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Salsa Notes Part4 (Feb 16th to 29th) |
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Written by slaphappy
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Thursday, 21 February 2008 |
Is it mid-February already?!? I know many of you have particularly enjoyed being able to put faces to names, thanks for the very positive feedback received, much appreciated. Here’s our Salsa Notes to take us to the end of the month:
16th February
1912
The legend that is Machito was born Francisco Raúl Gutiérrez Grillo, Jesús María district, Havana, Cuba. His birth place is noted as Tampa Florida sometimes, possibly due to immigration/work issues - apparently the all the Tampa records from this period were lost due to a fire, making it a potential way to alter you actual birth place - though not ruled out as actual place of birth. The birth year also varies; incorrectly cited as 1907, 1908, 1909 [commonly] & 1915 – he died in 1984 and it is widely accepted that he was 72 at the time, so 1912 appears to be correct, but given what I’ve just said could well be complete rubbish.
One of the great soneros, along with his musical director Mario Bauza, the band was at the forefront of the mambo boom. There are over 40 of his albums listed on Descarga.com though compilations like Mambo Mucho Mambo: The Complete Columbia Masters (2002) is a good one for the uninitiated and for his late period material the albums Fireworks (1977, features a pre-romantica Lalo Rodriguez on vocals) and the 1982 Grammy winner Machito and His Salsa Big Band are worth picking up.
Here’s the start of a two-part video from Japan, filmed in the 1960’s, where the band demonstrate their mastery:
http://uk.youtube.com/watch?v=LlKtZ9568QE
1917
Pianist/arranger/composer “Lili” Martinez (b. Luis Grinan Martinez) born, Cuba. Played with Arsenio Rodriguez and after Rodriguez left for NYC he became arranger for the band with trumpeter Felix Chappottín as its leader, the band now calling itself Chappottín y sus Estrellas. As a songwriter he was responsible for producing such well known pieces as Alto Songo and Quimbombo - both of which have been covered by numerous artists. A tribute album; Esto Sí Se Llama Querer: Tributo A Lilí Martínez was released in 2002 and featured many of Cubas current crop of top musicians, led by Manolito Simonet.
1953
Percussionist/educator/radio show host Memo Acevedo born, Colombia. A self-taught musician, he lived in Toronto Canada for a number of years where he was involved with a number of Latin jazz band projects and he is considered to be instrumental in developing the Toronto Latin music scene, especially with the “Latin Tuesday Nights” at Berlin Club. Released the album Building Bridges in 1994 which featured Tito Puente.
“Arguably, there was less awareness about Latin Music in Toronto during the 1980's and early 1990's than there is today. Perhaps as a result, Acevedo's inclusive approach to Latin Music juxtaposes the highly circumscribed repertoire of many current Toronto ensembles. A typical Acevedo performance, for example, might feature Puerto Rican/New York Salsa (often called Newyorkian), Sambas, Meringues, Bossa Novas, Afro-Cuban Funk and even Acevedo's "Latinized" arrangements of Jazz standards” (soundscapes.info).
Moved to NYC, where he has been based for the last ten years, currently works for Martin Cohens LP group.
He’s on timbales here, the clip features an unusual but fine tap-dance descarga:
http://uk.youtube.com/watch?v=syzgwxIF_-A
1968
Willie Rosario album Two Too Much recorded New York - featuring the great vocalist Frankie Figueroa.
1965
Percussionist/vocalist/bandleader/educator Hector Lugo born Puerto Rico. Has played with Conjunto Cespedes and Orquesta Mazacote and runs percussion courses at Oakland Conservatory of Music:
“teaching the cuá, maraca and drum patterns as well as teaching the songs. New students begin by learning the basics and add their voices to the coro. As students develop they can choose a song and lead the group. Héctor has long experience as performer and teacher and also presents the historical and cultural contexts of the music” (musicbeat.org).
He also leads his own band, Son Borikua, a group that utilises the bomba and plena styles.
“I like people to understand that we owe something to those previous generations that created some of the sounds, and some of the songs, and some of these traditions and some of these dances. We're now taking them, and we're moving with them to a new place. And that's the other thing that I like people to understand. That we've got to respect those traditions and learn from them, but that our role, at least I see, my role in Son Borikua, in this band, is then taking that tradition further and putting our own contribution” (lapena.org).
2004
Composer/trumpter Calixto Leicea died in New York City. Played with Septeto Nacional before joining Sonora Matancera in 1935 as lead trumpet player, a position he would stay with until for around 30 years. He wrote many songs including Rumbambaramba (first recorded in 1946) & Se Formó la Rumbantela (recently covered by Colombian band Grupo Mandinga). After moving to NYC he played with a number of bands and can be heard on the Roberto Torres album Castigador along with Chocolate Armenteros who once replaced him in La Sonora Matancera.
Performing with Sonora Matancera, he takes a trumpet solo at around 1min 30 here (though the band are all ‘out of shot’), with Celia Cruz singing Caramelo:
http://uk.youtube.com/watch?v=t9Q5qDxNB2Q
17th February
1902
Violinist/bandleader/composer Enric Madriguera born Barcelona, Spain, moving to NYC via South America in 1916. Led his own band in NYC from the late 1920’s and as such can rightly be considered to be a pioneer of Latin-American music in North America - he managed to establish his orchestras in the best venues in the city. Among the many artists to perform with him was a young Tito Rodriguez who recorded with him for RCA Victor in 1941.
He’s pictured here, with accompanying music from a 1935 track of his:
http://uk.youtube.com/watch?v=k4H8oSZQwPQ
1919
The 369th US Infantry (inc. Hellfighters jazz band) held their victory parade, 5th Avenue, NYC. This is the band that brought jazz to Europe for the first time, and one which featured a brass section made up almost exclusively of Puerto Rican musicians, such as the later great composer Rafael Hernandez. This short documentary clip will give you some idea as to how important this group were:
http://uk.youtube.com/watch?v=xMoN4ypHWyc
1932
All female band Anacaona made their debut as a sextet at the Pyyret Theatre, Havana. Named after the Taino queen famed for her resistance to the conquistadores (translated name of anacaona means “flower of gold”) the band were formed by the Castro sisters and were Cubas first female Son combo. For most of the bands existence there was at least one Castro sister in the line up. The band has over time featured a number of well known singers such as Graciela and Omara Portuondo and toured all over South America and Europe.
"The first demand to enter Anacaona is to have talent, although it seems not so modest to say so. Also the women must have finished a musical study and they must have much human sensitivity, which is just as important as the musical aspect. A good image is equally essential in our work. We try to look attractive, to emphasize our being feminine, whereas both physical and spiritual beauty should go together. Nowadays for an artist it is not enough to dominate on the instruments. In addition one must know how to express oneself orally and with gestures, to know languages, to develop in the scene and outside the scene” (current director Georgia Aguirre).
The 2003 DVD Ten Sisters Of Rhythm charts the bands development.
Here’s a nice slideshow featuring them in slightly jazzier, up-tempo mode:
http://uk.youtube.com/watch?v=Zp-uBDU-l-I
2001
Larry Harlow “received a large settlement check from Caiman Records America Inc” over non payment of royalties. The full story, from Larrys side at least, can be read over at Larry Harlow.com:
http://www.larryharlow.com/newcontent/news-vol8.htm
2006
Ray Barretto died, Hackensack University Medical Center, New Jersey.
"As far as a gentleman, a class act, a person that was reliable beyond belief, prepared and punctual and all of that, there was nobody like him," said Grammy-winning producer Harvey Averne, who produced Barretto's first album for Fania Records, "Acid," in 1967. "That was the time in the '60s when we were all crazy, but Ray Barretto was Mr. Clean. He never drank, he never did nothing. That may have led people to think he was boring” (extract from LA Times obituary).
"Ray was like the quintessential Nuyorican," said Bobby Sanabria, a percussionist and educator who said he considered Mr. Barretto a mentor. "For us in our community, he was a shining example of how somebody from humble beginnings can rise and achieve greatness." (NY Times)
"He left us a great musical legacy of humility, love and fullness that should be emulated to serve as an inspiration for the benefit of future generations," the governor said in a written statement. "We give thanks to God for the opportunity to have celebrated his music, and the happiness that characterized all of his life” Puerto Rico Gov. Anibal Acevedo Vila (Associated Press).
"He was a soft-spoken, gentlemanly type of individual, well-mannered and respectful of other people's opinions," said bandleader Chico Alvarez of Union City. "I watched him grow through the years into a highly successful bandleader and recording artist. An icon. Yet, he never lost his friendly demeanor or his candid way."
"The two musics, Latin and jazz, had a long history of intersecting, and they intertwined because of artists such as Ray” (Downbeat editor Jason Koransky).
“I know he ventured into jazz a lot...he played with a lot of the jazz greats like Chano Pozo. Barretto learned from him; he was the second coming of Chano Pozo. Very influential, his sound was very distinct, his arrangements. To this day, beloved by Latinos all over the world. He will be sorely missed" (Joe Bataan).
He does a fine solo here, featured with a band put together by Charlie Palmieri:
http://uk.youtube.com/watch?v=mVRCbpSzuRA
18th February
1910
Guitarist/composer/singer Nestor Mili born, Havana, Cuba. Played with Orquesta America but is probably best known for being part of the Cuban doo-wop band Los Zarfinos. He wrote the song El Yerberito Moderno, covered by Sonora Matancera, Celia Cruz and recently by Boniatillo Eduardo A. López on the charanga album Párate Ahí... (2004).
Here’s a fine looking woman absolutely murdering the aforementioned composition (listen to one of the Celia Cruz versions after for ‘no-comparison’ comparison):
http://uk.youtube.com/watch?v=CDjm2_x9GGI
1917
Cuban pianist/bandleader Jose Curbelo born. Played at a young age with Orquesta Riverside in Cuba before moving to NYC in1938. An important figure in the development of Latin music in NYC playing initially in Xavier Cugats band before forming his own, the Jose Curbelo Orquestra which ran from 1942-1959 (also cited as starting as early as 1939). Members at different times included Tito Puente, Tito Rodriguez, Mon Rivera, Gilberto Monroig, Ray Barretto, Chino Pozo, Joe Cuba, Santos Colon, Yayo "El Indio”, Vitín Aviles, Tony Molina, Larry Harlow and both Charlie & Eddie Palmieri. The band often played on the same bill as the Machito Orchestra. Curbelo also became an agent and had around 40 bands under his management.
A recommended recording is the 21 track Live At The China Doll In New York 1946 of which Phil Riggio for descarga.com wrote: "My 'most recommended' pick from this top pianist, bandleader, composer and manager is this one, because its final twelve selections are not 'old-timey' but from the great modern big band and small group which recorded for Fiesta Records in the 1950s”.
1945
Singer Camilo Azuquita (b. Luis Camilo Argumedes Rodriguez) born, Colon province, Panama. First sang professionally in Peru with the Enrique Lynch Orquesta before joining Cortijo y su Combo in Puerto Rico in 1966. Also in this period recorded with Kako y su Combo (Live it Up & Sock it to me Latino) later rejoining the band for the 1976 Union Dinamica ) and Roberto Roenas bandleader debut on the Megatones album. Sang on the album Salsa All Stars (aka the Alegre/Cesta All Stars) before joining Sonora Matancera in 1969. Soon afterwards he formed his own band, Azuquita y su Melao who eventually moved to the West Coast. Moved to NYC in 1976 to sing with Tipica ‘73, replacing Tito Allen - can be heard on the albums Two Sides Of T¡pica 73 and Salsa Encendida. Recorded Louie Ramirez Y Sus Amigos in 1978, sharing vocals with Ruben Blades and Adalberto Santiago.
Lived and recorded in Paris, France from the late 70’s and became a French citizen in 1995 living there until recently. In Europe recorded a number of solo albums and featured with Tito Puente on the 1981 release Ce' Magnifique.
“The future of salsa, if it is able to stay in the marketplace, it will keep giving new things to the new generation, to keep them interested. Because the kids want new things. Every message passes through a good interpreter. If there are good people to carry the message in the future, the kids will listen” (salsafrance.com interview extract).
He is currently residing in the US:
"One of my new goals is to start an office here in the U.S.A and help artists that have the talent to sing. I can assist in making their careers more easier with the record labels and help to connect them to Europe, U.S.A, and all over the world". Having had many bad experiences in the music industry gave me a broad knowledge and I want to make sure that they can learn from my bad experiences" (salsaartists.com).
He’s in his trademark hat here, singing one of my favourite songs, El Poeta Llora:
http://uk.youtube.com/watch?v=nhBq-G_hU3U
1949
West Coast based saxophonist Justo Almario born, Colombia. Has recorded with the likes of Mongo Santamaria (Afro-Indio, Images, Live at Yankee Stadium), Poncho Sanchez (inc Papo Gato), Israel "Cachao" Lopez (Master Sessions), all three of the Jazz On The Latin Side Allstars albums and recently on the Francisco Aguabella release, Ochimini. He has also produced four albums as leader of his own band.
1988
New York born pianist/bandleader Joe Loco (b. Jose Esteves) died, San Juan, Puerto Rico.
“Joe is credited with introducing both the mambo (his first hit, "Tenderly," in 1951 for Tico) and cha cha cha (1953) to the United States [slap insert - surely both Pupi Campo and Tito Puente, at least, pre-date this mambo claim: end of slap insert].
His style, a sublime blend of pop melody, Latin rhythm, and jazz improvisation, relied on the simple beauties of conga, vibes, and piano….His early adaptations of pop tunes to Latin were among the most tasteful and successful, thanks to excellent recording and strong supporting musicians. Nearly all of the Joe Loco Quintet's records adhere to this basic, "cocktail" style. Loco remained true to the format while Tito Puente, whose early work on Tico was similar, moved on to other sounds. A pioneer of subtle, modern Latin jazz, Joe Loco set the standard for all Latin piano-vibes combos to follow” (hipwax.com).
Check out the early 1960’s re-issued albums His Piano And Rhythm (Mambo Loco) & Loco Motion - among the band members you’ll see such talents as just recently departed Victor Venegas, Pupi Legaratta, Mongo Santamaria, Willie Bobo, Pete Terrace, Chombo Silva and Rudy Calzado.
This number by the Estrada Brothers is possibly nothing to do with Joe Loco, but here’s one for da kids, this is what we call a 45rpm single and this is how we got music from them:
http://uk.youtube.com/watch?v=bisedkUekbo
1991
Regino Fraga Frontela charanga pianist/composer/bandleader died Havana, Cuba. Led long running band Orquesta Melodías del 40 and there are several compilations and re-issues available. The band are still going today and in 2000 released the album Sonando A Melodías.
The band can be heard in this sound clip, but I have absolutely no idea what the pictures are about:
http://uk.youtube.com/watch?v=NRu8-92higU
2002
Puerto Rican cuatro player Roque Navarro Jiménez died.
"I see the cuatro as a part of my person. Because here is where I express my joy, my sentiments, my sorrows”.
“In Puerto Rico never, never in its life has the cuatro been given the merit it deserves, even with it being part of our family. Because saying “cuatro” and saying “Puerto Rican jibaro” is to say the same thing” (Juan Sotomayor interview extract).
Played with The Puerto Rican String Band and Moncho Usera and is noted as being the first cuatro player to play in New York's Metropolitan Opera House.
“….the author of numerous musical compositions, but his humility is the cause for his not being acknowledged on recordings where he has played, or where his original music appears…... For that same trait of his personality, most of his music--and the best of it--has remain unpublished…..an easy friend, very accommodating, generous, and hardworking, but resentful of the neglect shown to the national instrument and its music. His love of the instrument has not permitted him to make a living from his cuatro, but he has lived for his cuatro” (cuatro-pr.org).
19th February
1925
Percussionist Richard “Ricardo” Lewis born, New Orleans. Moved to California in 1940 where he became a pivotal figure in the development of Latin music, especially in the Bay area. Not to be confused with the Latin jazz violinist Ricardo G Lewis.
“The first time I saw Armando Peraza play, I said, "Ain't no point in me fooling around trying to play bongó." The cat was incredible. So it happened that he and I became brothers, man. Everything I learned about conga and bongo drums I learned from Armando” (extract from a Chuy Varela/Latin Beat magazine interview).
1926
Cha cha cha-son composer Rolando Vergara born, Havana, Cuba. One of his best known compositions is Hermosa Habana, which you can hear here performed by Cuban doo-wop band Los Zafiros (the sapphires): http://uk.youtube.com/watch?v=98hfNGjIZ4g
1930
Singer/maraca player Felo Martinez (b. Rafael Martínez Rams) born Havana, Cuba. Played with the trio Hermanos Díaz before joining larger outfits like La Gloria Matancera, Conjunto Casino (features on their 1959 release Moliendo Café, anyone know if this was the first recording of the song?), Conjunto Rumbavana, Benny Moré and Conjunto Luis Santí.
1963
'El Barbaro del Ritmo' Benny More died, Palmira, nr. Havana - he had performed for the last time three days earlier. One of Cuba’s finest, if not the finest, singers of all time. There are two schools of thought relating to the spelling of his first name - beNy and beNNy, the man himself apparently signed with a double N most of the time, something I can confirm from the autographed photo I own. I read somewhere (but can’t remember where - isn’t that annoying when it happens) that he started to call himself Benny in Mexico after being ribbed about his real name, Bartolome, which had some connection locally to “Donkey”. I didn’t dream it, honestly.
Led his own band from 1953 after stints with artists like Conjunto Matamoros, Ernesto Duarte, Rafel Paz, Arturo Núñez, Chucho Rodriguez and Perez Prado. Many great players have featured with the band such as "Chocolate" Armenteros, Peruchín, Rolando Laserie, Alejandro "El Negro" Vivar and Generoso "El Tojo" Jimenez.
Wrote a couple of extremely well known compositions, perhaps his most famous being Benito y Sabroso & Que Bueno Baila Usted (the Charanga Cubana version is my favourite cover of this).
There are many of his albums available and a surprising amount of “best of” compilations out there - the Tumbao 4 CD set Benny Moré Y Su Banda Gigante: Grabaciones Completas 1953-1960 may be all you need though. Of the tribute albums the Tito Puente 3 album series Homenaje a Beny More and the Tropicana All Stars 2003/2004 releases To "El Barabaro Del Ritmo," Live Vol. 1 & Recuerda A Benny Moré Con Generoso Jiménez are recommended.
"Beny's Orquesta started me off on a long time love affair with big bands. After seeing and hearing him live, I was a fan for life of his vocal style and big band swing" (Larry Harlow).
He directs the band here before taking over on vocal duties:
http://uk.youtube.com/watch?v=mlRhdQPuewA
1971
Luis Perdomo, pianist/percussionist, born Caracas, Venezuela. Moved to NYC to enrol at Manhattan School of Music and since then has recorded with Miguel Zenón, Ray Barretto, Ralph Irizarry and Timbalaye (inc. It's Time) and Gerardo Rosales (La Salsa es mi Vida). Led his own combo for a Latin jazz release in 2004.
1998
The Conga Room, Los Angeles, “the new home for live Latin American music and dance”, held invitation only gala opening night. Opened to the public the following night - located 5364 Wilshire Boulevard, Los Angeles. Since opening a number of well known artists have performed there including Celia Cruz, Cachao, Eddie Palmieri, Tito Nieves (also one of the clubs many owners), Vocal Sampling, Cubanismo as well as West Coast artists like Ricardo Lemvo and Conjunto Cespedes. Among the clubs seemingly numerous owners (what’s the story there West Coasters?) are Jennifer Lopez and Jimmy Smits.
20th February
1920
- Bandleader/pianist Charlie Valero born, NYC. He gave a young Manny Oquendo a place in his band when he was in his early teens and the fathers of both Al Santiago (trombone) and Willie Colon (trumpet) played for him.
- Also on this date Composer of many Cuban sons, guarachas and cha cha chas Jesus Guerra born, Cienfuegos, Cuba. Wrote the Johnny Pacheco track A Mi Que.
1927
Ibrahim Ferrer born “at a social dance” (a much repeated factoid) in San Luis, a town near Santiago de Cuba. Formed his first band, Los Jovenes Del Son, whilst in his early teens and by the 1950’s was singing with Pacho Alonso (with whom he performed for around a decade) as well as Electo Rosells Orquesta Chepin & his Oriental Orchestra and the band of Benny Moré.
“I loved to sing boleros. In 1957 I came to Havana and in 1958 I worked with Benny Moré at the Ali Bar. I began working with them through an agreement, because there was not much work and I had a family. Chepín was the orchestra that worked most, he needed me and I was transferred. When I came to Havana I lived in dire straits until I began working with Benny. When the Revolution triumphed in 1959, Pacho regrouped his orchestra again and I began singing with him until late 1967. I did the falsetto. I did the first or the second voice or the falsetto. Carlos Kerol did most second voices with Pacho, and I sang a lot with him, we were a duet. Pacho’s was the first group with which I travelled abroad, in 1962. We participated in the L’Humanité Festival, in Paris; afterwards we went to Czechoslovakia and the Soviet Union. Then Pacho left the group, we were so heartbroken. I stayed with Los Bocucos as the main vocalist, but they never let me sing boleros. I recorded only one bolero with them, and we had so many records. They did not give me credit either, but my numbers were hits”.
In the 1970’s he sang with Los Bocucos (basically a re-working of the Alonso band but with a different leader in Roberto Correra) but for a long time was out of the music scene until the BVSC machine hit town:
"An angel came and picked me up and said, 'Chico, come and do this record.' I didn't want to do it because I had given up on music. But now I have my own record, my first one ever, so I'm very happy. I don't have to shine shoes anymore".
After working on the BVSC and Afro-Cuban All Stars projects he released an album under his own name in 1999, Buena Vista Social Club Presents Ibrahim Ferrer, which was a good seller globally - however, it seems somewhat ridiculous that he won a Latin Grammy for Best New Artist in 2000 - what on earth makes someone with such a long career eligible for this award? His follow up albums Que Buena Está! (2000) and Buenos Hermanos (2003) also sold reasonably well.
Several compilations of his early work have since been released, those by Egrem and Tumbao labels being among the better ones. He died in 2005.
Here he is, fronting the BVSC in France in 2003. The lyrics have been placed on the side of this clip for those of you that wish to join in:
http://uk.youtube.com/watch?v=b67oELLD6TU
1948
West Coast percussionist/singer Illuminado “Yaya” Maldonado born. Plays with a number of West Coast bands and has recorded with John Santos.
1950
Ismael Miranda was born Aguada, Puerto Rico. Played the conga early on (and can be heard on a number of recording playing the maracas) but is best known as a vocalist. Made his recording debut with Joey Pastrana (Let's Ball, 1967) before joining Larry Harlows orchestra for several albums such as El Exigente (also in 1967), Me And My Monkey, Harlows Harem and Abran Paso. Appears on many of the Fania All Stars greatest albums and was at one stage their youngest performer.
As a composer he is responsible for some of the truly great salsa tracks like Señor Sereno, Abran Paso and the Justo Betancourt hit Pa' Bravo Yo.
From the early-mid 1970’s he produced a number of albums under his own name (like Asi Se Compone Un Son, Sabor Sentimiento y Pueblo, Este es Ismael and No Voy al Festival - all for Fania) and is still releasing albums, the last one being Edición Especial in 2005.
This clip, taken form the Leon Gast film ‘Our Latin Thing’, sees him singing with Larry Harlows band. Those of you who take along numerous footwear changes, talcum powder, coca cola and all manner of dance-shoe gear please observe that these people seem to be unconcerned with such paraphernalia:
http://uk.youtube.com/watch?v=OVK2FTGaZ7k
1954
The cha cha cha is said to have been introduced to the USA at a Carnegie Hall concert, 20th February 1954, which was booked by Goldner and Schact for a "Mambo/Rhumba Festival". Tito Puente, Joe Loco and Pupi Campo headlined the sold-out date, with the Phillips-Fort Dancers stepping fancy for the crowd, Cuban percussionist Candido Camero holding forth with his shirtless-and-covered-in-baby-oil conga drum routine, and singers Miguelito Valdés and Myrta Silva appearing as special guests. A week later, Tito Puente and Joe Loco kicked off a mini-tour at Brooklyn's Paramount Theater, and in July, Goldner sent Machito's Afro-Cubans on a three-week jaunt to whet the public's appetite a little more. It took the better part of a year to get the logistics down, but "Mambo USA" finally hit the road that fall.
1955
Percussionist Tito Rodriguez Jr. born, NYC. Son of the legendary Tito Rodriguez (the clues are all there folks!), despite being cited as a talented enough percussionist (timbales, bongos and minor percussion) has not recorded that much. Played with Tito Puente on the 1979 Latin Percussion Jazz Ensemble album Just Like Magic and recently featured as an essential part of The Big 3 Palladium Orchestra, of whom Bruce Polin wrote of their 2004 album:
“There seems to be a resurgence, as of late, for the sounds generated by the bands of the ‘50s and ‘60s. The Big 3 Palladium Orchestra, with it’s screaming horn section, frenzied rhythm section, and its high-octane, bone-crunching arrangements is, by far, the most hard-core tribute record I have heard in a long time”.
He’s on timbales here, fronting the wonderful Big 3 Palladium Orchestra, with a top version of the Tito Rodriguez hit (and supposed jibe to rival Tito Puente) Avisale A Mi Contrario:
http://uk.youtube.com/watch?v=AmCoIKbIFJM
1975
Trumpeter Junior Romero Valdés was born in Pinar del Río, Cuba. Recorded with a number of Cubas better bands and can be heard on the albums Yo No Me Parezco A Nadie (Bamboleo), El Charanguero Mayor / Chan Chan Charanga / El Ciclon De La Habana / Light (all Charanga Habanera), Para Bailar Mi Son (Rolo Martinez) and also Cuban rapper Fres-K’s 2004 album Simplement.
21st February
1939
Cuban pianist/bandleader Francisco Paquito Hechavarría born, Matanzas. Played with Conjunto Casino and Orquesta Riverside, taking over from Peruchin as the bands director. Also played with Julio Gutierrez before he left Cuba for Miami, where he performed/toured with the likes of Pupy Campo, Cachao, Nestor Torres, Mongo Santamaria, Edwin Bonilla and the Tropicana All Stars.
1949
Legendary salsa musical engineer Jon Fausty born, Armonk NY. Began as a recording engineer in 1964 and his career in Latin music started in the late 1960’s working with artists like Willie Rosario, Joe Bataan and Charlie Palmieri and by the mid-1970’s was firmly established as the sound engineer of choice for the Fania stable.
“The first Latin thing I recorded was in 1968 or '69 I believe. It was a big Latin band by the name of the Cesta All-Stars. It was for Al Santiago. That was the very first time I saw a set of timbales. I had no idea how to approach it. I'm sorry to say that it was a tremendous disaster in the studio. In those days I was recording on one inch eight track. I had no concept on how it was supposed to sound. I think I ended up with a bass and piano track. The baritone sax somewhere else. It was just horrible” (George Rivera/jazzconclave interview extract).
Listing who he has worked with in salsa would be exhaustive to say the least but he produced all of Willie Colons albums between 1972 and 1983 and has produced 12 albums for Ruben Blades. Some of the folk outside of salsa he has worked with: David Byrne, Kirsty MacColl, Duran Duran, Steely Dan, George Benson, The Gypsy Kings and The Bee Gees (yikes!). His soundtrack work includes the films Carlito's Way, Do the Right Thing, the Ruben Blades film Crossover Dreams, Vigilante and of course Our Latin Thing.
He has won 16 Grammy’s for his album and soundtrack work.
He’s in the studio here with Virginia’s finest proponents of original salsa, Bio Ritmo (new album soon folks!):
http://uk.youtube.com/watch?v=8aRWaHrWiI4
1955
DJ Frank Figueroa’s "Fiesta Mambo" programme first aired, NYC. Started as a DJ in1947 at WSOU-FM, Seton Hall University (whist he was at that college) and he went on to host shows in NYC for a number of different stations.
Also a writer and singer of some note, here he is performing with Tito Puente (to the right as we look at him): http://uk.youtube.com/watch?v=fAbefDD8OFQ
Visit his website here: http://www.frankfigueroa.com/
1998
Singer Santos Colón (born Angel Santitos Vega Colón) died, Puerto Rico. After moving to NYC (cited as 1950 but he had recorded in NYC earlier than that) worked with the bands of Jorge Lopés, Tony Novos and José Curbelo (can be heard on the 1946 album Live at the China Doll) before joining Tito Puente, replacing singer Gilberto Monroig. He would be associated with TP for a number of years - made his TP debut on the classic Dancemania Volume 1 album.
With TP he would record some fine albums including El Rey Bravo (1962), Mucho Puente (1964), Carnaval En Harlem (1966), On The Bridge (1969, also features Machito for the lead vocals of the track Congo Mulense), Los Originales (1976) & La Leyenda (1977). Also had time to record lead vocals with La Playa Sextette in the mid-1960’s (Vaya Means Go!, 1964).
In the 1970’s he released around a dozen albums, the content of nearly all being boleros, under his own name. This has led to many dismissing him, somewhat unfairly, as a ‘crooner’.
He fronts a stellar line-up here, singing the Silvestre Mendez composition Guaguanco Margarito:
http://uk.youtube.com/watch?v=dkpSVihp5c8
Also worked with the Fania All Stars on most of their greatest albums and did coro work for the likes of Raphy Leavitt, Conjunto La Perla De Ponce, Sammy Gonzalez and Pedro Conga.
“A short, slight man with ferretlike features, Colón wasn't the likeliest of candidates for stardom. However, his foghorn voice had no problem cutting through a full-throttle dance arrangement like "Babarabatíri", and it took on a sexy velvet tone for boleros like "Imágenes". Marketing Santitos Colón albums proved to be a sound financial move for Tico Records” (The Story of Tico Records).
2003
The Independent (UK) reported:
“One of Africa's best selling musicians, Papa Wemba, was being questioned by French police yesterday over an immigration racket that may have allowed hundreds of people to settle in Europe illegally by paying about £2,000 each for musicians' visas. The world music star, 53, whose real name is Shungu Wembadio Pene Kikumba, is understood to have been detained after arriving in Brussels last week with 15 people pretending to be members of his Viva La Musica group. They had flown in on a flight from Kinshasa, the capital of the Democratic Republic of Congo, formerly Zaire”.
Papa Wemba formed Viva La Musica in February 1977 after hearing Fania All Stars play Zaire’s 1974 Rumble in the Jungle gig.
22nd February
1881
James Reese Europe, pianist/bandleader/composer, born Mobile, Alabama. Influential in the jazz field, he performed in the early part of the 20th Century in NYC:
“George Gershwin remembered sitting on the curb outside Baron Wilkin's nightclub in Harlem for hours when he was seven years old, listening to Europe play” (Thomas L Morgan).
He joined the army when the US entered the First World War and, as a Lieutenant, was asked to form a military band as part of the combat unit to which he was attached - the 369th aka Harlem Hellfighters. In his search for woodwind players he went to Puerto Rico and returned with the likes of Sixto Benitez, Rafael Duchesne and the legendary Rafael Hernandez to accompany future jazz greats in the band like Noble Sissle.
"He was our benefactor and inspiration. Even more, he was the Martin Luther King of music" (Eubie Blake).
1914
Mario Recio, singer/guitarist/composer born Camaguey, Cuba. Also cited as 22nd January (see notes for that day). Played with Conjunto Casino , Conjunto Kubavana and Trio Servando Díaz. Wrote the song Llegaste Tarde.
Ya no tengo corazón
llegaste tarde
y no vuelvo yo a querer
como te quise
Por lo mucho que sufrí
he decidido
no volverme a enamorar
buscar olvido
Yo te quise con fervor
y me engañaste
y ahora tratas de encontrar
lo que mataste
Sólo tengo una razón
que contestarte
ya no tengo corazón
llegaste tarde
Ya no tengo corazón
llegaste tarde
y no vuelvo yo a querer
como te quise
Por lo mucho que sufrí
he decidido
no volverme a enamorar
buscar olvido
Yo te quise con fervor
y me engañaste
y ahora tratas de encontrar
lo que mataste
Sólo tengo una razón
que contestarte
ya no tengo corazón
llegaste tarde
1919
Bandleader/saxophonist/clarinetist Issa El Saieh was born in Petit Goave, Haiti. Known as an artist later in life he is considered to be one of Haitis greatest ever musicians and led his own band in the 1940s and 50’s - Issa el Saieh et son Orchestre.
"...His band is the best evidence of that time showing that traditional Haitian music could be merged with the Cuban panache and the modern harmony particular to jazz without ever losing it's basic African and Creole essence" (liner notes from the 1957 re-issue album El Maestro, recorded in Havana).
“Issa was born in Haiti to Palestinian parents. Concern for his education they sent him to the United States at the age of nine. His passion for music started very early. He played the clarinet for his school band. As a young man he traveled the world. An avid and talented musician, Issa became a master on the clarinet and saxophone, collaborating with international icons such as the Cuban pianist Bebo Valdes, the American jazz pianist Billy taylor and others. Known locally as “Maestro”, Issa’s musical career first received recognition in the 1940’s and over the decade’s his influence and popularity grew to eventually be named in 1998 as One of the Five Giants of Haitian Music, when he was honored at New York’s Lincoln Center” (artmediahaiti.com).
1928
Cuban musicologist Alberto Muguercia born Santiago de Cuba. He is one of the researchers for the Jose Marti National Library where he is the archivist of an extensive collection of son related photographic material.
1967
Venezuelan band Sexteto Juventud recorded their first 45rpm - the songs Guasancó (which can be heard on the 1996 re-issue Salsa Y Guaguanco: Lo Mejor Del Sexteto Juventud) and Cautivo. Formed as Conjunto Rítmico Juventud in 1962 by bass player Olinto Medina, the band included Juan Medina (guitar), Arturo López (vocals), Carlos Croquer (percussion) and Elio Pacheco (conga) who went on to play with Oscar D‘Leon when Dimension Latina were formed. Carlos “Tabaco” Quintana later joined the band, initially playing bongo, before taking on lead vocal duty.
The original band released their last album, Es Diferente, in 1980, though a modern incarnation of the outfit has been playing again recently – you can see the now less than youthful Juventud here: http://uk.youtube.com/watch?v=VNwtaFoeLC0
1971
Wilfred “Freddie” Miranda Jr., percussionist, born in Bayamón, Puerto Rico. Performed with many artists, such as; Frankie Ruiz, Mickey Cora, Héctor Tricoche, Cano Estremera, Tito Nieves, Puerto Rican Power, Ismael Miranda, Marvin Santiago, Domingo Quiñonez, Andy Montañez, Luigi Texidor and has recorded with Bobby Valentin (Symbol Of Prestige), “Perico” Ortiz (Café Con Leche y Dos De Azucar) and most recently with The Puerto Rican Masters on the Marvin Santiago tribute album Tributo Al Sonero Del Pueblo.
His father, Freddie Sr, played saxophone with El Gran Combo & Apollo Sound (among others) and both Jr & Sr perform together in the band Los Miranda.
1984
Puerto Rican singer Polito Galíndez, died Mexico. Played with Xavier Cugat in the late 1930’s before leaving with fellow band member, pianist Jose Curbelo, who set up his own orchestra. Polito was replaced in this band by Tito Rodriguez and shortly afterwards he filled in for Machito in his band while Machito was in US Army (which turned out to be short lived - April-October 1943).
“When Machito left the band, he contacted his sister Graciela to debut with the Afro-Cubans Band at La Conga. The band's performance was transmitted live on the radio. She shared the vocals with the great singer Polito Galindez. Polito stayed with the band until Machito, because of a leg injury, was honorably discharged, which allowed him to return to the Afro-Cubans” (Joe Conzo).
“I worked with Polito. I used to love the way he sang "Señora María." It was very dramatic (laughs)….But he used to get down on his knees and take off his beret and throw it on the floor and used to cry and the whole bit! And people were crying in the theater, man, and then he used to go backstage and say, “Hey, I killed them!” But he always had a good group, good rhythm section” (Johnny Pacheco talking to David Carp).
He can be heard singing on the 2005 release Homenaje A Pedro Flores alongside other great singers like Mirta Silva, Gilberto Monroig and Daniel Santos.
1986
Clarinetist (Hellfighters)/composer Rafael Duchesne Mondriguez died.
23rd February
1932
Record producer, record store-owner, label boss, composer, arranger, bandleader, saxophonist and pianist Al Santiago born East Harlem, NYC. His family were musical, father played saxophone/trombone/violin/trombone with Latin bands of the day and he eventually joined his uncles band, Bartolo Alvarez and his Orchestra, where he played conga. He led his own band by the age of 18:
'I'm playing with the Chack-a-ñu-ñu Boys at a Latin wedding - incidentally 14-year-old Eddie Palmieri was at the piano that night - and my trumpet player sends a substitute, and who does he send, he sends Buck Clayton! One of the best jazz trumpeters. I got annoyed - not because Buck Clayton came to play with me as a substitute - I got annoyed because Buck Clayton had to , on a Saturday night, take a $20 gig with 20-year-olds. So I said: 'Performing is not for me, I'm going to the business end of the music' (John Child interview extract).
He ran the Casa Latina del Bronx record store between 1951 and 1955 before opening Casalegre record shop in 1955. The following year he founded the famed Alegre Records and they recorded and released a number of singles by the likes of Kako, Joe Cotto and Vitín Avilés. In 1960 the label released its first album Johnny Pacheco y su Charanga Vol. 1, soon after Charlie Palmieri joined the label with his band Duboney. By 1966, when he sold the label, he had released 49 albums including those by Orlando Marín, Eddie Palmieri, Mon Rivera, Tito Puente, Louie Ramírez and the labels all stars band - Alegre All-Stars.
Worked for a number of labels as producer (including Musicor, Mucho Music and Fania) and formed a number of labels such as Montuno Records (1975) and Gaucho (1979).
“Al Santiago had a big influence on me as a producer. I just looked him up in the phone book….and finally found an "A. Santiago" and it was the right one….As it turned out, he wound up calling me fairly frequently to just babble at me. Usually at two or three in the morning…He was an inspiring guy. Al was like, "If you've tracked me down, you're gonna produce Latin records." ….I would ask him, "How did this session go? What kind of mikes did you use?" I asked him really technical things, and no one had really asked him these things. I wanted to know how he did it….So I feel really lucky, like I'm the last guy who got to pick Al Santiago's brain. He had been out of Latin music for decades. It was kinda like meeting up with the old rabbi” (extract from a Barnes&Noble interview with Aaron Levinson).
1947
The orchestras of Machito and Alfredito Valdes became the first bands to play Gabriel Oller & WEVD radio talk host Art Raymond's Club Tico Tico Sunday Rumbas. The entry fee was a whopping $1.50.
1997
On his 50th recording anniversary, 23rd February proclaimed Tito Puente Day by the Bronx Borough President. An accompanying event was held at NYC's Museo del Barrio.
1998
Vincent “Jimmy” Frisaura, trumpeter and contractor for Tito Puente for 40 years, died. He was buried three days later at St. Raymonds Cemetery, Bronx. Played with Jose Curbelo and Machito before joining Tito Puente for the formation of the band Picadilly Boys - along with fellow trumpeter Chino González, Luis Varona (piano), Manuel Paxtot (bass) Angel Rósa (singer), Frankie Colon (congas), Manny Oquendo (bongos) and of course TP (on timbales/vibes and drum set).
Tito Puente would seem to have trusted Frisaura implicitly as dancer Eddie Torres explains how he got started dancing with the TP orchestra:
"Do you think I can come over with my partner and demonstrate for you these two numbers that I choreographed? If you like them, maybe we could do a show with you?" Tito did not mince words, "You know, I'll be honest with you, Eddie. I'm very busy right now. I don't think I'll have a chance to call you...." Eddie frowned. "...But I'll tell you what I'll do. I'm going to introduce you to my musical director, Jimmy Frisaura. Tell Jimmy exactly what you want in the music, how you want us to play it, and in our next concert, I'll feature you with your partner" (extract from the Mary Kent book Salsa Talks).
Although most associated with Tito Puente he also recorded with Tito Allen, Jimmy Sabater, Louie Ramirez & Ray De La Paz and The Tico All Stars.
24th February
1938
"El Genio de la Salsa" Louie Ramirez born, Manhattan, NYC. Played timbales, vibes and keyboards and featured with many bands including the Tito Rodriguez, Alegre All Stars, Celia Cruz, Joe Loco, Ozzie Torrens, Jimmy Sabater, Ralfi Pagán, Joe Cuba, Fania All Stars, Azuquita, La Crema de New York, Gene Hernandez, Israel Kantor, Richie Ray & Bobby Cruz.
Though he released many albums under his own name his contribution to salsa through his prowess as an arranger and producer can not be underestimated. He had a hand in the following for example:
Celia Cruz (Son Con Guaguanco, 1966)
La Playa Sextet (The Sound Of Puerto Rico,1968)
Willie Rosario (El Bravo De Siempre, 1969)
Jimmy Urbina y Orquesta Revolucion ‘70 (Revolucion En N.Y., 1972)
Ray Barretto (Indestructible, 1973)
Tipica ‘73 (Rumba Caliente, 1973)
Chocolate Armenteros (Juntos, 1974)
Hector Lavoe (La Voz, 1975)
Ismael Rivera (Feliz Navidad, 1975)
Larry Harlow (Con Mi Viejo Amigo, 1976)
Pete "El Conde" Rodriguez (Este Negro Si Es Sabroso, 1976)
Orquesta Novel (Salsamania, 1976)
Tito Allen (Feliz Y Dichoso, 1976)
La Lupe (One Of A Kind, 1977)
Sonora Poncena (El Gigante Del Sur, 1977)
Tito Puente (Homenaje a Beny More, 1978)
Junior Gonzalez (Mi Estilo, 1979)
Adalberto Santiago (Featuring Popeye El Marino, 1979)
In the mid-1960’ and 1970’s he released some great albums under his own name including Vibes Galore, Good News, Ali Baba and Tipico and in the late 1970’s entered into more romantically inclined albums. For some he was the instigator behind the romantica “movement” - though his 1980’s albums with Ray de la Paz may be romantically inclined they still swing.
He’s on timbales here: http://uk.youtube.com/watch?v=oh8t33LqKsU
1945
Drummer Steve Berrios Jr. (b. Stephen Ramón Berrios) born Manhattan, NYC. His first instrument was the trumpet, his father, Steve Berrios Sr., was also a drummer and worked with the likes of Noro Morales, Miguelito Valdes and Pupi Campo.
Berrios Jr worked mostly in the Latin jazz field the likes of with Mongo Santamaria (with whom he recorded many albums), Bill O'Connell, Bebo Valdes, Chico O'Farrill, Carlos 'Patato' Valdes, Hilton Ruiz, Mark Weinstein, Jerry Gonzalez & Fort Apache Band (appears on all their albums) and has also released three albums under his own name. In the salsa field he has recorded with Justo Betancourt, La Crema De New York, Orlando Castillo "Watussi", Andy & Larry Harlow.
1958
Trombonist Angel “Papo” Vazquez born, Philadelphia. Currently known for his Latin jazz output, leading his own band, Pirates Troubadors, who have released several albums:
"Trombone virtuoso and innovative composer, Papo combines the best of jazz and Latin music to create a genre that is unique and wild. He's redefined Latin jazz!" (Michael Brecker).
"I want to get one thing straight….we are an Afro-Puerto Rican contemporary jazz band. I have nothing against Afro-Cuban music, but let's get some credit" (Papo Vazquez).
In his early career he worked extensively in salsa and has recorded with: Colon/Blades (Siembra), Fania All Stars (Habana Jam), Mon Rivera (Forever), Tito Allen (Beyond), Ray Barretto (Rican/Struction), José Mangual Jr.(Ritmo, Sabor y Clave), Larry Harlow (El Judio Maravilloso), Louie Ramirez (Y Sus Amigos) and Manny Oquendo y Libre (all 1990’s albums).
Roberta Singer interview extract (1979) :
RS: “Can you describe any difference between playing with Libre and the other groups: Harlow, Lavoe, Willie Colón?”
PV: “All those guys are set. The main thing about Libre is, after playing with José…after playing with Libre, after checking that energy out, playing ‘til your chops fall out… ,when I would go back to playing with Willie Colón or Héctor Lavoe I would get bored because there's no freedom. There’s a certain amount of freedom but it’s not like personal freedom. It’s not like, “Go Bro, do your thing.” To me it’s boring. When I played with Thad Jones and Mel Lewis it was a different thing. I really dug playing that: 16-piece band, the arrangements, a whole section playing a really hip part. There’s no kind of freedom in that. There were no solos, and I would get spaced out about that eventually” (papovazquez,com).
He leads his band, Pirates Troubadours, here: http://uk.youtube.com/watch?v=hd-mSGq8pok
25th February
1953
Bandleader Victor Manuel “Vitin” Narvaez born, Ponce, Puerto Rico. Along with his brother Ali Narvaez they joined Orquesta Juvenil in the mid-1960s, later performing as opening act for bands like El Gran Combo and Orquesta Harlow.
“They recorded a single for Alba Records with two songs written by Vitin and Manuel Narvaez, "Loco Jazz" and "Llave con Guaguanco." Orquesta Juvenil evolved into La Controversia before its members separated in the late 1970s. Narvaez later hooked up with the band Sabor, which he ended up inheriting from founder Negron” (Milwaukee Journal Sentinel).
1993
Cuban band Manolito y su Trabuco made their debut at La Tropical dance hall, playing alongside Los Van Van. Founded by pianist Manolito Simonet, mainly utilising players who were former members of Orquesta Maravilla de Florida, a charanga band, the group has since released six albums: Directo al Corazón (1995), Contra Todos Los Prognósticos (1996), Marcando La Distancia (1998), Para Que Baile en Cuba (2000), Se Rompieron Los Termómetros (2002) and Locos Por Mi Habana (2004).
“Manolito is one of few contemporary Cuban bands that has maintained the charanga setup including flute and strings. This gives them a musical versatility as well as being a part of their distinctive sound” (Michelle White aka Chistocita).
One of the finest live Latin bands you’ll ever experience, here they are with the somewhat overplayed (by UK “DJ’s” that is) but nonetheless classic Marcando la Distancia:
http://uk.youtube.com/watch?v=LuQliHuKhAo&feature=related
26th February
1927
Percussionist, arranger, composer and bandleader Pete Terrace born Pedro Gutierrez, NYC. Also cited as 6th February (see notes for that day).
1932
Recently deceased bass player Victor Venegas born, Mexico. Played with Orquesta Nuevo Ritmo, the first US charanga band, based in Chicago:
“…that consisted of some of the very best Latin musicians in the country at the time in the 40s…..inspiring the music of Charlie Palmieri and Johnny Pacheco” (zondelbarrio.com).
Moved to the West Coast to play with the likes of Mongo Santamaria, Cal Tjader & Willie Bobo, later moving to NYC playing with artists such as Ismael Rivera, Joe Loco, Tito Puente, Eddie & Charlie Palmieri, Conjunto Candela, Celia Cruz, Marco Rizo, Candido Camero, La Lupe and Chivirico Davila to name but a few. Latterly he played gigs with Los Jovenes del Barrio, Grupo Caribe, Manny Duran (for around 10 years) and Zon del Barrio, with whom he made his last recording.
“He was a bassist's bassist. What he could do with 2 or 3 notes no one can do today with 50 notes. His tumbaos ‘anchored’ many a band (Eddie Resto).
"He was the one who set me straight on this-is-the-fingerings and this-is-the-way-you-do-things. In school they taught me the staff and how to read music. With Victor I got better doing it. He was bringing me material and I would go on jobs with him. When I started studying with Victor in 1979, he had me on the acoustic and made my fingers bleed. The action was so high on the instrument you know, and I'd have to get the note out, and he would press my fingers down on the fingerboard" (Ruben Rodriguez).
“I first met Victor back in the day during the Village Gate series. As a former bass player, I was quickly struck by his combined style of funk and simplicity. As a young reporter in a business clouded in envy, hypocrisy, and backstabbing gossip, Victor's refreshing honesty made him stand out like a shot of good scotch that's taken straight up, no chaser” (Aurora Flores).
1938
Bobby Cruz (b. Roberto Cruz Feliciano) born, Hormigueros, Puerto Rico. Grew up in New York and is most associated with Richie Ray, forming one of the best known duos in salsa (see 15th February notes for more detail). Currently an active Christian - his home page, bobbycruz.com, contains a complete online version of the bible in Spanish - he has began recording solo albums in recent years, Caminando in 2002 and 101 Ciento Uno in 2004, his last release.
He’s filmed more recently here singing the well known number Sonido Bestial:
http://uk.youtube.com/watch?v=dO76rqySJMM
1970
Gymnastic singer Noel Díaz Cruz born in Cuba. Worked with Charanga Habanera since 1998:
“Here, I have a few numbers as a soloist, but my problem is that my voice has become the trademark of the coro, so I'll guess I'll be dedicating myself mostly to that”.
Has recorded with Calixto Oviedo (La Recompensa) and also be heard on the 1998 album Lm Sobredosis: No Lo Copious (on the short lived Nueva Fania label).
1984
Adalberto Alvarez y su Son founded by pianist/arranger/composer/Son 14 founder, "EL Caballero del Son", Adalberto Alvarez.
“This orchestra is the one that, besides maintaining the primacy in the genre, assumes the challenge of creating new harmonic and rhythmic changes to faithfully satisfy the dancer. The incredible cadence reached in stage, was also recognized by overseas dancers” (adalbertoalvarez.cult.cu).
“Adalberto is a large gent, with medallions and a sharp suit. Backed by a huge band that left out none of the preferred elements of a salsa band intending to ensure people got to their feet, he sweated and sang his way though a long set. The audience responded to the invitation to dance, and very soon the dance floor itself was full, so people made do with the space between tables and chairs. Perhaps a little surprisingly, this apparently hazardous activity led to no mishaps that I noticed, and everyone remained good natured” (Rod Lawson).
The band have released many albums including Magistral in 1997, which I only mention as the cover has puzzled me for years - does anyone know why he appears on the cover between two columns of wigs? Answers on an e-card please. Their last release was Mi Linda Habanera in 2005.
Here’s a nice timba.com video of the band, up close and personal:
http://uk.youtube.com/watch?v=8HnNv18uigM
27th February
1945
Singer Danny Rivera born, Santurce, Puerto Rico. Known mostly for singing popular music, he began singing with César Concepción in the late 1960’s.
He can be heard singing boleros on the compilation albums Cien Canciones Puertorriqueñas Del Milenio (2001) and Papo Lucca Presente: Festival De Boleros (2002).
1974
Trumpeter/flautist/bandleader/composer Plácido Acevedo Sosa died, Puerto Rico.
“As did many of his contemporaries in that era, Acevedo moved to New York in 1926 looking for better prospects. He travelled frequently back forth between Puerto Rico and New York, a mobility that was typical of Puerto Ricans given their United States citizenship. By 1929 he had joined a band called Los Reyes de la Plena then joined Septeto Puerto Rico the next year. By 1931 he had joined Canario y Su Grupo then Cuarteto Machín the following year. Acevedo made several recordings with Machín, with whom he developed a close friendship” (musicofpuertorico.com).
Back in Puerto Rico he formed his own band 1n 1939, Cuarteto Mayari, a band that would perform and record together for around a decade (and briefly re-formed in the late 1950’s too). Tito Rodriguez sang with the band when they first formed and several CD re-issues of their work are available.
1996
The Cubanismo debut album Jesús Alemañy's ¡Cubanismo! Featuring Alfredo Rodríguez released. Formed by trumpeter and former Sierra Maestra member Jesus Alemany in 1995 the band “was initially intended as an all star recording project but it created demand for the band as a touring entity which helped launch the breakthrough of Cuban music into mainstream America” (rosebudus.com).
Four albums have since been released; Malembe (1997), Reencarnación (1998) Mardi Gras Mambo (2000 - personally feel that this one is a real stinker and here‘s Bruce Polin agreeing, kind of: “When it doesn't work, however, the results are awkward and silly, sounding more like a CD made for children”) and a ‘Best of’ in 2001 which unusually features some songs not found on their previous studio albums.
“Cubanismo is not exactly the same style as the Afro Cuban All Stars but is on the same wave. Because we are both coming from the roots. When we started playing son montuno in Cuba 20 years ago, it was like a dream. It was something completely revolutionary as well. Because nobody of our age care for this kind of music. So, we come from the same place, That's why the music of Alemañy and mine is very similar. For me, Cubanismo is one of the best Cuban bands worldwide right now. And it's well respected. But Jesus is not that good of a businessman. But the band is punchy, strong, and really first class” (Juan de Marcos).
Here they are in Hong Kong, filmed in 2002, I’m guessing that’s why the clip, is titled “Cubanismo In Hong Kong 2002”:
http://uk.youtube.com/watch?v=g-fg6VOYrV4
1999
Chano Pozo, Candido, Potato Valdes, Francisco Aguabella, Armando Peraza, Chocolate Armenteros and Mario Bauza were honored at the Smithsonian Institute in Washington D.C. “for their contributions to the evolution of the Mambo and Afro-Cuban jazz”.
2001
Bobby Valentin returned to Puerto Rico State Penitentiary to record his live 35th Anniversary album - 35 Anniversario En Vivo: Vuelve A La Carcel, also released on DVD.
Here’s a clip of what for me is the best song from the gig, Ven Rumbero:
http://uk.youtube.com/watch?v=CwLmNL9yR1w&feature=related
“In what may be the best live salsa show in years, Bobby and his crew have returned to the venue that created the classics Va A La Carcel Volumes 1 and 2... [slap insert: actually apart from Bobby Valentin only conga player William "Kachiro" Thompson “returns” as the rest of the original band appear to be nowhere in sight] …..The sound is superlative for a live show, thanks to the excellent engineering by Javier Hernandez and Mr. Valentin. A salsa fanatics must have” (Bruce Polin/descarga).
“This CD has no weak tracks. Every song is performed with flavor, sazón and more importantly live. With perhaps the best salsa line-up of veteran soneros I've ever seen…….The packing alone is worth the price of the CD. This recording is a must for all the hardcore salseros out there, not only as a celebration of history being made but as a testament to all of those who think this type of music is dead. Hands down, this is one of the best live recordings ever made!” (Omar Walker/salsapower).
28th February
1928
Singer Elena Burke (b. Romana Burgues),"La Señora Sentimiento", born Havana, Cuba. Mother of Miami based singer Malena Burke she turned professional in 1942, later singing and touring extensively with a number of well known small bands; Cuarteto Facundo Rivero, Cuerteto Orlando de la Rosa and Cuarteto d'Aida before embarking on a long solo career in 1958.
Her voice can be heard on many compilations (an interesting one is Concierto En El Lincoln Center: De La Habana A Nueva York - 1978) but she also features with Los Van Van on their 1999 album Grandes Exitos: Los Van Van & Special Guests.
“Elena Burke’s voice has the power to light everything it touches” (egrem.com.cu).
1934
Percussionist/composer/bandleader/vocalist Willie Bobo (b. William Correa) born, NYC. Known for his work in Latin jazz he released his debut album as leader in 1962 - Bobo's Beat - and several albums followed including Juicy, Un Dos Tres and A New Dimension. Though the content of much of these sounds pretty dated, plenty of Burt Bacharach penned tunes and other popular classics of the day feature, tracks like the Beatles Michelle have a garage band sound that I personally dig, man.
“Like many of Verve's jazz artists, Bobo covered current pop hits as often as more serious Latin and jazz material. At the time, this choice was pretty much a sure-fire way to get panned by jazz critics, but in recent years, Bobo's albums have been reissued to new acclaim and provided a rich sampling source for breakbeat artists” (spaceagepop.com).
“Percussionist Willie Bobo’s latin-jazz is the stuff of rare-groove legend. Countless tracks that the maestro created or touched during his late 60s, early 70s heyday were hallmarks of that scene” (stonesthrow.com).
In his early career he played with Perez Prado and Machito and was involved in some outstanding recordings:
Tito Puente - Cuban Carnival (1955)
Tito Puente - Top Percussion (1957)
Rene Bloch Orchestra - Mucho Rock (1958)
Mongo Santamaria - Afro Roots (1958)
Victor Feldman - Latinsville! (1958)
Cal Tjader - Latino Con Cal Tjader (1960)
Tito Puente - Dancemania Vol. 2 (1960)
Joe Loco - Loco Motion (1961)
Mongo Santamaria - Watermelon Man (1963)
Dave Pike - Manhattan Latin (1964)
Cal Tjader - Soul Sauce (1966)
He wrote a number of songs and his best known composition is probably the jazz standard Afro-Blue. Featured as a band member in TVs Cosby Show right up until his death but for me his best television work, almost certainly his most widely heard track, is the Kojak theme tune - who loves ya baby!
"The world's outstanding percussionist" (Down Beat magazine).
[slap super-trivia insert: Incidentally, William Bobo is the name under which Kennedy assassin Lee Harvey Oswald was buried, though people found out and he was re-buried under an unknown name somewhere else]
19??
Singer Trina Medina was born in Caracas, Venezuela. Released the albums Trina Medina in 1995 and Entrega in 1997. She is the daughter of singer Canelita, who recently made an album with Andy Duran: Tributo A Celia (2005).
“Trina Medina belongs to a new generation of female musicians whose authority cannot be undermined. She paints an imposing image on the bandstand strumming the güiro and swaying in a Caribbean cadence while belting out her tunes. This attractive Venezuelan mulatta struts across the stage and works her audience with genuine fervor. Meeting creativity head on, she whips her musicians into shape by challenging their musicianship. In pursuit of that ever fleeting moment of creative ecstasy, she lets loose, shamelessly drenched in well earned beads of sweat that stream down her brow to her limbs. As her enthusiasm spreads, an aura of bliss sparks the air” (extract from salsatalks.com).
1973
Pablo "Tito" Rodriguez died with his wife Tobi Kei at his side, NYC. Worked with Cuarteto Mayari in Puerto Rico before moving to NYC in 1935. Made his first recording (Oye Mi Bajo) with his brother Johnny’s band, Siboney, in February 1940, joining the Xavier Cugat Orchestra as a singer/percussionist, replacing Miguelito Valdés, in 1942. Also in this period played with Cuarteto Caney, Enric Madriguera, Noro Morales, José Curbelo whilst also appearing with Chano Pozo, Arsenio Rodríguez and Machito.
In August 1949 he recorded four sides for Coda records with his new band, The Mambo Devils (who had to become the Mambo Wolves after a record company dispute) - an outfit that was to become the Tito Rodriguez Orchestra and which lasted until 1965.
Eddie Palmieri remembers a Tito Rodriguez review show, December 1958: “The band opened up at the Hotel Riviera (Los Angeles) with a weak act. Tito wore a cowboy hat and guns and sang ‘Hopalong Tito’….we bombed and in January 1959 we were back in New York”.
June 1962 Tito Rodriguez recorded Back Home In Puerto Rico during a two-week stay on the island and returned to Puerto Rico to live in 1966 where he starred in a TV show; the “says what it does on the tin” El Show de Tito Rodriguez (guest included Shirley Bassey, Tony Bennett and Sammy Davis Jr.). Moved to Miami in the late 1960’s and founded his own label, TR Records in 1971.
“…it was Tito Rodriguez who gave me my first opportunity to sing one day at the Palladium…..I was already playing congas on the roofs, the streets, the parks and the beaches. There were always lots of congueros present and guys singing coro. I would be the only one that would play congas and sing the soneos in response to the coro. One day at the Palladium the guys insisted that Tito Rodriguez give me a chance to sing. Tito handed me the maracas and told me to sing. And I sang. I sang Chango Ta Veni. By that time I was studying Tito’s style. The crowd asked for more so I sang another tune popularized by Tito. A few months later Joe Cuba’s sextet, which was already formed but was not working much, lost their original singer….the opportunity arose for me to debut as a singer. As a result of Tito Rodriguez’s recommendation and insistence, Joe Cuba set up an audition for me. The rest is history” (Cheo Feliciano interview extract, jazz conclave.com).
1992
The film The Mambo Kings released. Whilst far from featuring an accurate account of Latin music life in 1950’s NYC (Tito Puente appears as himself, but is apparently Cuban for example) it was well received by the media and general public alike, grossing $7 million. The film is based on the Pulitzer Prize-winning novel by Oscar Hijuelos:
"By turns street-smart and lyrical, impassioned and reflective, The Mambo Kings Play Songs of Love is a rich and provocative book--a moving portrait of a man, his family, a community and a time” (New York Times).
The film features Armand Assante, Antonio Banderas, Cathy Moriarty, Desi Arnaz Jr. (as his dad) and cameo appearances by Celia Cruz, Tito Puente, José Alberto "El Canario," and Ralph Irizarry among other well known faces.
“Musician brothers Cesar and Nestor leave Cuba for America in the 1950s, hoping to hit the top of the Latin music scene. Cesar is the older brother, the business manager, and the ladies' man. Nestor is the brooding songwriter, who cannot forget the woman in Cuba who broke his heart” (amazon.com).
Co-star Banderas croons here to a short piece featuring a number of clips from the film:
http://uk.youtube.com/watch?v=VgAN39et1GU&NR=1
2001
Singer Raul Planas (b. Enrique Raúl Planas Fernández) died Havana, Cuba. In the 1950’s sang with some of Cubas best bands including Senén Suárez, Roberto Faz, Chappottín and Sonora Matancera. Received somewhat of a new lease of life recording wise with the BVSC phenomenon and played with the Afro-Cuban Allstars (1997), and appears as a guest singer with Irazu (El Calor De La Noche, 1999), Anacaona (Lo Que Tú Esparabas, 2000), Combinacion De La Habana (Que Combinason, 2000) Generoso Jimenez (Generoso Que Bueno Toca Usted, 2001), Cesar "Pupy" Pedroso (De La Timba A Epiglottis, 2001), Buena Vista: The Next Generation (2002) as well as releasing what was to be his last recording Para Todos Los Tempos (recorded in the US in April 2000), an album released posthumously under his own name.
“If there is Cuban Son, there is Raul Planas” (Celia Cruz).
2004
Saxophonist/Flute player Bobby Nelson (b. Salvatore Cusimano) died. Recorded with Joe Quijano and Lou Pérez & his Orchestra in the 1960’s and with Cal Tjader and Charlie Palmieri in the 1970’s - can be heard playing both flute and saxophone on the CP albums Vuelve El Gigante, Electro Duro, El Gigante Del Teclado and Con Salsa Y Sabor: Charlie Palmieri & Meñique.
In the 1980’s he recorded with La Charanga America and Louie Ramirez & Ray De La Paz. He re-joined Joe Quijano in 2003 for the album Salsa-Natra In Clave, possibly his last recording.
Special bonus Leap Year item: 29th February
1992
Cuban singer La Lupe (b. Lupe Victoria Yolí Raymond) died. Born in 1936 in Santiago, Cuba she initially became a schoolteacher but by the1950s was singing with various bands and by 1958 she started singing at La Red nightclub.
Recorded her first album Con el Diablo en el Cuerpo Fiebre in 1961 and two others followed; La Lupe Is Back and Es Lupe. She left Cuba in 1962 (according to some she was actually ‘advised’ to leave due to her wild ways being in conflict with the ideals of the revolution), initially going to Mexico for a short period and by 1963 was in the US where she recorded the album Mongo Introduces La Lupe. In 1964 she performed with Tito Puente, recording five albums with his orchestra.
“La Lupe's dynamic and unique stage performances made her one of the most sought after artists that jam packed dance halls throughout the city. Her fame and popularity continued to grow and created a tremendous interest in her that spread beyond the Latino community. Americans started to discover this new and explosive singing sensation. Due to her strong voice, torrid love affairs, drug problems, poor financial management and a large following of gays, the media referred to her as the Latina Judy Garland” (Izzy Sanabria/salsamagazine.com).
Between 1966 and 1980 she recorded around twenty albums, many for Tico. Beset by personal problems her recording career in the 1980’s stopped. “She sank into poverty due to huge contributions to the Santeria religion and enormous bills for her husband's mental health treatment; after frequent periods of homelessness, she was paralysed by a domestic accident; cured by an Evangelical preacher, she committed the rest of her life to religion until a fatal heart attack” (Musicweb Encyclopaedia of Popular Music).
The book Desmitificación De Una Diva - La Verdad Sobre La Lupe by Juan A. Moreno Velazquez (Spanish only) was published in 2004.
“Many things in the world have not been named; and many things, even if they have been named, have never been described. One of these is the sensibility - unmistakably modern, a variant of sophistication but hardly identical with it - that goes by the cult name of ‘Camp’……. Random examples of items which are part of the canon of Camp: Tiffany lamps….Swan Lake…..Bellini's opera…..certain turn-of-the-century picture postcards…..Schoedsack's King Kong…the old Flash Gordon comics….the Cuban pop singer La Lupe” (Susan Sontag, Notes on Camp, 1964).
Like Hector Lavoe, La Lupe was buried at St. Raymond’s cemetery, Bronx.
Here’s a trailer for a PBS documentary about her life:
http://uk.youtube.com/watch?v=M44O05zygHw
Former Sonora Matancera singer Myrta Silva introduces her here for a 1960’s Puerto Rican TV appearance – warning, contains high-energy performance:
http://uk.youtube.com/watch?v=3kRIV23LQyI
She does it her way here, after TV host Mike Douglas, a man with a ‘hairstyle of its day’ has introduced her:
http://uk.youtube.com/watch?v=yn1llIyL1wQ
Other happenings with no specific date:
• February 1926 Augusin Gutierrez credited with formally introducing the bongo the to the US during a Sexteto Habanero New Jersey recording session.
• February 1940 Tito Rodriguez makes his first recording, Oye mi Bajo, with Conjunto Siborney.
• February 1942 the Xavier Cugat Orchestra set off for a three month Hollywood stint. Miguelito Valdes notes “I made it my business to learn that the pictures budget allowed £2000 for me. I refused the $400 a week he (Cugat) was paying me and settled for $1500 for two weeks work. Cugat and I did not speak to each other after this”. Interstingly, Valdes’s on screen role vanished, only his voice being heard in the final cut of the film.
• February 1947 Whilst Arsenio Rodriguez was in New York City (waiting to be examined to ascertain if his eyesight could be restored) he participated in a recording session by Chano Pozo for Gabriel Oller's SMC label, which included Machito's orchestra, Miguelito Valdés and Tito Rodríguez.
• February 1948 Arsenio Rodriguez records Tumba Palo Cucuye, Apurruneme Mujer, Tintorera ya llago, Yo No Engano a las Mujeres & Tecolora under the name Estrallas del Ritmo (contract issue forced name change).
• February 1949 Jack Costanzo joined the Nat King Cole trio
• February 1963 members of El Gran Combo (Ithier, Cruz, Roena, Correa, Quiñones, Vélez, Pérez, Santos) and others, including Charlie Palmieri and Mario Ortiz, completed an early morning descarga recording led by Kako (issued under the title Puerto Rican All Stars Featuring Kako, 1965).
• February 1967 Hector Lavoe introduced to Willie Colón (also cited as June 1966)
• February 1979 Machito's daughter, Paula, made debut as Machito Orchestra lead vocalist in Helsinki, Finland
• February 1993 Fania All Stars perform under the name of Pacheco y Sus Estrellas in Venezuela – Fania All Stars registered to Jerry Masucci/Ernesto Aue, so Pacheco didn’t use the official name for this gig.
• February 2003 Ramon Sardiñas Quian “Monguito el Unico” was widely reported to have died (second week of Feb). However, in mid-June Sonny Bravo reported to the Latin Jazz e-group that he was actually still alive, it appears that his moving to California fueled these rumours
Salsa Notes are compiled, edited and misinterpreted by slaphappy – who does not expect to see his work used anywhere else without acknowledgement.
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