Who would have imagined that decades later, in 2025, copies of the vinyl—long thought lost after the
original
master was destroyed in a fire—would resurface. From those copies, the music was remastered, rising
again like a
phoenix from the ashes. Sharon Riley Rexach
Traducción al espa?ol disponible a continuación
More than fifty years after its original release, the rare and long-lost album Sylvia Rexach en la Voz de Sharon Riley has been carefully restored and remastered, allowing audiences to once again hear this important recording of Puerto Rican música bohemia. It is scheduled for release on all digital streaming platforms on October 17th, 2025.
The album, recorded in the early 1970s, features actress and vocalist Sharon Riley Rexach, daughter of Puerto Rico’s beloved composer Sylvia Rexach, performing her mother’s songs. She was accompanied by guitarist Tutti Umpierre, one of the era’s defining interpreters of the bohemian guitar style, with production by José Pagán at his famed Eco Sound studio. As noted in the original liner notes, Pagán gave the project ad honorem, lending his technical mastery and devotion to ensure Sylvia Rexach’s music reached a new generation.
“I was working at Telemundo Channel 2 in Puerto Rico, acting in telenovelas” said Sharon. “One of my co-workers was José Pagán. At first, he was a coordinator technician on the studio floor, but later he became a director of telenovelas. One afternoon, José approached me with a suggestion. He wanted me to sing my mother’s songs, the music of Sylvia Rexach, together with Tutti Umpierre. His idea was to record a LP at his recording studio, EcoSound. I was only twenty-four years old at the time, so young and eager. I immediately said yes. Money was never part of it, it was simply his dream to make this record. We recorded the entire album in a single afternoon. Who would have imagined that decades later, in 2025, copies of the vinyl — long thought lost after the original master was destroyed in a fire — would resurface. From those copies, the music was remastered, rising again like a phoenix from the ashes.”
In recent years, Sharon Riley has found a new artistic home collaborating with Puerto Rican vocalist
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data-original-title="" title="">AJ Weibe . Across the past 18 months, Sharon has been a featured collaborator on Maritzaida’s projects: Sentimientos En Vivo, El Otro Camino: La Música de Sylvia Rexach y Tutti Umpierre, and Radio Bohemia Volumen I: La Música de Sylvia Rexach y Tutti Umpierre, where she recorded Dios de Oro. This ongoing collaboration set the stage for the restoration of her own lost album.
After its limited vinyl release in the early 1970s, Sylvia Rexach en la Voz de Sharon Riley became difficult to find. A devastating fire destroyed the original master tapes along with nearly all unsold copies of the record, leaving only a handful of vinyl pressings scattered in private collections.
In 2025, American guitarist and producer AJ Weibe (Maritzaida) began the process of restoring the album from copies of surviving records. Working with multiple copies, each carrying surface noise and the marks of time, he stitched together the best possible version. The result is not a perfect studio recording, but a faithful preservation of an irreplaceable work.
“For me, this work has never been just a technical exercise, it is a pilgrimage,” said Weibe. “To sit beside both Maritzaida and Sharon Riley and play the music of my hero Tutti Umpierre has been one of the great privileges of my life. But to also help restore and share an album where Tutti’s artistry lives alongside Sharon Riley’s voice feels like giving back to a lineage that has given me so much. It may sound unusual coming from an American musician, but Tutti’s guitar has been my compass; his touch, his phrasing, his spirit have shaped everything about the way I play. To help rescue this recording from the brink of disappearance and place it gently into a modern format is, for me, an act of gratitude, reverence, and love. I am deeply thankful to Sharon for entrusting us with this process, and to her nephew Jaime Lamboy for his help in bringing this project to completion. What endures here is not only music, but the living presence of Sylvia Rexach’s world.”
The restoration was made possible through collaboration and community. Marlysse Simmons, of the Richmond-based bolero ensemble Miramar, who released a stunning Sylvia Rexach tribute in 2016 (Dedication to Sylvia Rexach) with Laura Ann Singh and Rei ?lvarez, provided one of the surviving copies of the LP. The album’s artwork was faithfully recreated by Michigan-based designer Ellen Krugel, capturing the spirit of the original cover while updating it for a new era.
“This restoration is not about perfection, it’s about preservation,” said Maritzaida. “What we’ve recovered carries the weight of time, but that’s part of its story. Sharon’s voice, Tutti’s guitar, and José’s dedication still shine through. For me, this project is also deeply personal. Over the past 18 months, I’ve had the privilege of collaborating with Sharon on three of my own releases, and each time I’ve witnessed the strength, grace, and authenticity she brings to her mother’s legacy. To now be part of reviving Sharon’s own recording from the 1970s feels like a continuation of that journey: an act of respect for Sylvia’s music, for Tutti’s artistry, and for Sharon’s courage in carrying it forward. This album is a reminder that art survives not because it is flawless, but because it speaks to something larger than ourselves. Even when nearly lost, it endures.”
The restored Sylvia Rexach en la Voz de Sharon Riley invites listeners to experience what the original 1970s liner notes called “la auténtica y verdadera canción de Sylvia Rexach:” an authentic and eternal voice in Puerto Rican culture, rescued from near disappearance. The album will be released through SideHustle Records, the record label of guitarist/producer
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data-original-title="" title="">Charlie Hunter and Tahi Hunter.
Un Tesoro Perdido Regresa: Sylvia Rexach en la Voz de Sharon Riley Restaurado a partir de Vinilos Sobrevivientes
Más de cincuenta a?os después de su lanzamiento original, el raro y largamente perdido álbum Sylvia Rexach en la Voz de Sharon Riley ha sido cuidadosamente restaurado y remasterizado, permitiendo que el público vuelva a escuchar esta importante grabación de la música bohemia puertorrique?a. Su lanzamiento en todas las plataformas digitales está programado para el 17 de octubre de 2025.
El álbum, grabado a principios de la década de 1970, presenta a la actriz y cantante Sharon Riley Rexach, hija de la querida compositora puertorrique?a Sylvia Rexach, interpretando las canciones de su madre. Fue acompa?ada por el guitarrista Tutti Umpierre, uno de los grandes intérpretes del estilo bohemio de la guitarra, con producción de José Pagán en su reconocido estudio Eco Sound. Tal como se se?aló en las notas originales del disco, Pagán trabajó ad honorem, poniendo su maestría técnica y devoción para asegurar que la música de Sylvia Rexach llegara a una nueva generación.
“En aquel entonces yo trabajaba en Telemundo Canal 2 en Puerto Rico, actuando en telenovelas”, recordó Sharon. “Uno de mis compa?eros era José Pagán. Al principio era coordinador técnico en el estudio, pero luego se convirtió en director de telenovelas. Una tarde, José se me acercó con una propuesta: quería que yo cantara las canciones de mi madre, la música de Sylvia Rexach, junto a Tutti Umpierre. Su idea era grabar un LP en su estudio, Eco Sound. Yo tenía apenas veinticuatro a?os, tan joven y entusiasta. Inmediatamente le dije que sí. El dinero nunca fue parte de ello, simplemente era su sue?o hacer este disco. Grabamos el álbum completo en una sola tarde. ?Quién hubiera imaginado que décadas después, en 2025, aparecerían copias del vinilo —que se creía perdido tras la destrucción del máster original en un incendio? A partir de esas copias, la música fue remasterizada, resurgiendo como un fénix de las cenizas.”
En los últimos a?os, Sharon Riley ha encontrado un nuevo hogar artístico colaborando con la cantante puertorrique?a
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data-original-title="" title="">AJ Weibe . Durante los últimos 18 meses, Sharon ha sido colaboradora destacada en proyectos de Maritzaida como Sentimientos En Vivo, El Otro Camino: La Música de Sylvia Rexach y Tutti Umpierre y Radio Bohemia Volumen I: La Música de Sylvia Rexach y Tutti Umpierre, donde grabó Dios de Oro. Esta colaboración continua abrió el camino para la restauración de su propio álbum perdido.
Tras su limitada publicación en vinilo en los a?os setenta, Sylvia Rexach en la Voz de Sharon Riley se volvió casi imposible de encontrar. Un incendio devastador destruyó las cintas maestras originales junto con casi todas las copias no vendidas, dejando solo unos pocos discos dispersos en colecciones privadas.
En 2025, el guitarrista y productor estadounidense AJ Weibe (colaborador de Maritzaida) inició el proceso de restaurar el álbum a partir de discos sobrevivientes. Trabajando con varias copias —cada una con ruido de superficie y las huellas del tiempo— unió las mejores secciones posibles. El resultado no es una grabación de estudio perfecta, pero sí una preservación fiel de una obra irreemplazable.
“Para mí, este trabajo nunca ha sido solo un ejercicio técnico, sino una peregrinación”, expresó Weibe. “Sentarme junto a Maritzaida y Sharon Riley a interpretar la música de mi héroe Tutti Umpierre ha sido uno de los grandes privilegios de mi vida. Pero además ayudar a restaurar y compartir un álbum donde conviven el arte de Tutti y la voz de Sharon Riley es como devolver algo a un linaje que tanto me ha dado. Puede sonar extra?o viniendo de un músico estadounidense, pero la guitarra de Tutti ha sido mi brújula; su toque, su fraseo, su espíritu han dado forma a todo mi estilo. Rescatar esta grabación del borde del olvido y traerla con cuidado a un formato moderno es, para mí, un acto de gratitud, reverencia y amor. Estoy profundamente agradecido con Sharon por confiarnos este proceso, y con su sobrino Jaime Lamboy por ayudar a llevarlo a término. Lo que perdura aquí no es solo música, sino la presencia viva del mundo de Sylvia Rexach.”
La restauración fue posible gracias a la colaboración y la comunidad. Marlysse Simmons, del conjunto de bolero Miramar con sede en Richmond, quien en 2016 lanzó junto a Laura Ann Singh y Rei ?lvarez un deslumbrante tributo a Sylvia Rexach (Dedication to Sylvia Rexach), aportó una de las copias sobrevivientes del LP. El arte del álbum fue recreado fielmente por la dise?adora Ellen Krugel, radicada en Michigan, capturando el espíritu de la portada original y actualizándolo para una nueva era.
“Esta restauración no trata de la perfección, sino de la preservación”, dijo Maritzaida. “Lo que hemos recuperado lleva consigo el peso del tiempo, pero eso también es parte de su historia. La voz de Sharon, la guitarra de Tutti y la dedicación de José todavía brillan. Para mí, este proyecto también es profundamente personal. En los últimos 18 meses he tenido el privilegio de colaborar con Sharon en tres de mis propios lanzamientos, y en cada ocasión he sido testigo de la fuerza, la gracia y la autenticidad con que honra el legado de su madre. Ser ahora parte de la recuperación de la grabación de Sharon de los a?os setenta es una continuación de ese camino: un acto de respeto a la música de Sylvia, al arte de Tutti y al valor de Sharon al llevarlo adelante. Este álbum nos recuerda que el arte sobrevive no porque sea perfecto, sino porque habla de algo más grande que nosotros mismos. Incluso al borde de la desaparición, perdura.”
El álbum restaurado Sylvia Rexach en la Voz de Sharon Riley invita al público a experimentar lo que las notas originales de los a?os setenta describieron como “la auténtica y verdadera canción de Sylvia Rexach”: una voz auténtica y eterna en la cultura puertorrique?a, rescatada del olvido. El disco será lanzado bajo el sello SideHustle Records, propiedad del guitarrista/productor
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‘Oh, that,’ she said. ‘Dear Julia; I hope we shall be great friends again, when I come back from Brighton. I shall be very glad to, I am sure.’ "His captain asked him what he had to say for himself to escape punishment, and the man replied that it was unreasonable to expect all the cardinal virtues for thirteen dollars a month. The captain told him the excuse was sufficient for that time, but would not do for a repetition of the offence." "Pat who--oh? I tell you, my covey,--and of course, you understand, I wouldn't breathe it any further--" We have seen how Carneades, alike in his theory of probability and in his ethical eclecticism, had departed from the extreme sceptical standpoint. His successor, Clitomachus, was content with committing the doctrines of the master to writing. A further step was taken by the next Scholarch, Philo, who is known as the Larissaean, in order to distinguish him from his more celebrated namesake, the Alexandrian Jew. This philosopher asserted that the negations of the New Academy were not to be taken as a profession of absolute scepticism, but merely as a criticism on the untenable pretensions of the Stoa. His own position was that, as a matter of fact, we have some certain knowledge of the external world, but that no logical account can be given of the process by which it is obtained—we can only say that such an assurance has been naturally stamped on our minds.254 This is the theory of intuitions or innate ideas, still held by many persons; and, as such, it marks a return to pure Platonism, having been evidently suggested by the semi-mythological fancies of the161 Meno and the Phaedrus. With Philo as with those Scotch professors who long afterwards took up substantially the same position, the leading motive was a practical one, the necessity of placing morality on some stronger ground than that of mere probability. Neither he nor his imitators saw that if ethical principles are self-evident, they need no objective support; if they are derivative and contingent, they cannot impart to metaphysics a certainty which they do not independently possess. The return to the old Academic standpoint was completed by a much more vigorous thinker than Philo, his pupil, opponent, and eventual successor, Antiochus. So far from attempting any compromise with the Sceptics, this philosopher openly declared that they had led the school away from its true traditions; and claimed for his own teaching the merit of reproducing the original doctrine of Plato.255 In reality, he was, as Zeller has shown, an eclectic.256 It is by arguments borrowed from Stoicism that he vindicates the certainty of human knowledge. Pushing the practical postulate to its logical conclusion, he maintains, not only that we are in possession of the truth, but also—what Philo had denied—that true beliefs bear on their face the evidence by which they are distinguished from illusions. Admitting that the senses are liable to error, he asserts the possibility of rectifying their mistakes, and of reasoning from a subjective impression to its objective cause. The Sceptical negation of truth he meets with the familiar argument that it is suicidal, for to be convinced that there can be no conviction is a contradiction in terms; while to argue that truth is indistinguishable from falsehood implies an illogical confidence in the validity of logical processes; besides involving the assumption that there are false appearances and that they are known to us as such, which would be impossible unless we were in a position to compare them with the corresponding162 truths.257 For his own part, Antiochus adopted without alteration the empirical theory of Chrysippus, according to which knowledge is elaborated by reflection out of the materials supplied by sense. His physics were also those of Stoicism with a slight Peripatetic admixture, but without any modification of their purely materialistic character. In ethics he remained truer to the Academic tradition, refusing to follow the Stoics in their absolute isolation of virtue from vice, and of happiness from external circumstances, involving as it did the equality of all transgressions and the worthlessness of worldly goods. But the disciples of the Porch had made such large concessions to common sense by their theories of preference and of progress, that even here there was very little left to distinguish his teaching from theirs.258 After she had done that she stood hesitating for just a moment before she threw off all restraint with a toss of her head, and strapped about her waist a leather belt from which there hung a bowie knife and her pistol in its holster. Then slipping on her moccasins, she glided into the darkness. She took the way in the rear of the quarters, skirting the post and making with swift, soundless tread for the river. Her eyes gleamed from under her straight, black brows as she peered about her in quick, darting glances. George II. was born in 1683, and was, consequently, in his forty-fourth year when he ascended the throne. In 1705 he married the Princess Caroline Wilhelmina of Anspach, who was born in the year before himself, by whom he had now four children—Frederick Prince of Wales, born in 1707, William Duke of Cumberland, born in 1721, and two daughters. On the 13th of February the Opposition in the Commons brought on the question of the validity of general warrants. The debate continued all that day and the next night till seven o'clock in the morning. The motion was thrown out; but Sir William Meredith immediately made another, that a general warrant for apprehending the authors, printers, and publishers of a seditious libel is not warranted by law. The combat was renewed, and Pitt made a tremendous speech, declaring that if the House resisted Sir William Meredith's motion, they would be the disgrace of the present age, and the reproach of posterity. He upbraided Ministers with taking mean and petty vengeance on those who did not agree with them, by dismissing them from office. This charge Grenville had the effrontery to deny, though it was a notorious fact. As the debate approached its close, the Ministers called in every possible vote; "the sick, the lame were hurried into the House, so that," says Horace Walpole, "you would have thought they had sent a search warrant into every hospital for Members of Parliament." When the division came, which was only for the adjournment of Meredith's motion for a month, they only carried it by fourteen votes. In the City there was a confident anticipation of the defeat of Ministers, and materials had been got together for bonfires all over London, and for illuminating the Monument. Temple was said to have faggots ready for bonfires of his own. "No, you don't," answered Shorty. "I'm to be the non-commish of this crowd. A Lieutenant'll go along for style, but I'll run the thing." "Si Klegg, be careful how you call me a liar," answered the Orderly. "I'll—" "Then there is nothing to be done?" Dward asked. "I'll have a good grain growing there in five year—d?an't you go doubting it. The ground wants working, that's all. And as fur not wanting the farm no bigger, that wur f?ather's idea—Odiam's mine now." At last the gods, who are more open-handed than ungrateful people suppose, took pity on the rivals, and gave them something to fight about. The pretext was in itself trivial, but when the gunpowder is laid nothing bigger than a match is needed. This particular pretext was a barrow of roots which had been ordered from Kitchenhour by Reuben and sent by mistake to Grandturzel. Realf's shepherd, not seeing any cause for doubt, gave the roots as winter fodder to his ewes, and said nothing about them. When Reuben tramped over to Kitchenhour and asked furiously why his roots had never been sent, the mistake was discovered. He came home by Grandturzel, and found his precious roots, all thrown out on the fields, being nibbled by Realf's ewes. "It is false!" he replied, "no human law have I violated, and to no man's capricious tyranny will I submit." HoME欧美国一级视频直播
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