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Salsa Notes Part8 (Apr 16th to 30th) |
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Written by slaphappy
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Monday, 21 April 2008 |
Here is part 8 of our Salsa Notes:
16th April
1899
Percussionist/bandleader Consejo Valiente Robles born Santiago de Cuba. Known as “Acerina” he led the band Acerina y su Danzonera, a band which celebrated its 70th anniversary in 2003 with the release of 70 Anos Peerless Una Historia Musical... on the WEA Latina label.
1962
Educator-author pianist/composer/arranger Rebeca Mauleón born. Known for her excellent musical books 101 Montunos, Muy Caliente, Salsa Guidebook and the Latin Real Book she is a professor of Latin American Music at City College of San Francisco and guest lecturers at U.C. Berkeley.
“There's no way to fully appreciate or assimilate a musical style without knowing some of its history. I would encourage students to take my Latin American history class, to gain an appreciation for the diversity, complexity, and the connections between the music and its history. For example, anybody who wants to study jazz has to know its history; the difference between Dixieland and Ragtime, bebop and cool. There's no way to fully be a strong jazz musician without knowing the stylistic difference that happened historically. The more you know of it, the deeper experience you bring to your interpretation. That also goes with studying the repertoire. If you have a historical understanding of the music, you can go back and draw from your knowledge. People who know the music will appreciate that you have listened and studied”.
The basics of Latin music are explained by her here:
http://www.youtube.com/watch?v=dafWseVsJCY&feature=related
As a recording artist she has worked with the likes of Changuito, Pete Escovedo, Carlos Santana, Cachao, Giovanni Hidalgo, Carlos PatatoValdez and Tito Puente with whom she recorded on albums such as Royal ‘T’, Goza Mi Timbal, Salsa Meets Jazz and Un Poco Loco.
"It was daunting when I came into the recording sessions with all these New York salsa-heads. I was quite young. But once you prove your stuff everything is fine with the world".
Her solo releases Round Trip (1999) and Latin Fire (2004) & Descarga en California have been well received.
See her in action here:
http://www.youtube.com/watch?v=guftlfcOIOA
1995
Cuban musician Alberto Iznaga died after a long illness, Bayamon, Puerto Rico. Iznaga came to the US from Cuba in 1929:
“Since his teens, Iznaga had seen racist attitudes at work and heard the many plausible excuses used to deny black Cubans the inalienable rights of man. Throughout Cuba, blacks were denied lodgings at hotels. Santa Clara's Vidal Park was segregated. Whites were the only people permitted to walk inside the park. Although Afro-Cuban musicians entertained at a few clubs, they could not socialize with the patrons. During a break, a musician either stayed in the kitchen or off the premises until it was time to perform again. Afro-Cubans were denied entrance to all the prominent entertainment spots because all of the tables were reserved for members only. To get a university scholarship, to get a bed in a good hospital, brown and black Cubans had to have political patronage” (Salazar/Latin Beat magazine).
He played with Vicente Sigler, Augusto Coen and Xavier Cugat and led his own band La Siboney - one of the great early Latin NY outfits which has featured Machito and Johnny Nieto among many others. Played as a member of the first recognised charanga in the US, Orquesta Gilberto Valdés.
"Being a musician has been frustrating at times, but it has been good for me. . . I earned $260 a week during the '40s, banked $10,000, always had a new car and learned from Demetrie Vladescu that not all white people are alike. I've made many white and black friends during the course of my career. . . today I am not bitter toward anyone".
1999
Tipica '73 25th anniversary concert held, Luis Muñoz Marín Amphitheatre (Now the Teatro Tito Puente), Puerto Rico. This gig was one of a series of 25th anniversary reunion gigs held during the year and the musicians involved (not all played all gigs) included Tito Allen, Azuquita, Nestor Sánchez, Jose Alberto, Adalberto Santiago, Sonny Bravo, Nicky Marrero, Cachete Maldonado, Héctor Zarzuela, Jorge Luis, Pete Miranda, George Delgado, Jerry Madera and Ricardo Pons. The concert was issued on Sony as Tipica 73: Live in 2003.
Nice 70’s footage here:
http://www.youtube.com/watch?v=CJw4VpbHmlo
17th April
1887
Flautist, saxophonist Aniceto Diaz born Matanzas, Cuba. He was a member of Orquesta de Failde, the band that is credited with introducing audiences to the danzon with their Las Alturas de Simpson and is known as the creator of the Danzonete with his composition Rompiendo la Rutina. First performed in Matanzas in 1929, the danzonete blended the danzon with son.
1914
Bandleader/tres/bass player Leo Fleming born St. Thomas (I think, but it might be ‘the other island’ St. Croix), Puerto Rico. Has been playing professionally since 1932 (quite possibly the oldest active musician around at the moment) and has worked with Hermanas Sustache, Cuarteto Mayari, Alma Juvenil, Orquesta Havana Madrid, Alfarona X, Mon Rivera (was with him for 16 years and recorded Lluvia con Nieve among other hits songs), Eddie Palmieri, Joe Valle, Tito Puente, Orquesta Sensación, Chihuahua Martinez, Orquesta Metropolitana and Belisario López.
Known currently for being a member of Soneros de Oriente “….started by percussionist and musicologist, Armando Sánchez to fill a void in New York in the early 1970s, music that was a throw back to the septets. It was called Son de la Loma. At the time of Armando’s passing [slap insert: Sanchez died in 1997], the musicians decided to continue under the name Soneros de Oriente” (worldmusiccentral.org).
“These Cuban and Puerto Rican musicians delight audiences with the upbeat rhythms of their unique brand of Son music” (newyorkmetro.com).
He can be heard on the albums Armando Sanchez y su Grupo Son De La Loma (Caiman label,1996), Los Soneros De Oriente y Miguel Quintana: No Me Asusten Mas (Fania, 2001 - sadly Quintanas last recording) and Los Soneros De Oriente y Héctor Casanova: A Las Orishas (Bedford Music, 2003).
1947
Home of Mambo, The Palladium Ballroom, NYC, had it's license approved.
“The area was a musician's paradise, with the Palladium on West 53rd Street and Broadway, and the jazz clubs on West 52nd Street – Birdland, The Onyx and CuBop City. You never knew what nuances would be occurring on any given night or who was going to show. The Palladium also became a showcase for many new dance rhythms such as the cha-cha, the merengue and the pachanga. They became just as popular with the masses as the mambo. The Palladium also succeeded in attracting famous musicians from Cuba and Puerto Rico – Jose Fajardo, Orchestra Aragon, and Cuba's great Beny More; and from Puerto Rico: Cortijo and Ismael Rivera, Cesar Concepciõn and many others. The Palladium was very exclusive. To perform there you had to audition, and then only the very best were received with open arms to play there” (Joe Conzo).
“The place would open around 8pm. Killer Joe Piro would give Mambo lessons and Cha Cha lessons until 9pm and then the band would come on. The band even played for the lessons. Nowadays they play recorded music for the dance lessons. But back then I don’t think they had DJs playing in between the bands. I remember waiting for the bands to come on. There were benches along the left hand side of the club for audience to watch people dancing. You would be right in the middle of the action with people dancing in front of you…..Every night there would be two bands and each band would play two sets. So the bands would start playing at 10pm and the club would close at 4am. On Wednesday nights at 11 pm they would have a Mambo contest. Dottie and I were among the sets of couples that were in the Mambo contest. We would dance with numbers tacked on our backs. People from the audience acted as judges and these audience members would select who they thought were the best dancers. We were paid every Wednesday and if you won, you got an extra $5.00. We weren’t really amateurs. We were just part of the show. The Wednesday night show was very popular. I met lot movie stars at the Palladium including Marlon Brando, James Dean and Sammy Davis Jr.” (Ernie Ensley/salsa roots.com).
Well known dancers from the 50’s heyday here, though not classic B&W footage, first Cuban Pete & Barbara:
http://www.youtube.com/watch?v=uzULFRIp7pE
…followed by Freddie Rios & Mike Ramos with very nifty footwork:
http://www.youtube.com/watch?v=wVo5Zm4veqo
1950
Singer/guitarist José 'Maceo' Antonio Rodríguez Aguilera born Holguin, Cuba. Moved to Havana while he was young and met Juan de Marcos Gonzales at university with who he would go on to co-found Sierra Maestra, a band which debuted in 1976 whilst the members were still at university. The band initially utilised the traditional son line-up, releasing their first album, Sierra Maestra Llegó con el Guanajo Relleno, in 1981 and touring Nicaragua and Angola, later Spain, France and Scandinavia. Recorded around ten albums on Egrem/BIS such as Y Son Asi (1982), Las Impuras (1983), Coco Mai Mai, Guanajo Batido, Viaje a La Semilla, Para Tu Altar, Con Sabor a Cuba and Criolla Carabalí (both 1994) before signing to Nick Golds World Circuit label in 1994, releasing Dundunbanza album - said to be a key pre-cursor for the later BVSC sessions.
Rodriguez was known by the nicknames Maceo and El Pequeño Gran Sonero and outside of Sierra Maestara he recorded with Rubén Gonzaléz, Ibrahim Ferrer and the Afro-Cuban All Stars and with the band he recorded Tibiri Tabara (1997), Rumbero Soy (2002) and his last album Son, Soul Of A Nation (2005):
“There’s a lot to like here from one of the better groups in Cuba. Sierra Maestra hasn’t put out an album over three years, in part due to some personnel changes…..José Antonio Rodriguez, Luis Barzaga, and Alberto V. Valdes, the group’s extraordinary lead singers, take on tracks like Arsenio’s "Bruca Manigua." The band also does "La Loma De Belen," plus a pile of boleros in a potpourri. There also a bunch of son standards, and I like the way the band does them all, including "Suavecito," and "Santa Isabel de las Lajas." The tres motors on with the trumpet playing the high notes. Highly recommended, and give these singers a medal” (Peter Watrous/descarga).
1973
Danny Lozada (b. Daniel Lozada Guzmán) singer /bandleader born Havana, Cuba. Currently living in Miami he first played with Salsa de Esquina in 1991, later joining Conexión Salsera in 1994. Joined Charanga Habanera in 1996, appearing on five of their albums. Led his own band, Danny Lozada y La Timba Cubana, from 1998:
“We head off to a out of doors place called La Cecilia to see a hot new band. Danny Lozada y su Timba Cubana. It is their first gig, and they are good. The lead singer has a soulful voice a bit like Jose Alberto. The rain starts again, so this session is off” (Dave Hucker).
Danny Lozada y La Timba Cubana released the album Tanto Le Pedí in 2000:
“I've always been one to evaluate the quality of a song on the quality of the coro. If the mambo section is kickin' it, I don't mind giving the verse section at the beginning a bit of a listen. But Tanto Le Pedí moves beyond this simple test on the very first song. I found the vocals on this album to be arguably its greatest strength. Aside from one very minor rough spot at the very beginning of one song, Lozano belts out or croons, as necessary, the verses and guías in a way that makes the listener want to laugh, love and lament with him” (Kaysee/salsapower.com).
Lozada released the not-so-well received Lo Mejor De Mi Corazón in 2003 and is currently living in Miami, playing with his new band.
Wobbly Cuban TV footage here:
http://www.youtube.com/watch?v=tubwYr68gss
1975
Bamboleo drummer Ludwig Esteban Núñez Pastoriza born Las Tunas, Cuba.
1979
Singer Eblis Valdivia Díaz born, Cuba. Worked as an actor and with pop music as well as recording with Giraldo Piloto & Klimax and Chucho Valdés before joining Charanga Habanera.
1988
At a concert held at Miami Amphitheater, Chico O'Farrill received key to the city of Miami.
1995
Klimax performed their first concert, Cuba.
“The most sophisticated and strikingly original of the major Timba bands, by a considerable margin, is Giraldo Piloto's Klimax. Descended from a long line of famous Cuban musicians and composers, Piloto has been omnipresent throughout the first decade of Timba history as a drummer, a songwriter and an arranger. He was a founding member of the first Timba band, NG La Banda. When La Charanga Habanera exploded onto the scene, their first big hit, Me Sube la Fiebre, was written by Piloto… When Issac Delgado left NG to form his own group, Piloto became his musical director and wrote a number of songs for him…. In January of 1995, after 8 years at the epicenter of the Timba revolution, Piloto decided to form his own group and in April of that year, Klimax played their first concert at the famous La Cecilia club on Avenida Quinta” (musica-cubana.net).
2005
Trombonist/Cuban music legend Juan Pablo Torres died in Miami. Between 2000 and 2005 he released the albums Son Que Chévere (2000), Cuba Swings (2001), I Cómo Pica! (2002), Together Again (2002), Afrocuban Trombone (2003), Identidad (2004) and A Life in Music (2005).
“Cuban salsa legend Juan Pablo Torres, member of the group "Cuban Masters," has died at the age of 59, producer Horacio Garcia announced Monday. Torres, who also played alongside Cachao and Patato Valdez, died late Sunday in Miami of an inoperable brain tumor after spending days in a coma, Garcia said. Torres was one of the top trombonists in Cuban music, and recorded more than a dozen albums with the likes of Bebo Valdez, Tito Puente, Paquito D'Rivera and Arturo Sandoval. "Torres was, and will forever remain, one of the true giants not only of Cuban rhythm, but of music history. The Cuban nation owes him a debt of gratitude," Garcia said in a statement. The trombonist was born in Puerto Padre, Cuba, in 1946. In 2001, he joined the "Cuban Masters, Los originales" with Cachao Lopez, Patato Valdez, Jose Fajardo and Alfredo "Chocolate" Armenteros. Their album was nominated for a Grammy as well as a Latin Grammy. He is survived by his wife and six children” (obituary, caribbeannetnews.com).
“Cuban trombonist, composer and arranger Juan Pablo Torres died on Sunday April 17. He was suffering from an inoperable brain tumor and had spent several days in a coma. He was 58 years, Torres was considered one of the most important Latin music trombonists of the second half of the 20th century. He was known for his work in jazz and traditional Cuban music. He worked with the biggest names in Latin music: Paquito D´Rivera, Tito Puente, Eddie Palmieri, Arturo Sandoval and Bebo Valdés. Juan Pablo Torres was born in Puerto Padre, Cuba, in 1946. He spent most of his life in the island. In 1992 he defected while in Spain. He settled in Miami (Florida, USA). He recorded solo albums such as Trombone Man (1995), and Cuban Masters, Los Originales. His last project took place in Spain. He arranged the song 'Clara', featured in the movie Para que no me olvides” (obituary, worldmusiccentral.org).
Little seen footage here, performing with Cuban former Aragon flautist Rene Lorente:
http://www.youtube.com/watch?v=zY2bUyrFPdM
18th April
1918
Songwriter Jorge Zamora born Havana, Cuba. One of the main composers of the cha cha cha style he wrote No Me Molesto, of which Chuy Varela wrote of the original version by Orquesta Aragon:
“Composed by Jorge Zamora and arranged by Rafael Lay Sr., the treatment embroiders a melodic theme played by the flute with a vocal duo singing to the glories of chachachá. The strings tightly weave into every facet of the tune, providing interplay with the flute and syncopated counterpoints to the groove that are truly delightful”.
Judge for yourself as, on cue, Aragon play No Me Molesto:
http://www.youtube.com/watch?v=L7_-T6XeufM
1919
Bandleader/tres player Andres Ecchevarria, aka El Nino Rivera, born Pinar del Rio, Cuba (Also cited as the 19th). Considered one of Cuba’s finest tres players he worked with Cachao, Mongo Santamaria, Conjunto Modelo, Septeto Matencero and Las Estrellas Areito. The 2002 Egrem album Nino Rivera y Su Conjunto, recorded in the 1980’s, provides a good insight into his work.
“The tres style popularized by Arsenio (Rodriguez) would be harmonically refined by Niño Rivera, who moved from his native Pinar del Rio Province to Havana in 1934, and formed his own conjunto in 1945. The author of Atomo and El Jamaiquino functioned as a link between the traditional son and the innovative feeling (or filin) movement which emerged in the 1940s. In 1957, he led one of the greatest descarga sessions organized by the Panart label in Havana. According to Nat Chediak's "Diccionario de Jazz Latino," Niño even wrote an unprecedented Concerto for Tres and Symphonic Orchestra” (Luis Tamargo/Latin Beat Magazine).
1931
Jibaro-jazz pioneer/cuatro player Nieves Quintero was born in Corozal, Puerto Rico. Worked with legendary troubador Ramito.
1975
The historic reunion of Tito Puente and Vicentico Valdes took place at the Corso Ballroom, 21 years after they parted company over "a misunderstanding between the two musicians".
1977
Alexis "Pututi I" Arce Isla, percussionist born Santa Clara, Cuba. Has worked with Manolín and Luis Enrique, currently resides in Miami.
1991
Trombonist Barry Rogers died aged 56.
David Carp’s superb, detailed biography and discography:
http://www.descarga.com/cgi-bin/db/archives/Profile42?Lh8einfm;;115
He’s in action with the Fania All Stars here, playing trombone at the start of the fabulous descarga fania:
http://www.youtube.com/watch?v=fh9ZtTqwhno&feature=related
2003
Willie Moreno y su Orquestas debut album Moreno Soy released.
19th April
1905
Saxophone/clarinet player, composer, bandleader Mariano “El Feo” Merceron, born Oriente, Cuba. Known throughout Latin America as "El Emperador del Danzon", in the 1950’s his records outsold most other artists, such was his popularity.
“Self-respecting New York Latin music fans of the 1940s checked their local record stores regularly to see what new Mercerón albums were available; so should you” (David M. Carp).
“After playing with some local bands he decided to form his own band in the late 30's and traveled to Havana, where he sought and recruited even more talented musicians to enhance the sound of his orchestra. Luminaries like Beny More, Fernando Alvarez, Pacho Alonso Fernando Fernandez, Antonio Prieto and other famous cuban and other latin american singers sang and recorded with Merceron during the 40's and 50's. During his two stays in Mexico, the first from around 1944 through 1950 and the second and final one, when he stayed there for good, from around 1956 until his death in 1976. Mariano Merceron's repertoire consisted mainly of cuban danzones” (Luis de Quesada).
A number of compilations of his considerable volume of work are available, including Mariano Merceron: Exitos De Oro (Dimsa-Orfeon, 1999), Mariano Merceron y sus Muchachos Pimienta: Yo Tengo Un Tumbao (Tumbao, 1995) and Mariano Merceron: Los Danzones Padres (RCA, 1997).
1919
Pianist Ruben Gonzalez born Encrucijada near Santa Clara, Cuba. Studied both medicine and classical music in his youth, graduating Cienfuego Conservatoire in 1934 and becoming a professional musician in 1941, when he moved to Havana. First recorded with Arsenio Rodriguez in 1943, also working with Orquestra de los Hermanos (a band which included a young Mongo Santamaria) and Los Hermanos Castro. In the late 1940’s he spent quite sometime in Venezuela, Panama (recording with Las Estrellas Negras) and Argentina, and many have attributed his particular style of playing (often said to be ‘flowery’) to his time working with the tango bands he met in Argentina.
Returned to Cuba to work with Enrique Jorrin in the 1950’s, also playing with Orquesta America and González Mánticci Orchestra, and continued to play with Jorrins bands until the early 1980’s when he retired from professional playing.
Picked up by the BVSC crowd and had renewed interest in his work, releasing four albums (Introducing Ruben Gonzalez [this sold at least 250k copies], Indestructible, Estrellas De Arieto and Chanchullo between 1997 and 2003, when he died.
"I think people had forgotten about me in Cuba. Even my friends. They knew I had finished working and then suddenly they find that I am more successful than at any time in my life. They are a little surprised. So am I."
1930
NYC Spanish language daily La Presna announced the first New York performance of Don Azpiazu’s group at Proctors on 86th st. Singer Antonio Machin was billed as “Antonio Machin, Rudy in Sepia (The Cuban Rudy Vallee)”.
Here’s what they looked and sounded like in 1930:
http://www.youtube.com/watch?v=1yjyZCTsHIo
20th April
1916
Composer/violinist/pianist Antonio “Musiquita” Sanchez born Pinar de Rio, Cuba. Moved to Havana in 1936 and played with Orquesta Sport Antillano, Paulina Álvarez, Arcano y sus Maravillas and Orquesta America de Ninon Mondejar. In 1955 Mondejar decided to keep his successful band in Mexico, violinists Ignacio Berroa and Sanchez, and other band members headed back to Cuba to form Orquesta America del 55 - an orchestra for whom Sanchez wrote many hit songs. He left Orquesta America to join Fajardo y sus Estrellas in 1960, soon after Orquesta America disbanded.
Of his compositions Yayabo is probably his best known:
Tu Que Me Decias Que Yayabo No Salia Mas
Tu Que Me Decias Que Yayabo No Salia Mas
Yayabo Esta En La Calle Con Su Ultimo Detalle
Y Su Ritmo Sin Igual, Ay, Ay, Ay, Yayabo Ya Salio,
Ay, Ay, Ay, Yayabo Ya Salio.
Modern performance of the song in Hamburg recently here:
http://www.youtube.com/watch?v=FRulK1Smkdo
1923
The legendary Tito Puente (b. Ernesto Antonio Puente Jr) born in Harlem Hospital, New York City.
“Well, I was very much into the black people. We used to call them “colored” people in those days, you know. I was involved with jazz, I went to black schools – they were right there in the neighbourhood. I never had any conflict with them, and musicwise, they were my heroes. Some of them were my mentors, like Ellington and Basie at the time, and Lucky Mallinder and Chick Webb…all those bands. I was a young fellow, so I used to listen to a lot of jazz music in those days, and all Latin music. We got that in the neighbourhood because it wasn’t as exposed as the jazz music was. So, I’m very happy I got brought up with both cultures and we really got along and developed all our music together through these years”.
“I've always maintained that without a dance the music cannot be popular. People became aware of a new dance - the Mambo - it was "in" to learn to dance the Mambo no matter what part of society you came from. And so here was a place, the Palladium, where everybody could come to dance or learn the Mambo. Dance studios sent their students to the Palladium, where they could learn and see great dancers - ballet stars, Broadway stars, expert Mambo dancers - all in one place. And I geared my music to these dancers”.
“During the early 1950s, Bobby Quintero, a reporter for La Prensa, held a yearly contest. People voted for their favorite orchestra. It became a contest between Pérez Prado and me. I got the most votes because my music was progressive, you know, more danceable. Quintero proclaimed me King of Latin Music that year. People kept calling me "King" year after year because I kept exposing the music more than any other bandleader”.
"The pretty boys were always in front, the percussion always in the back, but the frontmen needed to get their rhythm cues from the percussion, and someone suggested putting the rhythm in front instead. Now everyone does it".
"Sometimes jazz can be boring, but I give it a new twist. Latin music can be boring, too, because it's only tonic and dominant. [You take an] exciting progressive melodic line, then combine it with exciting rhythms ... that's the marriage we're after. You gotta know about jazz to play these things…..I did this album live.... I had everybody come in and play at the same time - not the trumpet on Monday and the sax on Thursday [because] I'm a dancer. I must dance in the studio while the whole band is playing to see if it really works ... When you hear this album ... you'll feel the beat, you'll feel the vibrations - because this type of music was played and recorded like I did in the old days”.
“Well, people think of it as new music, it's really not! Salsa is a merchandised word, a marketing word, so some people come up to me and say - "Tito, play me a Salsa" So I respond; "what do you want, an Alkasalsa?" It really doesn't define anything. You eat salsa, you don't dance to it. See, the dance teachers have to educate the dancing public as to the true nature of the music, not a Salsa, but a Tango, or Cha-Cha or Merengue”.
"I've been playing the same music all my life. Now they call it salsa. You know salsa is tomato sauce - it's spaghetti sauce. It's always been the mambo, cha-cha…good dance music".
“I've lived in "El Cuchifrito Circuit." I've worked in it. Over the years I've earned my livelihood from it, and I made my name in it. It's been good to me and I cannot put it down. If there were no "Cuchifrito Circuit" I know a lot of bands that wouldn't be working today”.
“In front of a bandstand you've got to be a showman. Once, I was strictly a musician with a long face and back to the audience. Now I'm a showman, selling what I'm doing, giving the people good vibes” .
"For many years I was playing at the Palladium Ballroom, the home of the mambo in New York City, we had no ethnic goofs in those days, everyone came to the Palladium to listen to the fine music of Machito Orchestra, Tito Rodriquez, Charlie Palmieri, Eddie Palmieri, Pacheco, all the bands, and I think, Tito Puente was there, too! So that, we always tried to give our music a bigger, higher rhythmic, harmonic concept, more modern than Cuba. Cuba had the basic cultural thing which is wonderful, but there in New York we were giving the music. And people asked me a lot in the newspaper, what do you think about crossover? Crossover! I am on my way back, are you kiddin'? I did my crossover years ago playing for non-Latin people for many, many years, and they feel our rhythms. I have no bi-lingual problems, it's beautiful so I play instrumentals and I play vocals and I play cha-chas, I still do. My latest album I have two or three cha-chas, so I want people to get into the dancing like we used to have in the old days. Because when you play Latin jazz, it is mostly for listening, it is not for dancing, Latin music is for dancing!"
"What else have I got to sell? I'm not Ricky Martin, to wave my hips around and show my belly button. I don't have a girl in front of the band singing. I need the people to see I'm having a good time".
“There's a lot of young people out there who need to develop their talents and old-timers like me have to give them space”.
"I have not taken a vacation in my whole life. Let me ask you a question: Have you ever known a musician to take a vacation? You know when you're on vacation? When the phone don't ring" .
Footage frenzy!
Mellow 50’s clip:
http://www.youtube.com/watch?v=SIWkzwc1EAI
Late 70’s with pianist Joe Madrid (whose own albums are well worth searching out, though you will need a player capable of handling 33rpm):
http://www.youtube.com/watch?v=kHAK0ohZWAE
In the early 80’s:
http://www.youtube.com/watch?v=-yDDc9hjmI0
Later in life:
http://www.youtube.com/watch?v=_OsseCpyf3c
The ultimate honour? Yes, a Simpsons clip:
http://www.youtube.com/watch?v=yCtDuWttOXs
1929
Percussionist Mike Pacheco born Tollerberg nr Denver, Colorado (though moved to Los Angeles before he was one year old). Worked with Perez Prado for a couple of years from 1951: "…an enlightening experience, Prado was a subtle but demanding leader who was doing his first west coast tour after moving from Mexico. We would get paid at a rate of $2.50 a week".
Released several records under his own name on the Tampa label in the mid-late 1950‘s, all with a theme which I’m sure eagle-eyed collective members will spot after some deliberation: Bongo Skins; Bongo Bop; Bongo Date and Bongo Session.
“When Mike Pacheco invited you on a bongo date, that's just what you're going to be getting. The LP is 30 minutes of Pacheco banging out rhythms on his bongos - and nothing else. Nothing. It doesn't matter that you're a sultry blonde in a black beret, wearing a revealing top and a skirt slit all the way up to your thighs. It doesn't matter that you smoke cigarettes from a red holder, or that you pose beneath streetlamps with a cocky, angular come-hirther posture, a look of expectation playing across your desirous eyes and pouty mouth. If you want a regular date, a fella who will leer at you, treat you to drinks and dinner, and later paw at you in ecstatic animal lust, look elsewhere. You're with Pacheco, and Pacheco plays bongos. Period” (vinyloddities.blogspot.com).
Worked with Stan Kenton from 1959.
1948
Percussionist Papo Pepin born, Río Piedras, Puerto Rico.
“Pepin is one of the great percussionist of the last 50 years. From the '60s he has recorded with everyone from Mario Bauza right through to Wayne Gorbea and pop salsa stars like La India and Victor Manuelle, Panamanian reggae star El General and the late, great arranger, facilitator and vibes player Louie Ramirez. In fact it would be easier to say who Papo has not pounded the skins with than to go through the 80-plus recordings he has actually done. One of his regular jobs is providing the percussion for the Africando rhythm-track sessions. And every Sunday at Birdland in New York he plays with the Chico O'Farrill Afro-Cuban Jazz Big Band. People in the know speak about him in the same terms as the pioneers of Afro-Cuban percussion: Candido, Mongo Santamaria, Armando Peraza, Patato Valdez and Francisco Aguabella. Papo is among them: He is the first port of call when you want the best conguero for your session, single-handedly he can make any band swing. He comes from a percussionist family: His father Tony became the first bongocero to play with Tito Puente. There is a whole chapter on him in Vernon Boggs' seminal book about salsa, Salsiology” (Dave Hucker).
On congas here with Louie Ramirez and Ray de la Paz:
http://www.youtube.com/watch?v=dMRoq6p2HFM
1956
Hugo Morejón, trombonist/keyborad player, born Havana, Cuba. Known for his work with Los Van Van, with whom he has been a feature for over twenty years, his early bands included Pacho Alonso and Adalberto Alvarez y su Son.
“…an important creative force in the music of Los Van Van. He's written many of the wonderful horn mambos that are such a big part of the sound of "El Tren". He's also an accomplished keyboardist and has played many memorable synth solos for LVV…” (Kevin Moore).
21st April
1906
Alejandro Aguilar, leader of punto guajiro band Grupo Campesino de Aguilar, born Cuba.
1960
Edgardo Cambon, percussionist/singer born Montevideo, Uruguay. Studied Afro-Cuban percussion in Argentina, moving to Sweden in 1982 and later to Germany and Holland, playing with several different bands. Currently lives in the US in the San Francisco area:
“There is a lot of great music in the Bay area. The dilemma is how to make the radio stations play more of the music from the emerging groups. The public wants to hear what the radio is playing. In this sense, the internet has helped to give the public access to free songs, and that way they get to know us. I prefer to give my music away and have people hear it in the farthest corners of the earth, than to sit here and wait to be discovered" (extract from a salsa power.com interview).
Plays with LaTiDo and Rebeca Mauleón as well as leading his own band, Candela, who released the debut album Madre Rumba, Padre Son in 1999: “The 12 tracks demonstrates Edgardo's versatility as a poetic lyricist, composer, skilled percussionist and "Sonero" (singer, improviser). Edgardo's clear tenor voice and the roaring trombone sounds, adding a strong Cuban "open groove" on the rhythm session make this recording a must” (cdbaby.com).
1994
Conga player, teacher (Harbor Performing Arts Center) and author Frankie Malabe died, NYC
“…not only an ambassador for Latin music but also a messenger of creativity, self-expression and acceptance. In many ways his life had come full circle. He began as a self-taught musician, rose to the top of his field as a player, and devoted much of his later life to teaching. His message will live on in his book, his students, his numerous recordings, and in each of us who knew him” (Bobby Sanabria).
“One of the most respected conga drummers I have known….an innovator. Unfortunately, he was also plagued by problems of substance abuse until his death at age 53. So strong was his following that the music community united to raise money for a liver transplant. He survived the operation but his lifestyle ultimately did him in…. Before I got into serious sound recording (around 1976), I would pick Frankie up at the bus terminal in Manhattan and bring him over to my house to do experimental recordings. He was creative, musical, and well ahead of his time. I very much regret that I've lost those recordings” (Martin Cohen).
“Frankie not only possessed a unique style of playing conga, but was an extraordinary teacher who shared his love and knowledge of the music with many of our finest artists playing today. His warm and down-to-earth way with everyone was a part of who he was on and off the bandstand. For those of us who knew him share a common experience which we will never forget” (David Amaram).
“Frankie was a brother to me, even a father figure. I could call him up at any time of night to discuss music or any other personal matter. He was one of the most revered players and teachers ever to have graced this planet and unfortunately, he passed away in his prime. He was the most melodic player I have ever met, taking the tradition of this wonderful instrument and combining his own inventions with the folklore” (Daniel Sadownick).
Alchemy: A Tribute to Frankie Malabe was released in 2005 (on the Melantone Music label).
Here he hosts a drum clinic:
http://www.youtube.com/watch?v=onZvYMVDPtw
2003
New York's Avery Fisher Hall at Lincoln Center, the first of the "Viva Puente!" benefit concerts held to honour Tito Puente. Cucco Pena conducted the orchestra and wrote a song the musicians sang at the finale. Ruben Blades headlined, others included Carolina, Oskar Cartaya, Sheila E., Luis Enrique, Grupomania, Giovanni Hidalgo, Melina Leon, Ednita Nazario, Tito Puente Jr., Domingo Quinonez, Richie Ray & Bobby Cruz, Roberto Roena, Hilton Ruiz, Jon Secada, Dave Valentin, Def Jam Poetry's Mayda del Valle & Lemon and Andy Montanez.
2005
Singer Leo Pacheco died, Caracas, Venezuela.
22nd April
1921
Master conguero Candido Camero born (more precisely, according to Bobby Sanabria “at 6:30pm on the street Churruca 77 between Velarde and Washington in the barrio of El Cerro in La Habana.”)
Played tres, guitar and bass in his youth, later moving to bongos and congas and played for a number of years with the house band of the Tropicana nightclub in Cuba. Moved to NYC in 1946:
“In 1946, Camero first came to the U.S. with the fiery rumba dance team of Carmen and Rolando. It was with this revue where Camero demonstrated an unheard of technique in his conga drumming was playing a steady rhythm with one hand while improvising with the other - thus becoming the father of coordinated independence in Cuban drumming. This was also the first time anyone had ever played two congas simultaneously in any context. Soon thereafter, Camero was performing and recording as featured soloist with the likes of Charlie Parker, Dizzy Gillespie, Billy Taylor, Machito and his Afro-Cubans” (latinjazzclub.com).
Joined Stan Kenton in 1954 and played all over the US, including many television appearances before recording a series of albums as leader including Calypso Dance Party (1957), The Volcanic (1957), Candido in Indigo (1958) and Latin Fire (1959).
"I have not heard anyone who even approaches the wonderful balance between jazz and Cuban elements that Candido demonstrates" (Billy Taylor).
Recorded a number of soul/jazz/funk albums in the 1960’s and 1970’s including Conga Soul (1962), Candido's Comparsa (1963), Beautiful & 1000 Finger Man (both 1970), Drum Fever (1973) and Candi's Funk & Dancin and Prancing (both 1979).
“Heralded as the father of the technique of coordinated independence, Candido had further accomplishments. For one, he pioneered the use of two congas and later three, whereas in past congueros were content with a single drum. His playing became distinctive owing to a tendency to tune, when possible, to the melody of the song. Equipped with three congas and a bongo, he was able to complement horn, piano, and bass lines with harmonic contributions. In fact, when he recorded "Tea for Two" with Joe Loco, Candido played the melody on congas and bongos” (lpmusic.com).
Recently recorded The Conga Kings (with Giovanni Hidalgo & Patato Valdes in 2000) and last recorded Candido & Graciela: Inolvidable in 2004.
He’s standing with the Conga Kings here, on our left:
http://www.youtube.com/watch?v=UZjhc_BmgvE&feature=related
1931
Bandleader/conga player Joe Cuba (b. Gilbert M. Calderon), born El Barrio, NYC. Took up the conga after breaking his leg whilst playing stickball:
"There was actually a connection between my playing ball and playing music. I starting getting involved with music in early 50s when I was 19 years old. I broke my leg playing stoop ball, sliding into the sidewalk of all things, so I asked my friend to lend me his conga. My leg was up in a cast and I couldn't do anything, so for the next few months, I practiced in the house and on the block all the time. I hung out with this guy Santos Mirando who was a great Timbaleros players".
In 1950 he joined the band of Joe Panama, after a falling out he formed his own band, with the short-lived title the Jose Calderon Sextet :
"In 1954 I organized my group and had my agent try to get us a job in the Stardust Ballroom. The owner booked us but when he heard my name he said 'no one is going to want to come hear a guy with a name like that. He needs a stage name. Let's call him Joe Cuba.' It was just something he made up. Anyway, my agent told me about the gig but he didn't tell me about the name. Later that week, I opened up the paper to look for the advertisement and saw this guy Joe Cuba was playing. I called up my agent and said "Who is that schmuck Joe Cuba who stole my job?' He said 'Man that's you.' "
The Joe Cuba Sextet released around 20 albums and had a lot of success with boogaloo style numbers, featuring singers Cheo Feliciano, Jimmy Sabater and Willie Torres. Some of their best albums include:
Steppin' Out (1962), Alma del Barrio (after which the long running LA radio show was named), Diggin' The Most & Vagabundeando/Hangin' Out (all 1964), Bang! Bang! Push, Push, Push (1966), Doin' It Right (1973) & Cocinando la Salsa (1976). On the rare times when I can be found in the DJ booth I always have some Joe Cuba Sextet with me.
Performing in NYC a few years ago here:
http://www.youtube.com/watch?v=a9LoR6zO09o
Sparse slideshow of the band at their peak here:
http://www.youtube.com/watch?v=MdHu26Hb9Co
1950
Celebrated tres player Francisco L “Pancho” Amat born Guira de Melena, Cuba. A classically trained guitarist (he has played with the Cuban national symphony orchestra) he moved to tres as his main instrument when he founded Grupo Manguaré in 1971, a group he would play with until the late 1980’s.
“In Manguaré’s early days Amat studied in Chile and collaborated with nueva canción stalwarts Víctor Jara, Inti-Illimani, Isabel Parra and Quilapayún. He went on to study arrangement with Orquesta Aragón leader Rafael Lay, and elevated tres-playing to a new level by applying theory and technique gleaned from his mastery of classical, jazz and trova forms. Amat is also a record and television producer, and has played with a diverse list of musical luminaries at home and abroad…“ (Michael Stone, fROOTS Magazine).
Has also played with Adalberto Alvarez, Orquesta Aragon, Son 14, Cubanismo, Maraca, Alfredo de la Fé, Oscar D’Leon, Giovanni Hidalgo, Cesar Pedroso "Pupy", Marcelino Guerra, Mongo Santamaria, Yomo Toro, Alex Cuba Band, Daniel Amat (his pianist son), Barbarito Torres, Frank Emilio Flynn and Leo Brouwer among many others.
In 1995, he recorded the first album under his own name, Pancho Amat y El Cabildo del Son: Son Por Tres and has gone on to release De San Antonio A Maisí in 2001 and Pensamiento Trova Spirituana: Duo Voces Del Caney & Pancho Amat Y El Cabildo Del Son in 2002.
“Unlike older Son singers, Amat still records and composes new material that does not feel out of place next to the classics” (Omar Walker).
String duet with Barbarito Torres, Pancho Amat is wearing the hat:
http://www.youtube.com/watch?v=AUw1xC-jWCU&feature=related
1951
Trombonist Edmundo "Mundo" Pina born Sancti Espíritus, Cuba. Played with Pello el Afrikan but is best known for his work with Los Van Van, with whom he has played/recorded since the early 1990’s. He can be heard on the albums Chapeando & Live in Europe (both 2005), En El Malecón De La Habana & Live At Miami Arena (both 2003), Live In America & Llegó Van Van (both 1999), Esto te Pone la Cabeza Mala (1997), Ay Dios, Ampárame (1996), Lo Último en Vivo & Live in Puerto Rico (both 1994) and Disco Azúcar (1993).
“Of Los Van Van's three trombonists, Mundo is the tall one who also plays the drum machine with his hands. He's also the uncle of Yosvel Bernal, who played teclado with Paulito FG and sang with Sol y Soul, and Edduar Bernal, the co-producer of Sol y Soul” (Kevin Moore).
1997
Tito Nieves album I Like it Like That released.
2003
Birdland NYC hosted a celebratory event for Candido Camero on the occasion of his 82nd birthday. Present were Carlos "Patato" Valdes, Larry Harlow, Ray Barreto, Bobby Sanabria, Nicky Marrero, Giovanni Hidalgo, Ray Mantilla, Eddie Montalvo, Jimmy Delgado, Cuban Pete, Robby Ameen, Ralph Irizarry, and others.
This footage seems to tell us that I’m 2 days early with this:
http://www.youtube.com/watch?v=vADwkPSxh7w
2005
Brooklyn born Tenor Saxophonist/educator Arnie Lawrence died Jerusalem, Israel. Played with Mark Weinstein on the albums Cuban Roots '67 and The Orisha Suite '77 as well as with Charlie Palmieri, Tito Rodriguez and many jazz bands. Also a member of the Johnny Carson Tonight Show Orchestra for a number of years.
As an educator founded the jazz program at New York City's New School University.
“In 1997 he relocated to Israel, establishing the International Center for Creative Music in a building offered by the Jerusalem Department of Culture. Lawrence welcomed students of both Jewish and Arab backgrounds, insisting he was simply bringing like-minded musicians together regardless of their origins. In the same spirit, he often played alongside Israeli and Palestinian musicians at the West Bank club the Flamingo, and also operated his own nightspot, Arnie's Jazz Underground” (Jason Ankeny).
Released a solo album, Renewal, in 2003.
“A world without music would be truly a wasteland” (Arnie Lawrence).
23rd April
1943
Machito received draft papers (US Army) and reported to Camp Upton, New Jersey.
“The military service draft of World War II brought about the dissolution of the Big Bands and the rise of small combos. The country was nervous, and the music was nervous and agitated. Because many well-known players were in the military, young players and their ideas were able to get exposure” (Purdue.edu).
1937
Singer Adalberto Santiago (b. Alberto Santiago Berrios) born Pozas, Ciales, Puerto Rico
Lead and coro singer on many recordings he first played in the Puerto Rican bands of Chuíto Velez, Willie Rodriguez and Willie Rosario before moving to NYC to become lead vocalist for Ray Barretto from 1966 - 1972, singing on some of Barrettos best salsa albums in the process including Acid (1967), Hard Hands (1968), Together (1969), The Message (1971) and Que Viva La Musica (1972).
Left Barretto with other band members to form Tipica ‘73, appearing on three albums, and after a couple of years he joined the newly formed Los Kimbos, singing on the fine tipico albums Los Kimbos (1976) and The Big Kimbos (1977). Also worked with Lou Pérez on a couple of albums at this time too.
A regular part of the Fania All Stars machine he recorded some solo albums in late 1970’s early 1980’s, Adalberto in 1977 being his debut solo album (produced by Ray Barretto, so obviously no longer any hard feelings between the two over previous spilt).
Recorded with Louie Ramirez (y sus Amigos in 1979) and also worked with Barretto again for Rican/Struction (1979) with Roberto Roena on Super Apollo 47:50 (1982) and with Celia Cruz and Barretto on Tremendo Trio (1983).
Once nicknamed The Puerto Rican Elvis Presley, he remains an active singer and more recently has appeared on Martina (Africando, 2003), Salsa Con Dulzura (Jimmy Delgado, 2004), Las Estrellas Del Pueblo (Jazz Hamilton, 2004), Entre Amigos (Johnny Pacheco, 2004) and the tribute album/DVD Por Ti - Concierto Homenaje A Frankie Ruiz: En Vivo Desde Tenerife, Islas Canarias (2004).
“I want to bring a truly Latin message to the people; this is what I do best and the structure of Latin music is best suited to my singing style”.
Performing with Ray Barretto here:
http://www.youtube.com/watch?v=meyBx4Fp81Q
1955
Saxophonist/reeds player/bandleader Raul Gutierrez born in Santiago de Chile, Chile. Now based in Havana and has recorded with Amadito Valdés and plays with the Afro-Cuban All Stars (Live In Japan in 2004, Step Forward:The Next Generation in 2005) and leads experimental Cuban jazz band Irazu (released around ten albums, the latest being Soy la Mulata in 2005).
1984
Puerto Rican born trumpeter/composer Juan Tizol died in Inglewood, California. Moved to the United States in 1920 and joined Duke Ellington’s band in 1929, with who he would remain until 1944. Though he composed relatively few songs his 1937 composition Caravan remains a standard and is considered by some to be the first Latin-jazz song. It has since been recorded by hundreds of different artists.
Nat King Cole performs caravan here, with Jack Costanzo on bongos:
http://www.youtube.com/watch?v=nqej9dLlW7s
24th April
1949
Merenguero Wilfrido Vargas (b. Wilfrido Radamés Vargas Martínez) born Altamira, Puerto Plata province, Dominican Republic. The trumpeter/vocalist/composer formed his first group, Los Beduinos, in Santo Domingo in 1972, and this group released their first album, Wilfrido Vargas y sus Beduinos, in 1974 - so named because he first started playing in an Arab themed restaurant where he and the other band members had to perform in Arab costume, playing Arabian style music. His band eventually would be at the forefront, along with Johnny Ventura, of the increasingly commercially popular merengue sound.
“In the l980s merengue, revamped by Johnny Ventura and Wilfrido Vargas, definitely triumphed in the Dominican Republic, dominating the TV programs and the many radio stations there. More remarkably, this musical genre invaded the homelands of salsa, Puerto Rico and New York City. Due to political, economic and social conditions on the island, well over 10% of the Dominican population has emigrated to the United States since 1961. Many desperate citizens continue leaving illegally, even by constructing small boats and rafts trying to pass the turbulent Mona Passage between the Dominican Republic and Puerto Rico. Wilfrido Vargas in the merengue "El Itinerario" captures this desperation and warns Dominicans: "don't go in a yola (launch), don't kid yourself/because in the Mona Passage, the sharks will devour you".” (Gus Puleo).
He was a guest Fania All Star for their performances in Cuba in 1979 which resulted in the FAS Habana Jam album. On this album he performed his first real hit, El Barbarazo, which he originally released in 1978 - on the album it appears as part of the Mi Gente medley.
“I think that’s what really important in all this is the dignity we’ve bestowed upon the rhythm. A while back, the person who played the tambora, that instrument made of wood and goat skin tied together with rope, represented the lowest step on the social ladder within a genre that was already marginalized to begin with. He was the lowest of the low, and today the tambora and the guiro have been transformed into national symbols for Dominican youth, and that’s due to a musical movement that begins with us and takes merengue to the young people and makes them feel Dominican when they sing and dance it” (extract from an interview from the book Faces of Salsa).
It’s merengue time…..
http://www.youtube.com/watch?v=7HQwD5M9Wts&feature=related
1963
Grammy award winning percussionist/educator Horacio Hernandez II ("El Negro") born, Cuba. He got his nickname before he was born from his brothers best friend and neighbour as a sign of affection. His grandfather played trumpet with Septeto Nacional and his father was a jazz radio show host.
"We were fortunate to have a lot of instruments in our house thanks to my grandfather. We had small hand percussion instruments and even a piano. But I never had a drumset when I was young. In Cuba, even if you could afford to buy a drumset, it was very difficult to locate one. When I finally got a set, I practiced all day long. I practiced along to the radio, listening to people like Tony Williams and Billy Cobham. I had no idea about foot technique or double bass drums. I just tried to copy what I heard on the radio".
First played with Nicolas Reynoso, then became the studio drummer for the Egrem Studio productions: "The studio is where I learned the most. I played twenty hours a day, in every style, with all kinds of bands. I must have recorded hundreds of records for them".
Worked with Gonzalo Rubalcaba, recording Gonzalo Rubalcaba y su Proyecto in1980, a band with which he first started touring around the world. Left Cuba for Italy in 1990 and moved to NYC in 1993 where he has since recorded with Eddie Palmieri, Yerba Buena, William Cepeda, Rebeca Mauleón, Johnny Zamot, Michel Camilo, Giovanni Hidalgo, Papo Vasquez and Tito Puente among many others.
“One of the most important things you learn from jamming is listening. Everything is improvised - it’s made up right there - but you can feel the connection. You don’t feel that it’s ten people playing by themselves in their own ways, you feel one band going at the same time. What the other people are playing becomes more important to you - to inspire you - than what you play yourself. You’re going to have a point in your solo where you can play all you want, but mainly the rest is listening”.
If you have seen him play live then the word “awesome” may well have popped out a few times:
http://www.youtube.com/watch?v=Stm6V-LWzjg
1980
Swiss born musicologist Alejo Carpentier died Paris, France. His birth place is commonly wrongly cited as Havana, Cuba. As well as writing many works about Cuban music he was a novel writer/political essayist too, and his revolutionary views meant that he spent the years 1928 - 1939 in exile from Cuba (where he moved to at an early age) to Paris and from 1945 - 1959 in Venezuela, returning to Cuba after the revolution and going on to become Cuban ambassador to France.
His 1946 book Music in Cuba was translated into English for the first time in 2001, in the wake of the BVSC phenomenon, and was originally to be part of a Cuban published Encyclopaedia of Latin America.
“Music in Cuba is not only the best and most extensive study of Cuban musical history, it is a work of literature in its own right. Drawing on such primary documents as obscure church circulars, dog-eared musical scores pulled from attics, and the records of the Spanish colonial authorities, Music in Cuba sweeps panoramically from the sixteenth into the twentieth century” (from the books back cover).
“Carpentier shows how the melding or “creolization” of the island’s native taíno areíto ceremonial dances and instruments, Spanish tiranas, zapateos, flamenco seguidillas, and West African Yoruban and Congolese religious music coalesced in Cuba as the clave, rumba, guaracha, and habanera. He traces the son back to a sixteenth-century song, “Ma’ Teodora,” which he regards as “a starting point for Cuban music.” Carpentier’s detective work also traced the origin of the famous guajira “La guantanamera” to an obscure Extremenian ballad from Spain titled Gerineldo” (hispanicmagazine.com).
“Music in Cuba is a pioneering chronicle of the historical confluence of two musical streams, from Europe and Africa, that produced the special richness of the Cuban musical tradition. . . . Remarkable, ground-breaking and indispensable. . . . This first translation is elegantly produced, with an extensive introduction by Timothy Brennan, who situates Carpentier in the historical matrix of race and class in Cuba and the debates of today's theorists of cultural globalization” (Times Literary Supplement).
“…every moment of its history, Cuba elaborated a sonorous and lively folklore of surprising vitality, receiving, meshing, and transforming diverse contributions, all of which led to the creation of new and clearly defined genres” (Alejo Carpentier).
“The research on Cuban music I undertook helped me with my own work. I discovered situations and ambiences to be found in my novels that I would not have known had I not embarked on this study” (Alejo Carpentier).
Interview (in Spanish) here with him in later life:
http://www.youtube.com/watch?v=fDER4JgWX3g
25th April
1904
Tres player/composer Herminio Wilson Garcia born Guantanamo, Cuba. Self taught guitarist who led his own groups in Guantanamo in the 1930’s, credited with writing the basic rhythmic dance coda for the song Guantanamera.
1925
Mario “Chavalonga” Dreke, Rumba singer/dancer/musician born Havana, Cuba. Featured in the 2002 Cuban documentary Los Marqueses de Atarés and can be heard on the 2004 album En El Barrio De Ataré:
“The groove here is stupendous; Chavalonga, a contemporary of Chano Pozo, from the Atare neighborhood in Havana, has put together a great group, with tight coros. He's in his eighties, and his singing isn't always in tune, but there's an honesty to this that carries his work. And boy, does it swing” (Peter Watrous/descarga).
“Chavalonga the oldest and best known, is the master of the “rumberos”. Composer of rumba and bolero music which has become standard in Cuba, Chavalonga, aged 80, has lived through generations of Cuban music thanks to his unique voice coloured both by melancholy and extraordinary vitality. In collusion with Chano Pozo, he has spread his art and his spirit across all the important international Afro-Cuban stages” (Yoruba: Voices of Drums tour press release, 2006).
Filmed in a Havana park here:
http://www.youtube.com/watch?v=8_tbklRBdKE
1942
Miguelito Valdes appeared on the front cover of Billboard magazine. A few months later, in October, the magazine would produce it’s first charts specifically aimed at “black music” with their publication of The Harlem Hit Parade - it’s first general hit parade was published in January 1936. Anyone know when they first started their Latin Chart?
1957
Flautist Nestor Torres born Mayaguez, Puerto Rico. Had flute lessons aged 12 and aged 18 moved to NYC:
“That’s where I first developed my improvisational skills as a charanga (Cuban dance music) flutist. In charanga, the flutist improvises a great deal - the focus of his solos are to make people dance. Even when I play today, my approach is still very rhythmic and melodic”.
Moved to Miami in 1981 where a series of unfortunate events left him near death, without a wife, home or record company. Though known mostly for his jazz recordings he has worked with Tito Puente, Cachao, La Charanga America, Alfredo De La Fé, Orquesta Novel, Plena Libre, Batacumbele, Seguida, Haitiando and Justo Betancourt.
A long-time Buddhist, has just released his latest album, Dances, Prayers And Meditations For Peace.
Performing in the 50th State here:
http://www.youtube.com/watch?v=XxiPmqjQyRM
1966
Death of Cuban singer/bandleader Roberto Faz (also cited as 28th). Led Conjunto Casino as well as his own band, Roberto Faz y su Conjunto. There are a number of compilation and reissue albums available, such as the 1998 re-issue of the 1960 Seeco album Saludos A Roberto Faz:
“This is a classic album by one of Cuba's great and underrated soneros. His band, which continued recording after his death, scorches through Potaje and Rumba Pa' Los Rumberos. The only frustrating thing is that these songs are so short. Still, Faz and his boy pack a lot of timba into those couple of minutes, as you'll see with tunes like the swinging son montunos Nadie Baila Como Yo and La Tumba Brava. Although he didn't have a pretty voice, Faz had an ability to make boleros work for him, and he serves up a couple of classics like Sabor a Mí and Dueña de Mi Corazón. Overall, this is puro sabor cubano, pre-Alí Babá y sus cuarenta ladrones, a perfect complement to some dark Bacardí and a Padrón Ejecutivo cigar” (Abel Delgado/descarga).
“The day after his death on April 26, 1966, Roberto Faz was buried in his hometown of Regla, Cuba. Rain fell heavily on that day and the cemetery was flooded. A short time later, Faz's father-in-law died and he was buried in the same burial site. When the gravediggers opened the grave, they found Faz's casket inclined to one side and the cadaver's hands were protruding from the casket. That led to the story that Roberto Faz had been buried alive and that he tried in vain to escape from his grave” (Frank Figueroa/ Latin Beat magazine).
Lovely old footage alert!:
http://www.youtube.com/watch?v=mq5EGH417x8
2006
William Gottlieb died at the age of 89.
“I was very fortunate to have spoken with Mr. Gottlieb years ago because of a reader contest I won in Jazz Times. You got an autographed copy of his book and in it was his address in Great Neck, Long Island, so I called him up. What was the contest? Identify a photo of his. It was the now classic pic' he took of the Machito rhythm section complete w/ Gracie and Macho'. His memories were as vivid as his photographs and he loved the Machito Afro-Cubans as well as the whole Afro-Cuban jazz movement in NYC. A true artist, RIP. (bobby sanabria).
Visit the Gottlieb Collection online, searching for “Machito” will yield very pleasing results:
http://memory.loc.gov/ammem/wghtml/wghome.html
26th April
1909
Son singer/composer/bandleader Jose “Cheo” Marquetti born Alquizar, Pinar del Rio, Cuba. Also cited as 28th April. He sang with a number of Cuban bands in the 1930's-1950's. Has recorded with Septeto Cauto, Cheo Belén Puig, Ernesto Muñoz, , Septeto Facenda, Septeto Habanero, Bienvenido Granda, Orquesta Sensación, Chappottín y sus Estrellas and René Álvarez’s Conjunto los Astros as well as leading his own conjunto in the mid 1950’s with guitarist Walfrido Guevara.
“the mythical Cuban sonero, composer and bandleader….A sonero's sonero, widespread recognition eluded him during his lifetime and subsequently. Just check out album's by, for example, soneros Papaíto, Pete "El Conde" Rodríguez and Henry Fiol, for interpretation's of Marquetti tunes” (John Child).
Whilst not as prolific a composer as his brother, Luis Marquetti, he was responsible for writing Oriente and Amor Verdadero:
Guajira, el son te llama, a bailar, a Gozar.
Guajira, el son te llama, a bailar, a Gozar.
Amigo pida otra copa, caramba,
Que este cantor le convida.
Que aunque a ustedes no le importa
Voy a hacerles la historia de mi vida.
Amé mucho a una mujer
De mi alma la más querida.
Me traicionó la perdida, caramba
Que ingrato y mal proceder.
Ella me hizo beber
Ella me hizo un perdido
A la droga me tiré, amigo mío,
y a la cárcel fui llevado.
Los amigos me olvidaron
Sólo mi madre lloraba
A Dios pedía y rogaba
Que salvara su hijo.
Recuerden lo que les digo
Que en la prisión y en la cama
Sólo nuestra madre nos ama, caramba,
no hay dinero, no hay amigos
Linda guajira, mi son te llama!
Y al piano Don Rubén González.
Oiga compay mire quien viene por allí,
Compay barbarito Torres....Special.
Guajira el son te llama, a bailar, a gozar.
Las dos palabras que más
Me llenan de recocijo
Es cuando me dicen hijo, es cuando digo Mamá.
Guajira el son te llama, a bailar, a gozar.
La madre es un surtidor
De miel que nunca cierra
Es un astro de la tierra
Brilla mucho más que el sol.
Guajira el son te llama, a bailar, a gozar.
No le teme a la negrura
Del vicio y todo su espanto.
Pienso en mi madre
Y su encanto me cubre con su ternura.
(from nomorelyrics.net).
1914
Singer/bandleader/composer Marcelino "Rapindey" Guerra born Cienfuegos, Cuba.
“Affectionately nicknamed "Rapindey," Marcelino Guerra enjoyed tremendous longevity as one of the premier segunda voz (second voice, or harmony) singers in Cuban music. What's more, his numerous song compositions (chiefly in the bolero and son forms) helped give rise to filin, a style which bridged the gap between Cuban popular music and the more complex harmonic vocabulary of American jazz as it pushed from swing and stride into bebop” (Steve Huey).
Moved to Havana in 1931, playing with Septeto Cienfuegos and Sexteto Cauto, joining Sexteto Habanero and then Septeto Nacional in 1933. Later he sang with Conjunto Hatuey before joining Arsenio Rodriguez in 1938 but also recording around this time with Quinteto Siboney.
Travelled to NYC in 1944 and after returning briefly to Cuba decided to move to NYC permanently in 1945, playing with the Machito Orchestra, Noro Morales, José Curbelo and Pupi Campo among others. Recorded with his own band in the late 1940s-1950s. Left music for a while in 1954 (joined the Merchant Navy) but was playing/recording again by the mid 1960’s with Machito and La Playa Sextet. Formed Septeto Son De La Loma in 1976, a band that he led for only a short period before retiring to Spain. Recorded again with Compay Segundo, Pancho Amat and Omara Portuondo on the album Rapindey in 1996 - an album that demonstrates that he has written many well known compositions including the much recorded songs Pare Cochero, Oye Mi Son, Sandunguera and A Mi Manera.
“His famous compositions are even more touching when he sings them himself, some with just the accompaniment of his guitar…” (Nina Lenart/descarga).
Barbarito Diaz covers one of his compositions here:
http://www.youtube.com/watch?v=eSIivP3faq8
1927
Alberto Socarras left Cuba by boat and headed for New York – he had chosen to by-pass "the racially segregated city of Miami" on his way.
1930
Don Azpiazu & Havana Casino Orquesta (Antonio Machin on vocals) debuted at Keith's Palace Theatre, NYC. Cited as the first Latin band to play Broadway, orchestra featured bongos, congas, guiro, maracas, claves and timbales.
1932
Composer/pianist Rolando Baro born Havana, Cuba. Played with many great artists from the 1950’s onwards, including Generoso Jiménez, and was also an arranger/producer for bands like Los Bocucos.
Best known for his work with Conjunto Casino: “Baró's arrangements were ahead of his time. His harmonies enriched that conjunto. He was the man who placed Casino on the map, harmonically speaking…” (Perico Hernández).
In the last decade or so he has recorded with a number of other “old timers” including many who featured on the 1995 album Niño Rivera Y Su Conjunto and in 2003 he was still active, completing a world tour with Omara Portuondo.
2003
Spanish Harlem Orchestra made their UK debut at the Royal Festival Hall, London as part of La Linea Festival, with support band Motimba. I bumped into Frankie Vazquez in the bar.
Here they are in festival mode:
http://www.youtube.com/watch?v=4hx7pQAL__c
27th April
1908
José “Pepito” Torres Silva, trumpeter/bandleader born Vega Baja, Puerto Rico.
“When the criteria of musical quality, total production and popularity is applied, four of Puerto Rico's big bands stand apart from the others. They are the Carmelo Díaz Soler, Rafael Muñoz, Pepito Torres Silva and César Concepción orchestras………During its brief, but productive life, the Pepito Torres Siboney Orchestra made a significant contribution to Puerto Rican popular music” (Frank Figueroa/Latin Beat magazine).
19??
Pianist/arranger Joe Rotundi born. Has worked and recorded with a number of West Coast bands including Jazz on the Latin Side All-Stars, Poncho Sanchez, Pete Escovedo, Mark Levine, Caravana Cubana and Bongo Logic.
“I played with a lot of local guys whom I learned a lot from, especially Joe Rotundi, the piano player. He and I would practice together. I learned so much from him. When I played with him in Candy's band, I taped all our gigs and learned a tremendous amount that way too. So, I was ready to do my own band” (Susie Hansen).
1965
West Coast based percussionist/Timbales player Mio Flores born. Has worked with Cal Tjader
1973
Singer/songwriter Danny Lozada (b. Daniel Lozada Guzmán) born Havana. Also cited as 17th April (see notes for that day).
1991
Mario Bauzá celebrated his 80th birthday with his Afro-Cuban Jazz Concert Orchestra, Symphony Space, New York, with guest Dizzy Gillespie. The performance led directly to Buaza being signed by the Messidor Musik label and the first of the three subsequent albums, Tanga, was voted album of the year in the Downbeat magazine critics poll. He went on to record My Time Is Now and 944 Columbus, named after the apartment where he had lived for fifty years.
“You walk with rhythm, you talk with rhythm, you eat your food with rhythm” (Mario Bauza).
1995
After a ten year break Joe Bataan made a comeback concert at Hostos Center for the Arts, NYC, on the same bill as Tito Puente and Dave Valentin. This of course is one of a number of Joe Bataan comebacks and he released the album Call My Name in 2005 - a new album that sounded like it had been recorded in the late 1960’s.
Shocking 80’s nonsense from Joe here, get ready to rap-o-clap-o:
http://www.youtube.com/watch?v=9xV7TNNQbnk
To make up for the above, here’s Joe in top late-60’s form:
http://www.youtube.com/watch?v=R167uckNyZ0
2001
- Ray Barretto’s live 50th Anniversary album was recorded at a performance at the Tito Puente Amphitheater, San Juan, Puerto Rico.
The album, released at the end of the year featured musicians including singers Tito Nieves, Adalberto Santiago, Tito Allen, Ray De La Paz, Yolanda Rivera & Johnny Rodriguez, Luis Marin (Piano), Edwin Clemente (Timbales), Roberto Roena (Bongo) and Juancito Torres (Trumpet).
Songs:
Fuerza Gigante 7:31
Quitate La Mascara 7:59
Nadie Se Salva De La Rumba 7:22
Amor Artificial 7:30
Guajira Para Vieques 8:16
El Hijo De Obatala 11:39
Club Mix 50 Aniversario 10:26
Testigo Fui 5:25
Indestructible 8:28
Ay No 7:41
Arrepientete 6:57
Guarare 9:24
La Hipocrecia Y La Falsedad 8:55
Que Viva La Musica 13:30
- Also in 2001 between 27th-29th April at the Heckscher Theater, NYC, the first run of Latin Madness Mambo Musical, produced by Nelson Flores & Carlos Mendoza and written by Herb Quinones.
There were two sold out shows and the combined talents of 38 dancers, 7 choreographers and 6 dance companies. Choreographers included Addie Diaz and Frankie Martinez, dancers included Juan Matos, April Genovese, Jai Catalano, Candy Mena, Nilda Borrero, Stracy Diaz and Manny Siverio. Seventeen scenes over two acts were presented, including performances by the Abakua Dancers, Santo Rico Dance Co., Mambo Mamas, Descarga Latina Dance Co. and the Addie-Tude Dance Co.
“In mid-March, when SalsaNewYork had announced that "Latin Madness" was coming to New York City; I had to be there to witness "history in the making" and was not disappointed. It was fabulous to see all the dance groups working together and putting on a great show. This definitely takes Mambo/Salsa to a new level never attained before in the World and everyone's going to have to work harder if they want to attain this level of professionalism and commitment to an art form that is now definitely here to stay! What a fabulous way to start the Millennium. I enjoyed it so much, I went back for the final show on Sunday. Some enthusiasts even attended all 3 nights! There were so many great dance moments, that I could barely remember all the details even after seeing it twice! And each time, I would notice something different about each show. A definite must-see for anyone who loves to dance” (“Rose Knows”/ tosalsa.com).
Eight minute feature here:
http://www.youtube.com/watch?v=TnBZwWzYbCc
2005
Band manager & professional mambo dancer Martin Owrutzky AKA Marty Arret died, New York. Known for his dancing at the Palladium, the Corso and in the Catskills resorts he also managed the likes of Conjunto Classico, Hector Casanova, Luis "Perico" Ortiz and Santiago Ceron.
“Marty was the most trustworthy, standup guy I’ve ever met in this business. He was a totally loyal guy who had a never-ending passion for Latin music, dance and food. He had a Latino soul” (Ralph Mercado).
28th April
1911
Trumpet/clarinet/oboe player Mario Bauza born Cayo Hueso district of Havana.
“A talented section player who rarely soloed, Mario Bauzá's main importance to music was behind the scenes as one of the main instigators of Afro-Cuban jazz, the potent mixture of Latin rhythms with jazz improvisation” (Scott Yanow).
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 and recorded three albums as leader in the 1990’s.
"When you go to play, you play the right way. And if you're not sure that you're playing it the right way, play it loud, because there is a tendency of people to play softly when they are unsure" (Mario Bauzá).
1950
Trombonist/bandleader/political activist Dr. William Anthony "Willie" Colón Román born Bronx, NYC. First played trumpet but upon discovering Mon Rivera switched to trombone. In 1967, when he was 17 years old, he joined Fania Records and established himself at the forefront of the “new” salsa movement:
“At first he was admonished and censured for his strong, strident style. He was even accused of being un-harmonic by the veterans of Latin music….. His music simultaneously reflects a rhythmic traditional lyric, the lament of farewell and the hope of a new generation forced to abandon their homeland to be congregated in the American metropolis. ….Willie Colón is, without doubt, a painter of the faces of his people, an artist that expressed in his songs –above all with a his strong sound– the conscience of a generation that demanded social respect and that fought for a validation of its humanity” (williecolon.com).
Principal discography - excluding most general ‘best of’ compilations:
El Malo (1967) - debut album with Hector Lavoe on vocals and Dwight Brewster on piano.
The Hustler (1968)- Hector Lavoe on vocals
La Gran Fuga (1969) - The original cover of this was pulled and altered after complaints arising from the poster campaign that accompanied it - It was posted all over NYC and apparently people started calling the FBI to claim the reward.
Guisando (1969) - All Colon compositions except Te Estan Buscando by Markolino Diamond, Lavoe on vocals.
Cosa Nuestra (1970) - The Willie over the dead body, trombone in hand cover.
Crime Pays (1971) - Collection taken from the first albums with great Lavoe/Colon hanging on a Capone era car cover.
Asalto Navideño (1971) - Christmas album featuring the song La Murga.
El Juicio (1972) - Lavoe on vocals.
Lo Mato (1973) - Classic songs Calle Luna Calle Sol & Todo Tiene Su Final, Lavoe on vocals.
Asalto Navideño Vol II (1973) - Second Christmas album, features the song La Banda
Willie (1974) - Compilation of material from last few albums.
The Good, The Bad, The Ugly (1975) - The song Guaracha is Colons vocal debut on record, he handles most of the vocals with Lavoe and Blades lending support.
There Goes the Neighborhood (1975) - With Mon Rivera on lead vocals, Blades and Lavoe on coro duty.
El Baquiné De Angelitos Negros (1977) - Experimental ballet-salsa project made for a television programme.
Metiendo Mano (1977) - Ruben Blades moves to lead vocal duty.
Only They Could Have Made This Album (1977) With Celia Cruz featuring the song Usted Abuso.
Siembra (1978) - The biggie, with Ruben Blades singing the classic songs Pedro Navaja and Plastico.
Solo (1979) - Orchestral string fest, Colons first full album as lead singer.
Fantasmas (1980) - Colon on vocals featuring the song Amor Verdadero.
Doble Energia (1980) With Ismael Miranda, terrible Miranda & Colon riding a tandem bicycle whilst wearing silk shorts cover.
Canciones Del Solar De Los Aburridos (1981) Colon & Blades featuring the songs Tiburon and El Telefonito.
Fantasias (1981) - Colon solo album.
The Last Fight (1982) - Colon & Blades effort based on the film where Blades plays singer-turned-boxer Andy 'Kid' Clave and Colon plays promoter Joaquin Vargas - Izzy Sanabria plays a hitman.
Corazón Guerrero (1982) - Album of covers, including the unlikely Sultans of Swing and Will You Love Me Tomorrow.
Vigilante (1983) - Reunion with Hector Lavoe
Criollo (1984) - Colon solo album with highly politicised lyrics.
Tiempo Pa' Matar (1984) - Builds on the Pan-Caribbean sound of the previous album and includes elements of many musical styles.
Especial No. 5 (1986) - Venezuelan recording with experimental use of synthesisers and a long hits medley.
The Winners (1987) - With Celia Cruz.
Top Secrets (1989) - A Legal Aliens band album with the song El Gran Varon
Color Americano (1990) - A Legal Aliens band album.
Honra y Cultura (1991) - Experiments again, this time with English vocals, hip-hop & strings.
Hecho en Puerto Rico (1993) - With the song Idilio
Tras La Tormenta (1995) - Colon & Blades (who wrote half the songs).
Y Vuelve Otra Vez! (1996) - Nice “flaming trombone” cover photo by Ricardo Betancourt.
Demasiado Corazón (1998) - Soundtrack for a Mexican soap opera that had an international release a couple of years later.
[Surprisingly the above seems to be the most complete WAC discography list available, I was expecting a simple cut and paste job but there were none that featured all the albums here]
Sing-a-long-a-Colon:
http://www.youtube.com/watch?v=oPGvnhN9eEs
http://www.youtube.com/watch?v=TeTN4wT2--U
http://www.youtube.com/watch?v=Sfmg6g4d_0M
1955
Bill Ortega Sr., trumpeter/arranger and bandleader of West Coast salsa band Orquesta Borinquen born.
1957
Six members of Arsenio Rodriguez's conjunto, including himself, his two brothers Quique (Israel Moises Travieso) and Caesar (Raul Travieso), played with Sabu Martínez on the recording of the classic Palo Congo album, Manhattan Towers, NYC. The eight track album kicks off with a fine version of El Cumbanchero.
“The emotional kinship between the world of this recording and the world of jazz seems so strong at times that the distance between the worlds seems no wider than the pavement of West Fifty-Fourth Street which separates the Museum of Primitive Art from the Museum of Modern Art. Yet the step from Afro-Cuban music to jazz is a long step, for the European elements of jazz are always in the foreground, while here the latin elements of "latin" music are often imperceptible. It is mostly Africa that we hear in this recording: some rituals dedicated to African Gods, a good deal of singing and chanting in African antiphonal style, and all the instruments, whether obviously African like the quinto, a Cuban version of the slit signal drum, or as apparently European as guitar and bass, played like their African proto-types in African musical tradition. Still, the kinship is there to hear, for Afro-Cuban music shares with jazz the intense motor excitement, the rhythmic fluidity that Andre Hodeir calls vital drive, and the striving for ecstatic communion which supplies much of the motive force” (Hsio Wen Shih, extract from original sleeve notes).
1965
The US invaded the Dominican Republic and one battle that was fought was for the control of the lyrics of merengue. Cuco Valoys ‘Paginas Gloriosas‘, among other songs, were destroyed on jukeboxes as they were considered to feature lyrics deemed part of the resistance. Merengue musicians had only just regained full lyrical control after the CIA assassination of the dictator Trujillo in 1961.
“The Johnson Administration's unilateral decision to invade the Dominican Republic was based on erroneous information and the President's own concerns over the possibility of "another Cuba" in the hemisphere….. U.S. military forces deployed to the Dominican Republic under the false pretence of "protecting American lives." Eventually the true reason for this invasion, fear of Communism was uncovered. The consequences of this deceit were a rift between the Administration, the American media as well as the American people. Furthermore, the Johnson Administration managed to agitate Latin American leaders and reinforce the notion of U.S. imperialism by disregarding the Good Neighbor Policy and reverting to the Roosevelt Corollary” (Salvador E. Gomez).
1980
Havana born percussionist Francisco “Chino” Pozo died Las Vegas. Recorded in NYC with Machito and his Afro-Cubans in the 1940's, also recording/playing with Jose Curbelo & Pupi Campo at this time. Recorded with Tito Puente, Chico O'Farrill and Perez Prado in the 1950’s before working for most of the remainder of his career with jazz bands. Also appears on the Tico All-Stars Descargas at the Village Gate albums (1966) and with Candido in 1971 on Brujerias de Candido: Candido's Latin McGuffa's Dust. He is often cited as being the cousin of Chano Pozo but there does not appear to be any strong evidence for this.
2002
Dave Santiago & Latin Affair debut CD launch at La Maganette, NYC.
“Dancers and listeners alike have long hungered for authentic, heavy duty, "phat" Salsa that remains true to its roots, while rocketing full speed into the future. Latin music connoisseurs need not despair Dave Santiago & Latin Affair, direct from "El Condado de la Salsa/The County of Salsa" (Da Bronx), have zoomed to their rescue, with a new production that' s guaranteed to bum holes in shoes and wear out dance floors” (Vicki Sola).
29th April
1906
Pedro Vargas, singer with many bands, born Guanajuato, México. Known as ‘El Samurai de la Cancion’ he sang in many styles including opera and ranchera as well as son and appeared in around seventy films. Performed at the White House for Franklin D. Roosevelt in 1942 and had his own TV series in the late 1950’s.
He can be heard on many currently available compilations of his work including Pedro Vargas y sus Amigos, 40 Temas Originales, El Tenor De Las Americas En Cuba (Vols 1 & 2) and Lagrimas Negras: Pedro Vargas Canta Boleros de Miguel Matamoros y Otros Grandes Compositores. Also features on the Tumbao release Orquesta Havana Riverside: Rompan El Cuero, recorded in 1940, and with Benny More on the Fuentes compilation Joyas Musicales De Beny Moré & Compañia: Duets.
1929
Bandleader/conguero Ray Barretto born Brooklyn, NYC. He was raised in Spanish Harlem and joined the Army in 1946 where, based in Germany, he heard Manteca on the radio, inspiring him to become a professional musician. Upon completion of his national service in 1949 he visited clubs in order to join in with descarga sessions.
“The discipline in my life was pretty much minimal because my mother was alone with three kids and it was a struggle for all of us to survive. There was no father image or anyone to lay down the rules or simply guide me towards selecting the right instrument to play or not to play. At age 20 it felt kind of late for me to start playing the piano or even thinking of a way to get one. The conga drum was probably the path of least resistance for me in many ways, and again, the instrument of my mentor, Chano Pozo. With my little conga drum I set out to be the best I could”.
Played with Jose Curbelo and Tito Puente and by 1960 was a house musician for the Prestige, Blue Note, and Riverside labels. First recorded with Red Garland with the composition Manteca though the TP album Dance Mania was probably issued before that - both 1958. In 1961 he recorded El Watusi, a big hit and cited as being the first Latin song to enter the Billboard charts - the 1960’s were a very fruitful period for Barretto and he recorded around twenty albums including Barretto Para Bailar (1961), Charanga La Moderna (1962), Pachanga (1962), Swing La Moderna (1964), Senor 007 (1966), El Ray Criollo (1966), Soul Drummer (1967), Acid (1968) and Hard Hands (1968).
In the 1970’s he had become part of the Fania stable and was a regular member of the FAS. His 1970’s salsa albums are among the very best of the genre and include Together (1970), From The Beginning (1971), The Message (1972), Cocinando (1972), Indestructible (1972), Barretto (1975), Tomorrow (1976) and Rican/Struction (1979).
In the 1980’s and 1990’s he recorded fewer salsa albums and for the past twenty years has recorded almost exclusively in Latin jazz (a term he personally disliked), releasing the likes of Giant Force (1980), Soy Dichoso (1981), Que Viva La Musica (1982), Tremendo Trio (1983, with Celia Cruz, Adalberto Santiago ), Aqui Se Puede (1987), Hard Hands (1988), Handprints (1991), Ancestral Messages (1993), Bomba Bomba (2002), Homage Art (2003), 50th Anniversary: Live in Puerto Rico (2004) and his last album, Time Was - Time Is (2005).
Some classic Ray:
http://www.youtube.com/watch?v=TeM3dGwOw9s
http://www.youtube.com/watch?v=j0ieHGSjrD0
http://www.youtube.com/watch?v=8O-DaeeGm5s
1952
Flautist/bandleader/educator Dave Valentin born South Bronx, NYC. First played percussion, appeared w | |
