1940
Bongosero/bandleader Roberto Roena was born, Mayagüez, Puerto Rico. Started off with Cortijo as a dancer/coro singer and was considered good enough to be nicknamed "El Gran Bailarín" (The Great Dancer). Learned percussion with Cortijo, for whom he would play bongo for 5 years. In 1962 he joined a number of other ex-Cortijo members in forming El Gran Combo. By 1966 he had formed his own band the Megatones (this album released more recently as an Apollo Sound one) whilst still playing with EGC. In 1969 he formed Apollo Sound (named after the first moon landings that year) and this band went on to produce many if the finest salsa albums of the 1970’s - Apollo Sound 4, 5, 6 and Lucky 7 being particularly strong. Over 20 albums have been issued under the Apollo Sound name. His most recent album, Senor Bongo, was held back for a few years due to “legal issues” (apparently the producer, who owns several of the song rights, was in prison and refused to allow the project to be released - a bit like him I suppose).
Here’s Roena & the Fania All Stars with Descarga Fania, he’s on the cowbell looking a lot hairier than he does these days. You might have heard Larry Harlow perform on Jools Hollands show a short while back:
1945
Noro Morales made his first recordings for new Coda label,"Rumba Rhapsody", "Bangin' The Bongo", "Linda Mujer" and "Begin The Beguine”.
1947
Singer, composer, arranger, bandleader, producer, label boss Henry Fiol born, NYC.
“As a teenager, growing up in New York, my first love in music was the smooth, velvet sound of the Doo-Wop vocal groups. Although I’d been exposed to Latin music at home as a child, I really didn’t pay too much attention to it until I visited my family in Puerto Rico one Christmas and was able to see and hear, live, the Cortijo band with Ismael Rivera. The swing and excitement of this group really knocked me out, and little by little, I put my Doo-Wop records aside and began to listen almost exclusively to Latin music” (from the liner notes of the album Sonero).
Fiol started off as a conga player, but in the mid-seventies he founded Saoco, a band which featured him as a singer - the 1976 album Macho Mumba considered their best. He wrote most of the bands material and is also well known for producing paintings on which the bands album covers were based. From 1990 he has released albums under his own name including Retrato Musical, Lo Maximo, La Ley De La Jungla and El Secreto. The 2002 album Guapería was his last release.
“I've always favored smaller groups--conjuntos, charangas, combos, campesino groups, jazz quintets, etc.--because here, uncluttered by elaborate arrangements, the groove is naked, more palpable, and it's easier to focus in on the sabor of the individual musicians” (from descarga.com).
Here he is in the 90’s with the kind of nice mellow Cuban-NY style number he is best known for, more DJs should be playing this sort of stuff:
1993
Cachao played a sold-out Radio City Music Hall in New York to celebrate the launch of the 1 hour, 49 minute Andy Garcia documentary "Cachao...Como Su Ritmo No Hay Dos". Featured artists include Nestor Torres, Paquito D'Rivera, Alfredo Valdes Jr., Chombo Silva, Chocolate Armenteros, Nelson Gonzales, Jimmy Bosch, Gloria and Emilio Estefan. The soundtrack won a Grammy award. Several online reviews of this documentary seem to repeat the same dubious (AKA downright daft) facts: “Cachao, the innovative artist who invented the mambo, along with most other Cuban music”. So there you go, Cachao invented most Cuban music - the internet says so and you can‘t argue with that.
17th January
1902
Composer/singer/guitarist/maraca player Nico Saquito (b. Benito Antonio Fernandez Ortiz) born Santiago de Cuba. Nicknamed “Mr Cat”, he led the band Guaracheros De Oriente from the mid-1940’s (for around 40 years) and is most associated with the guaracha and guajira styles. Composer of around 500 songs including "Maria Cristina", "Al Vaiven de mi Carreta" & "Chencha la Gamba".
Here he is playing and being interview (Spanish) shortly prior to his death:
1927
Trombonist Antonio Linares born Guanabacoa, Cuba. He was trombone instructor at the Escuela Nacional de Arte for a number of years and played with the likes of Beny More - he can be heard on the 1957 album Que Buena Toca Usted.
Our very own Norman Blake AKA DJ Sizzla has a birthday this day.
18th January
1917
Flautist/singer Efrain Loyola born Cienfuegos, Cuba. Noted as one of Orquesta Aragons founders, also played with Septeto Naranjos and formed his own orquesta in 1957.
1919
Pianist, bandleader, arranger, composer Julio Gutierrez born, Manzanillo, Cuba. Also cited as 12th January 1918.
1948
Composer/guitarist Sergio Vitier García- Marruz (Sergio Vitier) born in Havana. Principally works as a televison/soundtrack composer though has played with a number of contemporary Cuban bands (inc. Los Armónicos and Nuestro Tiempo). Known for his use of Yoruba and Congo-Bantú elements in his work.
Percussionist “Changuito” (José Luis Quintana) born Casablanca, Cuba. Known for his work with Los Van Van (with whom he played for over 20 years) he helped develop the songo rhythm. Principally known as an educator today he can include Giovanni Hidalgo among his list of students.
He’s playing with Gio here, where he handles a mid-tempo solo:
“I have a motto, I say: "At twenty I have to play more than at nineteen". On the 18th of January, God willing, I will be fifty one years old. And what does that mean? That at fifty-one I have to play more than at fifty. It's my motto. And this means that I have to develop myself more, and more, and more. I have to keep making progress. This is the most important advice that I give to my percussion students. One has to study, always study, and excel oneself constantly in order to progress in percussion, because percussion is very moving, but also very tricky. One has to keep studying percussion constantly” (from a 1999 SalsaSF interview).
1949
Miguelito Valdes Orchestra recorded for Gabriel Ollers SMC label, including the tracks Chano Pozo and Sahara - Piquito Sosa shared vocal duties
1954
Vibraharpist/bandleader Steve Pouchie born, NYC. Currently works in NYC schools and colleges as a musical educator, playing regularly around the city with his band Alive n Kicking. His 2002 album Vibe Mania was well received and plays homage to his main musical heroes; Cal Tjader and Tito Puente.
1983
Bandleader and bassist Julio Andino Garcia died. Widely respected as one of the finest players of his generation he played with a number of Harlem jazz bands in the 1930‘s, including Cab Calloways, before joining Alberto Socarrás band in 1938. He joined the newly formed Machito and the Afro Cubans in 1940 and can be heard on all of Machito's Decca label recordings from that era. After a short stint with Miguelito Valdes band he formed his own combo which lasted until 1956 - this band regularly featured alongside other big bands of the day like Machito, Tito Rodriguez and Tito Puente. Towards the end of the big band era he played with the likes of Joe Loco, Pete Terrace, Charlie Palmieri, Tito Rodríguez, Johnny Pacheco and Monguito El Unico.
1975
San Francisco based salsa dura DJ Nik Caswell was born.
19th January
1904
Original El Manicero singer with the Don Azpiazu Orquesta, Antonio Lugo Machin born Sagua la Grand, Santa Clara, Cuba. “Machín's early years were very difficult and he was forced to work at the age of eight to help pay some of his father's numerous debts. One day, he was in the street by his house singing quietly. A priest that walked by heard him and immediately encouraged him to sing at a party. He sang Ave María by Schubert. From that day on Machín was determined to become a singer” (worldmusiccentral.org).
Joined Trio Luna in 1926 before forming a duo with singer/guitarist Miguel Zaballa. Both were added by Don Azpiazu to his Orquesta in 1927. He eventually moved to NYC where he formed Cuarteto Machín, recording over 400 songs. Later he went to live in Madrid, Spain. Birth also cited as 17th Jan and 8th Feb.
1900
Trumpeter/trombonist/composer Juan Tizol born San Juan, Puerto Rico. Moved to the United States in 1920 and joined Duke Ellingtons band in 1929, with who he would remain until 1944. Though he composed relatively few songs his 1937 composition Caravan remains a standard and is considered by some to be the first Latin-jazz song. It has since been recorded by hundreds of different artists.
1935
Singer Luigi Texidor (b. Luis Guillermo Texidor) was born, Puerto Rico. Known as El Negrito Del Sabor he debuted with Sonora Poncena in 1963 (features on albums like Fuego En El 23, Desde Puerto Rico A Nueva York, Tiene Pimienta, Músical Conquest, El Gigante Del Sur & Explorando) and has also sang with the Puertorican All Stars and notably Bobby Valentin with whom he recorded Musical Seduction and La Gran Reunion.
He fronts the Fania All Stars in 1980 for Naci Moreno here:
“Luigi Texidor, one of the blackest men that ever graced salsa, received the most admiration from the Copa crowd. Paco Navarro joked with Luigi regarding his gray hair to which Luigi responded, "I don't dye it because if I do the people will start confusing me with Ricky Martin" (Nestor Louis).
He released several albums under his own name from the late 1970’s including El Negrito del Sabor, Sabroso, El Caballero & Betun Negro all on the Nuestra label. Most recently he featured on the 2004 album Jazz Hamilton Y Las Estrellas Del Pueblo and the 2005 release Eric Rivera y Orquesta La Clasica: Control Con Salsa.
1943
Bandleader Justo Angel Azpiazu (aka Don Azpiazu) died. His band were the first to record El Manicero (The Peanut Vendor), sung by Antonio Machin, however the song was already extremely popular in Cuba before his orchestra performed it. His Havana Casino Orchestra played at all of Cubas largest night clubs and the band are notable for being one of the first large Latin orchestras to tour North America and Europe, paving the way for many more to follow.
This is a bit odd, a 1933 puppet animation to the sounds of the Don Azpiazu Orchestra’s Peanut Vendor:
1946
Trumpeter Ray Maldonado born. Played with the likes of Mongo Santamaria, Hector Lavoe, The Alegre All Stars, Frankie Dante, Louie Ramirez, Tito Allen, Larry Harlow and many of the best Fania All Stars concerts, including Live at Yankee Stadium. Outside of salsa he played with the likes of Stevie Wonder (he was at sometime his musical director and his is the trumpet on the classic Pastime Paradise). His brother is Ricardo Maldonado, better known as singer Richie Ray.
1980
Cuban pianist/composer/arranger Rafael Somavilla died. Considered to be one of Cubas finest ever piano players, he taught a young Perez Prado how to play in Matanzas.
“By 1959, I was working with Rafael Somavilla's outstanding big band at the Havana Hilton. I was basically a tenorist until Somavilla hired me as a last-minute replacement for Tata Palau, who had failed to return from Venezuela. That's when I became definitely embroiled in the alto business. In fact, I ended up playing lead alto with Somavilla and Guerrero in Cuba, and later on with Machito, Tito Puente and every other U.S. band that I was destined to work with” (Jesus Caunedo, interviewed in Latin Beat magazine).
21st January
1916
Rene Hernandez, composer/pianist and arranger for Tito Rodriguez and best known for his longstanding relationship with Machito’s orchestras born, Cienfuegos, Cuba.
“Rene was a guy with very impressive musical skills and a very humble fellow. He was something from out of this world. We Cubans are not the humblest people in the world. Rene was such an important figure in Cuban music. People don't realize, including many Cubans, that the orchestra of Julio Cuevas was the first orchestra where the piano played the parts originally played by the tres, and where the horns played more than long notes. Cuevas' orchestra was the first where the sax guajeos were used, along with more intricate horn lines. And that was because of Rene Hernandez, and no one else. And with all due respect to my friends, the ones that gave me my first opportunity in New York, Machito and Mario Bauza, if we were to define Machito's sound, understand, and you for one should know, neither Machito or Mario (Bauza) were arrangers, it was Rene Hernandez. A man who has never been recognized as one of the leaders, a man who's defect was to be far too humble. Sometimes in this world one has to scream to be heard” (Jesus Caunedo).
“When you study arranging, you start arranging classical and then maybe rock or pop music. There was no such book or class for salsa so we used to listen to the records. One of the arrangers that I used to follow a lot was Rene Hernandez, a Cuban guy that came here to New York to work with Machito as a piano player and arranger and then he was with Tito Rodriguez and then he moved to Puerto Rico and he died there. He was one of my favorite arrangers” (Isidro Infante).
As a pianist he can be heard on the classic period Machito & his Afro Cuban recordings, including the albums Guampampiro (1945-47), Freezelandia (1947), Mucho Macho (1948-49), Carambola (1951) and Kenya: Afro-Cuban Jazz (1957). He also produced for other artists such as the 1960 Johnny Pacheco album Mi Música Es Para Ti (Early Rhythms), arranged for the likes of La Playa Sextet (The Sound Of Puerto Rico, 1968) and Tito Rodriguez (Estoy Como Nunca, 1968).
1908
Julio Brito, composer/saxophonist and brother of bandleader Alfredo born, Havana. He can be heard playing on many of the Don Azpiazu recordings as well as with Antobals Cubans (1932-1937). Among his compositions are songs like Mira que Eres Linda (covered by Oscar deLeon among others) and El Amor de mi Bohío (covered by Orquesta Riverside among others).
1971
Guitarist, composer Salvador Adams, lifelong friend and collaborator with Miguel Matamoros, died.
1997
Recently deceased Alfredo Rodriguez released the album Cuba Linda.
"This record is more Afro-Cuban," says Rodríguez, "though there is a lot of variation in the songs. It’s rhythmically complex; despite people talking about a so-called ‘salsa rhythm,’ there really is no such thing, salsa music comes from a variety of rhythms, from a lot of sources. I’ve never been much on commercial labels like that, anyway".
“A lot of what I hear these days, in fact for a long time is an imitation of the music I grew up with, it’s not genuine. That’s why I went back to Cuba for this album. I miss my country. I miss its music. What I got there, it’s true. Anything else, any place else, it is just a copy" (Rykodisc.com).
2003
The Latino Museum of History, Art & Culture of Los Angeles opened its doors to the public. It can be found on 201 North Los Angeles Street, Los Angeles, California.
22nd January
1914
Singer/guitarist/composer/bandleader Mario Recio born Camagüey, Cuba. Worked with Conjunto Kubavana and Trio Servando Díaz and is probably best known for writing the songs Llegaste Tarde (covered by the likes of Pete El Conde Rodriguez/Pacheco), Vive Corazón and En el Tiempo de la Colonia (covered by Celia Cruz).
He’s playing with Trio Servando Diaz here, accompanying a nice slideshow of old Havana:
1918
Bassist/guitarist/bandleader Humberto Cane born, Matanzas, Cuba. He played with his father Valentin (who co-founded Sonora Matancera) and had artists such as Chano Pozo and Beny More in his own bands (Conjunto De Humberto Cané). He can be heard playing bass on the 1998 re-issue album La Charanga Antillana.
1954
LA Carpool pianist John Douglas was born in Santa Barbara, California.
1977
Miami based singer/guitarist Elain Morales born Havana, Cuba. He has played with Pachito Alonso and Hansel.
1984
Singer Hector "Papote" Jimenez born, NYC.
“A youngblood singer with old school "ma–a" living in a hip-hop world, Papote improvises verses at the moment with a natural timing and vocal facility that belies his tender years. Studying the vocal masters of the past five decades, Papote channels the spiritual voicings of these vocal giants such as Benny More, Mon Rivera, Ismael Rivera, Hector LaVoe and Marvin Santiago, among many” (zondelbarrio.com).
With the band Zon del Barrio, and a group of dancers, he shares lead vocals here with Aurora Flores on El Negro Bembon, a track from their new album Cortijo’s Tribe:
2002
Johnny Polanco album Pa'l Bailador released. Omar Walkers review of this album from salsapower.com:
“Mr. Polanco is back with one of the most anticipated releases from the West Coast and all I can say is "This is SALSA". This CD is made for dancers. Period! For this CD, Johnny has enlisted the skills of soneros Ray de la Paz, Herman Olivera, Freddie Crespo, Fabio Miranda and Daniel Castillo.
The party starts with "Guaguancó con Rumba" sung by De La Paz and he's in top form with powerful vocals, inventive soneos and more importantly with sentimiento. Many might remember him from Ray Barreto's band and his collaborations with the late Louie Ramírez. He has not missed a step and it is good to have him back. Next is the classic "Xiomara" sung by Herman Olivera. Like always, Mr. Olivera swings with his soneos. This man needs a solo release. After listening to this version I realized that no one has made a bad version of this song. Hmmm, trivia anyone? Ismael Miranda composed "Me voy pa' Colombia" back in the 70s and it's revisited here by Nicaraguan singer, Fabio Miranda (no relation to Ismael) and what a beauty. In contrast to Ismael's high voice, Fabio has that deep swinging salsero from Colombia style. (I'm sure his fellow countryman Luis Enrique wishes he could swing with this flavor.) Polanco composed some of the newer songs including the merengue "Tierra de mi abuela y papá." Paying tribute to the Dominican Republic (he's part Puerto Rican and part Dominican). Another reason the CD kicks is thanks to the penmanship of Cuban composer/singer Jesus "El niño" Alejandro. Just like on his solo release, Jesus has the ability to inject that nostalgic feeling whether he's writing about Cuba (Cocinando un son) or a love gone wrong (Desconfiaza). While many will probably go out and buy the new Marc Anthony CD (yawn), this gem will probably go unnoticed once again due to the monopoly of the major labels and what a pity. This release deserves to be heard by the masses to illustrate to the newer generation that our music is much more than a factory product, much more than a cute face and much more than the same monotonous topic. I dare anyone to sit still while listening to this one!”.
2005
Mexican songwriter/pianist/singer Consuelo Velázquez died, Mexico City. She will be best remembered for writing the standard Besame Mucho, which she wrote in 1940 before she was 16 years old. The song has been covered by artists such as Xavier Cugat (an early Bobby Capo sang hit), Diana Krall, The Ventures, The Beatles and Frank Sinatra. On a personal note, this was played on the violin immediately after mrs slaphappy and I had both said “I do” and had kissed each other.
Actually, the Beatles used Besame Mucho to try and get a record deal, they failed:
1893
Bandleader Justo Angel Azpiazu (Don Azpiazu) born, Cienfuegos, Cuba. This was 3 days before his 50th birthday (see entry for 20th January).
1920
Cuban singer Tito Gómez born. Not to be confused with the Puerto Rican singer of the same name this Tito Gómez was the singer with Cuban band Orquesta Riverside during the early 1950‘s, appearing on many of their finest albums: Baracoa, Cha-Hua-Hua, Cuban Dancing Favourites (of which Bruce Polin said “Classic Riverside. Knowledgeable collectors put anything by Tito Gómez at the top of their list”) & Tito Gómez En Vivo. The song that made his name was Vereda Tropical, a song he re-recorded in August/September 2000 (a month before his death) for the album The Last Jam Session - La Ultima Descarga: Tito Gomez & Orestes Macias. The tune was also recently covered by Orquesta Continental Brass on their 2005 album Homenaje A Los Grandes.
1942
Max Salazar notes: "The third most important event in the history of popular Latin dance music occurred on 23rd January 1942, when the Dreamland Dancing Academy...(opened) ". This later became the Palladium Ballroom.
1990
Puerto Rican Trovador "Ramito" (b. Flor Morales Ramos) died.
Here he is on wobbly videotape from Puerto Rican TV, a couple of years before his death:
1939
Master percussionist Jose Mangual Sr arrived in NYC from Puerto Rico.
1947
DJ Fred Robbins organized first Latin jazz concert at New York Town Hall (Machito & Stan Kenton). Also cited as 1948.
2003
Cuban jazz composer Omar Sosa premiered his first full-length symphony, "From Our Mother" with the Oakland East Bay Symphony, Paramount Theatre, Oakland CA
2003
Saxophonist/flautist/arranger (Barretto, Tito Puente, Tito Rodriguez) Dick "Taco" Meza died.
“I didn't begin to study the music until I moved back to Boston. At that time there was exactly one Latin band in Beantown - "Los Muchachos." Despite the corny name, it was a very good band. The pianist, a Russian name Vladimir Vassillieff, split for New York, and I was recruited to take his place by the band's leader, Dick "Taco" Meza, a Mexican who went on to play alto for both Titos, Tipica '73, and many other great bands” (Mark Levine).
Highly proficient at both instruments he can be heard playing tenor sax on the albums Tipicá 73 En Cuba Intercambio Cultural & Al Santiago presents Tambo, flute on Dandys Dandy, the Azuquita album Azucar A Granel & the Alfredo de la Fe release Para Africa Con Amor. On a number of albums he can be heard playing both instruments such as: Jose Manuals 1977 album Buyú, the 1977 Tito Puente And His Concert Orchestra and the Tipica ‘73 albums The Two Sides Of Tipica '73 (his first with the band) Charangueando Con La Tipica '73 and Salsa Encendida.
25th January
1920
Guitarist Payo Alicea born, San Juan, Puerto Rico. As leader of the band La Playa Sextet, which he formed inn 1947, he was responsible for an unusual salsa band format - replacing the piano with his electric guitar.
“The big hotels, they had what they called a ‘rhumba’ band for dancing. The super big places like the Concord, the Pines, Brown’s Hotel, and Kutscher’s Country Club had the better bands—Machito, Tito Puente, the Lecuono Cuban Boys, Tito Rodriguez. The lesser ones had La Playa Sextet, Joe Cuba, Charlie Palmieri. And then the lesser ones had the up-and-coming Eddie Palmieris and Larry Harlows, who were still teenagers.…I was with Randy Carlos, a Puerto Rican guitarist-singer who had two big dance hits, one called ‘Smoke’ that had the first swing step in a mambo, which caught on with all the Palladium dancers. The hotel I played, Shanks, was the meeting spot where all the bands used to come and hang out after they were finished. We’d start these little descargas, informal jams: Cheo Feliciano was there, and Joe Cuba, and Payo Alicea from La Playa, and Willie Bobo, the best Latino musicians hanging out, getting high and picking up the broads” (Larry Harlow).
He can be heard on the following (selection) CD re-issue albums: La Playa Favourites (1958), a couple with Tito Rodriguez on vocals including Tito Dice Separala Tambien & A Little Bit of Everything (1961), a run of mid-sixties albums including Vaya Means Go! (1964) La Playa Sextet in Puerto Rico (1965) & Pachanga With La Playa Sextette (1966), The Sound Of Puerto Rico - Payo Alicea's La Playa Sextet (1968).
1994
Jazz Oral History Program, Smithsonian Institution Interview conducted by Raúl Fernández and Dr. Anthony Brown held January 24-25 in Mr. "Cachao" López's home in Miami, Florida. When asked about being compensated for the descargas, Cachao replied:
"I didn't receive any . . . In 1952, I obtained a loan, an advance for the compositions and I was always in debt. I have yet to receive a penny. Can you imagine what it is like to owe two hundred pesos from 1952 to the present?"
26th January
1921
Son-guajira singer/songwriter Evelio Rodriguez born Cuba. He can be heard on the Tumbao release Dúo Spirituano De Evelio Rodríguez, the MP release Mi Guayabera & the Egrem 8 CD set El Gran Tesoro De La Música Cubana (2004).
1926
Flute meastro/multi-instrumentalist/composer/arranger (Orq. Aragon) Richard Egues (b. Eduardo Egues Martinez) born in Cruzes, a province of Cienfuegos, Cuba.
“I moved to Manicaragua with my father, who was director of the municipal band there. I started playing the cymbals-how about that?-directed by my father, and also learning clarinet and piano. Once I became the clarinet player in the band, I also played saxophone. Later I went to Manicaragua, where my father founded an orchestra around 1940 or 1941, that we called Monterey…..I returned to Santa Clara with the idea of coming to Havana. What I wanted was to keep playing with different orchestras and in cabarets. Well, at first I played the piano. There was one cabaret where I played the sax. With the sax you learn to play different styles of Cuban music. I also played with a group that did not have a violin, and I played the violin parts with the sax, until I had the chance later to play in a small-time cabaret, and there I played the piano without a break. But the flute player did get breaks, and so I got it into my head to study flute, because there was an opening in the municipal band of Santa Clara, and I filled it as a flutist. I had just started to play flute, but I studied a lot (Around '46 - '48). It was then that I met the Orquesta Aragón, and I started filling in for Loyola, who was the founder and flute player of the orchestra. Once when they asked me to stay with the orchestra I turned it down for ethical reasons, and so they got another flute player, Rolando. He played well, but Rolando left in 1954 with the Orquesta América, and, as they say, left the Aragón high and dry. He came and went. So the Aragón didn't have a flute player, and they asked me to play, because I had filled in both for Loyola and for Rolando Lozano, and they knew me. I didn't want to do it, having in mind, as I told you, other plans. I thought that Rolando could be coming back to take his place, but the orchestra wouldn't have it. They wanted me, and I had no alternative but to stay with the Aragón. I was there for all of 31 years” (extract: Clave Magazine interview).
Aragon aside he has played with Cachao (including the classic 1957 album Descargas: Cuban Jam Sessions), the 1979 albums Las Estrellas Areito (Los Heroes) & Tipicá 73 (En Cuba Intercambio Cultural) as well as releasing albums under his own name in the late 90’s (Richard Egües & Friends: Cuban Sessions & Grandes Hits Con La Orquesta Aragon).
Here’s a clip from a 1950’s Mexican film featuring the dancer Tin Tan, they are grooving down to the Egues composition El Bodeguero:
1933
Pianist/bandleader/composer/arranger Héctor Rivera born Manhattan, NYC.
“Hector Rivera is a very important and under appreciated artist. Besides being a grooving piano player and leading great bands, he did arrangements and wrote songs for many of the bigger stars of salsa. Many of the arrangements of the tunes on the seminal 1960s Joe Cuba recordings with Cheo on vocals were done by Hector. Hector’s album “Lo Maximo” is one of my all-time favourites” (DJ Nik).
I agree Nik, one of my all time top albums too. Here’s a discography of albums released under his own name:
At the Party
The New Latin Dance Sensation-Charanga & Pachanga!
Lo Maximo
Para Mi Gente
Viva Rivera!
The Return of Hector Rivera y su Orquesta...Y Vuelve
Hecto-Mania
“Joe Cain also brought veteran arranger/composer and session pianist Héctor Rivera to the (Tico) label, five years after his underground boogaloo hit "At The Party" had inspired many a festive gathering. His second Tico album, Lo Máximo (The Greatest), features Cachao's fluid bass lines and future salsa star Héctor Lavoe on backing vocals. It sums up the sound of early '70s salsa quite nicely, but is perhaps more notable for having some of the most bizarre album art ever seen on a Tico release. Izzy Sanabria, editor of Latin New York Magazine, conceived the cartoonish depiction of Rivera as a naked colossus, scaling the Empire State Building à la King Kong. As if to heighten the painting's surreal quality, the infamous ape himself is shown (or is that supposed to be Morris Levy?) clutched in Rivera's hand. Seriously, Héctor Rivera's studio prowess always came in handy on other artists' sessions, like those for La Lupe's 1969 album The Queen, so Tico got more than its money's worth out of him. For example, he was a key player in the proceedings when Joe Cain decided to revive the Tico All-Stars, team them with the Alegre All-Stars, and record them in concert at Carnegie Hall in May of 1974” (extract from The George Goldner/Tico Story).
1934
The Hurtig And Seamon's Burlesque, a 1750 seat theatre located on 125th Street in Harlem became the Apollo Theater after being taken over by Sidney Cohen and Morris Sussman. On this date (a Friday night to be precise) the doors were opened for the first time to African-Americans.
“In the heart of New York City, on 125th Street, there is a place that needs no introduction.
A place where thousands of young artists have stepped out into the spotlight and launched their careers. A place "where stars are born and legends are made." The legendary Apollo Theater is so much more than an historic landmark - it is a source of pride and a symbol of the brilliance of American artistic achievement. From 1934 when the Apollo first introduced its world-famous Amateur Night which launched the careers of legendary artists like Ella Fitzgerald, James Brown, Michael Jackson, D'Angelo and Lauryn Hill, the Apollo has maintained its position as the nation's most popular arena for emerging and established black and Latino performers. In 1983, the Apollo obtained federal, state and city landmark status. Amateur Night was revived, and in 1985, the Apollo Theater celebrated its 50th Anniversary with a grand reopening gala and nationally broadcast television special Motown Salutes the Apollo” (apollotheatre.com)
Here’s a clip from the Mambo D Show at the Apollo, featuring Tito Puente and La India:
"I moved to Puerto Rico and the reasons were many. The most important was that I just could not tolerate the frigid temperatures of New York. The New York Casino was my home base. My band worked three and sometimes four times a week. But we were not fully compensated for our efforts. Agents and club owners do not like to hear about travelling expenses, uniforms, the bandboy who lugs the music and instruments, and the cost of living. I lost many talented sidemen because I could not meet their salary demands. Well, that all changed for me in Puerto Rico. I earned the same money for a Saturday night in PR that I earned in four New York gigs" (Latin Beat magazine)
1998
Danny Lozada formed Dany Lozada y La Timba Cubana after leaving Charanga Habanera.
1932
Son singer/composer Pedro Gomez born Gibara, Cuba. Among his compositions are Son del Guacanayabo, Mi Tierra Montuna and Calle Enramada (covered by Son 14).
1939
Percussionist/arranger Ray "Mallet Hands" Armando born, Brooklyn.
“Ray Armando wanted to be a baseball player. Growing up in Brooklyn can do that to you. But his family lived right across the street from conguero Mongo Santamaria, and that led to lessons at age eight. Armando went on the road at age 15 with Elmo Garcia and later with Tito Puente. Then began a long career in music, recording with many all-stars and contributing to television and movie soundtracks” (Jim Santella).
As well as playing with Tito Puente he has also featured with Eddie Palmieri, Azuquita, Willie Colon (he provided the Brazilian Percussion on the album The Good The Bad and The Ugly) and Orquesta Flamboyan among many others. Mallet Hands, released in 2000, was his first recording as a leader.
1941
Tito Puente made his recording debut, playing with Vincent Lopez's Suave Swing Orchestra (his playing debut was with Noro Morales at NYCs Stork Club when he was 13 years old).
Vibes player/bandleader Bobby Hutcherson born Los Angeles, California.
"Bobby Hutcherson can move easily across a vocabulary of such breadth that it would neutralize the identity of a less talented player” (Stanley Crouch).
He moved from LA to NYC in 1961 when he was 20 years old, playing with the likes of Herbie Hancock. From1963 played on several Blue Note albums that would become classics in jazz. He moved back to California around 1967 and continued to produce jazz albums, though his main interest to us is his classic 1975 album Montara featuring artists such as Bobby Matos, Willie Bobo, Eddie Cano and Rudy Calzado with the songs (Se Acabo) La Malanga, Yuyo and a version of the Tito Puente standard Oye Como Va.
“Hutcherson helped modernize his instrument by redefining what could be done with it - sonically, technically, melodically, and emotionally” (Verve).
1996
Composer/tres player Nino Rivera (b. Andres Echevarria) died Havana, Cuba.
“The tres style popularized by Arsenio (Rodriguez) would be harmonically refined by Niño Rivera, who moved from his native Pinar del Rio Province to Havana in 1934, and formed his own conjunto in 1945. The author of Atomo and El Jamaiquino functioned as a link between the traditional son and the innovative feeling (or filin) movement which emerged in the 1940s. In 1957, he led one of the greatest descarga sessions organized by the Panart label in Havana. According to Nat Chediak's "Diccionario de Jazz Latino," Niño even wrote an unprecedented Concerto for Tres and Symphonic Orchestra” (Luis Tamargo/Latin Beat Magazine).
He led his own Conjunto and also played with Septeto Matencero, Las Estrellas Areito, Conjunto Modelo, Mongo Santamaria (Our Man in Havana & Bembé) & Cachao - he plays tres on both the late 1950’s Cuban Jam Session albums (“The roots of modern salsa can effectively be traced to these 1950s jam sessions. Of course, there are many other parts to those roots, but vernacular created here is the pool from which much has been, and continues to be, borrowed” descarga.com). Track three of the Juan De Marcos And The Afro-Cuban All Stars 1999 album Distinto, Diferente is Tributo Al Niño Rivera.
“I wanted Nino Rivera, the tres player on Estrellas (de Areito), but he had died” (Ry Cooder talking about getting the BVSC players).
2003
Announcement of the first 50 recordings of a national registry, designed to preserve American sound recordings that span the last century. Number 41: Dancemania (Tito Puente, 1958).
2004
Saxophonist Sam Furnace died. As well as appearing with many jazz bands and soul artists in the 1970’s he also played with Arturo O'Farrill's big band and Mongo Santamaria.
“Sam couldn't decide between becoming an architect or a professional musician, so in a way he did both. He created precise and marvelous architecture with his crisp sound and the complexity and penetrating turbulence of his lines. On alto or baritone he could tear the roof off at will. He was an incredibly smart and funny guy and a musician's musician” (from the Village Voice obituary by Roy Nathanson).
28th January
Every year on this date, whilst Israel "Cachao" Lopez was growing up, his family had to open their home to the public as it was considered a national shrine due to Cuban national hero José Martí being born there on this date in 1853.
Pioneering London DJ Dave Hucker born.
1917
William P. Gottlieb, jazz photographer/journalist born in Brooklyn, New York. In 1995 the Library of Congress purchased his photographic collection for the US nation. Among the many great photographs are many from the 1950’s of Machito and members of the band, particularly Jose Mangual who can be seen tuning his drums with a spirit burner, as can fellow percussionist Jack Costanzo in a different series.
1923
Singer Alfonsin Quintana born, Havana, Cuba. He can be heard on the Tumbao album Alfonsin Quintana y su Conjunto Los Jóvenes del Cayo:Vamos pa la Rumba 1951-1953. He was till active up until at least April of 2005, opening an exhibition on Los Jóvenes del Cayo at The National Museum of Music in Havana (designated a World Heritage Site).
1925
Percussionist/Composer Evaristo "El Pícaro" Aparicio born, Havana, Cuba. Among his compositions are Si A Una Mamita (covered by Los Van Van), Xiomara Mayoral (not the well known Chucho Valdes track Xiomara) and probably his best known piece Canonazos, covered by the likes of Johnny Pacheco and Wayne Gorbea. Hilario Durans 1996 album Francisco's Song features the track “Conqueta Conquín (In Memory Of Evaristo Aparicio)”.
1938
Plena and bomba singer/composer Angel Luis Torruellas "King of the Plena" born Mayagüez, Puerto Rico.
“In his career Mr. Torruellas has participated in over 126 recording with notable groups like Tierra Negra de Roberto Anglero, Los Pleneros de la 21, Nieves Quintero y su Conjunto and others. Juan Gutierrez-Torres, leader of Los Pleneros de la 21, states that Mr. Torruellas is a "great musician and one of the last links to what I call the "Golder" era of Plena - the 1950's and 1960's - when everyone was playing Plena and it was very popular and commercially successful” (concert promotional info).
He has also sat in as guest artist with the likes of Plena Libre and Zon del Barrio.
1954
Cortijo y Su Combo debuted at El Riviera club, Puerto Rico. Domingo Saita on sax, Miguel Peña on trumpet, Leyo Peña on bass, Esteban Papitín on congas, Rafael Ithier on piano, Sammy Ayala and Bobby Rosario on coro and minor percussion, Ismael Rivera on vocals and Rafael Cortijo on timbales. By the end of the year the band would make their first recording, El Bombon del Elena on the Seeco label.
Quite simply one of the most important bands in the history of Latin music.
Here they are in 1961 with Cortijo on timbales and the great Ismael Rivera on lead vocals:
1981
Percussionist Eddy Montalvan Barban born Havana, Cuba. Known as “Tato” he has played with Pachito Alonso and Bamboleo.
2003
Los Van Van: Live in America album released
Tipica '73 album Live released
29th January
1924
Singer Celio Gonzalez born, Camajuanillas, Las Villas, Cuba. Over along career he has sang with artists like Luis Santí, Orlando Contreras, Alfonsín Quintana, Johnny Pacheco and Sonora Matancera with whom he features on many albums. He also released a number of albums under his own name (some “con La Sonora Matancera”) on both the Seeco and Alegre labels in the 1950’s & 60’s.
Here he is with La Sonora Matancera (turn the sound up though):
1943
West Coast based percussionist/bandleader Hector “Rudy” Regalado born in Caracas, Venezuela. He is the leader of Chevere and has appeared on both the Caravana Cubana albums.
“In 1982, Regalado realized that in order to bring his own style of music to the world, he needed to form his own big band. Initially known as Todos Estrellas, Regalado's band made its debut in December of 1983 at an annual Christmas telethon called Navidad en el Barrio (Christmas in the Barrio). The name of the band was soon changed to "Chevere", the colloquial adjective of Cuban origin which so aptly describes this exciting, high-energy group” (netunes.com).
1958
Charanga Habanera director/violinist David Calzado (b. Sergio David Calzado Almenares) born Havana, Cuba.
“David Calzado and Charanga Habanera have been on the cutting edge of Timba since they played a seminal role in defining the genre in 1992” (Timba.com).
1972
Timbalero Armando Fajardo, son of legendary flautist Jose, was born in NYC. He has worked with artists like Javier Vasquez , David Cedeno, Grupo Imagen and his fathers band Fajardo Y Sus Estrellas.
30th January
1942
Noro Morales recorded his seminal piece Serenata Ritmica for Decca records
1959
Singer Herman Olivera born, Newark, New Jersey. As well as fronting his own band he has sang with Libre (their 1990‘s output), Eddie Palmieri (his 2000 onwards output), Tito Puente, The Big 3 Palladium Orchestra, Jimmy Bosch, Grupo Caribe, Salsa Sudada, La Exclusiva, Spanish Harlem Orchestra and most recently on the 2005 3D album Ritmo De Vida.
“From my belief, the tradition comes from way back in the '20s from soneros in Cuba: Abelardo Barroso, Cheo Marquetti. Later on in the '40s and '50s: Roberto Faz, Orlando Guerra "Cascarita", Miguelito Cuní, Beny Moré, and so on. And from the traditions of Machito and Tito Rodríguez, whom I love, Ismael Rivera, Cheo Feliciano, Héctor Lavoe, Chamaco Ramírez, Pete "El Conde" Rodríguez. They were all tremendous soneros and improvisers: on the spot. To be a sonero, you have to have a very open mind, and a vast knowledge of numbers: music, melodies. I have close to 2000 songs in my head. So lyrics are constantly in my head; lyrics and melodies. And I read a lot. You've got to have a good vocabulary for rhyming. You have got to have a sense of rhyme and poetry. Read poetry. So from my personal experience as a singer, what I bring to the genre when I go up to perform is I that will sing the head of the tune as it is every night. But when it comes to the coro/soneo - when it comes to the improvising - I don't sing the same thing every night. Whatever you hear I've recorded on record, is on record. I change lyrics every night. It all depends on how I feel. Being an improviser, a sonero, when a subject comes up, you've got to be able to sing about that subject” (descarga.com interview by John Child).
He’s singing the Jimmy Bosch number Otra Oportunidad here:
1977
"Four thousand La Lupe fans paid $4 each and filled every seat at the Bronx's Puerto Rico Theatre. Joined by Machito and his orchestra, she was introduced as the Queen of Latin Soul. Tito Puente made an unexpected guest appearance and brought the audience to its feet with a thunderous ovation".
1981
Singer Lesmer Solenzar born Ciego de Avila, Cuba. Has played with Klimax, Colé Colé & Son Candela and now resides in Sweden.
1988
Pianist Eddie Cano died, Los Angeles. Worked at various times with mostly West Coast bands like Cal Tjader (albums Ritmos Calientes & Latino con Cal Tjader), Jack Costanzo (Mr Bongo, Latin Fever & Jack Costanzo Plays Jazz, Afro & Latin), Bobby Hutcherson (Montara) and released albums under his own name in the late 1950’s and 1960’s on the Atco, Reprise and RCA labels like Eddie Cano Sextet & Orchestra (Deep in a Drum) and Eddie Cano and his Orchestra (Time for Cha Cha Cha). Spent some time in NYC working with major artists like Tito Puente, Machito, Jose Curbelo and Noro Morales. In 1986 he became the first president of the California based Hispanic Musicians Association.
2002
Armando Fajardo played his first gig as bandleader after his fathers death, at New York's La Maganette, a day after his 30th birthday (see yesterdays notes).
“Armando's mother Miriam looked on tearfully but proudly as her son led Fajardo y Sus Estrellas through two dynamic sets of El Maestro's repertoire. The band, which featured the addition of Armando's vocalist sister Inés, and Orchestra Broadway's flutist/leader Eddie Zervigón, was the pure embodiment of energy and vibrancy, whipping out classic after classic tunes, giving dancers little chance to catch their breath” (Vicki Sola, Latin Beat Magazine).
31st January
1913
Cuban pianist/arranger/composer, instrumental in shifting the piano into a much more rhythmic role in Afro-Cuban music, Pedro "Peruchin" Justiz born, Banes, Cuba. As well as leading his own band he was for many years the pianist/arranger for Benny More but has also featured with Cachao, Julio Gutierrez, Chico O’Farrill and Orquesta Riverside.
“….probably the most emulated of all Afro-Cuban music pianists…the father of Latin piano” (Jose Rizo) “the master that all others copied” (Frank Figueroa).
1929
Trumpet player/composer/producer Joe Cain (b. Joseph Caiani ) was born in South Philadelphia. He moved to NYC (Bronx) in childhood and first joined Rey Davila's Latin band, later working with Tito Rodriguez, Marcelino Guerra & Charlie Palmieri before joining Vicentico Valdes in the mid-1950’s. He stayed with Valdes for 40 years, eventually arranging for the band.
"I was doing a lot of Broadway shows and it used to work out just perfectly for me; we'd be out at 11 pm and our set down the street at the Palladium didn't start until 11:30 or midnight. And a lot of times, if the job started early enough and I really dug the band, I would take off from the show or other job, send in a sub to get away from that to go up and play for less money” (Descarga.com profile).
“By the early 1970s, he was working almost exclusively for Morris Levy's Tico label, and he convinced Levy to revive the Alegre Records label to showcase artists like Eddie Palmieri, who were pioneering what would become the great salsa movement of the 1970s. Cain was instrumental in producing some of the best Latin recordings of the period, and would have continued to do so had not Levy sold the label to a competitor, who quickly deactivated it again” (spaceagepop.com).
As a producer he was responsible for such notable albums as Para Los Rumberos (Tito Puente), Algo Especial Para Recordar (Celia Cruz & Tito Puente), Adelante Gigante (Charlie Palmieri), Live At Sing Sing Vol. 2 (Eddie Palmieri), Live At Carnegie Hall, Vol. 1 (Alegre All Stars), Maldades (Tito Allen), Algo De Ti (Vicentico Valdes) & The Best Of Ray Barretto. As arranger: The Queen (shared with Hector Rivera, La Lupe), Thousand Finger Man & Beautiful (Candido Camero) and a personal favourite with Babo (Babo Jimenez).
1931
Mambo bandleader Alfredito (b. Alan Levy) born in Forest Hills, Queens, New York.
“There were plenty of Jews who got tangled up in the Latin music scene in the 40s and 50s, but only a few went for the name-change masquerade ……Alfred Levy could have become Alan Land but instead opted for Alfredito and morphed into a top percussionist on the NYC mambo scene. He gigged with Tito Puente and Joe Quijano …….before cooking up his own mambo unit that eventually got signed up to Tico Records……Early on Alfredito’s insider-outsider status produced tracks like … Chinese Cha Cha Cha which first appeared on Rainbow Records’ Alfredito Plays Mambo! and later as one of the “tantalizing rhythms” on Tito Puente’s Latin Spectacular LP showcase alongside cuts from Puente, Machito, Tito Rodriguez, Joe Loco, and Martino Savanto. In 1966, Alfredito went boogaloo for a Cotique release that showed him dabbling in Latin soul and R&B and even grabbing the mic”. (hippocampus music.com).
1935
Sonero Pedro Juan “Pete el Conde” Rodríguez born, Ponce, Puerto Rico.
“Golden voiced salsa vocalist Rodríguez has a cool and inspired singing style and a regal stage presence that befits his nickname of "El Conde" (The Count). Pete worked with local groups in Ponce before relocating to New York. Johnny Pacheco hired him for Pacheco y su Charanga Vol.IV - "Suav'ito" (c. 1963), Cañonazo (1964, the first release on the Fania Records label) and Pacheco at the N. Y. World's Fair. In 1966 he sang lead vocals on Swing by Conjunto Sensación, a three-trumpet group led by Cuban Rey Roig” (extract from Guinness Encyclopaedia of Popular Music).
"Pete was a great sonero, unlike so many singers in the salsa business today. His voice was unique and embracing. When he performed he had an amazing ability to improvise, play hand percussion like no one else, and dance with so much grace" (Jimmy Bosch talking on descarga.com).
So many great tracks to choose from, here’s the well known Azuquita Mami:
1963
Trumpeter/Flugelhorn player/bandleader Humberto Ramirez born in Old San Juan, Puerto Rico.
“Humberto Ramírez has been called "El Romántico de la Trompeta" because of his lyrical style and the emotion that flows out of his horn. He extracts the maximum amount of harmonious elegance out of every note he plays and has a gifted ear that enables him to select the melodies best suited to the sound of his trumpet” Frank Figueroa, Latin Beat magazine).
Played with Willie Rosario on the albums A Man Of Music, The Salsa Legend, Afincando, Nuevo Cosecha and most recently on the 1999 album Back To The Future. As bandleader he has released around a dozen Latin jazz recordings. His most recent salsa recordings have been made with La Puertorriqueña (2004) and the Puerto Rican Masters (2005).
1995
Composer of many Cuban sons, guarachas and cha cha chas Jesus Guerra died, Alicante, Spain. Songs covered by artists include A Mi Que (Johnny Pacheco & Direct Latin Influence), Bigote de Gato (Sonora Matancera/Daniel Santos) and Tu Veras Margot (Benny Moré & Charanga de la 4).
2004
Bandleader Roberto Ocasio died in an automobile accident, Cleveland. “Ocasio performed more than 250 times last year, mostly in Cleveland. He has shared stages with such other Latino musicians as Eddie Palmieri and Nestor Torres. His band played venues from street festivals to Cleveland's Severance Hall. By day, Ocasio served working-class neighborhoods as a social worker and housing advocate. Ocasio played the piano and six other instruments. He earned a degree in composition and arranging from the Berklee College of Music in Boston. He formed Latin Jazz Project in 1997. Ocasio composed and arranged the band's music, a repertoire ranging from original pieces to rock tunes and American standards with his own twist. He performed songs in Spanish and English” (extract from Washington Post obituary).
Here are some other happenings with no specific date:
January 1909 the son reputedly introduced by three soldiers to Havana from the Oriente province
January 1941 Mario Bauza joins the Afro-Cubans
January 1945 Coda Record Company founded by Gabriel Oller
January 1948 Chano Pozo tours Europe with Dizzy Gillespie’s orchestra
January 1949 Miguelito Valdes records tribute to recently departed Chano Pozo with song of same title
January 1951 Celia Cruz made her recording debut with Sonora Matancera on a 78 rpm single released entitled "Cao Cao Mani Picao"
January 1951 The first issue of Latin Talk magazine hits the streets of New York. Selling for 10 cents, under the headline “Two Titos Tops in Mambo” are photos of Puente and Rodriguez. Incrediby, the fact that TR’s photo was on the left led to an argument between the two about top billing status, TR believing the left position to indicate superiority!
January 1953 Cal Tjader joins George Shearing’s group
January 1954 Juan de Marcos Gonzales born, Havana
January 1956 Orquesta Sublime (AKA La Sublime or La Pachanguera de Cuba) was founded in Havana by flautist Melquiades Fundora
January 1958 During the first week of this month Tito Puente finished recording the classic album Dance Mania
January 1961 Johnny Pachecos first album as leader, Caramelos released on Alegre
January 1969 Esencia del Guaguanco by Johnny Pachecho released by Fania
January 1972 Canonazo becomes first Fania release (the ref no. 325 being Pachecos birthday)
January 1973 New LATIN NY magazine is launched from The Cheetah (Peter Rios gave artist/illustrator Izzy Sanabria the right to use the Latin New York magazine title which Rios owned in 1967-68)
January 1985 Sonny Bravo “started working steady with Tito Puente” (previously only subbing for Jorge Dalto)
January 1991 Rudolph and Ivette Mangual founded Latin Beat Magazine
January 1998 William Cepeda produces Grupo Afro-Boricua From Puerto Rico album, Alfa Studios, San Juan
Salsa Notes are compiled, edited and misinterpreted by slaphappy – who does not expect to see his work used anywhere else without acknowledgement.
Here’s the second installment of Salsa Notes, the new, twice monthly Salsa Central feature.