The Wizard of maracas, Juan Ernesto Laya
Aldemaro Romero compared to Paganini. It is the musician with the record for most recordings made in the country. Juan Ernesto Laya, the Ensamble maraquero Gurrufío, has just released an album with guests luxury in which he takes full brightness to the gourds and baskets. This has its unique history
Thursday, January 20, 2011
Rotronic 12.02 Treiber
mrodriguez@el-nacional.com Magaly Rodriguez Marcel Cifuentes
Photo marcelcifuentes@gmail.com
all began with a whim of his grandfather Juan de Jesus. In Valencia, in his seven years the small Juan Ernesto finished his homework and knew what to expect: fixed later music and maracas. "My grandfather was a master of construction and always wanted to learn to play, bought some but never could, it seemed very difficult. The saved and said that when the birth of her first grandchild was going to give away to teach." But how do you teach what you do not know? "He put the radio or a CD and told me where there was percussion, touch me. Sergio Mendes with maracas, maracas The wedge, Tona La Negra to shakers, maracas Gualberto Ibarreto with Charlie Parker with maracas.
Bossa nova, waltz , partying, merengue, which fell, with maracas " smiles.
What began as a game, became a routine that gained fame in the block. A neighboring family was a group of partying and adopted the clever Juan Ernesto maraquero as its mascot.
to her teachers began to make propaganda. "Once he was playing at my school Tomás Reyes, a great harpist, and said he had a little boy who played maracas. I was 10 and when I heard I said I wanted to take on tour with him. We went to get the permission for my grandfather and was thrilled, "she recalls. Then he attended a music school in Valencia and took classes with the Triune maraquero Morillo.
since the talent "Layita" for known off. The graceful shake of their gourds began to spread quickly on the scene plains of Venezuela and Colombia. Maraquero became Dennys River, and soon began working in Caracas with Cristina Maica. From the hand of Joseph Archer harpist, bass and cuatro Gailabi Ramón Jiménez Mota, a group created with almost reggaeton-inspired name: The Machinery Llanera. It was the time of the sunsets and Laya Llaneros began working with the greats: Teo Galindez, Reinaldo Armas, Luis Silva, Rummy Olivo, Simon Diaz, Palmarito Carrao. Of their units as the representative of Venezuela International Music Festival Llanera de Villavicencio, Colombia, won first place for best maraquero.
Not satisfied, then distinguished him as the best maraca player of all time in the history of the festival, a title he still holds.
Laya-catching, all right.
In 1997, Cheo Hurtado, cuatro Gurrufío Assembly was making a record on their own.
"They called four harps and a four, and four harpists chose each one for himself advised him that I had to participate in their record." Hurtado called, heard and then believed.
next day he invited to his party birthday. "When I was Aldemaro Romero, Maria Teresa Chacin, Claudia Calderon, Cecilia Todd, Serenata Guayanesa, Francisco Pacheco, El Pollo Brito and the Quartet," says dazzled. "Gurrufío started playing and invited me to join them. I knew the whole repertoire because he practiced from dude."
TIGERS ALL MY
"Before entering Gurrufío once tricked a friend invited me to play at a festival in a small town in Carabobo named Ginger, was a benefit of a public works they wanted to do there. We had to sleep in hammocks on the edge of a river, and when we played, the only amplifier that had worked with an electric Plantic, when he ran out of gas, it is just music, "he laughs." Even during the strike, Robert Koch, El Pollo Brito, Gonzalez de Guaco Edepson and I put together a group of low, four, piano and maracas, and we went for a season to play boleros every night in a hotel in Puerto Cabello. We were playing to tourists, people arriving on boats. Was great. "
Not surprisingly, Aldemaro Romero called him" the Paganini of the maracas, "referring to the famous Italian violinist whose virtuosity was attributed to magnetic devil." While playing slower, more unusual we thought what he was doing, "says the flutist Luis Julio Toro." He has a control that defies maracas gravity. What that day was a foolish thing, incomprehensible. The Nuggets moved as commanded by him is like having a way to keep them glued to the roof of the gourd that are dropped only when he wanted. "Cristóbal Soto The mandolin had just left the assembly, so he approached Toro hidden agenda.
"Boy, do you have a passport?" Within weeks, Laya traveled to Chicago as the newest member of Assembly Gurrufío. Two months later, his grandfather died. "When I said I was going to play with much contented Gurrufío thank God I could give that joy in life."
Since then his eclectic childhood training has allowed him to record not only with folk music artists. "I'm not afraid to invent, I adapt to whatever." Don Grussin, Gilberto Santa Rosa, Aterciopelados, Franco de Vita, Servando y Florentino, Frank Quintero and Guaco have also used the versatile ringing of their baskets.
In 2008, only 35 years, the Venezuelan Association of Performers and Producers of Phonograms (Avinpro) granted recognition to have registered more recordings than any other artist in the country, with their participation in more than 4,000 topics. However, Laya came sneaking another wish of Don Juan de Jesus. Burn your own disc maracas.
the experiment.
"Obviously I had no idea how it would be that. How is a hard reed of maracas?" As expected, a number of artists with whom he worked wanted to return the gesture and spontaneously offered to cooperate in the experiment. Aldemaro Romero had promised to compose a new wave in honor of the maracas player, but his death cut short the plan. Agüero Herrera and Omar Ali was relieved. "Little by little they appear great musicians I said,` Layita, I have a theme for your record. "
maraquero In Sound, launched last month and a half, presents this collection of pieces of new wave, joropos tuyero and eastern Venezuelan and Dominican merengue, waltz, reggae, bagpipes, flamenco and Latin jazz, an album with the participation of The Shim, Gerardo Chacón, Carlos Nene Quintero, Victor Mestas, Cesar Orozco, Huascar Barradas, Diego Alvarez, Goyo Reina, Alfredo Naranjo, Gustavo Aguado and colleagues Exploded Gurrufío, among others. There Laya maracas are unleashed without false modesty, exploring time and surprise for an instrument sounds so often underestimated.
"In a party with music llanera, the harpist not take away the harp, the cuatro not take away the four, but there is a maraquero enough to be asked why a momentico maracas.
People think it's a cinch But when he realizes grabs which can not, "says he has among its plans to establish an institute to protect the musician plains. "Right now I'm preparing the DVD of concert to launch the album and I'm working on a project with the Big Band of the Simón Bolívar Conservatory.
also want to compose a work for orchestra and maracas, the maestro José Antonio Abreu will help me and I want the lead Dudamel, "says resolved.
Meanwhile
remains open to all." The music is to touch, "he argued. ensures that accepts any invitation, even those at high risk. "Once I went to accompany a friend who wanted to come home with a serenade for his wife, because he disappeared for two days and said nothing.
began singing and asked me borrow maracas. As the lady opened the door, the first thing he did was take them off and was about to split in the head ... I screamed, 'Nooo, my rattles no, I beg you! "he recalls laughing." Now every time someone asks me to accompany him to serenade, find out first to be prepared. "A serenade, no? Okay.
Nothing more to know: How many days have you lost? "
Todo en Domingo
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