by Marvin Ramírez
The 60s and 70s were a time of great musical effervescence in Latin America, and Nicaragua was no exception. In that context, Bwana emerged, a band that fused rock, tropical music and indigenous sounds, creating a unique style that reflected the reality and spirit of Managua at the time, known as the “Central American Switzerland.” Although the band had a relatively short career, its legacy lives on in the collective memory and in the history of Latin American rock.
The birth of Bwana
Formed in the late 60s, Bwana was born from the union of young musicians influenced by the Beatles, the Rolling Stones, Santana and Latin jazz. The name “Bwana” evoked power and authority, a term that reflected the ambition of the group, which quickly stood out in the Nicaraguan music scene.
However, the story behind the formation of Bwana is more complex than what has commonly been told. According to Donaldo Mantía, one of the founding members, the group’s core was made up of the following musicians.
“If the group was founded in the early 1970s, the group’s core was made up of: Tony Rodríguez AKA Bugs Bonnie, on bass, Danilo Amador on organ, Cali Alemán as singer, Roberto Martínez (Maguila) on guitar, Salvador Fernández on congas and myself, Donaldo Mantía, on drums,” explained Mantía.
However, Luis Malespín, AKA Luigi Ibarra, who is proud to be the grandson of the creator of the lyrics of the Nicaraguan national anthem, Salomón Ibarra Mayorga.
Malespín mentions that he was the group’s first guitarist, which led them to win a first place award for best group, when Indio Corea was in charge of promoting the band.
In 1970 we went to Costa Rica to record two singles with the first members I mentioned to you,” he added, clarifying some details about the band’s original lineup.
Afterwards, the band members experienced some changes: “Then, we brought in Ricardo Palma and Román Cerna to record the first album, because Danilo Amador came to the United States and Tony didn’t want to continue.” Malespín also went to the US.
For the second album, Bwana incorporated Chilean Charlie Aravena on bass. “As an original member of Bwana, that’s the true story of Bwana, which crossed borders,” said Mantía.
The members of Bwana
Throughout its career, the band underwent some changes in its lineup, but the key members were:
- Cali Alemán, the charismatic singer, whose distinctive voice marked the band’s sound.
- Jaime Vanegas, drummer whose unique style shaped Bwana’s rhythm.
- Donaldo Mantía (‘El Picudo’), drummer and timbalero, contributed a special sound to the compositions.
- Salvador Fernández (q.e.p.d.), (‘Shava’), recognized as one of the best conga players in Nicaragua.
- Ricardo Palma (q.e.p.d.), keyboardist, guitarist and vocalist, contributed to the group’s versatility.
- Román Cerpa, bassist and percussionist, whose presence on stage was key in the formation of Bwana’s sound.
- Roberto Martínez (q.e.p.d.), guitarist and vocalist, who enriched the band’s repertoire with his melodies.
Sadly, Roberto Martínez recently passed away in November due to lung problems that “began in Nicaragua, since he had gone to live there. But they brought him back to Los Angeles to receive treatment, since in Nicaragua he did not have medical insurance,” explained the Nicaraguan singer and rock icon, Janet Barnes, to El Reportero. “He had a cough that wouldn’t let him breathe,” said Barnes, who was saddened by the musician’s passing.
The legacy of its music
Bwana was not only distinguished by his international rock influences, but also by the integration of Latin and Caribbean rhythms. Songs such as “La Jurumba” and “La Patada” reflected the social reality and experiences of Nicaraguan youth. “La Jurumba” in particular became an anthem that evoked life in the barrios of Managua and the figure of the National Guard, a symbol of the repressive power of the Somoza regime.
In a comment from a follower, it is mentioned: “Bwana’s La Jurumba is an emblematic song of old Managua. We remember the Nissan, the car that the Managua Police used to patrol and imprison people, the Garand on the ribs (the weapon used by the National Guard in Nicaragua), the streets of the barrios of Sto. Domingo, Campo Bruce and all of old Managua.” These words evoke the turbulent times of the country, but also the moments of freedom and tolerance, which existed, despite the Somoza regime.
The band achieved great popularity after recording their first album around 1973 or 1974 in Costa Rica. This material consolidated their name in the region, and songs such as “Chapumbambe”, “Motemba” and “Todo es Real” demonstrated their ability to fuse different musical styles with a strong Nicaraguan identity.
Dissolution and exile
The earthquake of 1972 and the civil war that culminated with the fall of Somoza in 1979 marked the end of Bwana as a band. Many of its members went into exile, and the band was never able to reunite in its original form. However, their music lives on in the memories of those who lived through that time. The testimonies of admirers such as Rafael Gaitán reflect the nostalgia for those times: “They were wonderful times. An era that only remains in memory.”
Although the members of Bwana currently live outside of Nicaragua, in the United States, others have already passed away, and those who remain are enjoying their senior years with children and grandchildren, but some continue trying to revive the band, continue playing or creating music in their homes with their own studios. However, resentment has arisen among them, since Roberto Martínez (RIP), without the authorization of the rest, patented the name and songs of the group for his own benefit, which has created conflicts, Mantía explained to El Reportero. Despite the attempts to recreate it, it has not been possible to materialize, and only the dream of reviving it remains.
In a recent interview, Mantía, who was an integral part of the band as a drummer and timbalero, shared his version of some of the internal conflicts that contributed to the dissolution of the group.
“I left the group at the end of ’73 because this Maguila (Roberto Martinez) was stealing from me and I took my drums and went to Matagalpa to study the drums more with methods and I developed deeply and I also studied music at the conservatory after the earthquake; I’m not into noise, that’s why I’ve maintained a good level. Finally, Maguila was the one who sullied the name of Bwana,” said Mantía, clarifying his perspective on the problems within the group.
The legacy endures
Although the members live outside their homeland, the legacy of Bwana continues to be fundamental in the history of Latin rock. Their music remains a reminder of Managua in the 60s and 70s and of the bravery of a band that, through its art, challenged the political and social norms of its time.
