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Five songs to keep alive the legacy of Abelardo Carbonó, known as the ‘father of the Creole champeta’

‘The godfather of the champeta’ or ‘The father of the Creole champeta’, that is how Abelardo Carbonó was known, one of the precursors of these Caribbean sounds to Colombia. The Barranquillero died this Monday, the 22nd, at the age of 73 and due to several consequences that the contagion by covid-19 left him.

On November 13, he had a birthday and he spent it in the middle of medical care, since since March he remained connected to oxygen bullets that allowed him to breathe better. According to his daughter, Carolina Carbonó Muñoz, the musician suffered from pulmonary fibrosis due to the virus; This is how he announced it to the regional newspaper El Heraldo.

For much of his life, Carbonó was determined to make visible and merge those rhythms that lead to what is currently known as Creole champeta. In his childhood he took his first steps in music playing the guitar in the municipality of Ciénaga -Magdalena- but in 1959 he and his family moved to Barranquilla and later joined the Police, as there were very few job opportunities in then and more, in that city.

He had nearly 20 years of service as a cadet in the public force, when he decided to join what would later become the ‘champeta criolla’, which is the basis for the fusion of other sounds that are maintained thanks to groups such as Bomba Estéreo and Systema Solar, among other.

1. Carolina: It was 1982 when he and his band released this song under the Felito Records label. This song was dedicated to his daughter, who bears the same name, and this is confirmed by her verses, which highlight the beauty of “my girl, her hair and that melodious voice when she calls me daddy.”

2. Indian dance: Year 1994. Discos Machuca releases this single that accentuates the sharp sound of the guitar and other African rhythms, as well as his deep voice that does not sing but proclaims, at least in this song.

3. Move it: Carbonó tried to maintain the rhythms coming from Africa in most of his work. He did so in this single that recounts the busy life of Katherine, a woman who “does not work or cook, and at night a dancer.” This song was also released in 1982, when his career was in full swing.

4. To another dog with that bone: His intro with the guitar solo set the tone not only in this single but in all of his work. And although it was released in 1980, it became the basis for what the ‘Grupo D’Abelard’ did until the mid-90s.

5. Yes, yes, yes: Finally, when listening to this song, other very famous groups come to mind that decided to base themselves on this type of rhythm, such as Buena Vista Social Club; but curiously, this song, which does not have vallenato rhythms, could be included within this legacy, since it had the collaboration of Juancho Polo Valencia, one of the most important composers of accordion music in the times when only the guitar was used, the box and the guacharaca to interpret this type of music.

For four decades, Abelado Carbonó’s work has served as inspiration for dozens of Colombian artists and was a reason for dance and celebration for hundreds of followers who mourn his departure.

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TAMMY SEWELL

Tammy Sewell is our Writer and Social at OICanadian.com. Tammy loves sports, she writes our celebrities news. She spends time browsing through several celebs news sources as well the Instagram. Email: Tammy@oicanadian.com Phone: +1 513-209-1700

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