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Salsa Notes Part3 (Feb 1st to 15th) |
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Written by slaphappy
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Thursday, 07 February 2008 |
Welcome to Part 3 of Salsa Notes, which covers the period 1st-15th February:
1st February
1890
Guitarist/composer Felipe "Don Felo" Goyco born Santurce, Puerto Rico. Known for his use of jíbaro vocabulary, his compositions include Desde Que Te Fuiste (Ismael Miranda, Conjunto Clasico), Mi Jaragual (Ismael Rivera, Los Pleneros De La 21) and most famously Madrigal (Oscar D’Leon, Gilberto Monroig):
“Estando contigo me olvido de todo y de mí;
parece que todo lo tengo teniéndote a ti,
y no siento este mal que me agobia y que llevo conmigo.
arruinando esta vida que tengo y no puedo vivir
Eres luz que ilumina las noches de mi largo camino
Y es por eso que frente al destino no quiero vivir.
Una rosa en tu pelo parece una estrella en el cielo,
y en el viento parece un acento tu voz musical.
Y parece un destello de luz la medalla en tu cuello
al menor movimiento de tu cuerpo al andar.
Yo a tu lado no siento las horas que van con el tiempo,
ni me acuerdo que llevo en mi pecho una herida mortal.
Yo contigo no siento el sonar de la lluvia y el viento,
porque llevo tu amor en mi pecho como un madrigal”.
(lyrics: Madrigal)
1939
Latin Percussion (LP) owner Martin Cohen born, Bronx NYC.
“My name is Martin Cohen and my passion for music has fuelled much of my life. Since the 1950's, I have been photographing and recording the world's most creative and exciting musicians. In 1964, I founded Latin Percussion with a vision to provide authentic and high-quality instruments to players around the globe. Nearly four decades later, it brings me great pride to see musicians worldwide playing LP Instruments” (congahead.com).
“Because of the government-imposed trade embargo against Cuba, finding good instruments in the United States was a difficult prospect at best. This obstacle did not dull the passion of young Cohen, however, and he put his engineering skills to use and created his own set of bongos. Using photos of Johnny Pacheco's bongos, he created his first prototype. Of course, practice makes perfect, and this first attempt was not exactly flawless. ‘This was the beginning of my learning," Cohen said. "I knew nothing about machining or about wood or metal working. The first wood bongo shell was cut on Friday, and by Monday it was a quarter of an inch smaller. I didn't realize it was wet wood which was cut and that it had to dry first’.” (lpmusic.com)
You can hear him talk about his interest in Latin music at an award ceremony for the Percussive Arts Society:
http://uk.youtube.com/watch?v=EKjF1GwL-jQ
195?
Singer Ray Sepulveda was born Brooklyn, New York. Associated with salsa romantica in the 1980’s he recorded five albums for RMM under his own name but has also featured with Sociedad 76 , Adalberto Santiago and Héctor Lavoe Orchestras, Johnny Ray, Tito Puente and the Spanish Harlem Orchestra. His most recent outing was with Chino Nunez on the album It's SHO Time.
“….the first time that I had the opportunity to work with Sergio George, the musical producer of Salsa Con Clase. He influenced and in a way created the Ray Sepúlveda style” (raysepulveda.com).
1972
Reggaeton star, salsa fan Tegui “Tego” Calderón Rosario born Santurce, Puerto Rico growing up in Loiza, Puerto Rico and later Miami.
“I don’t like to put music in categories,” he says. “I don’t feel like I’m part of any reggaetón movement. Really, I feel like a salsero, not a hip-hopper or a reggaetón artist. I feel like I’m following in the steps of a lot of important people. Guys like Ismael Miranda… they’re my idols. They made salsa that was powerful and from the streets. They made salsa that said something real. I put my heart and soul into El Abayarde, because I wanted it to be what Tego was all about, just like their records were what they were all about. In that way I’m just following in their footsteps and keeping the tradition going. I’m getting young people to listen to salsa and bomba again,” he continues. “It’s not easy, but if I put it on a record, the kids will listen and get to know it” (extract from an interview by Tom Prior).
The 2002 album El Abayarde featured a great version of the Tommy Olivencia classic Plante Bandera in 2002 and has provided vocals for the 2003 album Cachete Maldonado Y Los Majaderos as well as appearing as a guest at recent Fania All Star concerts. His latest album, The Underdog/El Subestimado, features the salsa track Changó blanco with Cano Estremera. Talking about this song he recently said:
"It was a lot of pressure," he says. "Young people respect old-school salsa, but nothing is happening right now with that. I do this with a purpose: to bring salsa de verdad back, with good arrangements and musicians and with a sense of humor” (latina.com).
He duets here with Victor Manuelle on a version of the Willie Colon classic Che Che Cole:
http://uk.youtube.com/watch?v=k7tW91m0NoI
1979
Puerto Rican cuatro player Ladislao Martinez, known as "El maestro Ladi", died.
“The decade of the 20s, a decade of verse, composers and famous musicians, left us a treasure of fond memories. It was around this time that Ladislao Martínez was opening up a way for himself, a young composer barely 21 years old who had dedicated himself to play at popular dances en the picturesque barrio where he lived with his parents in the town of Vega Alta. He received as payment $1.50 and $2.00 for each dance that he livened up, and occasionally was treated to the tough experience of playing all night and not getting paid what was owed him. There were times that his father had to intervene where his son had played to make sure he was paid” (Jesús M. Rivera).
Three of his recordings are currently available from descarga.com, the band considered by the Institute of Puerto Rican Culture to be the greatest exponent of Puerto Rican folkloric music.
One of his compositions, En Prueba de mi Amor, played by the Torres Brothers:
http://uk.youtube.com/watch?v=lIzl2Os5g_c
2003
- US Premiere of the film "When the Spirits Dance Mambo", City College, NYC.
“Despite infectious music and swirling costumes, "When the Spirits Dance Mambo," a talking-head disquisition on the role of African religion in the formation of Cuban culture, lacks any especial edge, coming off as a sincere yet old-fashioned piece of non-fiction filmmaking. Subject is potentially fascinating, but helmer Moreno Vega never fully succumbs to the rhythms she explores -- the spirits may dance mambo but Vega's earnest experts proceed at a more sedate pace. Solid, informative but uninvolving docu could lure Hispanic auds and students of music and ethno-diversity” (variety review).
Well, I really enjoyed the book if it’s any consolation.
- also on this date in 2003 master percussionist Mongo Santamaria died in the Baptist Hospital (at 3:00am Miami time)
“Santamaria possessed unique talents as a percussionist and had a visionary outlook as band leader. His music contains a unique combination of Latin, jazz, soul and rhythm and blues. As band leader he also had an incredible foresight in choosing and encouraging up and coming talents. Some of his former sidemen include pianists Chick Corea and Herbie Hancock, flautist Hubert Laws and trumpeter Luis Gasca. Santamaria recorded more than seventy albums as leader, and was signed at one time or another to some of the most prestigious record companies in the world including Fantasy, Columbia, Atlantic, Concord, Riverside, Milestones and Fania. He received five Grammy Award nominations and in 1997 his album “Amanecer” was awarded the Grammy for Best Latin Recording. Santamaria was one of the finest individuals to grace the world of percussion, and as far as conga playing, arguably the most influential. Players of many generations and of wide cultural backgrounds worldwide always make a mention of Santamaria’s profound influence. He left Cuba determined to make a mark in the international music scene, something he achieved in his lifetime. His music will live on forever. May he rest in peace” (Alex Pertout obituary, Drumscene).
Buried, Woodlawn Park North Cemetery and Mausoleum, Miami, Florida.
Here’s a superb live version of his well known number, Mambo Mongo, taken from Colombian TV in the early 1980’s:
http://uk.youtube.com/watch?v=ZjjEHw9KCW4
2nd February
1922
Trumpeter/composer/bandleader Vinicio Gonzalez born Santiago de los Venas, Cuba. Played with Conjunto Niagara and Los Jovenes del Cayo among others.
1933
Orlando “Cachaito” Lopez, bass player and son of Cachaos brother Orestes Lopez, born Havana, Cuba.
“His earliest memory is of carrying his father’s manuscript case to radio sessions by the Havana Symphony and often on the same day Arcaño's legendary danzón orchestra. Since a small child Cachaíto was favoured by his father and was taken to many sessions and rehearsals where he sat and watched his father’s generation at work” (sasamusic.com).
In his early career he played with many Cuban bands such as Arsenio Rodriguez, Orchestra Riverside, Los Zafiros, Leo Brouwer and Orquesta Cubana de Musica Moderna. His career took on international status with the Buena Vista Social Club project and he is said to have played on every track of the subsequent spin-off releases. In 2000 he released his own album, Cachaito, one that caught many by surprise by being completely unlike any of the other son based BVSC releases.
“Instead of trying to compress the history of Cuban dance music, Cachaito elongates it into a shape-shifting amoeba that can swallow and absorb almost any influence. On "Redencion," reggae-inflected electric organ jabs throw open the door to dub effects. Massed charanga violins stutter and echo as the bottom drops in and out of the mix. The project gets a jolt from figures not usually associated with Cuban music, like Jamaican organist Bigga Morrison, French DJ Dee Nasty, South African flugelhornist Hugh Masekela, and saxophonist Pee Wee Ellis of James Brown Revue fame. But it's the Cubans who provide the disc's most unexpected performances. The pizzicato strings on "Oracion Lucumi" fall like snow in a glass globe shaken hard by a gritty tres solo. Groove-heavy "A Gozar el Tombao" spills in on Manuel Galban's reverb-laden surf guitar. Ibrahim Ferrer comes out of nowhere with a short ascending cameo vocal on "Wahira," the sole non-instrumental track onboard” (Bob Tarte, The Beat magazine).
Here he is jamming with the Oviedo’s in Havana, 1993:
http://uk.youtube.com/watch?v=xLbK7aBazzA
1954
Chino Rodriguez, of Puerto Rican/Chinese descent, born in New York City.
Started his musical career with Brooklyn band Orchestra Dee Jay, who recently had a re-issue on the Latin Soul label and have another (Palante) due out next. Started his own orchestra, Chino Rodriguez y La Consagracion, in the early 70's and recorded two albums with Salsa Records entitled Maestro De Kung-Fu and Si Te Vas Mi China (both produced by Larry Harlow).
Left the music scene in the 1980’s, venturing into the relatively new computer market. In the 1990’s he became active as an artist manager, working with the likes of Ismael Miranda, Joe Cuba, The LeBron Brothers, Nestor Sanchez, Angel Canales and Yomo Toro. Currently manages tours for a wide range of Latin music artists such as Tito Rojas, Larry Harlows Latin Legends, Proyecto Uno, Sonora Carusseles, Bobby Valentin, Grupo Mania, Elvis Crespo and DJ Henry Knowles.
1967
Recording of the Willie Bobo album Juicy completed. Bruce Polin: “The sound, although quite dated, is a Polaroid of the late 60s shing-a-ling soul Latin and black soul crossover movement that others like Armando Perraza and Mongo Santamaria have ventured into”.
An Australians review on Amazon.com: “This is "music to watch girls go by". That's one of the gems, along with "Juicy". I think they really like it. So do I. Real jazz of a minimalist latino style, Willie Bobo's soundtrack of the centrefold era has it all over recycled, novelty cocktail CDs. Willie Bobo deserves better than back catalogue revival. Maybe a start would be in flight muzak in business class or at Playboy Mansion, West, circa 1967. Maybe not Willie's best album, but good enough you better not tell your lover you listen to "Juicy".
1973
Tito Rodríguez’s last public appearance, with Machito and his band at Madison Square Garden, NYC - he died on the last day of this month.
Here’s an unusual sight, Tito Rodriguez playing timbales:
http://uk.youtube.com/watch?v=hNA-mMwxpYM
1995
Africando vocalist Pape (Serigne) Seck, died in Dakar, Senegal.
“….. a tall, loosely knit man with a mobile, wide featured face that seemed to involuntarily reflect his thoughts and impulses. A dimple under one eye added a boyish touch, especially when he was contemplating mischief. He developed a terrible cold mid-way through the recordings which did not make the slightest dent in his professionalism. However, he ultimately had to simply talk his solo on the tune "Africando". Amid the swirling feints and jousts of the other five singers his gruff and measured declamation was so unexpectedly effective that the producers left it that way. To my ear, this brief contribution was the fulcrum of that cut. As the flautist Eddie Zervigon of Orquestra Broadway fame observed during the sessions, the man could really sing! Pape Seck's deep and raspy voice, which has been compared to that of Louis Armstrong, was an improbably agile instrument with horn-like overtones. The contrast between the heft of his timbre and how his art allowed it to ignore gravity often struck me as irresistibly droll. He conveyed a joyous acceptance of human frailty which encompassed more than a passing knowledge of tragedy. His interpretations of darker material seemed to reveal an innocent bewilderment at the random indignities of fate along with a realistic appraisal of his personal duty toward it. Musically or otherwise, his was not a passive presence” (obituary by Christina Roden).
You’ll recognise his voice, here he takes lead vocals on the well-known Africando track ‘Yaye Boy’:
http://uk.youtube.com/watch?v=VIEptRkpVmw&feature=related
3rd February
1920
Alfredo “Chico” Alvarez, trumpeter, born Montreal, Canada. Played with Stan Kenton between 1941 and 1951. Not to be confused with composer/arranger Ernesto “Chico” Alvarez.
1941
The man considered to be the creator of the guajira, Cuban pianist/composer Jorge Ankermann, died.
1943
West Coast conguero Harold Lewis “Butch” Haynes born. Played in a a number of different genres and was equally at home with funk as he was with Latin jazz in which he played with the likes of Armando Peraza and Pete Escovedo.
1974
Bass player Alfredo Hechavarría Ruddock born Santiago de Cuba. Played/recorded with Issac Delgado, Julio Padron and Tony Martinez but is now based in Germany where he leads his own bands, Alfredo y su Banda and the Alfredo Hechavarria Trio. In Europe he has made albums with Osvaldo Chacón u su Timba and Clarissa y Familia Latina.
1997
Johnny Rodriguez, vocalist/composer died Puerto Rico. He made his name in NYC before his younger brother Tito moved there from Puerto Rico in 1935, living on 110th Street between Park and Madison avenues. Johnny was a popular vocalist in NYC he formed Johnny Rodriguez & his Stork Club Orquesta (named after the nightclub, also used as a band name around the same time by Noro Morales) and his own trio in 1940, releasing albums on the Seeco label (re-issued on Harlequin as Johnny Rodríguez 1935-1940, on Disco Hit as Johnny Rodriguez Y Su Trio, Vols. 1 & 2 and on Seeco as Exitos).
1998
Roberto Clemente: Un Tributo Musical completed at Estudio E1212, Puerto Rico. Baseball Hall of Famer Clemente is a Puerto Rican cultural icon:
http://uk.youtube.com/watch?v=WNw_BvCDxWw
4th February
1910
Cuban son/guaracha composer Remberto Becker born Havana. His best known composition is probably A Toda Cuba Le Gusta composed with Antonio Maria Romeu.
1928
Cuban trumpet legend Felix Chappottin first recorded with Septeto Habanero.
“Sexteto y Septeto Habanero
Grabaciones Completas 1925-1931: Las Raíces del Son
Tumbao Cuban Classics TCD 300-303 (4-CD box set)
For diehard aficionados, this is the definitive collection of one of the son's founding innovators. Septeto Habanero has for eight decades been a prime interpreter of a Cuban national heritage once dismissed as "too African." An exhaustive transcontinental search for archival recordings from the Victor catalog turned up all but two of the original 100 titles from the group's earliest work. (If you own these, Tumbao wants to hear from you.) Hence, this is an especially significant reissue, because among the many sextets of the late 1920s (e.g., Boloña, Habanero, Machin, Matancero, Munamar, Nacional, Occidente), only the seminal Habanero and Nacional are still cooking today (albeit as septets). Habanero originated in 1920 as a sextet of guitar, tres, bongó, bass, and a vocal duo on claves, maracas and güiro. The addition of cornet in 1927, and Félix Chappottín's legendary trumpet (first heard on the February 1928 tracks), created the brass signature that infuses all Cuban music, salsa and Latin popular dance”. (rootsworld.com review)
Here’s his band in early film action:
http://uk.youtube.com/watch?v=FcDXMqh3P1I&feature=related
1938
Helio Orovio musician/musicologist born Santiago de las Vegas, Cuba. He has authored several well received books including Que Bueno Canta Usted (biography of Beny More) and most recently the Cuban Dictionary of Music from A-Z. Tumi Music label owner Mo Fini cites him as “the leading authority on Cuban music”.
1947
Machito Orchestra, Miguelito Valdes, Chano Pozo, Arsenio Rodriguez, Gabriel Oller and Olga Guillot gathered at Nola Penthouse Studios, NYC, to begin a 12 hour recording session. However, according to Sublette this date was when Chano Pozo, Miguelito Valdes, Arsenio Rodriguez , Jose Mangual and Carlos Vidal recorded four all percussion “Barrio style rumba” numbers. Given the personnel of the former this could well have been a session within a session?
1973
In the February 4th 1973 edition of Sunday New York Times, reporter Don Dove wrote:
"The housewife in Englewood, New Jersey, who shops the local supermarket with her mother is also the official 'Queen of Latin Song' with partisan audiences that stretch from New York's 'barrio' to Venezuela and beyond. She also has no agent and she answers her own phone. She is Lupe Garcia known as La Lupe to her fans and she was one of the headliners Friday night at the 2nd Festival of Latin Music at Madison Square Garden”.
1998
Haila Mompie became member of Azúcar Negra. “….a band that was "supposedly" made for me, which in the end didn’t work out, so I took it upon myself to start my solo career since it felt like [my career] was getting out of control. Azúcar Negra was too small for the things that Haila was doing” (interview extract from salsasf.com by Julia Sewell).
Here she is with the band, showing just what a great singer she is:
http://uk.youtube.com/watch?v=TChbIlTSx3o
2000
The Point Community Development Corporation honoured vocalist Vitin Aviles, along with ten other veteran musicians.
2001
Maso Rivera (b. Tomás Rivera Morales), Puerto Rican cuatro player and teacher died at the age of 74.
“I began to play the cuatro at the age of five. The cuatro then was square-shaped. It had four strings. I took up the cuatro because that's all there was, there was nothing else to do. Besides, things were such, I used to take a string and tie it to a hook on the shed, over there, and [plucked] the string...and not a real string. Do you know what it was? A cord...made of leather. Before, strings were made of leather. Yes, of leather. My motivation was...everybody's playing the cuatro except me. So what's my excuse? Get it? Right. When one starts coming of age, leaving childhood behind, one starts wising up, and starts to see that he who has talents gets paid. So then one tries to get paid, too. Get it? Even though the dances that I use to play didn't pay more than ten bucks. Nowadays, it's a gold mine. Indeed, an egg then cost a penny. But you had to lay an egg to get that penny. How about that?” (extract from a Juan Sotomayor interview).
Here he demonstrates his mastery of the cuatro:
http://uk.youtube.com/watch?v=3b4I8DCCMpU
2004
Bandleader/percussionist Victor Manuel “Vitin” Narvaez died, Killeen, Texas. Along with his brother Ali Narvaez they joined Orquesta Juvenil in the mid-1960s, later performing as opening act for bands like El Gran Combo and Orquesta Harlow.
“They recorded a single for Alba Records with two songs written by Vitin and Manuel Narvaez, "Loco Jazz" and "Llave con Guaguanco." Orquesta Juvenil evolved into La Controversia before its members separated in the late 1970s. Narvaez later hooked up with the band Sabor, which he ended up inheriting from founder Negron” (Milwaukee Journal Sentinel).
5th February
1916
Singer Daniel Santos born Santurce, Puerto Rico. Sometimes known by the nicknames "El Inquieto Anacobero" and "El Jefe", he had a long career singing with some of the biggest names in Latin music: Cugat, Beny More, Johnny Pacheco, Conjunto Clasico and Sonora Matancera with whom he recorded many albums.
“….became one of the most influential singers and songwriters in Latin and South America during the middle of the century. From the pen of Pedro Flores, his early love-lost lyrics - a series of aching, mostly one-word hits such as "Despedida," "Obsesión," "Irresistible," "Perdón," "Venganza" - influenced author Gabriel García Márquez as much as other singers, while his later, patriotic material riled American intelligence officers and inspired Fidel Castro's Cuban Revolution” (John Bush, All Music Guide).
Numerous compilations of his work with various bands have been released (including several albums released under his own name) as well as a couple of tribute albums such as the 1998 Tributo Al Jefe Daniel Santo by Peruvian singer Melcochita.
“In 1957 he composed the song ‘Sierra Maestra’ on hearing the news that Fidel Castro had supposedly been killed in the Sierra Maestra. He had difficulties recording it but eventually managed in New York and distributed it himself in Miami. He donated all profits from the record to the exiles of the Movimiento 26 de Julio. Seventeen copies found their way back to Cuba and the song became a revolutionary anthem played repeatedly on Radio Rebelde and thereby causing C.I.A./F.B.I. interest in Santos. However, it’s necessary to point out that Santos was not clearly committed to any one concrete political ideology with the exception perhaps of the cause of Puerto Rican Independence, in particular he identified with Puerto Rican Nationalists such as Pedro Albizu Campos (and the poet Juan Antonio Corretjer) and their demands for Puerto Rican independence from the U.S. (despite ending his days living in Florida). Indeed at his burial the Independence anthem ‘La Borinqueña’ was sung. Santos, repeatedly declared himself not to be a Communist but a supporter of Freedom and Independence. Although he travelled to Cuba on the first of January 1959 to accompany Fidel on his victorious entry into Havana he did not remain there” (extract from La importancia de llamarse Daniel Santos by Luis Rafael Sánchez).
Here he is with a version of Tibiri Tabara in what could well pass for a well made early MTV video:
http://uk.youtube.com/watch?v=r-uSgWBBxNQ
1927
Alberto Socarras recorded the first jazz flute solo for a recording of Have You Ever Felt That Way by Clarence Williams (Salazar). However, on many websites he is listed as “Alto Saz” (on some it says “possibly drums”!) and the recording date is often cited as 31st July 1929. Anyway, the track is 2 minutes and 52 seconds for you real trivia buffs*
(*nerds)
1975
Max Salazar wrote “February 5, 1975, Lavoe and I sat in a small room on the magazines (Latin NY) premises. His frankness in answering questions startled me. He hid nothing and spoke with complete lack of inhibition about his drug problem – how at first the drugs were free, but then the habit started costing him thousands of dollars. At the moment he was making these revelations to me he was salsa’s rising star. I decided not to mention his drug problem for fear it could ruin his career”.
2003
February 5th Puerto Rican drummer Luis Daniel "Chichito" Cepeda died in a car accident.
“The youngest of eight surviving children, Cepeda played concerts, joined family performances, and taught bomba and plena dance and drumming workshops in the U.S. and Europe; he encouraged everyone to join in the dance. Cepeda is survived by his wife, Estrella Quiroga; son, Luis Daniel "Hadji" Cepeda Rosa; and the Cepeda family in Puerto Rico. He was laid to rest on the island alongside his parents, Don Rafael Cepeda and Dona Caridad Brenes” (obituary, Dance Magazine).
"Luis Daniel was an extraordinary person…..he's one of the greatest drummers in the history of Puerto Rico, a maestro of bomba and plena. The way he played and gave of himself to the music and other musicians around him has been a great inspiration to me" (Hector Lugo talking with Chuy Varela).
2004
The US Interests Section, Havana, stated the following in a Current Policy letter of the 5th February 2004:
“Current US laws and policies generally do not allow entry into the US by officers and employees of the Cuban Government and Communist Party……Since most Cuban artists are compensated by the Cuban government they are rightly considered to be its employees”.
6th February
1895
Maria Teresa Vera born, Guanajay, Cuba. She was a singer/guitarist/composer and founder of Sexteto Occidente - no mean feat for a woman in Cuba in the early 20th century. She was also a musical teacher and among her many students was a young Miguelito Valdes.
“The grande dame of Cuban music, Maria Teresa Vera was not only the greatest female trova singer of all time, she was also one of the form's greatest singers, period” (Steve Huey, All Music Guide).
A fine 24 track compilation of her work was issued by Egrem in 2002.
Omara Portuondo sings one of her best known compositions, Viente Anos:
http://uk.youtube.com/watch?v=QOXqAb-BMdM
1905
Puerto Rican composer Leonardo Santiago born.
1927
Bandleader/vocalist/timbalero/vibes player Pete Terrace (b. Pedro Gutierrez) born in New York. Started his career with the bands of Noro Morales, Pupi Campo, Tito Puente and Joe Loco (with whom he recorded Loco Motion in 1961) before forming his own quintet, The Latin Boys, which made several albums for Tico including Pete With A Latin Beat (1960) and Baila La Pachanga (1962). In the late 1960’s he formed his own label, Mio International.
1929
Santiago de Cuba Mayor Arnaz (and father of yet to be Hollywood star Desi, aged 11 at the time) issued a resolution which banned “every kind of comparsas or parrandas that used as music the bongo and other similar instruments”.
1954
Violin virtuoso Alfredo De La Fé born Havana, Cuba. Moved to NYC in 1965, the first major artist he played with was Jose Farjado (as a child prodigy) though his first major professional work was with Eddie Palmieri in 1972 with whom he went on to record the first salsa album to receive a Grammy - The Sun Of Latin Music (1976). Joined Tipica ‘73 in 1976 and went on to record five albums with them until 1980 when he formed his own band; Alfredo De La Fé y la Charanga. He has performed with a huge list of artists, though it may be fair to say that this list may have been even more impressive if it were not for that fact that from the early 1980’s to late 1990’s he mainly performed in South American and Europe, where he was based for a number of years.
Extract from a salsa power.com interview:
“Jacira: Lots of people are interested in knowing what you have been doing during the years you were away. Can you tell us a little bit about what you were up to?
Alfredo: I was in Colombia, a wonderful country that received me with open arms. It has a lot of problems, but I love Colombia. I was there for 14 years and then I moved to Italy. Since 1991 I had been spending a lot of time in Europe. Salsa there is all the craze. The future of Salsa is in Europe. But New York is home... it is where my family is and the United States is the best country on earth. In 1997 I moved to Italy. Things went very well for me there. People in Europe love our music and that is a source of nourishment for my soul that gives me the drive to play it for them. I would also like to mention that for many years I was lost... It began before going to Colombia, in New York. I began to play professionally at age 12 and I began to do drugs at age 12. If you were a musician and didn't do drugs, you were nobody. It was in vogue back then. I began to play professionally and they invited me to do drugs and I did them. I suffered a lot as a result of the drugs. I am very fortunate that I had the ability to get out. I've been drug free for 16 years and I will never do them again! I am happy that I no longer use them. I want to tell young people that you can live very well without consuming drugs”.
He’s been filmed quite recently, jamming on a version of Muneca:
http://uk.youtube.com/watch?v=XZBCImFWu8w
1959
Trombonist/multi-instrumentalist Raúl Guará Colás was born in Guantanamo City, Cuba.
Has played with Irakere, Orquesta Miramar and Félix Valoy Jr, appearing most recently on the latters 2004 album Soneando Con Un Sonero.
1971
Havana NRG singer Mariela Suarez was born February 6, 1971 in the city of Havana, Cuba. From the age of four she began to appear in TV, radio, documentaries and theatre as part of a musical children's group, "Meñique". She studied at the music academy specializing in piano and violin. In 1987 she won first place in a national contest for violin students. Mariela graduated with a technical and professional title as instrumentalist and violin professor. In 1989 she was selected to participate in the Young Musicians World Orchestra as a violinist becoming the first Cuban in history to be accepted for this kind of event. In 1992 she was part of the prestigious orchestra of the Cabaret Tropicana in Havana, Cuba as keyboard player. Alongside Ivan Martinez, Mariela was the musical director of the band "Cuestión Seria", which won the 1995 Novel Orchestra award in Cuba. In 1997 she was the producer, musical arranger and piano player of the CD, "Amante Solo Yo", by Dikan and Cuestión Seria, of which the song "Hice por Ti" reached fourth place in the New York Hit Parade of the Latin Beat Magazine. During these three years she participated as violinist in the symphonic orchestra of Nuevo Leon and was professor of violin in the Instituto Superior de Musica in Monterey, Mexico. In 1999, Mariela moved to the United States to start as musical director, arranger, piano and violin player with the Havana Boys. They won many awards for best Latin Band in 2001 and 2002 by the Dallas Observer Magazine, D Magazine's Best Latin Band and Fort Worth Weekly's Best Latin Band.
1973
Venezuelan band la Renovación formed by Nicolas “Nico” Monterola “a great Master Bongocero…. a pioneer introducing the New Salsa Sound Wave Style in Venezuela. He encouraged the modern way of playing Bongo inspired by the great Yeyito Iglesias from Cuba” (rhythmweb). They released a self titled album the year they were formed.
1976
Pianist Vince Guaraldi died, San Francisco. Sometimes known as Dr. Funk, his first recorded work with the Cal Tjader Trio with the track Vibratharpe in November 1951 (commonly cited as 1953) and he went on to record at least a dozen other albums with Tjader. He also wrote much of the music for the Peanuts/Charlie Brown TV cartoon features.
"I don't think I'm a great piano player, but I would like to have people like me, to play pretty tunes and reach the audience. And I hope some of those tunes will become standards. I want to write standards, not just hits" (quoted by Derrick Bang)
7th February
1917
Cuatro/bass player Sarrail Archilla born Corozal, Puerto Rico. Played with Conjunto Típico Ladi and Celso Vega Quintet before moving to NYC where he played with both the Tito Puente, Machito, Noro Morales and Miguelito Valdés orchestras as well as La Playa Sextet (all on bass).
1947
Chano Pozo’s US recording debut as bandleader at Nola Penthouse Studios, NYC (inc. his own compositions Rumba en Swing & Cometelo Tu). Band included Tito Rodriguez on vocals and Arsenio Rodriguez on tres, not bad eh?
8th February
1940
Tito Rodriguez made his first recording (Oye Mi Bajo) with his brother Johnny’s band.
1965
Singer bandleader “Rojitas” (b. Jorge Luis Rojas) born Havana. Was lead singer with Adalberto Alvarez but left to join Cubanismo (on the albums Malembe and Jesús Alemañy's Cubanismo Featuring Alfredo Rodríguez) though from the mid-1990’s he has led his own band. Leaning increasingly towards Latin Pop he has the distinction of releasing one of those truly dreadful “salsa in English” tracks with the utterly woeful Baby I Love Your Way - I‘m shuddering right now just thinking about it, any DJ that plays this monstrosity should be plugged directly into the mains. His last album was Tierra Santa (2004).
1973
Singer Carlos Manuel born in Havana, Cuba.
“In 1999, Carlos Manuel y su Clan was a young, up-and-coming timba band and Carlos himself, an extremely talented and charismatic vocalist, could frequently be heard around town sitting in with the likes of Los Van Van and Manolín. The group developed a large young following and became more and more popular until they had an explosive breakthrough in late 2000 with the novelty hit "Malo cantidad"…….For a brief period Carlos became the hottest star in Havana, and he capitalized on the success of Malo cantidad with a string of similar, catchy non-timba songs. But then, in about 2002, he suddenly moved to Miami…..He's popped up occasionally and now, as of early 2006, has put together a new group in New York which has created quite a buzz and looks to be his best shot yet at catching on in the States” [Kevin Moore, Timba.com).
His first album Por La Vena El Gusto was released in 1999, a “hits” album, was released in 2005; 12 Grandes Exitos.
Here he is, with some sort of tropical-timbaish-pop number from 2007:
http://uk.youtube.com/watch?v=Pq0Qrf2fZJ4&feature=related
1981
Celebrated Cuban pianist/composer Maria Cervantes, daughter of legendary Ignacio, died. Not a great deal of her recordings are readily available but the song Maria Cervantes, written by Noro Morales has been covered by many including; Tito Puente, Johnny Pacheco, Charlie Palmieri, and most recently as the opening track for the 2003 album Mambo City by NYCs Grupo Latin Vibe and the 2005 release Richie Ray & Bobby Cruz live anniversary concert.
She can be herad on the compilation/various artists sets Banquete Cubano: CD & Minibook (Cuba Soul label) & the Columbia album The Music Of Cuba 1909-1951 (both released 2000).
1994
Orlando Contreras, Cuban born bolero singer, died Medellin, Colombia. Several compilations of his work are available, including albums in which he takes alternative tracks with Celia Cruz (Homenaje A Los Originales: Celia Cruz Y Orlando Contreras - 2003) and Beny More (Entre Amigos: Beny More Y Orlando Contreras At The Ali Bar, Habana 1955). He is one of the three featured singers on the great Javier Vazquez y Su Salsa compilation release Salsa Y Montuno (the other two singers are Monguito El Unico and Welfo aka Wuelfo Gutierrez).
Orquesta Salsa Gorda were the most recent to pay tribute to him with the track Te Recordaremos (Homenaje A Orlando Conteras) on the 2005 album Como Quiera Que Lo Quieras.
He croons for your pleasure here (epilepsy sufferers alert!):
http://uk.youtube.com/watch?v=x-IgVkd3bqY
2002
Nick Brignola, baritone saxophone player died. He played mostly with jazz bands though also featured with Cal Tjader. The message on his websites front page reads: “The ‘flight of the eagle’ is now complete, he leaves behind a wealth of inspiration”.
9th February
1935
Singer Rafael "Felo" Bacallao born Cienfuegos, Cuba. Worked with guitarist Rafael Molina and flautist Efraín Loyola and was a member of Trío Arizona for over a decade. Best remembered for his tenure with Orquesta Aragón which lasted between 1959 and 1990 - his son Ernesto Bacallao is a current member of the band.
1977
Tito Puente honoured at the Time-Life Building's Tower Suite (nightclub). An inscription on the specially commissioned bust (created by Francisco Marcos) read: "Tito Puente--The King of Latin Music. . . for being Latin music's most popular ambassador during the last 25 years... Latin Times Magazine, February 9, 1977”
1982
Trombone player Edward Machado Cabrera born Santa Clara, Cuba. Has played with Issac Delgado and Paulo FG, though now lives in Spain. He can be heard playing on the 2002 Felix Santiago album Salsero Natural, the 2003 Danae album Pido (listed as “trumpet”) and 2004’s Dios Disfrute a la Reina - the posthumous album marking the 1st anniversary of the passing of Celia Cruz.
2002
A Paquito D’Rivera composed flute concerto based on the Cuban danzon (commissioned by the U.S. National Symphony Orchestra) debuted at Washington's Kennedy Center.
2005
Lazaro Ros, Afro-Cuban/folkloric music expert died Havana, Cuba aged 79.
“…..a leading figure in Afro-Cuban culture. A modest and friendly man, he strove to raise awareness of the rich legacy of African slaves taken to Cuba. He performed the music of the Lucumí culture, which also includes religion and dance, of the Yoruba people from modern-day Nigeria, and the music of the Arará culture of the Dahomeyan people from modern-day Benin. On one estimate, 70% of Cubans practise an African religion, the main one being Santería, the cult of saints, in which deities from the homeland are worshipped through Catholic equivalents. From an early age, Ros taught himself the chants arising from the practice of this religion in the Lucumí and Arará cultures: he possessed an extraordinary voice, capable of hitting both high and low notes” (extract from obituary, The Guardian newspaper - UK).
He can be heard handling the vocals on the re-issued Conjunto Folklorico Nacional De Cuba: Música Yoruba as well as on albums under his own name such as Olorun (1994), Asoyi Cantos Arara (1995) and Songs for Elegua (1996). There is also available the box set Lázaro Ros: Orisha Ayé, a 13 CD collection “….. each of which are dedicated to a different orisha, or deity, of the Santería religion. This is authentic material, and you will be hard-pressed to find finer recordings of this nature. If you are either practitioner or student of voice and batá drum-based material looking for the perfect audio reference, look no further...this is a gold-mine” (Bruce Polin).
He shares vocals here for a Conjunto Folklórico Nacional performance:
http://uk.youtube.com/watch?v=dHl6awLxtCo
10th February
1907
Composer Guillermo Fife Rodriguez born Mayari, Cuba. By far and away his best known composition is the classic Bilongo (also titled La Negra Tomasa) which has been covered by more people than you can shake a maraca at:
Verse 1:
Estoy tan enamorado,
De la Negra Tomasa,
Que cuando se va de casa,
Qué triste me pongo.
Chorus:
Esa negra linda, camará,
Que me echo bilongo.
Esa negra linda, camará,
Que me echo bilongo.
Verse 2:
Na' más que me gusta la comida,
Que me cocina,
Na' más que me gusta el café,
Que ella me cuela.
(chorus twice)
Kikiribu Mandinga.
Kikiribu Mandinga.
Kikiribu Mandinga.
Kikiribu Mandinga.
Kikiribu Mandinga.
Esa Negrita Tomasa,
Cómo menea esa rumba,
Kikiribu Mandinga,
Kikiribu Mandinga.
2nd Verse (twice)
Chorus (twice)
3rd Verse (twice)
Kikiribu Mandinga
Kikiribu Mandinga.
(Bilongo lyrics from cuba21.org)
Now you’ve learned the words you can jam along with Quique Talavera and his band:
http://uk.youtube.com/watch?v=btmFhYbdpaU
1940
Singer/percussionist/bandleader Roberto Torres born Guines, Cuba. Worked in Cuba with Conjunto Universal and Orquesta Swing Casino before moving to NYC in 1959 with his twin-brother Rudy and flautist Eddie Zervigon with whom he set up Orquesta Broadway, playing with them from 1962-1968. Several bands used him as vocalist (such as Jose Fajardo and Sonora Matancera) and in 1973 he released the first of many albums under his own name; El Castigador. He made a fantastic album with Chocolate in 1974; Juntos before setting up the successful SAR label with Sergio Bofill in 1979. He re-located to Miami in 1986, taking the SAR label with him. Several “greatest hits” compilations are available, Con Mucho Swing - Roberto Torres & Cha Cha Cha All Stars Orchestra from 2004 was his last album.
You can hear him here, though the video “needs work” IMO:
http://uk.youtube.com/watch?v=91SzhISuLSE
1946
Producer/bandleader Frank Ferrer born Ponce, Puerto Rico. Has produced the likes of Lalo Rodriguez for his own Tierrazo Records label, formed the band Puerto Rico 2010 in the '70s, renaming them Puerto Rico 2013 and releasing a self titled album with lead vocalist Van Lester.
1949
Chico O’Farrill: “I was invited to the February 10th 1949 Capitol Records session. I conducted the recording and Mr. (Benny) Goodman baptized me ‘Chico’ and this name stuck”.
1991
Singer, percussionist, dancer and composer of many rumbas Gonzalo “Tio Tom” Arteaga died, Cuba.
1998
Composer/violinist Felix Reina died Havana, Cuba. Played with Arcano y sus Maravillas (can be heard on the Tumbao album Danzón Mambo 1944-51), Orquesta America and Jose Fajardo before becoming musical director/violinist for Orquesta Estrellas Cubanas In 1959. As a composer he is best remembered for the danzon Angoa and the bolero Si Te Contara. In the few years before his death he was still active with Orquesta Estrellas Cubanas an appears on the 1997 album Violin A Ochun.
11th February
1893
One of the many dates given for the birth of bandleader Justo Angel Azpiazu (Don Azpiazu) who was the first to score a huge hit with El Manicero (see 20th January entry).
1923
Percussionist Luis Miranda born.
“Luis has provided music lovers with six decades of excellent percussion work. He is the one of the kings of Latin Jazz Congueros. While participating in Mario Bauz·'s creation of Latin Jazz and enjoying the highest accolades and triumphs with Machito's seminal group of the 40's and 50's, Mr. Miranda created a mellow, rhythmic way of playing congas that influenced many others that came after him in the New York Latin jazz scene. Looking at his resume, you find yourself glancing at the history of jazz and Latin music coming to life before your eyes. Figures such as the legendary Charlie Parker, Mario Bauza, Cal Tjader, Ella Fitzgerald, Dizzy Gillespie, Eddie Palmieri, Tito Rodriguez, Machito, Nat King Cole, Tito Puente and Dexter Gordon” (tocapercussion.com).
"I started playing in New York in the early 40's. I started by playing around town with various small groups but my biggest break came when I started playing with Machito's band. Machito was a friend of my dad and his band was playing at the Palladium Ballroom at this time. Machito took me to the Paramount Theater to check out Stan Kenton's band, which was also very hot at this time. Afterward, Machito's conga player at that time, Carlos Vidal, got a contract to play with Stan Kenton's orchestra and I took over for him. The band started playing with Charlie Parker, Dexter Gordon, Flip Phillips, Dizzy Gillespie and other jazz greats. Machito's band, aside from being the first band to play Latin jazz, was also the first Latin band to play the famous Apollo Theater and Birdland Jazz Club in New York. This is how I got my start in the business" (Luis Miranda homepage).
He can be heard playing on the excellent compilation album Mambo Mucho Mambo: The Complete Columbia Masters by Machito and His Afro-Cubans (he’s featured on all Machito albums from this period), the Miguelito Valdes album Mambo Dance Session and the Eddie Palmieri album Champagne.
He’s in conversation with Martin Cohen here:
http://uk.youtube.com/watch?v=mrq18W6kw_4
Here’s the wonderful Machito Orchestra from Miranda’s period:
http://uk.youtube.com/watch?v=n7xGFrNQs2E&feature=related
1949
- Machito/Charlie Parker/Duke Ellington played Carnegie Hall, Ella Fitzgerald guesting with Machito.
- Also on this date in 1949 “El Albino Divino”, vocalist Nestor Sanchez born Mayagüez, Puerto Rico. Made his debut with Ray Rodríguez in 1968 before joining the newly formed Tony Pabon y La Protesta in 1970. Made several fine albums with the band whilst also doing a lot of coro work, particularly for Fania. A sample of the many albums he appears on (estimated to be around the 200 mark):
Con Salsa y Sabor (Charlie Palmieri & Meñique), Salsero (Louie Ramirez), Salsa Clasica (Sociedad ‘76), Social Change (lead vocals, Fania All Stars), Tras La Tormenta (Willie Colón & Rubén Blades), Conjunto Candela (lead vocals), Rhythm Of Life (Ray Barretto), La Clave (Monty Roca), Chino Rodriguez y La Consagracion, Adalberto (Adalberto Santiago), La Gran Reunion (lead vocals, Bobby Valentin), Mi Estilo (Junior Gonzalez), Llego Y Dijo (Azuquita), Asi Soy Yo (Larry Harlow), Rumba bola & El Albino Divino (lead vocals, Larry Harlow), Generaciones (Pete "El Conde" Rodriguez), Con Salsa...Con Ritmo (also plays tres, Manny Oquendo y Libre) and Obra Maestra (Tito Puente & Eddie Palmieri).
If you have been a salsa dancer for any length of time you will have strutted your stuff to his vocals at some stage, or if you’re a good dancer maybe even on a stage. Here he is, in fine form, shortly before his death at the long delayed (in terms of CD release) Larry Harlow anniversary gig:
http://uk.youtube.com/watch?v=PF6U7ByXX_I
12th February
1926
Composer and author Catalino “Tite” Curet Alonso was born in Guayama, Puerto Rico. Considered by many to be THE salsa composer, his first recorded song was Efectivamente by Joe Quijano recorded around 1960 and available on the album La Pachanga Se Baila Asi: Los Años 60.
Among his many well known songs (he wrote around 2,000) are:
Aquí se Puede & El Hijo de Obatalá (Ray Barretto)
Distinto y Diferente (Justo Betancourt)
Piraña (Willie Colón & Héctor Lavoe)
Isadora (Celia Cruz/Fania All Stars)
Ellos se Juntan (Cortijo y su Combo)
Anacaona, Salomé, Salsaludando & Nabori (Cheo Feliciano)
Con mi Viejo Amigo (Larry Harlow)
Bandolera & Periodico de Ayer (Héctor Lavoe)
Saborea (Lebrón Brothers)
La Tirana (La Lupe)
Planté Bandera (Tommy Olivencia)
Esencia del Guaguancó (Johnny Pacheco)
Las Caras Lindas (Ismael Rivera)
Pueblo Latino (Pete "El Conde" Rodríguez)
Con los Pobres Estoy & Tú Loco, Loco, y yo Tranquilo (Roberto Roena y Apollo Sound)
El Antifaz (Willie Rosario)
La Cura (Frankie Ruiz)
Las Mujeres Son (Sonera Ponceña)
Huracán (Bobby Valentin)
“Tite could compose for anyone from any nationality, with any personality, big or small orchestra, conjunto, ballad, merengue, or rock'n'roll. He never denied a song to anyone. …..It was my privilege to study Tite Curet Alonso because he is the center of Latin music, not only in Puerto Rico, but in other countries as well. I made it my obligation to study him because I lived so much history with him. When you study and share experiences with a master an entire life, it's easier to understand his work. I had a pulse on his feelings, his thoughts, what made him happy of angry. Tite worked as a postmaster for the U.S. Postal Service. He was so humble that he considered himself a mailman, even though he never went out to distribute mail. His daily responsibilities were of the administrative sort. He encouraged, coaxed and guided many….He gave lots of advice to people like Jerry Masucci, whom I consider the architect of salsa. He did things for people in the music industry that went beyond friendship and brotherhood; he was a father figure for many” (Richie Viera in Latin Beat magazine).
In 1974 he released an album under his own name, Aqui Estoy Con Un Poco De Algo. This melodic, vibes based release features him on vocals.
Everyone who has listened to any small amount of classic salsa from the 70’s will be familiar with many of his tracks. He’s interviewed (Spanish) here:
http://uk.youtube.com/watch?v=ruRQQaLLnq0&feature=related
…and here’s the sublime Cheo Feliciano with the Curet composition Anacaona (also features on the Salsa Central MySpace page, why not pop over there and say hello sometime?) taken form the classic Leon Gast documentary Our Latin Thing. There’s a really nice bit after 4 minutes or so as the film cuts to Cheo, who Curet specifically wrote for at times, instructing Ismael Miranda and a sadly ‘pudding-bowled’ Ismael ‘Pat’ Quintana on the finer points of the harmonies:
http://uk.youtube.com/watch?v=mEeUvMZySxo
1946
Vocalist/percussionist Ramón "Ray" Castro born. Formed Conjunto Clásico with vocalist/composer Ramón Rodríguez in the late 1970s, the band have released consistently ever since. Among their singers have been Rafael DeJesus and Tito Nieves, who is the vocalist featured with the band here:
http://uk.youtube.com/watch?v=LQnO5fw9g2M&feature=related
1947
Chano Pozo, Arsenio Rodriguez, Marcelio “Rapindey” Guerra and Panchito Rinset cut some sides together in NYC.
19??
West Coast based bandleader keyboard/vibes/marimba player Carlos “Charlie” Barreda born, Peru. He leads San Francisco bands (moved there in the early 1970‘s) Corcovado and The Marimba Connection and has worked with the likes of Orestes Vilato, Louie Romero, Pete Escovedo, Mark Levine and Orquesta Kache.
1988
The 62 minute BBC (UK) Arena/Anthony Wall film profile “My Name Is Celia Cruz” broadcast on BBC2 - this was a year after she had received a star on the Hollywood Walk of Fame. I’ve never seen this, anyone happen to have a copy please let me know.
“She had grown up in a tiny hut of a house in central Havana in the 1920s, in an Afro-Cuban family. In 1987, I found the place when researching a BBC TV Arena documentary. Some old neighbours remembered her and thought she was dead, but no one in Cuba under the age of 40 in those days knew her: she had been removed from the story of Cuban music, officially a traitor. Fidel Castro was devastated that she left for the US, and never forgave her. The loathing was mutual” (Sue Steward).
2005
Rumbero/percussionist Pancho Quinto died in Cuba.
"I play a polyrhythmic rumba. I never go outside the Cuban rumba, and I play that perfectly, but I add to it, as if I had a whole drum set in my hands. And I play many instruments, like cajon, bata, bells…..I never wanted to be famous, but now that I am old, now my destiny wants to make me famous. But I don't care about that. I don't want to be Nat King Cole or anybody. I am just a humble man, playing for my people, for Cuba, and for all the people of Latin America and all over the world" (quoted on afrocubaweb).
He can be heard on albums by Jane Bunnett (Chamalongo, Cuban Odyssey & Ritmo & Soul) and produced an unexpectedly funky-experimental album in 2003, Rumba Sin Fronteras, under his own name.
He’s the bata player on the left in this clip, but you may be immediately more taken with the young drummer in the foreground:
http://uk.youtube.com/watch?v=ZPid2ZZibqA
2006
Bass player Victor Venegas died, Las Vegas (buried in Chicago?). Played with Orquesta Nuevo Ritmo (the first US charanga band, based in Chicago) before moving to the West Coast to play with the likes of Mongo Santamaria, Cal Tjader & Willie Bobo. Later moved to NYC playing with artists such as Ismael Rivera, Los Joe Loco, Tito Puente, Eddie & Charlie Palmieri, Conjunto Candela, Celia Cruz, Marco Rizo, Candido Camero, La Lupe and Chivirico Davila to name but a few. Latterly he played gigs with Jovenes Del Barrio, Grupo Caribe, Manny Duran (for around 10 years) and Zon del Barrio, with whom he made his last recording.
“He was a bassist's bassist. What he could do with 2 or 3 notes no one can do today with 50 notes. His tumbaos ‘anchored’ many a band (Eddie Resto).
He’s on bass here, looking rather funky, with Pacheco’s band:
http://uk.youtube.com/watch?v=0EPqQybWKEw
13th February
1901
Composer (“Maria Cristina”) Nico Saquito born, Santiago de Cuba (also cited as 16th January - see that dates notes for details).
1914
ASCAP founded. As the world's largest performing rights organization, ASCAP has over 170,000 composer, lyricist and music publisher members representing all genres of music. ASCAP is committed to protecting the rights of its members by licensing and collecting royalties for the public performance of their copyrighted works, and then distributing these fees to the Society's members based on performances. ASCAP's Board of Directors is made up solely of writers and publishers, elected by the membership every two years.
1947
Los Angeles: Stan Kenton recorded what some regard as the first Latin jazz song, the tribute “Machito” (Jose Mangual, Carlos Vidal, Jack Costanzo and Machito feature).
Here’s Kenton with his band, seemingly down Mexico way, a couple of years prior to this event:
http://uk.youtube.com/watch?v=_LBNvZx24gU
1952
Percussionist Johnny Almendra (b. Andreu but used Andrews) born Brooklyn, NYC. First recorded with Orchestra Dicupe and also in his early career worked with Conjunto Melao, Johnny Colón, Tambo, Charanga 76, Orquesta Novel, Orquesta Broadway and Tipica Ideal. Played with Willie Colon for a number of years (“This became the best band I ever played with. It had all these great musicians, but I was the avocado of the group, the greenest. I learned so much watching Willie, he is great in the studio”) as well as the bands of Hector Lavoe and Mongo Santamaria.
“Johnny Almendra is one of the most dynamic and versatile musicians/bandleaders working the contemporary scene. It's his ability to get inside the music and tailor it to for both dancers and listeners that brings the fans out in droves. And it's not just as a player that he's made his mark: He has been both a teacher and a student of some of the great names in Latin percussion and has been associated for over twenty years with the Harbor Conservatory of Music in New York” (congahead.com).
Formed his own band, the 12 -14 piece Los Jovenes del Barrio, in the 1990’s and has released the albums Evolucionando (1996, the big hit from this album was Telephone), Reconfirmando (1997), Jóvenes del Barrio Live at Hostos (1998, also on video), Best of Jovenes del Barrio (1999) and Es Diferente (2000).
“Los Jovenes del Barrio takes into it's sight, the investigation of all music through charanga instrumentation, incorporating into it's repertoire Jazz and R&B numbers as well as Rumba, Cumbia, and typical charanga standards. The music is compiled by visionary Johnny Almendra and includes amongst others, the fine composition and arrangement work of Oriente Lopez, Lou Perez, Joaquin Betancourt, Nachito Herrera, Kimson Plaut, Eddie Allen, and Latin Jazz pioneer Mongo Santamaria. The objectives and principles are simple in "Los Jovenes del Barrio" play good music, learn while you play, and respect the origin and authenticity behind the rhythm of each instrument. All of the musicians in this special group are there because of the positive force behind these principles, and the integrity and honesty in the art form itself. This attitude propels the music to what has been noted as one of the swingingest, most innovative charangas ever, embodying all of Nueva Salsa in New York City today” (press release).
“I’ve never forgiven them for selling me a full priced CD at a gig that when I got home turned out to be a copy of the album on CDR - worse still it skipped” (slaphappy, and just for that – no clip).
2005
In August 2004 Latin Beat magazine predicted:
“Spanish Harlem Orchestra's new Across 110th Street has all the elements of a Grammy winner with great vocals and arrangements that carry the CD from beginning to end and will generate many hits including Un Gran Dis En El Barrio, Bailadores, Cuando Te Vea, and more”.
Cut to this date (cited as 18th of February on the SHO website) a few months later and the Spanish Harlem Orchestra received a Grammy for Best Salsa/Merengue Album of 2004 for Across 110th Street on Libertad Records. They won ahead of “favourites” Marc Anthony, Gilberto Santa Rosa, Victor Manuelle and Son De Cali (strangely no merengue artists in the new salsa/merengue category).
"If it were David versus Goliath, we were definitely David, it just shows you what a dream can do" (Aaron Levinson).
If you caught the supporting tour you will have heard Ruben Blades run through some of his most popular numbers, such as here with a great version of Plastico. The CD promotion work at the start of the clip is stunning in its simplicity:
http://uk.youtube.com/watch?v=ILIiiW8y96Q
2006
The first of the E-Musica masters - 30 Re-mastered Original Fania Releases
“Emusica Records proudly presents the sonic revival of Fania. That’s right; the legendary Fania albums are being re-launched for your enjoyment. Thirty original productions will be available in your favorite record store this March 2006. Each tune has been re-mastered from its original mixed tape and has been re-packaged with extensive liner notes. All productions will feature the original cover designs as well as additional pictures and images. Since the days the Fania originals were recorded, analog and digital technology has greatly improved. Today’s mastering engineers can bring out musicality with great detail and in a way that was unachievable in the past. Thirty Fania classics can now be enjoyed with a new stereophonic depth that brings each tune back to life. This is your chance to get reacquainted with the landmark recordings that marked and defined the history of Latin music. Make sure to look out for these productions in March 2006 and add these newly restored classics to your collection. Stay tuned for more updates!”
14th February
1908
Songwriter/singer Alberto Zayas born Matanzas, Cuba. Sang with Septeto Habanero and also led his own bands, Grupo Afro-Cubano de Alberto Zayas in the 1950’s and Conjunto Alberto Zayas in the 1960’s.
1945
Noro Morales sold Coda Records owner Gabriel Oller a 50% share of royalties for the songs Montuno in A Flat and Bangin The Bongo for $150.
1946
Timbales player Amadito Valdes, known as “Golden Sticks”, born Havana, Cuba. His improvising style mixes the rhythm 6/8 Afro with 2/4 Son - considered highly innovative and making him an internationally respected player.
"The world should know about his rhythmic patterns" (Chuck Silverman).
Made his debut in 1962 with the Yoyo Casteleiro Orchestra before joining Las D’Aida, a band he would stay with for nearly 30 years. He has also played with many Cuban bands such as Peruchin Jr.& the Cuban All Stars, Emiliano Salvador, Bebo Valdes, Estrellas de Areito, Afro-Cuban All Stars and appears on many of the BVSC spin off albums. Is currently on the Meinl Percussion roster who sell a set of his signature timbales. In 2002 he released the Grammy nominated album Bajando Gervasio under his own name.
“The timbales are for me first, a vehicle of expression. Without a doubt an extension of my personality and the vehicle which God placed along my path to enable me to reach a certain artistic status”.
He’s subtitled here as part of the BVSC film:
http://uk.youtube.com/watch?v=z1dMkFYZnhs
1951
Bassist Carlos del Puerto born Havana, Cuba. He was one of the founding members of Irakere.
“D'l Puerto is credited with literally redefining Cuba's musical education by introducing electric bass techniques and Cuban rhythms in the music school system. He has been awarded two of Cuba's highest honors: the Order for National Culture, and the Cuban Republic's Pedagogical Merit Award for his contributions to the development of art and education. In 1995 he received The Certificate of Appreciation by the City of Los Angeles & Certificate of Honor by the City of San Francisco, USA” (carlosdelpuerto.com).
Currently living in Finland he spends much of his time touring as an educator/lecturer and is author of the 1994 book The True Cuban Bass.
"A musical lifesaver for any musician wishing to dig a little deeper into the wonders of Cuban music” (Rebeca Mauleon).
In 2005 he released an album with his new band; Carlos D'l Puerto & Impacto Cubano on the Finnish EnsioMusic label.
“Throughout human history, people lived wherever the hell they pleased. How is it possible that there is this little war among us in the name of love? What gives you the right to think that I love Fidel because I live in Cuba? Why can't you think instead that I love my wife, my mother, my son? Or that I enjoy drinking rum with my friends? Don't I have the human right to love wherever the fuck I want?” (extract from a Luis Tamargo/Latin Beat magazine interview).
1995
Cuban band Bamboleo was created by pianist Lazaro Valdes after a search for young art school/musical conservatory students who demonstrated mastery of their chosen instruments.
“The music and performance of Bamboleo is characterized by captivating movement, dynamic energy, and overt sensuality. When the group performs live, it is a sight to behold. Their urban hip-hop look and the way the ladies gyrate their hips in a funky dance call the "tembleque" leave their audiences dumbfounded. With the men in hip Italian suits and the women sporting elegant dresses contrasted by shorn heads, Bamboleo personifies a tightly knit musical partnership accentuated by a stunning visual display” (ritmoartists.com).
Their debut album was released in 1996 (Te Gusto o te Caigo Bien), followed by Yo No Me Parezco a Nadie (1997), Ya No Hace Falta (1999), No Qué Bueno Está! (2000, a double album of live performances and re-mixes) and a “Best of” in 2003.
Anyway, here they are, possibly taken from the ‘Cubamania’ DVD:
http://uk.youtube.com/watch?v=Aw0HCc4OwGA
HAPPY VALENTINES DAY!
15th February
1945
Ricardo "Richie" Ray, brother of Ray Maldonado, was born Ricardo Maldonado, Brooklyn, New York. A pianist/bandleader/ composer he is most associated with singer Bobby Cruz, with whom he has played for around 40 years. His debut album was Ricardo Ray Arrives (1964) and through the 1960’s he produced a number of mambo-jazz-boogaloo style albums such as On The Scene With Ricardo Ray, Jango, Se Solto, Jala Jala Boogaloo, Viva Ricardo and El Diferente. In 1968 Bobby Cruz also shared artist credit with the release of Los Durísimos - something he has done ever since (exceptions exist from 2000 onwards as both put out albums in their own name such as Richies Al Ritmo Del Piano and Bobbys Caminando) and they have participated in around 100 recordings over their long career.
Through the 1970’s they continued to release albums including El Bestial Sonido and Reconstrucción though during this period he became a born-again Christian (shortly followed by partner Bobby Cruz) and the 1976 album Felices Pascuas is an example of the utilisation of salsa as a vehicle for demonstrating their faith - I bought this without knowing about the Christian content and dare not play it these days in case I spontaneously combust - to be fair the cover is a bit of a give away and I should have known better.
“In 1974, during the highest point of the salsa explosion in Puerto Rico, we were honored during a concert at the Roberto Clemente Coliseum and crowned "Los Reyes de la Salsa" (The Kings of Salsa) by the public and the music media, but even this elite recognition by our audiences and media truly did not reach my heart and I continued to feel empty inside. So slowly I started to get closer to God and to Christianity and the feeling of emptiness within me disappeared. Finally, I felt I had found that which was missing for so long in my life. For me Christianity was the way. Many people wonder if Bobby and I had a fallout and if that was the reason for our inactivity in popular music. But the truth is that we both determined to follow a more spiritual road and from 1974 to 1999 our lives were dedicated to God, maturing in the ways of Christianity and becoming pastors of our church. This rebirth of our souls with God was so big and overwhelming that truly the thought of going back to making popular music was not much of a concern. Wow! We had found that something that was missing from our lives and we felt complete and in peace. There were also complications in the beginning. The music which we used to make and enjoy (salsa music) was not quite acceptable by our church, so there was that compromise we had to endure for many years” (extract from a Rudy Mangual/Latin Beat magazine interview).
Through the 1980’s their faith (both were very active Christians) meant that album production and concert appearances stopped but by 1991 they had began performing again. In 1999 they performed a (or rather one of a number of) comeback concerts and the resulting recording - the 2 CD set Un Sonido Bestial En Concierto: Live In Puerto Rico - was very well received. In 2004 they released another big concert album, the 3 CD 40 Aniversario En Vivo:
“….recorded live at the Coliseo Ruben Rodriguez in Puerto Rico, features some impressive special guests: Johnny Pacheco, Papo Lucca, Bobby Valentin, Luisito Marin, Alex D'Castro, Charlie Cruz, Julio Cesar Y Victoria Sanabria, Nydia Castro Y Luisito Carrión. In addition to their huge hits like "Sonido Bestial," "Richie's Jala-Jala," "Comejen," and "Traigo De Todo," the dynamic duo also include five brand new never before released tracks, as well as bonus studio versions of some of the new material” (descarga.com).
1946
Desi Arnaz recorded Cuban Pete, the title track of the Universal film (1946). Here’s a more recent slice of that particular cheese:
http://uk.youtube.com/watch?v=ityEgXvVBf4
1963
Cuban tenor saxophonist Orlando Sanchez born. Now based in the US, plays with East Coast bands The David Murray Latin Big Band and Mezcla.
Salsa Notes are compiled, edited and misinterpreted by slaphappy – who does not expect to see his work used anywhere else without acknowledgement.
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