{"id":219070,"date":"2022-01-01T01:00:00","date_gmt":"2022-01-01T00:00:00","guid":{"rendered":"https:\/\/guerssen.com\/product\/conjunto-ingeniria\/"},"modified":"2026-09-09T18:26:30","modified_gmt":"2026-09-09T16:26:30","slug":"conjunto-ingenieria","status":"publish","type":"product","link":"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/","title":{"rendered":"Conjunto Ingenier\u00eda"},"content":{"rendered":"

Cuando la d\u00e9cada de 1950 llegaba a su fin, un grupo de estudiantes de la Universidad Central de Venezuela de Caracas se contagi\u00f3 del gusanillo de la m\u00fasica tropical y decidi\u00f3 formar una orquesta. Con la mayor\u00eda de los estudiantes provenientes de la facultad de ingenier\u00eda, fueron debidamente bautizados como Conjunto Ingenier\u00eda (The Engineering Group) y, desde el principio, estaban a la cabeza del juego. La m\u00fasica tropical, o m\u00fasica bailable, poco a poco iba llegando a Venezuela, pero el Conjunto Ingenier\u00eda ten\u00eda un arma secreta ya que uno de sus compa\u00f1eros estudiaba en Nueva York y cada julio regresaba con la \u00faltima big band latina.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cuando la d\u00e9cada de 1950 llegaba a su fin, un grupo de estudiantes de la Universidad Central de Venezuela de Caracas se contagi\u00f3 del gusanillo de la m\u00fasica tropical (...)<\/a>","protected":false},"featured_media":219013,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[23231],"product_tag":[],"class_list":["post-219070","product","type-product","status-publish","has-post-thumbnail","product_cat-latin-brazilian-es","pa_artist-conjunto-ingenieria-es","pa_format-lp-es","pa_gender-latin-brazilian","pa_label-el-palmas-music","pa_location-south-america-caribbean-es","first","instock","taxable","shipping-taxable","purchasable","product-type-simple"],"acf":[],"yoast_head":"\nCONJUNTO INGENIERIA - Conjunto Ingenier\u00eda - (LP) | Guerssen<\/title>\n<meta name=\"description\" content=\"As the 1950s drew to a close a group of students at Caracas\u2019 Universidad Central de Venezuela caught the tropical music bug and decided to form an orchestra. With the majority of the students coming from the engineering faculty, they were duly christened Conjunto Ingenier\u00eda (The Engineering Group) and from the offset, they were ahead of the game. Tropical music, or m\u00fasica bailable (danceable music), was slowly making its way to Venezuela, but Conjunto Ingenier\u00eda had a secret weapon as one of their fellow students was studying in New York and every July he\u2019d return with the latest Latin big band sounds: Tito Puente, Machito, they heard it first.And they wasted no time in making a name for themselves: nine young male musicians playing the hippest sounds around, they were the obvious band to play high-society quincea\u00f1eras (15th birthday celebrations to mark a \u201cgirl\u2019s journey into womanhood\u201d), which their original bass player, Juan Marquez, says they did at least 80 times in their heyday, as well as playing countless times at the university, on TV, at weddings, and at carnival, where on one occasion they accompanied Celia Cruz. \u201cWe played on all the TV channels\u201d, says Marquez, \u201cwe were the first group to play at the launch party for \u2018salsa\u2019, a term that was established by the [Venezuelan] announcer Phidias Danilo Escalona\u2026 in Barquisimeto we were considered the best orchestra\u201d, he remembers.On record their eclecticism and musical chops belied their age. In 1961 they released their self-titled debut album, which tackled mambo, guaracha, cha-cha-cha and charanga, veering from the Les Baxter-esque exotica of \u201cMambo Silbando\u201d with its kitsch whistling, through the horn-and-percussion heavy stomp of \u201cLa Bola\u201d (complete with bolero bridge) and on to \u201cAmorcito\u201d, their cover of The Diamond\u2019s \u201cLittle Darlin\u2019\u201d, which was arguably the first rock \u2018n\u2019 roll song recorded in Venezuela. They followed it up with Aqui Esta El Conjunto Ingenieria, their second album in 1962, in which they showed once more that rock could easily sit next to Latin on tracks like \u201cMambo Rock\u201d. Their last album, Boogaloo Con Ingenieria, arrived in 1967, and made clear the influence of New York in their sound, with the group adopting the boogaloo of Pete Rodriguez, Tito Puente and Ricardo Ray. Tracks like \u201cDame Boogaloo\u201d and \u201cLa Boa\u201d were the epitome of this, but they also took that sound into new places, as on the staccato groove of \u201cIntermission Riff\u201d which left plenty of space for the musicians to flex their muscles, or on the ominous \u201cAefo\u201d with its unsettling vocals and dramatic Henry Mancini-esque melody.Conjunto Ingenier\u00eda came to an end at the beginning of the 70s, by which time many of their original members had left after graduating, but there can be no doubt they had made their mark. Though their recording output was nowhere near as prolific as their contemporaries Billo\u2019s Caracas Boys or Los Mel\u00f3dicos, if you were turning on the TV, going to carnival or, especially, attending a quincea\u00f1era, in Caracas in the 1960s, then you would no doubt of come across Conjunto Ingenier\u00eda and their rock \u2018n\u2019roll-embellished New York-meets-Venezuela big band sound.On this compilation, simply titled Conjunto Ingenier\u00eda, El Palmas Music have cherrypicked a glorious selection of tracks from across the group\u2019s career, capturing all the creativity and youthful excitement that made them one of the first titans of Venezuela\u2019s tropical music history.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"CONJUNTO INGENIERIA - Conjunto Ingenier\u00eda - (LP) | Guerssen\" \/>\n<meta property=\"og:description\" content=\"As the 1950s drew to a close a group of students at Caracas\u2019 Universidad Central de Venezuela caught the tropical music bug and decided to form an orchestra. With the majority of the students coming from the engineering faculty, they were duly christened Conjunto Ingenier\u00eda (The Engineering Group) and from the offset, they were ahead of the game. Tropical music, or m\u00fasica bailable (danceable music), was slowly making its way to Venezuela, but Conjunto Ingenier\u00eda had a secret weapon as one of their fellow students was studying in New York and every July he\u2019d return with the latest Latin big band sounds: Tito Puente, Machito, they heard it first.And they wasted no time in making a name for themselves: nine young male musicians playing the hippest sounds around, they were the obvious band to play high-society quincea\u00f1eras (15th birthday celebrations to mark a \u201cgirl\u2019s journey into womanhood\u201d), which their original bass player, Juan Marquez, says they did at least 80 times in their heyday, as well as playing countless times at the university, on TV, at weddings, and at carnival, where on one occasion they accompanied Celia Cruz. \u201cWe played on all the TV channels\u201d, says Marquez, \u201cwe were the first group to play at the launch party for \u2018salsa\u2019, a term that was established by the [Venezuelan] announcer Phidias Danilo Escalona\u2026 in Barquisimeto we were considered the best orchestra\u201d, he remembers.On record their eclecticism and musical chops belied their age. In 1961 they released their self-titled debut album, which tackled mambo, guaracha, cha-cha-cha and charanga, veering from the Les Baxter-esque exotica of \u201cMambo Silbando\u201d with its kitsch whistling, through the horn-and-percussion heavy stomp of \u201cLa Bola\u201d (complete with bolero bridge) and on to \u201cAmorcito\u201d, their cover of The Diamond\u2019s \u201cLittle Darlin\u2019\u201d, which was arguably the first rock \u2018n\u2019 roll song recorded in Venezuela. They followed it up with Aqui Esta El Conjunto Ingenieria, their second album in 1962, in which they showed once more that rock could easily sit next to Latin on tracks like \u201cMambo Rock\u201d. Their last album, Boogaloo Con Ingenieria, arrived in 1967, and made clear the influence of New York in their sound, with the group adopting the boogaloo of Pete Rodriguez, Tito Puente and Ricardo Ray. Tracks like \u201cDame Boogaloo\u201d and \u201cLa Boa\u201d were the epitome of this, but they also took that sound into new places, as on the staccato groove of \u201cIntermission Riff\u201d which left plenty of space for the musicians to flex their muscles, or on the ominous \u201cAefo\u201d with its unsettling vocals and dramatic Henry Mancini-esque melody.Conjunto Ingenier\u00eda came to an end at the beginning of the 70s, by which time many of their original members had left after graduating, but there can be no doubt they had made their mark. Though their recording output was nowhere near as prolific as their contemporaries Billo\u2019s Caracas Boys or Los Mel\u00f3dicos, if you were turning on the TV, going to carnival or, especially, attending a quincea\u00f1era, in Caracas in the 1960s, then you would no doubt of come across Conjunto Ingenier\u00eda and their rock \u2018n\u2019roll-embellished New York-meets-Venezuela big band sound.On this compilation, simply titled Conjunto Ingenier\u00eda, El Palmas Music have cherrypicked a glorious selection of tracks from across the group\u2019s career, capturing all the creativity and youthful excitement that made them one of the first titans of Venezuela\u2019s tropical music history.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/\" \/>\n<meta property=\"og:site_name\" content=\"Guerssen records\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-09T16:26:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/guerssen.com\/wp-content\/uploads\/2022\/10\/42038-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"2560\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"CONJUNTO INGENIERIA - Conjunto Ingenier\u00eda - (LP) | Guerssen\" \/>\n<meta name=\"twitter:label1\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data1\" content=\"1 minuto\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/producto\\\/conjunto-ingenieria\\\/\",\"url\":\"https:\\\/\\\/guerssen.com\\\/es\\\/producto\\\/conjunto-ingenieria\\\/\",\"name\":\"CONJUNTO INGENIERIA - Conjunto Ingenier\u00eda - (LP) | Guerssen\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/producto\\\/conjunto-ingenieria\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/producto\\\/conjunto-ingenieria\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/guerssen.com\\\/wp-content\\\/uploads\\\/2022\\\/10\\\/42038-scaled.jpg\",\"datePublished\":\"2022-01-01T00:00:00+00:00\",\"dateModified\":\"2026-09-09T16:26:30+00:00\",\"description\":\"As the 1950s drew to a close a group of students at Caracas\u2019 Universidad Central de Venezuela caught the tropical music bug and decided to form an orchestra. With the majority of the students coming from the engineering faculty, they were duly christened Conjunto Ingenier\u00eda (The Engineering Group) and from the offset, they were ahead of the game. Tropical music, or m\u00fasica bailable (danceable music), was slowly making its way to Venezuela, but Conjunto Ingenier\u00eda had a secret weapon as one of their fellow students was studying in New York and every July he\u2019d return with the latest Latin big band sounds: Tito Puente, Machito, they heard it first.And they wasted no time in making a name for themselves: nine young male musicians playing the hippest sounds around, they were the obvious band to play high-society quincea\u00f1eras (15th birthday celebrations to mark a \u201cgirl\u2019s journey into womanhood\u201d), which their original bass player, Juan Marquez, says they did at least 80 times in their heyday, as well as playing countless times at the university, on TV, at weddings, and at carnival, where on one occasion they accompanied Celia Cruz. \u201cWe played on all the TV channels\u201d, says Marquez, \u201cwe were the first group to play at the launch party for \u2018salsa\u2019, a term that was established by the [Venezuelan] announcer Phidias Danilo Escalona\u2026 in Barquisimeto we were considered the best orchestra\u201d, he remembers.On record their eclecticism and musical chops belied their age. In 1961 they released their self-titled debut album, which tackled mambo, guaracha, cha-cha-cha and charanga, veering from the Les Baxter-esque exotica of \u201cMambo Silbando\u201d with its kitsch whistling, through the horn-and-percussion heavy stomp of \u201cLa Bola\u201d (complete with bolero bridge) and on to \u201cAmorcito\u201d, their cover of The Diamond\u2019s \u201cLittle Darlin\u2019\u201d, which was arguably the first rock \u2018n\u2019 roll song recorded in Venezuela. They followed it up with Aqui Esta El Conjunto Ingenieria, their second album in 1962, in which they showed once more that rock could easily sit next to Latin on tracks like \u201cMambo Rock\u201d. Their last album, Boogaloo Con Ingenieria, arrived in 1967, and made clear the influence of New York in their sound, with the group adopting the boogaloo of Pete Rodriguez, Tito Puente and Ricardo Ray. Tracks like \u201cDame Boogaloo\u201d and \u201cLa Boa\u201d were the epitome of this, but they also took that sound into new places, as on the staccato groove of \u201cIntermission Riff\u201d which left plenty of space for the musicians to flex their muscles, or on the ominous \u201cAefo\u201d with its unsettling vocals and dramatic Henry Mancini-esque melody.Conjunto Ingenier\u00eda came to an end at the beginning of the 70s, by which time many of their original members had left after graduating, but there can be no doubt they had made their mark. Though their recording output was nowhere near as prolific as their contemporaries Billo\u2019s Caracas Boys or Los Mel\u00f3dicos, if you were turning on the TV, going to carnival or, especially, attending a quincea\u00f1era, in Caracas in the 1960s, then you would no doubt of come across Conjunto Ingenier\u00eda and their rock \u2018n\u2019roll-embellished New York-meets-Venezuela big band sound.On this compilation, simply titled Conjunto Ingenier\u00eda, El Palmas Music have cherrypicked a glorious selection of tracks from across the group\u2019s career, capturing all the creativity and youthful excitement that made them one of the first titans of Venezuela\u2019s tropical music history.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/producto\\\/conjunto-ingenieria\\\/#breadcrumb\"},\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/guerssen.com\\\/es\\\/producto\\\/conjunto-ingenieria\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/producto\\\/conjunto-ingenieria\\\/#primaryimage\",\"url\":\"https:\\\/\\\/guerssen.com\\\/wp-content\\\/uploads\\\/2022\\\/10\\\/42038-scaled.jpg\",\"contentUrl\":\"https:\\\/\\\/guerssen.com\\\/wp-content\\\/uploads\\\/2022\\\/10\\\/42038-scaled.jpg\",\"width\":2560,\"height\":2560},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/producto\\\/conjunto-ingenieria\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Inicio\",\"item\":\"https:\\\/\\\/guerssen.com\\\/es\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Shop\",\"item\":\"https:\\\/\\\/guerssen.com\\\/es\\\/shop\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Conjunto Ingenier\u00eda\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/#website\",\"url\":\"https:\\\/\\\/guerssen.com\\\/es\\\/\",\"name\":\"Guerssen records\",\"description\":\"psychedelia - progressive - folk - garage \",\"publisher\":{\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/guerssen.com\\\/es\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"es\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/#organization\",\"name\":\"Guerssen records\",\"url\":\"https:\\\/\\\/guerssen.com\\\/es\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/guerssen.com\\\/wp-content\\\/uploads\\\/2022\\\/04\\\/Logo_Guerssen_trans_100.png\",\"contentUrl\":\"https:\\\/\\\/guerssen.com\\\/wp-content\\\/uploads\\\/2022\\\/04\\\/Logo_Guerssen_trans_100.png\",\"width\":122,\"height\":100,\"caption\":\"Guerssen records\"},\"image\":{\"@id\":\"https:\\\/\\\/guerssen.com\\\/es\\\/#\\\/schema\\\/logo\\\/image\\\/\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"CONJUNTO INGENIERIA - Conjunto Ingenier\u00eda - (LP) | Guerssen","description":"As the 1950s drew to a close a group of students at Caracas\u2019 Universidad Central de Venezuela caught the tropical music bug and decided to form an orchestra. With the majority of the students coming from the engineering faculty, they were duly christened Conjunto Ingenier\u00eda (The Engineering Group) and from the offset, they were ahead of the game. Tropical music, or m\u00fasica bailable (danceable music), was slowly making its way to Venezuela, but Conjunto Ingenier\u00eda had a secret weapon as one of their fellow students was studying in New York and every July he\u2019d return with the latest Latin big band sounds: Tito Puente, Machito, they heard it first.And they wasted no time in making a name for themselves: nine young male musicians playing the hippest sounds around, they were the obvious band to play high-society quincea\u00f1eras (15th birthday celebrations to mark a \u201cgirl\u2019s journey into womanhood\u201d), which their original bass player, Juan Marquez, says they did at least 80 times in their heyday, as well as playing countless times at the university, on TV, at weddings, and at carnival, where on one occasion they accompanied Celia Cruz. \u201cWe played on all the TV channels\u201d, says Marquez, \u201cwe were the first group to play at the launch party for \u2018salsa\u2019, a term that was established by the [Venezuelan] announcer Phidias Danilo Escalona\u2026 in Barquisimeto we were considered the best orchestra\u201d, he remembers.On record their eclecticism and musical chops belied their age. In 1961 they released their self-titled debut album, which tackled mambo, guaracha, cha-cha-cha and charanga, veering from the Les Baxter-esque exotica of \u201cMambo Silbando\u201d with its kitsch whistling, through the horn-and-percussion heavy stomp of \u201cLa Bola\u201d (complete with bolero bridge) and on to \u201cAmorcito\u201d, their cover of The Diamond\u2019s \u201cLittle Darlin\u2019\u201d, which was arguably the first rock \u2018n\u2019 roll song recorded in Venezuela. They followed it up with Aqui Esta El Conjunto Ingenieria, their second album in 1962, in which they showed once more that rock could easily sit next to Latin on tracks like \u201cMambo Rock\u201d. Their last album, Boogaloo Con Ingenieria, arrived in 1967, and made clear the influence of New York in their sound, with the group adopting the boogaloo of Pete Rodriguez, Tito Puente and Ricardo Ray. Tracks like \u201cDame Boogaloo\u201d and \u201cLa Boa\u201d were the epitome of this, but they also took that sound into new places, as on the staccato groove of \u201cIntermission Riff\u201d which left plenty of space for the musicians to flex their muscles, or on the ominous \u201cAefo\u201d with its unsettling vocals and dramatic Henry Mancini-esque melody.Conjunto Ingenier\u00eda came to an end at the beginning of the 70s, by which time many of their original members had left after graduating, but there can be no doubt they had made their mark. Though their recording output was nowhere near as prolific as their contemporaries Billo\u2019s Caracas Boys or Los Mel\u00f3dicos, if you were turning on the TV, going to carnival or, especially, attending a quincea\u00f1era, in Caracas in the 1960s, then you would no doubt of come across Conjunto Ingenier\u00eda and their rock \u2018n\u2019roll-embellished New York-meets-Venezuela big band sound.On this compilation, simply titled Conjunto Ingenier\u00eda, El Palmas Music have cherrypicked a glorious selection of tracks from across the group\u2019s career, capturing all the creativity and youthful excitement that made them one of the first titans of Venezuela\u2019s tropical music history.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/","og_locale":"es_ES","og_type":"article","og_title":"CONJUNTO INGENIERIA - Conjunto Ingenier\u00eda - (LP) | Guerssen","og_description":"As the 1950s drew to a close a group of students at Caracas\u2019 Universidad Central de Venezuela caught the tropical music bug and decided to form an orchestra. With the majority of the students coming from the engineering faculty, they were duly christened Conjunto Ingenier\u00eda (The Engineering Group) and from the offset, they were ahead of the game. Tropical music, or m\u00fasica bailable (danceable music), was slowly making its way to Venezuela, but Conjunto Ingenier\u00eda had a secret weapon as one of their fellow students was studying in New York and every July he\u2019d return with the latest Latin big band sounds: Tito Puente, Machito, they heard it first.And they wasted no time in making a name for themselves: nine young male musicians playing the hippest sounds around, they were the obvious band to play high-society quincea\u00f1eras (15th birthday celebrations to mark a \u201cgirl\u2019s journey into womanhood\u201d), which their original bass player, Juan Marquez, says they did at least 80 times in their heyday, as well as playing countless times at the university, on TV, at weddings, and at carnival, where on one occasion they accompanied Celia Cruz. \u201cWe played on all the TV channels\u201d, says Marquez, \u201cwe were the first group to play at the launch party for \u2018salsa\u2019, a term that was established by the [Venezuelan] announcer Phidias Danilo Escalona\u2026 in Barquisimeto we were considered the best orchestra\u201d, he remembers.On record their eclecticism and musical chops belied their age. In 1961 they released their self-titled debut album, which tackled mambo, guaracha, cha-cha-cha and charanga, veering from the Les Baxter-esque exotica of \u201cMambo Silbando\u201d with its kitsch whistling, through the horn-and-percussion heavy stomp of \u201cLa Bola\u201d (complete with bolero bridge) and on to \u201cAmorcito\u201d, their cover of The Diamond\u2019s \u201cLittle Darlin\u2019\u201d, which was arguably the first rock \u2018n\u2019 roll song recorded in Venezuela. They followed it up with Aqui Esta El Conjunto Ingenieria, their second album in 1962, in which they showed once more that rock could easily sit next to Latin on tracks like \u201cMambo Rock\u201d. Their last album, Boogaloo Con Ingenieria, arrived in 1967, and made clear the influence of New York in their sound, with the group adopting the boogaloo of Pete Rodriguez, Tito Puente and Ricardo Ray. Tracks like \u201cDame Boogaloo\u201d and \u201cLa Boa\u201d were the epitome of this, but they also took that sound into new places, as on the staccato groove of \u201cIntermission Riff\u201d which left plenty of space for the musicians to flex their muscles, or on the ominous \u201cAefo\u201d with its unsettling vocals and dramatic Henry Mancini-esque melody.Conjunto Ingenier\u00eda came to an end at the beginning of the 70s, by which time many of their original members had left after graduating, but there can be no doubt they had made their mark. Though their recording output was nowhere near as prolific as their contemporaries Billo\u2019s Caracas Boys or Los Mel\u00f3dicos, if you were turning on the TV, going to carnival or, especially, attending a quincea\u00f1era, in Caracas in the 1960s, then you would no doubt of come across Conjunto Ingenier\u00eda and their rock \u2018n\u2019roll-embellished New York-meets-Venezuela big band sound.On this compilation, simply titled Conjunto Ingenier\u00eda, El Palmas Music have cherrypicked a glorious selection of tracks from across the group\u2019s career, capturing all the creativity and youthful excitement that made them one of the first titans of Venezuela\u2019s tropical music history.","og_url":"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/","og_site_name":"Guerssen records","article_modified_time":"2026-09-09T16:26:30+00:00","og_image":[{"width":2560,"height":2560,"url":"https:\/\/guerssen.com\/wp-content\/uploads\/2022\/10\/42038-scaled.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_title":"CONJUNTO INGENIERIA - Conjunto Ingenier\u00eda - (LP) | Guerssen","twitter_misc":{"Tiempo de lectura":"1 minuto"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/","url":"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/","name":"CONJUNTO INGENIERIA - Conjunto Ingenier\u00eda - (LP) | Guerssen","isPartOf":{"@id":"https:\/\/guerssen.com\/es\/#website"},"primaryImageOfPage":{"@id":"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/#primaryimage"},"image":{"@id":"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/#primaryimage"},"thumbnailUrl":"https:\/\/guerssen.com\/wp-content\/uploads\/2022\/10\/42038-scaled.jpg","datePublished":"2022-01-01T00:00:00+00:00","dateModified":"2026-09-09T16:26:30+00:00","description":"As the 1950s drew to a close a group of students at Caracas\u2019 Universidad Central de Venezuela caught the tropical music bug and decided to form an orchestra. With the majority of the students coming from the engineering faculty, they were duly christened Conjunto Ingenier\u00eda (The Engineering Group) and from the offset, they were ahead of the game. Tropical music, or m\u00fasica bailable (danceable music), was slowly making its way to Venezuela, but Conjunto Ingenier\u00eda had a secret weapon as one of their fellow students was studying in New York and every July he\u2019d return with the latest Latin big band sounds: Tito Puente, Machito, they heard it first.And they wasted no time in making a name for themselves: nine young male musicians playing the hippest sounds around, they were the obvious band to play high-society quincea\u00f1eras (15th birthday celebrations to mark a \u201cgirl\u2019s journey into womanhood\u201d), which their original bass player, Juan Marquez, says they did at least 80 times in their heyday, as well as playing countless times at the university, on TV, at weddings, and at carnival, where on one occasion they accompanied Celia Cruz. \u201cWe played on all the TV channels\u201d, says Marquez, \u201cwe were the first group to play at the launch party for \u2018salsa\u2019, a term that was established by the [Venezuelan] announcer Phidias Danilo Escalona\u2026 in Barquisimeto we were considered the best orchestra\u201d, he remembers.On record their eclecticism and musical chops belied their age. In 1961 they released their self-titled debut album, which tackled mambo, guaracha, cha-cha-cha and charanga, veering from the Les Baxter-esque exotica of \u201cMambo Silbando\u201d with its kitsch whistling, through the horn-and-percussion heavy stomp of \u201cLa Bola\u201d (complete with bolero bridge) and on to \u201cAmorcito\u201d, their cover of The Diamond\u2019s \u201cLittle Darlin\u2019\u201d, which was arguably the first rock \u2018n\u2019 roll song recorded in Venezuela. They followed it up with Aqui Esta El Conjunto Ingenieria, their second album in 1962, in which they showed once more that rock could easily sit next to Latin on tracks like \u201cMambo Rock\u201d. Their last album, Boogaloo Con Ingenieria, arrived in 1967, and made clear the influence of New York in their sound, with the group adopting the boogaloo of Pete Rodriguez, Tito Puente and Ricardo Ray. Tracks like \u201cDame Boogaloo\u201d and \u201cLa Boa\u201d were the epitome of this, but they also took that sound into new places, as on the staccato groove of \u201cIntermission Riff\u201d which left plenty of space for the musicians to flex their muscles, or on the ominous \u201cAefo\u201d with its unsettling vocals and dramatic Henry Mancini-esque melody.Conjunto Ingenier\u00eda came to an end at the beginning of the 70s, by which time many of their original members had left after graduating, but there can be no doubt they had made their mark. Though their recording output was nowhere near as prolific as their contemporaries Billo\u2019s Caracas Boys or Los Mel\u00f3dicos, if you were turning on the TV, going to carnival or, especially, attending a quincea\u00f1era, in Caracas in the 1960s, then you would no doubt of come across Conjunto Ingenier\u00eda and their rock \u2018n\u2019roll-embellished New York-meets-Venezuela big band sound.On this compilation, simply titled Conjunto Ingenier\u00eda, El Palmas Music have cherrypicked a glorious selection of tracks from across the group\u2019s career, capturing all the creativity and youthful excitement that made them one of the first titans of Venezuela\u2019s tropical music history.","breadcrumb":{"@id":"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/#breadcrumb"},"inLanguage":"es","potentialAction":[{"@type":"ReadAction","target":["https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/"]}]},{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/#primaryimage","url":"https:\/\/guerssen.com\/wp-content\/uploads\/2022\/10\/42038-scaled.jpg","contentUrl":"https:\/\/guerssen.com\/wp-content\/uploads\/2022\/10\/42038-scaled.jpg","width":2560,"height":2560},{"@type":"BreadcrumbList","@id":"https:\/\/guerssen.com\/es\/producto\/conjunto-ingenieria\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Inicio","item":"https:\/\/guerssen.com\/es\/"},{"@type":"ListItem","position":2,"name":"Shop","item":"https:\/\/guerssen.com\/es\/shop\/"},{"@type":"ListItem","position":3,"name":"Conjunto Ingenier\u00eda"}]},{"@type":"WebSite","@id":"https:\/\/guerssen.com\/es\/#website","url":"https:\/\/guerssen.com\/es\/","name":"Guerssen records","description":"psychedelia - progressive - folk - garage ","publisher":{"@id":"https:\/\/guerssen.com\/es\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/guerssen.com\/es\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"es"},{"@type":"Organization","@id":"https:\/\/guerssen.com\/es\/#organization","name":"Guerssen records","url":"https:\/\/guerssen.com\/es\/","logo":{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/guerssen.com\/es\/#\/schema\/logo\/image\/","url":"https:\/\/guerssen.com\/wp-content\/uploads\/2022\/04\/Logo_Guerssen_trans_100.png","contentUrl":"https:\/\/guerssen.com\/wp-content\/uploads\/2022\/04\/Logo_Guerssen_trans_100.png","width":122,"height":100,"caption":"Guerssen records"},"image":{"@id":"https:\/\/guerssen.com\/es\/#\/schema\/logo\/image\/"}}]}},"_links":{"self":[{"href":"https:\/\/guerssen.com\/es\/wp-json\/wp\/v2\/product\/219070","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/guerssen.com\/es\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/guerssen.com\/es\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/guerssen.com\/es\/wp-json\/wp\/v2\/media\/219013"}],"wp:attachment":[{"href":"https:\/\/guerssen.com\/es\/wp-json\/wp\/v2\/media?parent=219070"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/guerssen.com\/es\/wp-json\/wp\/v2\/product_brand?post=219070"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/guerssen.com\/es\/wp-json\/wp\/v2\/product_cat?post=219070"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/guerssen.com\/es\/wp-json\/wp\/v2\/product_tag?post=219070"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}