Salsa Central would like to apologise for the delay of this edition of Salsa Notes and hopes that the non-appearance of Salsa Notes Part 6 did not spoil your enjoyment of Salsa Notes. The Salsa Central team are committed to a providing conscientious customer interface, er, something about leaves on the line, er, your custom is important to us blah blah…here’s Part 6 which takes us to April:
16th March
1929
Singer Celina Gonzalez was born Jovellanos in Matanzas, Cuba. Known as the Cuban Queen of Country Music she is most associated with the guaracha, son and guaguanco styles. In the 1940’s she formed a popular duo with Reutillio Dominguez, who would become her husband. 1948 they began working with Nico Saquito, gaining greater national stature whilst also touring and playing in New York with the band of Benny More. She wrote many songs and her first self penned hit turned out to also be her most famous composition - Santa Barbara (aka Que Viva Changó).
"One fine day in 1948, upon arriving in Havana I went to the most well known shop which sold religious ornaments. I looked up at a particular statue which caught my eye and said: "I'll have that one". I bought the statue of a virgin which was my own size! Even today, I have kept that same statue with me, in every house I have lived in and in perfect condition. Without her, I wouldn't be the person I am. I owe my life and my victories to this saint. In my home, a colourful shrine containing the statue of Saint Barbara serves as a constant reminder of the day when in Santiago de Cuba days after I had bought the statue of Saint Barbara, she revealed herself to me and asked me to write a song about her in order to achieve success. A few days later, my husband Reutilio and I joined Nico Saquito and the song 'Santa Barbara' became a huge hit. The rest is history".
The song has been covered many times including versions by Celia Cruz, Orquesta Broadway, Meñique, Fruko and José Mangual Jr.
1945
Conga player Frank Reyes born, Puerto Rico. Has worked with Ray Rodriguez and recorded a number of albums with Wayne Gorbea & Salsa Picante.
“…our heartbeat. A great conga player with a fat tumbao... funky” (sleeve notes, Cogele el Gusto).
1950 Jose Fajardo, standing in for bandleader Antonio Arcano on flute (as he regularly did), quit the band whilst on stage – audiences had been shouting "Bravo Arcano!" and Arcano refused to let them aware that it was Farjado who was actually playing - not nice!
1952
Trombone player Marco Katz born. Played with Mon Rivera, Charlie Palmieri and Generoso "El Tojo" Jiménez, was once nominated "Trombonist of the Year" by Latin NY Magazine. Currently active in composing and arranging his own pieces/scores/lead sheets for individual student players and bands. He plays jazz trombone here:
1967 Ivan Martinez Trombone/Vocalist/Arranger/Percussion born in Pinar del Rio, Cuba. While studying at Pedagogico de la Habana (1987 -1992) he was a trombone player and musical director of the band Son Imagen, then joined Cuestión Seria, which won the 1995 Novel Orchestra award in Cuba. Internationally has played with the likes of Oscar d'Leon, La Coco Band and Wifrido Vargas. Moved to the United States in 1999 joining the Havana Boys band in Dallas as timbal player and vocalist. Now part of the group Havana NRG!
1978
Cuban singer Michel Maza (b. Joe Michel Maza Márquez) born. Played piano as a child, but is considered one of the great timba singers. Joined Charanga Habanera when he was 16, staying with the band for four years:
“Without a doubt the period marked by the singer Michel Maza was one of borderline vulgar choreography and was reflected well by a certain public; while he had a great voice his lyrics caused a strong reaction from the broad majority of the people reinforcing his image. This is something that people still talk about” (solardelatimba.com ).
Joined Charanga Forever around 1995 and since 2000 he has led two bands - Michel y la Bola & Michel y la Tentación.
“My personal opinion is that Michel Maza easily ranks among the top 5 current Cuban singers, but that since leaving David Calzado, has lacked the discipline and organizational expertise to put together and maintain a top-level group” (Majela Serrano/timba.com).
2003
At the 20th Dia Nacional De Salsa concert in Puerto Rico, Tito Rojas, described by many present as “intoxicated”, was booed off stage after gate-crashing on vocals with the Fania All Stars in front of 35,000 people. Footage of the embarrassing salsa moment have, as yet, eluded me.
17th March
1940
Panamanian bandleader/percussionist Francisco "Bush" Buckley born. Formed the band Bush y sus Magníficos in 1967 which later became Bush y su Nuevo Sonido, the band first recorded in 1969 and went on to release nine albums. Two fine compilations of this groups work are available: Lo Mejor de Bush y su Nuevo Sonido (1996) and - gasp! - Lo Mejor de Bush y su Nuevo Sonido, Vol. 2 (1998).
Recently he authored the well received book La Música Salsa En Panamá y Algo Más:
“a wonderfully conceived and handsomely designed book on the history of and influence of salsa in Panama……….this 292 page reference should be on every salsa collectors bookshelf” (Eric E. González).
1956
Musical director/timbales player/percussionist Mario Grillo born, NYC.
“Gene Krupa told me 'Kid, practice 5 minutes a day, every day'.”
Sometimes known as ‘Machito Jr’ and referred to as for the release of the 2004 The Big 3 Palladium Orchestra album Live At The Blue Note NYC, a project he is credited as being the inspiration for, he is the son of the legendary bandleader Machito:
"It was my idea to create the band, with the go-ahead from Margie Puente, Tito Rodríguez Jr. and Tito Puente Jr. The idea was to play the music of the three masters in a concert format".
Also recorded albums with the Machito Orchestra (including the Grammy nominated Fireworks and the Grammy winning Machito & his Salsa Big Band - both of which featured him as musical director - he replaced Mario Bauza in that position for albums from 1975 onwards), Dizzy Gillespie and The Village People (eek!).
He talks about his legendary father here in this Congahead.com video piece:
1920
Singer Eladio "Yayo El Indio" Peguero born in Juana Diaz, Puerto Rico. He was a much sought after coro singer and appeared on many fine albums, including:
Se Te Quemo La Casa (Orlando Marin)
Vibes Galore (Louie Ramirez)
Beethoven's V (Markolino Dimond & Frankie Dante)
El Malo (Willie Colon)
Lo Sabemos (Justo Betancourt)
Alegre All Stars albums.
He has appeared on well over 100 recordings in his career and as a dancer you will have heard him many times without necessarily shouting to your partner “hey, that’s Yayo El Indio, isn’t it?”
He’s wearing the white shirt here in this great Larry Harlow combo video:
1924
"Buyu", percussionist José Mangual Sr. born Juana Diaz, Puerto Rico. Moved to NYC when he was 14 and worked with some of the finest bandleaders in NYC at the time, including: Miguelito Valdes, Arsenio Rodriguez, Chano Pozo, Machito, Chico O'Farrill, Cal Tjader, Eddie Palmieri, Willie Bobo, Xavier Cugat, Tito Rodriguez and Tito Puente. Also worked extensively in jazz with the likes of Count Basie, Dizzy Gillespie, Charlie Parker, Herbie Mann, Erroll Garner, Sarah Vaughan, Dexter Gordon, Stan Getz, Jorge Dalto & Ray Charles.
“I owe a great deal to him for the inspiration he gave me as I watched him master his instrument. I saw in Mangual what I wanted to have, a complete mastery of the instrument and the music. In 1956, while I was still going to college and was just short of my eighteenth birthday, I saw José Mangual play for the first time…..The sight of Mangual getting so much sound and fury out of those small bongos made quite an impression on me…….I went to buy myself a pair of bongos just like Mangual's. I found that they were no longer available. The US blockade of Cuba had put an end to the importation of these find instruments. When I left the last of the music stores on 48th Street, I had already resolved to build my own pair” (Martin Cohen).
Most associated with Machito for who he played with for 17 years (1942-1959, though some sources say up until 1961) he can be heard on all of the great Machito Orchestra recordings. Participated in the instructional recording Understanding Latin Rhythms Vol .1, released in 1974 on Martin Cohen’s LP label, which also released his only solo album, Buyu, in 1977:
“José "Buyú" Mangual's elegant bongo playing is wonderfully highlighted throughout, but he really shines in the percussion-only "Summit," where goes head on with Puente and Patato. A terrific lineup makes this a very special Latin jazz release” (descarga.com ).
His sons Luis and Jose both -play percussion and lead their own bands, Jose Jr in particular creating his own high status in this music.
1948
Timbalero Changuito was born José Luis Quintana Fuerte in the town of Regla, near Havana. Also cited as 18th January. Was playing with professional bands as young as 8 years old, by the time he was 20 he had played with many bands, had been in the army and was known throughout Cuba due to his many radio and television appearances. In 1970 he joined Los Van Van and was a key figure in the development of the new sound - the songo.
Now based in the US, he made his first solo recording in 1992 and is renowned as a teacher.
“I play everything. Rumba, bembé, everything. Some people cannot understand that I play quinto, that I play drums in jazz. They can accept that I am a timbale player, a conga player, but they cannot fathom that I am a jazz musician or that at some point I can even play drums with a rock band. They cannot understand that I play bata, quinto. But it is not my fault to be able to handle everything, be that jazz, later quinto. I was born with this talent, I was born form the drum, and I play everything and can handle everything. Nature gave me this, the God who is in heaven gave it to me. The same happens to mi compadre Giovanni Hidalgo, the only percussion instrument that he does not completely master is the drum, but he masters everything else”.
1965 Manuel Hernandez, aka Manolin, born Cuba. Trained as a doctor (that’s where his “el medico” stage name comes from), started singing with NG La Banda and by the late 1990’s was leading his own band, though continued to write songs for the likes of NG La Banda, Charanga Habanera and Bamboleo. It was NG La Banda leader Jose Luis Cortes that gave him his nickneme; El Medico de la Salsa. His songs often had messages of reconciliation/friendship with those who were now based in the US, particularly Miami - something that led to some well publicised run-ins with the Cuban authorities.
In May 2001 he went to live permanently in Miami, where he still lives. He released the live double album El Puente - a song whose coro’s lyrics had previously been considered highly controversial in Cuba - based on a concert at Rancho Gaspar in Miami in 2002.
1994 Plena Libre's first public performance was held, Puerto Rico. Considered to have been instrumental in revitalising one of Puerto Rico’s native musical forms, the plena:
“Their music became so popular, that it inspired the introduction of the genre, which unto that point was considered folklore, on local commercial radio stations. Songs like "Ma–ana por la ma–ana", "El bembe de plena (Es la cosa)", "Voy subiendo", "El celular" and "A mi manera" were now on the same playlists as tropical commercial genres such as salsa and merengue” (plenalibre.com).
Over the last 12 years the band has toured internationally and received various awards and have released an impressive 11 albums to date:
Juntos y Revueltos (1994)
Cogelo que Ahi Te Va (1996)
Plena Pa'Ti (1997)
De Parranda (1997)
Plena Libre Mix (1998)
Plena Libre "Plena Libre" (1999)
Juntos y Revueltos II (2000)
Mas Libre (2000)
Mi Ritmo (2002)
Estamos Gozando! (2004)
Evolución (2005)
"It's rich music, with a lot of variety, and it's been a well-kept secret. And it's the perfect rhythm for the outside world to appreciate Puerto Rico. It's very danceable, joyous rhythm…..We try to enrich plena by taking from other types of music, as long as it doesn't clash. We've taken a merengue rhythm and put it on top of plena, and it's sounded great. We've also done a combination with Brazilian music. We all share the same African root. The possibility for combination with other rhythm and melody styles enables us to enrich what we're doing, and the result is that the frontiers for plena are expanded" (Gary Núñez).
2003 Bobby Sanabria celebrated 10 years of teaching/conducting the Afro Cuban Jazz Orchestra at the New School University (NYC).
19th March
1953
NewYor-Uba pianist Michele Rosewoman born, Oakland, CA. Worked with the Cuban drummer Orlando "Puntilla" Rios in the early 1980’s and has also played with Celia Cruz, Chocolate & Nicky Marrero among others. Formed her own band in 1983, one which uses West African (typically Yoruban) chant in a jazz context, she has recorded seven albums as a leader.
"An aggressive pianist with strong busy fingers at the service of quick, acute and creative thought, she communicates assurance and ardor whether on the cutting edge of jazz or within the mainstream. What musicianship and moving expression! Bring on the future" (DownBeat magazine).
20th March
1939 Larry Harlow, El Judio Maravilloso, was born Lawrence Ira Kahn in Brooklyn, New York. Played a variety of instruments as he was growing up (oboe, flute, violin, bass) as well as the piano for which he is famed. Was fascinated by Afro-Caribbean music and went to Cuba in the late 1950’s.
“I came from a family of musicians. My father was a continental bandleader at the original Latin Quarter in New York. His boss was Barbara Walters’ father, so we grew up together. My father sang in Spanish, but didn’t speak it. My uncles and aunts were music and theater folks, and my mother was an opera singer. My father wanted me to be a doctor or a lawyer or something, but I got accepted at the Music and Art High School on the upper west side. It was an old castle on the top of a hill, about 5 or 6 blocks from the Apollo Theater, a very multi-cultural neighborhood. I would take the train and walk through the area and in the 50’s there was a lot of Latin music, and I really liked what I was hearing” (Jacira Castro/salsapower.com interview extract).
Was a key player in the success of the Fania label, featuring in around 30 of the Fania All-Stars albums, lead dozens of recordings and produced many more - he has well over 250 producer credits in his long career.
“I was producing a record a week for five years mostly for Fania …everyone thought I owned a piece of the record company because I was always there”.
Some of the important recordings in his career IMO:
- Heavy Smokin, 1965 - his first recording as leader, Felo Brito on vocals.
- Abran Paso, 1970 - superb Ismael Miranda album.
- Tributo a Arsenio, 1971 - just after his death, one of the few contemporary tributes.
- Hommy, 1972 - ambitious Latin Opera credited with reviving the career of Celia Cruz.
- Salsa, 1973 - one of those commonly cited in the list of ‘best ever salsa albums’.
- Live in Quad, 1974 - first ever use of quadraphonic sound captured on vinyl.
- La Raza Latina, a Salsa Suite 1977 - another highly ambitious project.
- (LH presents…) Latin Fever, 1977 - one of my all time faves, hot all girl action.
- El Albino Divino, 1978 - a great Nestor Sanchez vehicle.
- Salsa Brothers, 1988 - greatly underrated album featuring brother Andy.
- Larry Harlow's Latin Jazz Encounter ‘Live at Birdland’ - his venture into Latin jazz.
- Mars Volta ‘Frances the Mute’, 2005 - guest spot with cult rock band.
“What separates me from a lot of the Latins is I have a Jewish head for business. … my band was the only one who worked for Fania who got union scale” .
Currently gigs regularly with his band, Larry Harlow and the Latin Legends.
Here’s lovely NYC 1972 B&W cine camera footage of the wonderful Senor Sereno. For added enjoyment why not play spot the afro?:
1952
San Francisco based percussionist Michael Spiro born. Has featured on many recordings including those by Orquesta Batachanga, Conjunto Céspedes, Pancho Quinto, Eddie Palmieri, Bobby Hutcherson, Orquesta La Moderna Tradición, Cachao, The Caribbean Jazz Project, Changuito, Richard Egues, Giovanni Hidalgo, Machete Ensemble, Frank Emilio Flynn, Mark Levine and Grupo Exploracion. He is a active teacher and as well as running numerous workshops has contributed to a number of instructional materials, his latest being The Conga Drummer's Guidebook, published this year.
"People have interviewed me since the late 70's. And of course one of the reasons they've interviewed me is, Oh, you're the white guy, we're interested in your perspective-and that's completely legitimate. But the thing is, about every five years Latin music is supposed to take over the world. I can't remember what the first one was, but I remember when Ruben Blades was supposed to make the whole thing go crazy. And then the film The Mambo Kings was going to make the whole thing go crazy. Then it was the lambada, then it was Carlos Santana winning 59 Grammies and he's going to get elected president and there'll be a rumba in every pot or whatever. But my experience has been that it's still music sung in Spanish-end of story. Yes, we know the Latinization of the United States of America is true, certainly in California. But most of the Latinos that live in California-unlike New York City-are not from the Caribbean, they're not really from South America. They're from Mexico, from Guatemala, from Central America. They have their own music they listen to. The truth is that my career and the careers of most of the players I know are doing no better or no worse because Carlos Santana won Grammies and the Buena Vista Social Club sold a million records" (Martin Cohen interview extract).
21st March
1944
Poet and playwright Pedro Pietri was born in Ponce, Puerto Rico.
"He embraced and identified what it was to be a Nuyorican, a Puerto Rican growing up in New York. He empowered an entire movement. ... He was one of a kind" (Aurora Flores).
He helped establish the Nuyorican Poets Café in the 1970s, published more than 20 books (poetry/plays) and released two LPs of his work. His best known work was the poem Puerto Rican Obituary (1973).
1952
Puerto Rican world champion boxer Alfredo Escalera, nicknamed "Salsero" due to his love of the music, born.
1963 Tito Rodriguez recorded Live At Birdland, NYC.
1996
Cuban pianist/composer Isolina Carrillo died. She played trumpet and piano with bands before joining Siboney, for whom she handled vocals. Became musical director of the RHC Cadena Azul radio station, before forming a touring band with husband Guillermo Arronte. Her best known composition is Dos Gardenias, which a number of sources say she wrote in 1930 - though one gives a specific first recording date of 23rd April 1947. Daniel Santos is credited with making this first recording of the song and the following from musicofpuertorico.com seems to to him nicely to Isolina at that time:
“Santos went to Cuba in 1946 when Bobby Capó introduced him to Guajiro Amado Trinidad who contracted Santos to work for eight days on a radio program called "Bodas de Plata Portagás", that featured the leading artists of the day, on RHC Cadena Azul”.
Anyway, here’s the song:
Dos Gardenias para tí
Con ellas quiero decir:
Te quiero, te adoro, mi vida
Ponle toda tu atención
Porque son tu corazón y el mío.
Dos gardenias para tí
Que tendrán todo el calor de un beso
De esos besos que te dí
Y que jamás encontrarás
En el calor de otro querer.
A tu lado vivirán y se hablarán
Como cuando estás conmigo
Y hasta creerás que te dirán:
Te quiero.
Pero si un atardecer
Las gardenias de mi amor se mueren
Es porque han adivinado
Que tu amor me ha traicionado
Porque existe otro querer.
English Translation:
Two Gardenias for you
With these I mean to say:
I love you, I adore you, my life
Look after them because
They are your heart and mine.
Two Gardenias for you
With all the warmth of a kiss
Like those I gave to you
Kisses that you will never know
In the embrace of another.
They will live beside you
And talk to you as I do
And you will even believe that you hear them say:
I love you.
But if one late evening
The Gardenias should die
It´s because they know
That you have betrayed me
And that you love another.
(Lyrics from q8restaurants.blogspot.com)
Here’s something you don’t see every day, this clip, and you really couldn’t make this up, features Latvia’s 2003 Eurovision winner Sertab Erener with her version of Dos Gardenias. This version is fine, but i’m not certain about her ‘love interest’ at the start of the video, judge for yourselves:
1998
A "Timbalero Extravaganza" to honour Louie Romero held at Mr. E's nightclub, Berkeley California.
22nd March
1877
The man considered to be the creator of the guajira, bassist Jorge Ankermann, born Havana, Cuba.
1890
Cuban composer of son/guaguanco/guaracha’s Bienvenido Julian Gutierrez born. Wrote many songs and the 1950’s Miguelito Cuni album Sones De Ayer is comprised entirely of his work, including Convergencia, Los Tres Juanes, Con Amor Todo Se, Olvida, Contradiccion & Cobarde No.
1954
Pianist/arranger Oscar Hernandez born, Manhattan
“I grew up in the hood in its heyday, which was the '60s. I was the youngest of eleven kids and all my brothers and sisters were partying to the music of the day, which was Tito Puente, Tito Rodriguez, Machito, Ray Barreto, Eddie Palmieri, Willie Colon, the whole boogaloo movement. I got to sneak into the summer clubs when I was like, sixteen, and see people like Barreto, Palmieri, Richie Ray, Colon and Héctor Lavoe. It was the music that urban Latinos were listening to-this was the music that they were partying to. All the social events, all the parties, all the clubs... we'd be hearing the music blasting from the windows and in the streets, and I was always hooked on that sound” (guernicamag.com interview extract).
Played the trumpet in his youth but soon switched to piano, getting his first break gigging with Ismael Miranda, with whom he recorded the album Asi Se Compone Un Son in 1973. Was part of the excellent Grupo Folkorico y Experimental Nuevayorquino albums Concepts In Unity & Lo Dice Todo (‘75 & ‘76) and played extensively with Ray Barretto for the remainder of the seventies and early eighties, including; Barretto Live In New York: Tomorrow (1976), Gracias (1978), Rhythm Of Life (1982) and Celia Cruz, Adalberto Santiago, Ray Barretto: Tremendo Trio (1983).
Was Ruben Blades/Seis Del Solar pianist, arranger and musical director in the 1980’s and played with Libre in the 1990’s. He has also performed/recorded with the likes of Tito Puente, Johnny Pacheco, Pete" El Conde" Rodriguez, Oscar D'Leon, Luis "Perico" Ortiz and Africando. Most recently he has appeared on the 2005 3D album Ritmo De Vida as well as with the Grammy winning Spanish Harlem Orchestra, for whom he was music producer as well as pianist/arranger on both CD’s.
“My outlook is not about having limits. I mean, there are certain music that I don’t excel in, but I just look at everything as a challenge and I try to meet those challenges, sometimes it is not always an easy thing to do. I just try to get creative. I would say certain things are out of my league and that can give me a difficult time, but I would just try to attack that challenge to the best of my ability” (Sharon German interview extract/La Voz del Mambo).
He has a very nicely presented website, www.oscarhernandezmusic.com, which is certainly a vast improvement on the previous version.
1910
Singer Alfredo Valdés born Havana, Cuba. Worked in Cuba with Septeto Nacional, Hermanos Castro, Orquesta Casino de la Playa and Abelardito Valdés.
“Ignacio Piñeiro the bandleader of the group (Septeto Nacional) my father worked in was black. My father played clave and sang. What helped him in those days of segregation in Cuba was the fact he was a light skinned black. Had he been black, black, black, he would have never got the position. He looked a little bit like Cab Calloway. There was that same parallel there. He looked white from far, far away. When you approached him you noticed his African features. Being in the band meant that he was the voice of black Cuba trying to cross the bridge. He sang black music to everybody. He sang stuff composed by Ignacio, who composed some 3000 tunes. My father knew these tunes. He grew up with this stuff. No one else stayed with the band as long as he did (pianist/arranger/composer Alfredo Valdés Jr, extract from a John Child interview).
Moved to NYC in the 1956 and recorded with Tito Puente as well as leading his own band, Alfredito Valdés y su Charanga Popular.
1949
Singer Jose Orlando Castillo Montserrat Delgado (aka Orlando Castillo "Watusi") born San Felipe, Yaracuy State, Venezuela. First sang with Sexteto Monterola in Caracas before working with other Venezuelan bands, including Los Satelites, Los Dementes, Porfi Jiménez y su Orquesta and Federico y su Combo Latino. In the late 1970’s he moved north to play with bands in NYC and Puerto Rico such as Cortijo, Bobby Valentin, Kako, Joe Cuba and Libre. Was with Bobby Rodriguez y La Compania 1983-85 and 1985-87 performed with Ray Barretto, Tipica ‘73 and Eddie Palmieri.
Released three solo albums: Ustedes Mi Rumba y Yo (1981), Barrio (1992) and Como Nunca (1993). Does not seem to have recorded much in the last decade but can be found on the 1996 Gerardo Rosales album Venezuela Sonora and the 2001 Alfredo Naranjo y Guajeo album A Las Seis Es La Cita: Un Tributo a Joe Cuba.
1979
Pianist/songwriter Helder Rojas Varona born, Cuba. Known for utilising a particularly jazz oriented piano sound in his performances he can be heard playing with Charanga Habanera on the albums El Ciclon De La Habana, Chan Chan Charanga, Live In The USA & Light and with Haila Mompie on the 2005 release Diferente.
24th March
1954 The Manteca Suite, landmark Afro-Cuban jazz record, was recorded by Dizzy Gillespie, 19 sidemen, and Machito's rhythm section. The sixteen and a half minute piece was written by Chico O'Farrill and is comprised of; I Manteca Theme, II Contraste, III Jungla, IV Rhumba, Finale Parts 1 & 2. Available on the compilation album The Original Mambo Kings: An Introduction To Afro-Cubop 1948-1954 (1993):
“This is the vinyl history of Latin jazz in its infant stage. It includes 'Tanga,' the first Afro-Cuban jazz recording in 1943, the first Cuban descarga 'Con Poco Coco' by Bebo Valdes in 1952, and Dizzy Gillespie's 'Manteca Suite' (Max Salazar)”.
Here’s one for the kids, a hot funky house (possibly) version of manteca:
1935
Johnny Pacheco born, Santiago de los Caballeros, Dominican Republic. His father, bandleader/clarinet player Rafael Azarías Pacheco, led the Santa Cecilia Orchestra, one of the best known Dominican bands of its day. In 1946 aged 11, Pacheco family moved to New York. In his youth he played accordion, violin, saxophone, clarinet. And percussion, not switching to his trademark flute until later.
At a Bronx high school he formed a mambo band in 1954 which included Barry Rogers and Eddie Palmieri and later performed in a quintet with Charlie Palmieri, with whom in 1959 formed Orquesta Duboney which signalled Pachecos move to flute.
In 1960 he organized his own band, Pacheco y Su Charanga, the first to release an album on Al Santiagos Alegre label with the release of Johnny Pacheco Y Su Charanga Vol. 1 (regularly cited as having sold 100,000 copies).
"At that time, I was so in love with the Sonora Matancera that I wanted to form this type of group, and I started doing different arrangements and different voicing on the horns. And I used to love Arsenio [Rodriguez, blind Cuban tres player]. So I said, 'you know, the combination between Sonora and Arsenio using the tres will give me a nice sound'.” (salsa talks.com).
In late 1963 he met with Jerry Masucci and they created Fania Records, the 1964 Pacheco album Canonazo, with Pete "El Conde" Rodriguez on vocals, being the labels first release - 325 is that albums catalogue number and is based on the birth date of Pacheco.
“Their goal was to run a label that would promote salsa as a youth-oriented pop trend every bit as modern and accessible as Motown or the British Invasion. Masucci handled the contracts and Pacheco handled the music; DJ wrangling and hand distribution of albums to mom-and-pop stores was shared. "We took the Cuban music and gave it a face-lift--a different approach and a more progressive sound," says Pacheco. "We grew up in New York listening to rock and jazz, so we'd dress up our arrangements. We put the rhythm section up in front because we were used to rock-group drums--you know, that heavy sound." (Carol Cooper, Village Voice).
In 1968 a concert involving some of the labels artists was held and recorded at the Red Garter which became a prototype for the Fania All-Stars band.
“a lot of things happened that night….one of the things that happened that was not expected was that Symphony Sid said, “Here’s the maestro,” and he wanted me to introduce the guys. All of a sudden I introduce the guys and each guy, I started giving them a nickname. “El Niño bonito” was Miranda, “El Malo” was Willie Colón, and I kept introducing the guys, giving them these names which have stuck till this day…..when I saw them something flashed and I came up with the thing. “El Niño mimado," which was the baby of Puerto Rico, was José Feliciano. “Manos duros," Ray Barretto. And I kept talking and I don’t know how many I named” (descarga interview extract).
As the Fania musical director Pacheco has been involved in all of the All Stars greatest albums and he has written more than 150 songs including such well known ones as Quitate Tu Pa' Ponerme Yo, El Rey de la Puntualidad and Acuyuye. His latest album as leader was Entre Amigos, released in 2005.
Top footage alert! Pacheco (here with purple shirt, on backing vocals) with Pete “el Conde” Rodriguez AND Victor Venegas on baas AND the might Hector Rivera on piano. It may be only the start of the song but even so, if you don’t enjoy this then you must be dead:
1938
Anacaona, led by Alberto Socarras, embarked on a European tour including London and Paris.
1974
Singer/songwriter Aned “Cinturita” Mota Centeno born Havana, Cuba. Husband of singer Haila Mompié, he sang with Los Chicos de la Salsa and La Farandula before joining what is considered to be “the new” Charanga Habanera in 1998. He can be heard on the albums Charanguero Mayor (2000), Chan Chan Charanga (2001), Live in the USA (2002), Light (2004) and most recently El Ciclon De La Habana (2006). Also recorded with Calixto Oviedo on La Recompensa in 2000 and Haila for Diferente in 2005.
1989
Diego Gale formed Colombian salsa band Grupo Gale in Medillin.
“I don’t know if Diego Gale has made some sort of deal with the devil, but the use of black magic seems like the only explanation: This guy has been granted the gift of salsa - everything he is involved with turns to dance music gold” (Bruce Polin).
The band has released around 20 albums, including several hits compilations.
“Their music features a strong emphasis on up-tempo, danceable, salsa rhythms. The band has found great success back home in Colombia and has played to enthusiastic audiences all over the world. Their songs can be found on the top charts all over the world - especially in Europe” (salsaartists.com).
2001
"El Dia de la Salsa" was celebrated at Plaza Carolina in Carolina, Puerto Rico and dedicated to Rafael Cortijo and Tite Curet Alonso "for their lifelong work in bringing the music of Puerto Rico to the world". El Dia de la Salsa celebrates its 25th anniversary this year.
Here, someone tunes into their radio for last years big event. Personally, I would have added a little more for the viewer, perhaps a cup of steaming coffee or some such distraction:
2003
The Battle of The Latin Pianos, billed as featuring the bands of Eddie Palmieri and Larry Harlow, turned into a one sided affair after NYC host club Copacabana cancelled Harlows band, though only told them when they showed up for the gig.
26th March
1921
Pianist/composer/bandleader Joe Loco born (b. José Estevez Jr), Manhattan, NYC. Played violin and trombone in his youth before moving to piano. Also a dancer, Danced with Chick Webb's band (featuring Ella Fitzgerald) at the Apollo Theatre.
Played piano with bands of Ciro Rimac, Happy Boys, Enric Madriguera, Xavier Cugat, Machito and joined the resident band at the Copacabana club in 1947, which included one Tito Puente. Also played with Pupi Campo, Julio Andino and by 1951 was recording as leader of his own band. Moved to the West coast and recorded a dozen or so albums under his own name.
“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 ‘this isn’t right’ insert - surely both Pupi Campo and Tito Puente, at least, pre-date this mambo claim: end of slap ‘this isn’t right’ 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.
27th March
1923
Saxophonist/violinist Jose "Chombo" Silva born Baracoa, Oriente, Cuba. Played in Cuba with the bands of Peruchin and Beny More and in the US with Cal Tjader (Los Ritmos Calientes in 1957 alongside Mongo Santamaria, Willie Bobo and Armando Peraza and Tjader Goes Latin & Black Orchid, both in 1958). With Mongo Santamaria he played both violin and sax on the 1959 album Sabroso!
"When Chombo began to play violin with La Sabrosa, he had not played that instrument for about twenty years. Chombo studied the violin as a child in his native Oriente Province, but later concentrated on the saxophone" (Mongo Santamaria).
Appeared with Ray Barretto on Latino in 1962, also played with Kako, Alegre/Cesta All Stars, Chihuahua Martinez, Tipica Ideal, Charlie Palmieri, Rafi Val y La Diferente, Joe Loco, Africando, La Sensual, Johnny Pacheco, Pupi Legarreta and released his only album as leader, Los Hits De Manzanero En El Saxofon De Chombo Silva, in the 1960’s.
The 2000 album Rumbajazz: Tribute to Chombo was initially a project that was supposed to feature Chombo and the Fort Apache band, though his death turned the album into a tribute with David Sanchez taking the saxophone spot.
1960
Percussionist/trombonist/bandleader William Cepeda born Loiza, Puerto Rico. Working mainly in jazz he has appeared on over 100 recordings and has worked with the likes of Oscar D’Leon, Paquito d'Rivera, Celia Cruz, Eddie Palmieri and Tito Puente. Leads his own band, Grupo Afro-Boricua, describing his music as ‘Afrorican Jazz’.
“A lot of Latin Jazz is based on Cuban rhythms, so that's what people tend to expect. My work is very difficult to describe - the base isn't Cuban. It's Puerto Rican. My foundation is the traditional music of Puerto Rico, whatever I put "on top" is a blend of different expressions and impressions of my experiences. I've added jazz harmony, more complex and developed melodies, as well as more contemporary melodies”.
" I wanted to do something different. For many years, there has been the fusion of Cuban rhythms with jazz. I love that music, but I wanted to create something totally from my roots. The music on My Roots & Beyond tells the story of where I come from and the traditions and history of my people. No one has heard music quite like this."
"Traditional Puerto Rican Music is often presented in a very simple manner, typically with only voice and percussion. Until now this music has not been heard much outside of Puerto Rico. I have brought this rich heritage to another level, to a wider audience, using a variety of authentic instruments and remaining true to the tradition. I've added more fire to the music, in the form of modern beautiful music for many, many people to enjoy”.
Here he is, mid-1980’s, with the band Zaperoko, who would later merge with Truko to form, can you guess?…yes, that’s right!...Truko y Zaperoko. He’s the middle of the three trombone players here:
28th March
1941
Two of Cugats biggest hits, Yo Ta Namora and Anna Borroco Tinde recorded by Cugat Orchestra.
1963
The album “Vicentico Valdés con trompetas y violines” recorded.
1964
The Cuban Music Recording and Publishing Company/Empresa de Grabaciones y Ediciones Musicales - EGREM - was created.
"Our policy in the beginning of the enterprise was to diversify the musical product and to make it available for every Cuban. And so it turned in to a cultural enterprise as such" (Sales Executive, Asnel Corrales).
Originally run out of the older Panart studio (San Miguel, Havana) which was created in 1944, Egrem now has five recording studios, three in Havana, one in Siboney, Santiago de Cuba, and a Mobile Studio for concert/on-location recordings.
“In the centre of Havana there's a vintage 1940s recording studio. To reach it a guide takes me through a building. The entrance is dark and dingy. A sleepy receptionist sits behind the front desk. We cross an open walkway several floors up. Rain pours down heavily against the crumbling masonry. We walk through a poorly lit hallway.... And finally we reach it: a wood-panelled studio with creaking floor boards, peeling paint work and a legendary status all of its own. This is EGREM. This studio is where almost where almost all of Cuba's great musicians have recorded for more than sixty years….. Even American performers Nat "King" Cole and Josephine Baker poured out their hearts here. That was before the revolution. This studio is the home of the first recordings of orisha chants and the cha-cha-cha….” (Lisa Mullins/BBC World Service).
Including the Panart masters there are an estimated 10,000 master tapes in the Egrem archives, a great deal of which have only been released in relatively small numbers on vinyl or cassette. In the last few years Egrem has gone from having a monopoly on Cuban releases to having competition with a number of small Cuban labels springing up, such as Juan de Marcos Gonzalez’s DM Ahora! label.
“Cuban musicians may now have the right to earn money, but they have to watch their behaviour. The state apparatus still controls most aspects of production, from issuing musicians' visas to the release schedules. And, of course, checking cultural imports. Within this system, Egrem maintains its position by offering good sales prospects via its chain of nightclubs and record shops, although asking Egrem for sales figures is about as fruitful as requesting Fidel's mobile number. What does a hit CD sell? "Don't know, maybe 10,000 copies?" Calzado hazards. But it's clear that, at $15 each - two months' wages to the average Cuban - most sales are to tourists. Only the street stalls selling pirate copies for $2 attract Cuban clients. All commercial releases ultimately focus on the foreign buyer” (Phil Sweeney).
"Egrem is like home. It's the place where almost all the Cuban musicians have recorded their feelings, their passions and their music. Egrem is part of each and every Cuban artist of the 20th century" (Chucho Valdes).
29th March
1924
West coast Latin radio pioneer/promoter Lionel “Chico” Sesma born, Los Angeles. Played the trombone with several big bands and got his first radio show in 1949 on KOWL with his show Con Sabor Latino and in 1959 he moved to KALI with the show Sesma's South of the Border.
“So my friend and the station management came up with the idea of trying to reach out to young Chicanos with a bilingual format. I was given an audition and from there a crash course in radio. I started two weeks later with a half-hour slot in the afternoon, Mondays through Fridays, between 3-3:30 p.m. I played mainly American music with a couple of Latin-flavored things by Tito Puente, Machito or Vicentico Valdés. Sometimes I'd slip in Los Panchos or Lucho Gatica. I stayed away from the hit parade sound and played Billy Eckstine, Jimmy Lunceford, Duke Ellington, Herb Jefferies and T-Bone Walker. The idea of the bilingual format caught on. Within six months, it was an all-Latin show and now one hour long. Within a year, it became a three-hour program. No one had ever thought of reaching out to this market because we were stereotyped, as we still are, as being exclusively Spanish-speaking”
As a promoter he is best known for organising the Hollywood Palladium events that ran from 1954 to 1973 and showcased the talents of Pérez Prado, Benny Moré, Joe Loco, Tito Puente, Machito, Celia Cruz, René Touzet, Orquesta Aragón, Charlie & Eddie Palmieri, Sonora Matancera, Rolando Laserie, Ismael Rivera and Johnny Pacheco.
“We were one of the very few families here in Norwalk that had anything to do with Latin music. My sisters used to listen to Chico Sesma on the radio. He had a program called Con Sabor Latino. I used to hear that almost every night. At the time four of my sisters were living at home in one room, so they were all like in their teens and really got into that. Nobody else in the neighborhood was into that music. Everybody else was into doo-wop and oldies-but-goodies. But my sisters would hear the music every day” (Poncho Sanchez).
1930 Mario Bauza left Cuba for New York aboard the SS Oriente. Played clarinet and oboe with the Havana Philharmonic before moving to NYC, where over the next ten years he would have a profound impact on the development of New York Latin music. Joined Noble Sissle in 1932, playing trumpet, was musical director for Chick Webb for five years from 1933, working afterwards with a number of bands including Dizzy Gillespie, who he would introduce Chano Pozo to. Became musical director for Machito's orchestra 1941-1976.
“He became musical director of the Chick Webb Orchestra and helped convinced Webb to hire Ella Fitzgerald as his lead singer. He went on to play with Don Redman and Cab Calloway, convincing the Hi De Ho man to hire Dizzy Gillespie in his orchestra” (sleeve notes from Afro-Cuban Jazz).
Here’s one of his many compositions, recorded and performed by many artists down the years. The band is that of Eguie Castrillo and the song is Mambo Inn:
1949 Desi Arnaz released Holiday in Havana, the title track from the 1948 Columbia film of the same name. I’ve never seen this flick but from the following outline it might make a perfect Ben Affleck vehicle should a dubious remake be on the cards:
“Carlos Estrade (Desi Arnaz), a busboy in a Cuban hotel who wants to become a composer, is rebuffed by Mama Valdez (Minera Uracel) when he tries to get her daughter, singer-dancer Lolita Veldez (Mary Hatcher), to use one of his songs. Carlos thinks Lolita, who he has not met, is the one who turned him down. He unexpectedly becomes the leader of the hotel band, and they set out for Havana by bus to find a singer and dancer to join them in the grand rhumba contest at the annual carnival. Lolita, who has her heart set on winning the contest, slips out of her hotel and heads for Havana in a car driven by an American agent, Marge Henley (Ann Doran), who is trying to sign her up. With the police, called by her mother, in pursuit she abandons the car and catches the band bus and, under an assumed name, persuades Carlos to take her to Havana with the band. Later, learning her true identity, Carlos cools toward her. Will they clear up the misunderstanding? Will they win the big contest? Will romance conquer all?” (Les Adams for imdb.com).
1967
Son singer/songwriter Jose “Cheo” Marquetti died, Havana, Cuba. Brother of composer Luis Marquetti, he recorded in 1936 with Bienvenido Granda for Septeto Nacional and worked in the late 1930’s with Septeto Cauto De Manuel "Mozo" Borgellá and with Chappottin y sus Estrellas in the 1950’s. Also worked with Cheo Belén Puig, Ernesto Muñoz, Septeto Cauto, Septeto Facenda, Septeto Habanero, Orquesta Sensación and René Álvarez before leading his own band, Cheo Marquette y su Conjunto (with guitarist Walfrido Guevara as musical director), in the mid-1950’s.
As a songwriter was responsible for Oriente, Pinareño, Sonero and Amor Verdadero among many others.
1968
Colombian singer Yolanda Rayo born Bogota, Colombia. Began her career as a pop singer and has appeared as an actress on Colombian TV - the 2000 album ‘Yo Soy Betty, la Fea’ is based on a Colombian soap opera of the same name, in which she starred. The album version I have is not the one available from descarga which appears to have five versions of the same song on it - not something I could recommend. This doesn’t sound promising, I know, but rather than the limp-poppy voice you might be expecting she can actually belt them out with the best. Her 1997 album Homenaje a Celia Cruz y Celina Gonzalez and Yo Soy Betty both contain evidence of a fine salsa singer in action.
Here she features in a nice cheesy Colombian video for Yo Soy Betty:
1973 Larry Harlow's Latin Opera Hommy had its first stage presentation at New York's Carnegie Hall.
“Before the initial performance of "Hommy", Latin music had never been presented in a general market venue, especially in concert format. Celia Cruz was brought out of her retirement in Mexico to sing a song written especially for her. She eventually signed with Fania records establishing her place in contemporary Salsa music. The presentation of "Hommy" was the first time Latin music was performed by a symphony orchestra. The recording of the opera was the first time a "concept" album was done in Latin music” (Larryharlow.com ). You might have heard him thanking The Who’s Pete Townsend for the inspiration for this (Tommy, obviously) on his recent Later With Jools Holland performance.
As well as Celia Cruz featured singers included Junior Gonzalez, Pete “El Conde” Rodriguez, Adalberto Santiago, Cheo Feliciano and Justo Betancourt. Plans for an updated version in 2001 didn’t come off but the following were among those pencilled in for performances: Ruben Blades, Elvis Crespo, Victor Manuel, Gilberto Santarosa, La India, Cheo Feliciano, Adalberto Santiago, Michael Stuart, Junior Gonzalez, Nestor Sanchez, Yomo Toro, Giovanni Hidalgo and Eddie Zervigon. Five years on I wonder which of those would have to be re-cast (Nestor Sanchez obviously and Ruben Blades now he’s got a real job….)
1981
Original member of Trio Matamoros, clave/maraca player/singer/songwriter Siro Rodriguez died, Havana, Cuba. His work is inextricably linked to that of fellow band members Miguel Matamoros and Rafael Cueto.
1990
Singer Gilberto Santa Rosa signed for Sony. He has remained with Sony ever since and among the many albums he has released for them are the well received A Dos Tiempos De Un Tiempo, a tribute to Tito Rodriguez in1992, En Vivo Desde El Carnegie Hall (1995) and his most recent album Directo Al Corazón released in 2006.
Here he is, filmed by fan-corder, a few months ago:
2006
Bronx born radio DJ Rae Arroyo died at home in Las Vegas, Nevada. Producer of the show Latin Connection for 12 years Her passion for Latin Jazz began when she was eight years old, growing up in the Bronx. She spent a lifetime bringing this special music to radio audiences from Mission Viejo, CA to Roanoke, VA. KUNV was honored to call her a colleague and proud to share her passion. Her last show (at least for WNCU / 90.7fm) will air tomorrow (Friday31) night from 8 to 10pm eastern time. (She was able to send the CDs to us right before she went into the hospital.)
“We have truly lost a legend in the world of radio today” (Bob DeSena).
(yes, the Mc does look like Simon Pegg off Shaun of The Dead, but it isn’t him)
30th March
1949
RCA Victor signed a contract with Perez Prado that allowed for international release of his music. The two years prior to this date saw Prado tour extensively (Argentina, Panama, Venezuela and Puerto Rico) before settling in Mexico. Prado had contracted to record with RCA Mexicano and had released a number of 78’s that included singer Benny More. By December he would make his first recordings, Mambo No.5 and Que Rico el Mambo aka Mambo Jambo.
Here’s colour footage of PP with one of those first releases, Mambo No.5. Isn’t it great to see Rumba Shirts in colour?:
1967
Pianist composer Juan Carlos Alfonso born Bejucal, Havana, Cuba. First played with Conjunto Colonial de Neto Sosa then Conjunto Alborada, Miguel Chávez and Orquesta Sensación before becoming pianist and arranger for Orquesta Reve, with whom he recorded four albums. Formed his own band, Dan Den, in December 1988 - a 20th anniversary would be, er, now! Among their many albums are:
Siempre Hay Un Ojo Que Te Ve (1990)
Más Rollo Que Pelicula (1991)
Amame con tu Experiencia (1992)
Dale Al Que No Te Dió (1993)
Viejo Lazaro (1993)
Mi Cuerpo (1996)
Son Cubano a lo Dan Den (1996)
Salsa En Ataré (1998)
Mecanica Guapa (1999)
Dale Campana (2002)
Pasión (2004)
“Dan Den has its own sound, based around the instantly identifiable keyboard figures of Alfonso, repeating, shuffling, and always moving the rhythm forward” (Peter Watrous).
1907
Legendary trumpeter Felix Chappottin born, Cayo Hueso district of Havana, Cuba.
“(he) almost single-handedly established the renowned septeto trumpet style (and….) became the most famous Cuban trumpet player when he was featured with the most celebrated group of the 1940’s, the conjunto led by Arsenio Rodriguez” (Rick Davies).
Played with youth orchestras before joining professional bands Sexteto Colon and Septeto Habanero in the late 1920’s and with a number of bands in the 30’s including Jovenes del Cayo, Sexteto Bolona, Carabina de Ases and Orquesta America. Played in Conjunto Azul with Chano Pozo from 1940-1943 (according to Ned Sublette Chappottin & Pozo “grew up together in the same household”), then joined Arsenio Rodriguez and his famed conjunto until the bandleader left for NYC in 1948 to explore the possibility of regaining his sight. In 1950 Rodriguez decided that his All Stars band should be handed over to Chappottín, his first trumpeter, and pianist "Lilli" Martinez - musical director. The band was renamed Conjunto Chappottín y sus Estrellas and retained the same personnel, adding singers Miguelito Cuní, René Alvarez and, at times, Cheo Marquetti.
“There are artists that are on top of the charts that if you were to ask them who Chappottin is, they wouldn't be able to answer you. Most of the new guys are just singers” (Domingo Quiñones).
“Félix Chappottín's famed trumpet artistry, forged the classic brass sound that infuses all Cuban music, salsa and Latin popular dance” (rootsworld.com).
Other happenings with no specific date:
• March 1934 A few months after first receivinga flute Jose Fajardo makes a debut of sorts with his sisters band, Orquesta Ilda, comprised mainly of young family members
• March 1942 Tito Rodriguez joins Xavier Cugat Orchestra as a singer/percussionist, replacing Miguelito Valdés
• March 1952 Orquesta America create entire sets with the new cha cha cha genre, said to be the first band to do this
• March 1954 Cal Tjader became the first in Latin music to list the names and photos of sidemen on recordings (on either Tjader Plays Tjazz or Mambo With Tjader, anyone know which one?): Alegre Records label founded in 1956 by Al Santiago also cited as the first to list the names of sidemen
• March 1964 Fania Records formed by Johnny Pacheco and Jerry Masucci (full catalogue contains 836 releases) - has been cited as happening on JP’s birthday, 25th March
• March 1976 Premier of the Larry Harlow inspired movie Salsa
• March 1988 Joe Loco died second week of the month (Salazar)
• March 1995 Cachao receives Grammy for Master Sessions; Volume 1
• March 1996 Nick Gold and Juan de Marcos Gonzalez produced Buena Vista Social Club album recorded at Egrem studios, Havana. At the same time A Toda Cuba le Gusta, Afro-Cuban All Stars first album, also recorded
• March 1999 Wayne Gorbea & Salsa Picante completed a sellout seven date UK tour
• March 2001 Salsaartists.com was officially launched
• March 2001 SonSublime debut CD, Irresistible, released
• March 2001 Edmundo Ros awarded the Order of the British Empire (OBE) by Queen Elizabeth II
Salsa Notes are compiled, edited and misinterpreted by slaphappy – who does not expect to see his work used anywhere else without acknowledgement.
