid conventions of antiphonal singing, a complete mastery of the clave beat, and an exhaustive knowledge of the customs and expressions of the barrio people. Maelo broke all the rules of the montuno of the old Cuban son with its traditional four measures. He liked to jump into the coro’s space and start his machine gun-type inspirations without even taking a breath. In other occasions he would reduce the four lines to two lines or extended them to eight or ten lines. In addition, he always invented his own melodies over the montuno. Yes, the Sonero Mayor sang to his own clave beat in spite of Tite Curet’s advise: “Ismael no pises el coro” (Ismael don’t step on the coro’s lines.”).