juan luis guerra songs – Juan Luis Guerra And 4.40

Juan Luis even presented an easy “Kitipun” dance during the song, shifting his feet left and right to the beat. After non-stop touring for nearly three years, Guerra took an extended break from recording.

juan luis guerra concert prudential – Juan Luis Guerra Concert Tickets & Tour Dates

JUAN LUIS GUERRACongratulations are in order for Juan Luis Guerra, who will receive a Lifetime Achievement Honor at the 2019 Billboard Latin Music Awards on April 25. Throughout his 35-year music career, the Dominican singer-composer has become one of the most recognizable names in Latin music , launched 15 albums and sold more than 30 million records worldwide. Sitting in the back of a darkened arena, a Celtics hat pulled low on his head, a black warm-up suit covering his lanky frame, Dominican bachata and merengue star Juan Luis Guerra cuts an unassuming figure.

It had been five years since Dominican singer-songwriter Juan Luis Guerra last released a studio album: that is until May 31st, when the titan of bachata and merengue would unveil his latest LP, Literal. Guerra’s 11-track LP traverses genres beyond his typical repertoire, including salsa, son and even electronic — flaunting the 61-year-old’s boundary-pushing approach to Caribbean roots music.

After six years in 2004, Guerra released his new album Para. The songs included in albums are mostly for Christian, and achieved two awards at Billboard Music Awards, in the categories for Gospel-Pop and Tropical-Merengue.

The theme Woman del Callao – included in while more Lo think your – were edited in Spain and Juan Luis war and the forty four made their first promotional visit to our country. A success, especially since that shrimp included his version of the song Amor De Conuco (a Duet with Ana Belén) in his album Soy Gitano. Juan Luis Guerra started the phenomenon in Spain.

People credit me with giving new life to bachata, and I have written many bachatas. But to tell the truth, I heard bachata elements in songs by the Beatles. The songs “‘Till There Was You” and “If I Fell” are very much like bachatas. On “‘Till There Was You,” the Beatles used bongos. That’s not a drum we would use down here for a bachata, but other than that, it is very much like a bachata.

Guerra’s next album Areito featured the controversial hit single ‘El Costo De La Vida’, a passionate attack on the blight of poverty throughout Latin America. The single was easily the stand-out track on a lacklustre album, however. The artist eased up on the politics for 1994’s Fogaraté!, which saw Guerra experimenting with African soukous music. The real return to form came with the follow-up Ni Es Lo Mismo Ni Es Igual. Released in 1998, the album was a major commercial hit and a triple Latin Grammy winner at the inaugural 2000 awards. Shortly afterwards the singer converted to evangelical Christianity, a personal decision reflected in the songs on the 2004 release Para Tí. At the start of 2007, at the Premio Lo Nuestro awards, Guerra was given the honorary Lifetime Achievement award. At the end of the year he was awarded five Latin Grammys – Record Of The Year, Song Of The Year, Album Of The Year, Best Merengue Album and Best Tropical Song and he was voted Person Of The Year.

Much like his Bilirubina,” Juan Luis Guerra continues to rise. He is one of the most influential musicians in Latin America, and a Christian believer. Todo tiene su hora” (Everything has its time) earns Album of the Year award.

Guerra became a controversial figure in the Dominican Republic after he released his next album, Areito. He protested against the poor conditions many Dominicans live in, and some of his countrymen felt that he wasn’t the most appropriate person to protest, alleging that Guerra, in their opinion, had never faced poverty. That situation might have done something to do with his next album, Fogarate (1995), where he stayed away from singing any protests.

But then the musicians kicked into the punchy mix of merengue horns, rock power chords, and rap-like recitative of “Cookies and Cream,” the opening number from Guerra’s latest album, “Todo Tiene Su Hora” (“Everything Has Its Time”). The song’s modern bray instantly turned “retro” into “pliably classic” — not exactly timeless, but mastering time’s flow like Ecclesiastes preaches, a lofty achievement certified by the impressive age range of the 3,500 concertgoers present.

The lanky songwriter (Guerra is 6’5″) is a larger-than-life figure to Dominicans and die-hard fans in almost every other country with a concentration of Spanish speakers. His 10 studio albums and two best-of compilations have sold extremely well worldwide, and his tours take him to legions of fans throughout North and South America and Europe. His latest album, Para Ti (For You), is his first to feature lyrics focusing on his conversion to Christianity and includes songs with a strong backbeat and gospel music flair, in addition to salsas and merengues.

and Dominican musician Juan Luis Guerra remain embroiled in a copyright infringement case with Guerra’s former record label, after the Southern District of New York found fact issues concerning contract terms March 29.

When I write songs, I always finish the music completely before I begin to work on the lyrics. You’ve heard the saying that composing music is 90 percent perspiration and 10 percent inspiration. Well, for me, the balance is tipped more toward inspiration. I’ve come to rely a lot more on inspiration in my writing. And I use the guitar to write everything-even the merengues.


There is nothing better against rumors of withdrawal to the edition of a new album, although this is expected. In 1998, after four years of discographic, it reappeared with a new work with the title isn’t the same nor is the same. In this, his fifth album, are curious topics loaded with humour and irony, as in “My computer”, a mockery of the computer jargon in romantic terms; and others with a strong burden of social criticism, as it is the case of “Niagara bicycling”, in which tells a story of poor hospitals. In little more than one year came his sixth work, romantic collection, a compilation of their most popular love songs album: ‘Pink Bachatta’, ‘Bubble of love’, ‘Estrellitas y duendes’, ‘Poppy’, etc.JUAN LUIS GUERRA

Juan Guerra attended Universidad Autonoma de Santo Domingo and studied literature and philosophy. Later he studied music theory and guitar at EL Conservatorio Nacional de Musica de Santo Domingo. After graduating from Conservatorio, Guerra joined Berklee College of Music in Boston and graduated in 1982 with a diploma in jazz composition.

No, my label will help me bring in special musical guests for the sessions. I brought in the African guitarist Diblo Dibala. He is such a great musician. He played guitar on all of the songs but one. I was very interested in soukous music then and wanted to get Diblo because I love his playing.

If you know anyone from Latin America, or anyone whose parents are from Latin America, odds are they like to dance to Juan Luis Guerra. Cuban-American jazz trumpeter Arturo Sandoval won three Latin Grammys, two for “Dear Diz (Every Day I Think of You),” but said these awards was just exciting as his first.

Juan Luis Guerra has created a synthesis of slinky bachata and posh merengue rhythms, and when he performs it live, he brings a slice of the Dominican Republic’s culture to the stage. As one of the DR’s biggest musical exports, the suave crooner has captivated legions of fans with his sophisticated folk formula. He’s joined forces on stage with some of the best, including Sting, The Rolling Stones, Paul Simon and Maná.

His Asondeguerra Tour” album, which debuted as No. 1 on Billboard Latin charts , includes special appearances by Colombian rocker Juanes for the song La Calle” as well as Bachata crooner Romeo, who recently helped revitalize Guerra’s 1991 hit single “Frío, Frío.” And with a career spanning almost three decades, the star had some advice for artists looking for long term musical success.

In his native Dominican Republic, merengue superstar Juan Luis Guerra is considered a poet and musician of the people. He and his band 440 are beloved throughout the Latino world. He is influential among the wave of artists responsible for revitalizing tropical music that languished during the late ’80s due to radio oversaturation and lack of innovation.

Guerra became a controversial figure in the Dominican Republic after he released his next album, Areito. “Areito” (1992), featured the hit single “El costo de la vida,” (“The Cost of Living”) but the video version was banned in several countries.

By age eight, JUAN LUIS GUERRA was already composing songs and performing them at family events. I think that music is a gift that God gave me at an early age and that has been with me always,” he would later note. It was a gift that he would hone with hard work and study. He studied music at the National Conservatory of the Dominican Republic, philosophy at the Autonomous University of Santo Domingo, as well as jazz and composition at Berklee College of Music in Boston.

Juan Luis Guerra show was just amazing. Himself and the 4.40 Band (what a hell of a band!) filled the Smart Financial Center with great energy, intelligent lyrics and outstanding music. Two hours concert that comprised several rithms like merengue, bachata, tradtional merengue (perico ripiao), salsa, and other kind of various jazzy and interesting sounds. Janina Rosado at the keyboards, singing, dancing and direction makes an outstanding job. And of course JLG, who does not dance or moves along the show, but fills the whole stage with his charisma and unique talent. A must see.

Juan Luis Guerra is, without a doubt, an artist, a direct outcome of merengue and bachata. His figure grows in the history of Dominican Republic´s music and is consolidated in Latin America and worldwide.


Juan Luis Guerra in concert in Madrid, Spain, during the Para tí tour. July 2005. In 1998 Juan Luis Guerra’s Ni es lo Mismo ne es Igual received three Latin Grammy Awards for Best Engineered Album, Best Merengue Performance, and Best Tropical Song.

Como abeja al panal” was Juan Luis Guerra’s first attempt at writing what he was to term bachata; and again it must be noted that his work in the genre bears a stronger resemblance to bolero or balada. The song began as part of a television commercial for the Barceló rum company, and was later included as part bolero, part salsa on the Bachata rosa album. The other bachatas” on the album were Estrellitas y duendes”, Bachata rosa” and Burbujas de amor”; they were without question the most popular songs on the production. Bachata rosa established Juan Luis Guerra as the Dominican Republic’s premier recording artist throughout Latin America and the world, and is incontestably one of the most significant recordings ever made by a Dominican musician.

Bachata Rosa made the Dominican Republic’s obscure country style of bachata an international hit with elaborately witty, sensual lyrics and catchy melodies. It sold four million copies worldwide and paved the way for the current popular wave of bachata artists like Monchy & Alexandra. On Fogaraté! (1994) he blended another obscure Dominican style, raucous perico ripiao, with African soukous.


The album includes a English version of the title song, Medicine for my Soul,” a highly syncopated mambo with touches of other tropical music genres. His most recent album, Ni es lo Mismo ni es Igual (1998) , proved to be a critically acclaimed work. It won three Grammys , which were given to him at the 2000 Latin Grammy awards.

Multiple Grammy Award-winning merengue artist Juan Luis Guerra will be honored as a BMI Icon at the music copyright organization’s 13th annual Latin Awards. The ceremony, which honors the songwriters and publishers of the most played BMI Latin songs on U.S. radio and television from the past year, will be held April 7 at the Metropolitan Pavilion in New York, the first time the awards will be held in that city.

Their next album, in 1989, brought them international fame. Ojalá que Llueva Cafe became a number one hit in many Latin American countries, with the hit song of the same name. Subsequently, a video of the hit song was filmed and Juan Luis Guerra and his 4-40 band began touring. (The song’s fame was revived in 1996 with a cover by Café Tacuba). In 1990, they released their next album, Bachata Rosa, which also became a major hit, selling more than 5 million copies at that time, and allowing Guerra to keep touring Latin America, USA and Europe. This album contains memorable love songs such as “Burbujas de amor” and “Estrellitas y Duendes”.

It seems that two things are close to the hearts of a majority of Dominicans: baseball and merengue music. The former fuels the dreams of kids playing in sandlots, hoping to become the next Sammy Sosa or Pedro Martinez. Merengue offers a different form of release for a culture that loves to dance. Merengue tìpico was formerly the music of the peasantry in the Cibao valley region and was played on stringed instruments. Later, tambora, güira, accordion, and sometimes marimba joined the band. The form was adapted for the ballroom and became a national dance played by merengue orquestras during the reign of Dominican dictator Rafael Trujillo (1930-1961). In the decades following Trujillo’s demise, merengue remained a symbol of Dominican national identity. But when Juan Luis Guerra breathed new energy into the form in 1984, merengue connected in a big way with young and old audiences both inside and outside the Dominican Republic.

Juan Luis Guerra Seijas is a Dominican songwriter, producer, composer, and singer. Guerra has sold more than 30 million records till date and received several awards including, two Grammy Awards, 18 Latin Awards, and two Billboard Music Awards.

When I went there, I was a Pat Metheny wannabe. I loved his music-and still do. I also loved Wes Montgomery and wanted to learn to play jazz guitar. There was a turning point for me when I was at a party with some friends. We were jamming together, and after I played a solo on guitar, I noticed that my solo hadn’t gotten anyone’s attention. There was a güira a Dominican percussion instrument on the wall of the apartment, it was there as a decoration. I took it down and started playing some of the rhythms of traditional Dominican music on it. It got the attention of everyone in the room. People started listening and asking about what I was doing. One Berklee student there even asked me if I would write out the rhythm of the patterns I was playing for him. That struck me as odd because these are rhythms Dominicans just play they aren’t written out. That moment made an impact on me and I knew that I would do best singing and playing music using the folkloric rhythms of my country.

In 1988, during the recording of the album Ojalá Que Llueva Café , Guerra became the dominant vocalist of 440. This album also began his international recognition; the album’s sales topped the charts in many Latin American countries.

After identifying and defining his genre, Guerra began to produce hit after hit. In 1990, his album Bachata Rosa became a radio favorite with songs like La bilirrubina” Rosalia” and Burbujas de amor.” The combination of jazz, pop, meringue, and other rhythms not only helped him sell 5 million copies of the album but also earned him his first Grammy award.

Raised in Santo Domingo, the tall, gangly Guerra once aspired to be a jazz musician, and studied at Boston’s Berklee College of Music. But instead he devoted himself to the music and themes of his island. The title track of Ojalá que llueva cafe (Let it rain coffee), the 1988 album by Guerra and his group 4.40 (the name refers to a standard measure of musical pitch) evoked the poverty and beauty of the Dominican countryside – “merengue with a message” and with newly sophisticated harmonies and arrangements.

Whereas 2019’s other bachata opus, Romeo Santos’ Utopia, is a nostalgic homage to the genre’s history and many of its pioneers, the veteran Guerra sidesteps some of bachata’s traditional elements and embraces more experimentation. As with previous releases, like 1990’s Bachata Rosa or 1998’s Ni Es Lo Mismo Ni Es Igual, Luis’ calling card is to venture further out to sea than other bachata players; and for the most part, on Literal, he executes this quite effectively. Opener and lead single Kitipun” opens with grandiose glam-rock synths, and even includes some unexpected sing-rapping from Juan Luis. Elsewhere, the artist flaunts his classical Berklee training in lively horn breaks and jazzy compositions. Yet one of the few missteps Guerra makes is the rogue airhorn sample on electro-son number Son a Mamá” — a call to embrace God and spirituality, themes that have characterized Juan Luis’ albums in the last few years.

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