Juan Luis Guerra - Biography
By Robert Leaver
Tall, bearded and slightly awkward, this singer from the Dominican Republic with an angelic voice enjoyed a meteoric rise to Latin pop stardom in the ‘90s. As a measure of his success one only need note that he was the first Latin artist to receive a million dollar contract to advertise for Pepsi-Cola. The son of a semi-professional athlete, Juan Luis Guerra was born June 7, 1957 in Santo Domingo, the capital of the Dominican Republic. He started playing guitar at the age of 10 and studied literature and philosophy at the Universidad Autónoma de Santo Domingo before taking up the serious study of guitar at El Conservatorio Nácional de Música de Santo Domingo. Upon graduation he won a scholarship to study music at the prestigious Berklee College of Music in Boston, Massachusetts. It was there that he met design student Nora Vega, who he would marry and form a family that now includes two children. Returning to the Dominican Republic with his degree in jazz composition he began composing jingles for radio and television and formed a quartet of vocalists working under the group name 4-40.
Strongly influenced by The Manhattan Transfer 4-40 recorded an album in 1984, Soplando which was later re-released as The Original 4.40 (1990 WEA Latina). Their fusion of musical elements was based on merengue with contemporary jazz-vocal harmonies and complex chord progressions. The album did not sell significantly but kept his musical career on trajectory as he was signed to Karen records and encouraged to deliver more commercial merengue. Developing his skills as a composer and lyricist he recorded Mundanza y Acarreo (1991 BMG) in 1985 and Mientras más lo pienso…tú (1987 Karen), which contained he first conscious attempt to crossover, “Guavaberry,” a tune sung in English. During the next studio recording many changes were made to the lineup and Guerra stepped more out front as the leader and principal arranger of the group. The result was the masterful Ojalá que llueva café (1989 RCA) whose title track comes from an expression Guerra picked up in the impoverished, coffee-growing countryside where they say, “I wish it would rain coffee.” The song became a bit hit throughout Latin America as did “Visa para un sueño” (Visa to dream) establishing Guerra’s reputation as a lyricist. “Woman del calla,” or “silenced woman” featured the Venezuelan group “Un Solo Pueblo.”
Blessed with a smooth tenor voice Guerra employs the subtle nuances of group harmony vocals to his compositions be they ballads or up-tempo merengues. He became masterful at fusing diverse musical elements and conjuring up an imaginary notion of indigenous Taino culture. He also took the Dominican rural music of bachata (often frowned on as lower class) and gave it a more polished, parlor-friendly arrangement and lyrics more on par with the poetics of the “nueva trova” movement. Although he never thought of himself as a poet he cites Pablo Neruda of Chile and Federico Garcia Lorca of Spain as influences. His songwriting always begins with the music worked out on guitar and ends with the lyrics. Contrary to popular perception that songwriting is 90% perspiration and 10% inspiration Guerra says that for him it is the reverse- 90% inspiration. While he embraced success, he seemed to be more surprised than anyone when it came.
With the release of Bachata Rosa (1990 Karen) Guerra’s star shone brighter than ever as the album ultimately sold more than five million copies worldwide and earned him his first of a slew of Grammys. An elaborate production employing an expanded cast of musicians and engineers the promotional tour alone employed 18 musicians, ten engineers and featured state of the art video screens and smoke machines. “Burbujas de Amor” (Bubbles of Love) was the first hit followed by “La Biribullina” which turns an illness into a vehicle for humorous medical metaphors. Cuban piano wiz Gonzalo Rubalcaba injects some heady keyboard into “Carta de Amor” (Love Letter) and Guerra does a rousing version of a Congolese melody replete with South African style vocal harmonies (like Ladysmith Black Mambazo) on “A Pedir Su Mano” (To Ask for Your Hand). On the strength of this album Guerra reached a vast new world audience in Europe and signed a lucrative contract with Pepsi-Cola. A Portuguese version of the album Romance Rosa (1991 Polygram Brazil) was also released capturing the imagination of the Brazil public.
To mark the 500th anniversary of the “discovery” of the Americas Guerra released his most serious record to date Areito (1992) turning his songwriting to more societal concerns. The contradictory “El Costo de la Vida” is a downright cheerful dance song about the rising cost of living. “Si de aquí saliera petróleo” features salsa legend Ruben Blades on backing vocals and imagines what it would be like if the Dominican Republic struck oil, wondering if they would be better off. Other guests include Puerto Rican conga maestro Giovanni Hidalgo and the New York Philharmonic Orchestra who embellish the romantic tune “Cuando te beso.” He does a version of a one of Haiti’s most famous popular songs by Nemours Jean-Baptiste renaming it “Mal de Amor” (Lovesick)- standing against traditional bigotry in an act of cultural respect for the Haitians who share the island of Hispaniola. He also constructs what he imagines to be indigenous Taino music and chant employing them throughout and comments that the closing track, “Naboria/Daca Mayanimacana,” was the “Taino plea for mercy before being slaughtered.” Despite injecting his popular Caribbean musical stew with some somber thoughts the record still sold over two million and led him into a longer tour schedule playing to huge coliseum crowds.
For his next recording Guerra reached back through the African Diaspora and enlisted the services of ace Congolese guitarist Diblo Dibala. A fan of Congolese soukous he had already set the precedent with his song “A Pedir su Mano,” inspired by Lea Lignanzi’s Afro-pop classic “Dede Priscilla.” On Fogaraté (1994 RCA) Dibala played his fluid, circular riffs on all but one cut and Guerra did a cover version of a Papa Wemba (a popular Congolese singer) song, composing his own lyric for “Viviré.” Guerra also embraced the up-tempo merengue style known as “perico ripiao” inviting Dominican accordion legend Francisco Ulloa to perform with him a composition they co-wrote- “La Cosquillita.” The song, which translates as “the little tickle,” was the first single from the album. A dispute with the label thwarted promotion and the record did not enjoy the commercial success of his several previous outings. After years of hectic activity he only performed twice in 1995 and then withdrew from the business, in effect, retiring.
After a four year hiatus Guerra returned with another strong record, Ni es lo Mismo, Ni es Igual (1998 Karen). Maintaining his high production standard it won the Best Engineered Album at the 2000 Latin Grammys. The first two singles, a humorous cut about computers, “Mi PC” and “Palomita Blanca” (Little White Dove) reached number one on the Tropical Latin charts. But the cut that created the biggest buzz was “El Niagra en Bicileta,” a Dominican folk metaphor for tough times- “like going over Niagra falls on a bicycle.” The song won the Latin Grammy for Best Tropical Song at the 2000 Latin Grammies.
Appearing infrequently in public in subsequent years Guerra focused his attention of his business ventures that include radio and television stations. He also went through a conversion experience, becoming “born again” and joined an evangelical Christian church where he would perform regularly. After six years he re-entered the studio and recorded Para Ti (2004 Vene Music) (For You)- dedicated to God. Losing none of his musical chops and still wielding hip-swiveling merengue beats, the single “Las Avispas” (The Wasps) won the Latin Grammy for Best Tropical Song in 2005. The album also won the Latin Grammy that year for Best Christian Album and reportedly sold upwards of a million copies. He hit the road again to celebrate his 20th anniversary as a performer embarking on an ambitious tour through the Caribbean, South & Central America and Europe. Billboard gave him its “Spirit of Hope” award in 2005 for his foundation that helps disadvantaged Dominicans who need medical attention.
In 2006 he opened up for the Rolling Stones (he still performs all his classic “secular” tunes in concert) in Puerto Rico. Later that year he was back on top of the charts with “Abriendo Caminos” (Opening Paths), a duet with Diego Torres, and “Bendita La Luz (The blessed light),” a collaboration with Mexican rock superstars Maná. La Llave de Mí Corazón (2007 EMI) followed with 13 original compositions of merengue, bachata and salsa. Maintaining his high standard of production and sophisticated arrangements the songs are informed, some more, some less, by his Christianity. Guerra’s influence on popular Latin music cannot be overestimated and he must be credited for bringing the diverse music of his beloved Dominican Republic to a truly global audience. His artistic merit, musical integrity, and sheer inventiveness made him an idol and his astounding market success made him a true phenomenon but, ultimately, it’s his humility that makes him worthy.