Archive for the Colombian Music Icon Category

ANDRES LANDERO Biography by Luis Felipe Jamarillo/translated by Listen Recovery

Posted in Andres Landero Music, Colombia Music, Colombian Music Icon, Cumbias on March 3, 2010 by Listen Recovery

Andres Landero, was born in San Jacinto, department (city) of Bolivar, on February 4th 1931.  His dad was a Gaitero by the name Andres Guerra and his mom Rosalba Landero.  At home little Andres grew up around a musical ambient.

At 18 years old, Andres looked for a job opportunity with a group of food and clothing vendors, they would visit all the nearby towns.  At the same time Andres showed his talent of interpreter, he would visit all the Festivities and Festivals as he visit town by town.

Since a very young age Andres learned how to play the accordion.  He remembers in 1950 was invited by Delia Zapata Olivella to form part of her dance group which at the time had a tour in Europe.  He couldn’t go due to his mothers oppositions.  He also remembers the big hamak “La hamaca grande” a song that was composed by Adolfo Echeverria, Landero was the first one to cover it and adjust it his way.

Andres Landero started to form his band and also entered many competitions were he found himself victorious.  He was the King of Cumbia in El Banco, Magdalena city, Sabanero King in Sincelejo, King of Arjona and Bolivar where he was named King of the Bolivarence Festival of the Accordion.

The travels started and Andres took his talent to Venezuela, Panama, Republica Dominicana and Mexico.  In Mexico he was named King of Cumbia. “It was my turn to open my eyes and ears so I could learn as well, then the trips to Mexico came, those where my best years!”. (Landero remembers).

I bought a little house in San Jacinto with the money I made in Mexico.  My dad showed me how to work the earth fields to cultivate fruits.  I have many oranges and other fruit trees there.

His main outstanding image in the world as the King of Vallenato singing was obtained thanks to the songs “La Pava Congona”, “La Muerte de Eduardo Lora”, “Marta Cecilia”, “La hamaca grande”, “Mercedes”, “Perdi las abarcas”, “Dolor guajiro”, “La espinita” and  “Suegra buena”.

The other face of Landero is that he is a “prolific” composer and his work can reach about 400 titles, in which some of them standout, like “Perdi las barcas” and “La Muerte de Eduardo Lora”, who he composed for one of his closes friends.  As Andres Landero acclaim to be.  With this last song he came out to the public.

Landero counts with a numerous fans national and international, as well in the United States in the Colombian colonies his music lives always as a representation of Colombian Folk.  In the crowd of fans there are writers of literature as well as very important politicians.  One of his main admires is Doctor Belisario Betancur, when he reached the maximum position in Colombia as president of the republic, in his trips to the Atlantic coast would call to Andres Landero to play for him.

“Andres Gregorio Guerra Landero” died in Cartagena on March 1st 2000.

other post of Andres Landero on Listen Recovery

Toto La Momposina: Video at Grand Performances by LISTEN RECOVERY Media Group

Posted in Colombia Music, Colombian Music Icon, Listen Recovery, Listen Recovery TV, photography, Toto La Momposina, video archives on February 1, 2010 by Listen Recovery


Toto La Momposina (Articles blogs) link

ANDRES LANDERO “his music and story” (video / downloads)

Posted in Andres Landero Music, Colombia Music, Colombian Music Icon, Cumbias, EP downloads, Listen Clothing, MUSIC DOWNLOADS mixes Listen Recovery, photography, Rare, South America, video archives on February 1, 2010 by Listen Recovery


1. Dejame gozar la vida

2. Maria de los Reyes

3. La Muerte de Eduardo Lora

4. Candelaria vida mia

ANDRES LANDERO Selection by Listen Recovery (4 track mp3 download) < link here

Bardo Martinez Thesis of CUMBIA & ANDRES LANDERO bio. 2008  (Link) ^

EL ACORDEON DEL DIABLO Documental, Colombia. (Francisco Rada Batista el Hombre – Pacho Rada)

Posted in AFRO LATINOS, Afro Sounds, Colombia, Colombia Music, Colombian Music Icon, Cumbias, documentary, video archives on January 11, 2010 by Listen Recovery


Francisco Rada Batista “PACHO RADA”

Was born on May 11th 1907 in Las Mulas, on the great Magdalena river. European ships from have travelled along the river since the mid-19th century and this is where Pacho’s father bought an accordion from German sailors, becoming one of Columbia’s first accordionists.
At a party in a village nearby, young Pacho picked up his father’s accordion while no-one was looking. After trying out a few notes he produced a recognisable rendition of the melody of “La Chencha”, a tune still familiar today. His father embraced him joyfully and a few days later he was given his first accordion.
Pacho Rada was one of the first troubadours to travel around the country playing unaccompanied, with just his voice and the accordion, bearing news and making music wherever someone had something to celebrate. He dreamt up hundreds of new songs on his travels, many of which have become classics.
He is known as the man who invented “son”, one of the four Vallenato rhythms. However, Pacho was already too old by the time that musicians could get rich playing Vallenato music, when it became popular outside the province due to the marihuana boom in the seventies. At the age of 72 he became homeless once again.
His children helped him to put up a simple house on the outskirts of Santa Maria, where he still lives.
Pacho Rada has 422 grandchildren, great-grandchildren and great-great-grandchildren. Women loved the young musician, but their parents despised him.

Pacho “Who would have wanted a penniless son-in-law, especially if he travelled around like a vagabond and spent his days enjoying music, rum and women. But they couldn’t do a thing about it. Who can stop a woman in love?”

Manuel Rada is Pacho Rada’s youngest son.

He travels around the country just like his father used to, together with his cousin, Rafael Valencia, living on whatever he can earn here and there for performing. There are no records of his music, he doesn’t appear on television but plays at parties and other festive occasions or throws an ad-hoc concert in his neighbourhood when the mood takes him.
While the means of transport that carry him may have changed since Pacho Rada’s day, Manuel has remained true to his father’s music. He plays traditional Vallenato music, with the European accordion accompanied only by the Indian guacharaca and the African caja drum. He composes original songs narrating episodes from his life.

Alfredo de Jesús Gutiérrez

Was born on April 17th 1944 in Paloquemao, Sucre. His work as a song-writer and composer gave a boost to the position of folk music in his country. He ranks among the country’s greatest musicians, thrice crowned Vallenato King, having won the competition and been voted best accordionist at the Vallenato festival held every year in Valledupar.
It was Alfredo Gutiérrez who first won international renown for his country’s music in the eighties. In the sixties he set up the legendary group “Los Corraleros de Majagual” with Calixto Ochoa and Daniel Montes, creating an international big band sound by adding electrical guitar, bass and a wind section to the traditional instruments. Over the decades Alfredo Gutiérrez honed and perfected the big band concept and has performed with his well-rehearsed team in the USA and Europe, as well as throughout Latin America.

PETRONA MARTINEZ. San Cayetano, Bolivar. COLOMBIA (Rich Spirits next stop)

Posted in Afro Colombian, Afro Sounds, Colombia, Colombia Music, Colombian Music Icon, Latin Sounds, Listen Recovery, Music Negra, Petrona Martinez on December 6, 2009 by Listen Recovery


Petrona Martinez is living proof that it can take a lifetime to become an overnight success. She..s also the embodiment of culture and history; one that has African roots and ancestry that penetrate deep into her Latin American home. That home is San Basilio de Palenque, Colombia, land of the slaves. A bus from there and then a journey along a path leads to her house, a place of perpetual feasting surrounded by chickens, donkeys, cats and dogs and children singing, dancing and playing flutes. Until recently, her source of income was gathering sand from the river to make bricks. It wasn..t until 2002, at age 63, that she was nominated for a Latin Grammy with the BONITO QUE CANTA album. Petrona Martinez inherited a strong singer..s tradition from Bullerengue, an Afro-Colombian dance rhythm born during the African fight for freedom from slavery and originally sung solely by pregnant women confined to their homes and thus unable to attend village dances. The melodies were passed down through the generations. She learned them from her grandmother and great-grandmother as they sang while doing daily tasks and attending Patron Saints Festivals. She is now passing them to her sons and daughters, some of whom are part of her eight-piece ensemble. Petrona..s performances are authentic, uninhibited and memorable. Whit her band pounding out rhythms and vocals venid her, she sings and alternates between dancing and sitting in a rocking chair. Her group incluyes daughters Joselina Llerena and Nilda Llerena. Appearing with them are percussionists Janer Amaris, Guillermo Valencia, Edwin Muñoz, Javier Ramirez and Stanley Montero. Her manager is Rafael Ramos.