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Jennifer Peña

For the first phase of her career, Jennifer Peña was constantly in comparison to Selena, with whom she had professional ties, but as time passes she arrived to her own stylistically and became one of the most accomplished young singers in popular Latin music. Peña’s ties to Selena get back to 1995, when she performed on-stage in the latter’s Houston Astrodome tribute concert. This is the efficiency that released Peña’s profession, as she consequently was taken beneath the wing of Selena’s family members, the Quintanillas, who manage and make her EMI Latin recordings within the tejano group Jennifer con los Jetz. Within this group, Peña, hardly a teenager at that time, enjoyed a good amount of achievement within the local Mexican circuit with strikes like “Ven a Mi,” “Tengo Miedo,” and “Abrázame con Bésame.” When she transformed 18, she agreed upon a new documenting agreement and embarked on the solo profession with Univision being a Latin pop vocalist, you start with Libre (2002). Peña shot to popularity at this time, as her debut single single, “Un Dolor de Tu Presencia,” spent eight direct weeks atop the Sizzling hot Latin Tracks graph. Her second record, Seducción (2004), implemented fit with another chart-topping ballad, “Vivo y Muero en Tu Piel.” Both these albums were amount ones, each offering over 300,000 systems. Peña’s career had taken a slight submit the years that implemented. She got into the globe of film, for example, and dated fellow Latin pop superstar Obie Bermúdez, with whom she co-wrote her third record, Dicen Que un Tiempo (2007), which she also co-produced. Blessed on Sept 17, 1983, in San Antonio and elevated in Corpus Christi, Jennifer Marcella Peña Cantú started her professional profession at age group 11, when she performed on-stage at a Selena tribute concert kept in the Houston Astrodome. Her documenting career commenced just a year later on with Dulzura (1996), after she’d authorized a management cope with Selena’s dad, Abraham Quintanilla, Jr. (i.e., Q Productions), and a saving agreement with EMI Latin, Selena’s previous label. Made by Selena’s sibling, Abraham Quintanilla III, aka A.B. Quintanilla of Los Kumbia Kings popularity, the recording was fairly effective, spawning a set of strikes, “Pura Dulzura” and “Ven a Mi.” The Quintanillas designed Peña right into a young edition of Selena, whom they’d also managed and created: Jennifer y los Jetz, as she was billed, purposefully resembled Selena y los Dinos, as do the group’s music, that was a sugar-coated mixture of tejano, cumbia, and ballads. Some more Jennifer con los Jetz albums implemented, each made by Quintanilla III: Jennifer con los Jetz (1997), Mariposa (1998), and Abrázame con Bésame (2000). The previous two featured several minor strikes (“Tu Castigo,” “Cosquillitas,” “Tengo Miedo”), whereas the second option became a significant achievement. Essentially an recording by Quintanilla III’s group, Los Kumbia Kings, with Peña as the frontwoman, Abrázame con Bésame boasted a string of strikes (“Abrázame con Bésame,” “Si Tú Te Vas,” “Contigo Otra Vez,” “No Te Voy a Perdonar”) and was nominated for any Grammy (Greatest Regional Mexican Overall performance). At this time, with her potential by no means brighter, Peña break up through the Quintanillas and pursued a single career. She agreed upon a new documenting contract, that one with Hispanic mass media giant Univision, so when she produced her label debut, Libre (2002), the name spoke volumes. Free from her previous handlers aswell as the stylistic confines of tejano, Peña was teamed with Latin pop hitmakers Rudy Pérez and Kike Santander and broadened her design considerably. Specifically, she indulged in sweeping intimate balladry such as for example lead one “Un Dolor de Tu Presencia,” which topped the Warm Latin Tracks graph for eight consecutive weeks, along the way driving Libre completely to number 2 on Billboard’s Best Latin Albums graph. The album’s two additional strike singles, “Entre un Delirio y la Locura” and “A Fuego Lento,” had been both ballads also. The manic album-closer, “Vamos al Mundial,” that was chosen from the Univision tv network among the formal tracks from the 2002 Globe Cup, showcased a more upbeat aspect of Peña. And, obviously, there was a lot of tejano, albeit of a comparatively watered-down variety, found elsewhere in the record, in addition to many cumbia variations tacked on as reward tracks. General, Libre was a significant revolution for the 18-year-old previous Princesa de la Música Tejana, and it gained her more information on accolades, including another Grammy nomination (Greatest Mexican/Mexican-American Record), a Premios Lo Nuestro Prize (Feminine Regional Mexican Musician of the entire year), two South Tx Music Honours (Feminine Vocalist of the entire year, Feminine Entertainer of the entire year), and four Billboard Latin Music Honor nominations. Peña adopted up her single breakthrough with an identical recording, Seducción (2004). Once again helmed by suppliers Rudy Pérez and Kike Santander, with Emilio Estefan also offering oversight, the recording is strikingly related in method of Libre. If anything, there’s a larger focus on the sweeping ballads that demonstrated so effective on the prior go-round. Lead one “Vivo y Muero en Tu Piel,” compiled by Pérez, was one particular ballad, and it spent five weeks atop the Scorching Latin Tracks graph, affirming Peña’s skill for providing slick, big-sounding love. “Hasta un Fin del Mundo,” the next single, also compiled by Pérez, this time around together with Manny López, implemented the same template: a polished ballad with an uplifting, multi-tracked chorus and some guitar soloing within the bridge. “Si Yo Me Vuelvo a Enamorar,” the additional solitary to break the Sizzling Latin Tracks Best 20, was the exclusion, employing areas of local Mexican music. “No Hay Nadie Igual Como Tú,” a Spanish-language cover of “Can’t Consider My Eye Off You,” after that lately popularized by Lauryn Hill, was also released as an individual. Seducción didn’t receive Peña the accolades that her Univision debut acquired, however it solidified her market, selling equally well (300,000-plus systems) and topping the Latin record chart along the way. While the record was still traveling on top of the graphs, Univision released Houston Rodeo Live, a high Ten-charting concert record that were recorded before 45,000 enthusiasts in the Astrodome through the Houston Livestock Display and Rodeo. Peña’s third single recording, Dicen Que un Tiempo (2007), shown the development she experienced during her period off in the wake from the back-to-back successes of Libre and Seducción. For just one, Peña dated Obie Bermúdez, a likewise young and effective Latin pop musician; notably, both appeared jointly on El Present de Cristina, where they sang a duet. Second of all, Peña began performing in films, you start with the MTV creation All YOU HAVE (2006); another assisting role adopted, in the self-employed film Amexicano (2007). When Peña do go back to the studio room to begin focus on Dicen Que un Tiempo, she came into with Bermúdez at her part, together with his maker, Sebastián Krys, who includes a long history of hitmaking. Furthermore, she’d co-written ten from the 12 music that could end through to the record, and nine of these ten have been created with Bermúdez, who’s a gifted songwriter. The main one cover tune, Juan Gabriel’s “Pero Qué Necesidad,” is certainly a duet offering Peña and Bermúdez. The album’s lead one, “Como Entender,” unsurprisingly was a sweeping ballad; nevertheless, it’s mostly of the in the recording, which showcases a relaxing breadth of designs. There is no escaping the imprint of Bermúdez on Dicen Que un Tiempo, for the recording plainly resembles latest produces of his such as for example Lo Que Trajo un Barco (2006) and Todo un Año (2004). Upon its launch, Dicen Que un Tiempo didn’t match the industrial achievement of its predecessors, though it had been well received by followers and critics as well.

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