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Salsa Notes Part5 (Mar 1st to 15th) |
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Written by slaphappy
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Tuesday, 04 March 2008 |
Here’s our Salsa Notes for the first part of March, you can tell it’s March here in the UK as it’s snowing…..
1st March
1956
Bandleader/vibes player/Professor (Berklee College of Music) Victor Mendoza born, Mexico. Has played with the likes of Paquito D’Rivera, Danilo Pérez, Giovanni Hidalgo & Horacio “El Negro” Hernández and has released four albums; Victor Mendoza, If Only You Knew, This is Why & Black Bean Grooves. Produced an instructional DVD in 2004, Latin Jazz Grooves:
“Excellent instructional DVD for percussionists and for players of melodic instruments who want to get their Latin jazz chops down” (descarga.com).
"In the tradition of the great exponents and pioneers of Latin-jazz such as Cal Tjader and Tito Puente on the vibes, we have Victor Mendoza. While keeping alive our yesteryear, he carries us into the future with a unique sound, a personal sound, an intimate and refreshing sound. Te lo digo yo!” (Jose Masso).
He’s in slow mambo mood here, with the Eguie Castrillo Orchestra:
http://uk.youtube.com/watch?v=M0ToOsCrbGE
2nd March
1917
Jones-Shafroth Act granted by US Congress, allowing Puerto Ricans conditional US citizenship.
1917
Desiderio Alberto "Desi" Arnaz y de Acha III born Santiago, Cuba. Though known for his television work with wife Lucille Ball (he is one of the few people to have two Hollywood Stars) he was the son of a former mayor of Santiago and grandson of one of the Bacardi Rum founders. The family left Cuba for Miami in 1933.
He began as a musician in the mid-1930’s, singing, playing percussion and guitar in Miami bands, making his debut with the Siboney Septet. Moved to NYC to play with Xavier Cugat (“a world-class cheapskate but an excellent teacher”) aged 19 before returning to Miami to lead his own band. Had a hit with his version of Babalu (RCA Victor, 1946), a song that became his trademark despite being a pale imitation of the Miguelito Valdés, the real Mr Babalu, version. You can see him perform it here:
http://uk.youtube.com/watch?v=rAV3bOJaQuY
His other popular songs were from his films including Holiday in Havana, Green Eyes and Cuban Pete.
“Norman Vincent Peale once asked me how come I didn't seem to be one of those that when reaching that plateau of success, seem fearful of losing it. I told him that perhaps it was because once before in Cuba we had it and lost it all, and yet we've seemed to have managed to survive and even succeeded in getting some of it back. So I wasn't afraid of getting off--I was anxious to do so. I knew that if I were to stay on that crazy merry-go-round, I would eventually be morally and physically destroyed. And once you face that fact and admit it to yourself, what you give up ceases to mean much”.
1939
French born Afro-Cuban violinist/composer/bandleader Amadeo Roldan died Havana, Cuba. Known primarily for taking Afro-Cuban rhythms and sounds and integrating them within a classical music setting. He has a musical theatre named after him in Havana.
UK based maestro of the Cuban violin, Omar Puente, features here in a Amadeo Roldanworkshop in Cuba:
http://uk.youtube.com/watch?v=C-ilwPJAHhU
1950
Vocalist Wladimir Lozano born, Venezuela. Joined Dimension Latina in 1974, two years after they had formed, and stayed with the band until 1978 (last recording was 780 Kilos de Salsa), by which time Andy Montanez had replaced Oscar D’Leon.
He appears as the main singer with the band here, in what can only be described as a “stage jacket”:
http://uk.youtube.com/watch?v=EPIOhSIXTzE
Formed his own band in 1979, La Constelación, before recording with La Critica in the 1980’s, again linking up with Oscar D’Leon. Compilations of this bands work were released in 2004 (Coleccion De Oro: La Crítica Y Sus Cantantes) and 2005 (Bailemos Salsa Con La Critica).
In 2000 Wladimir again worked with Oscar D’Leon, releasing the album Doble Play - despite decent reviews it’s far from being one of my personal picks.
“I have been singing, regrettably I have never had a successful recording like Oscar has had, but I continued advancing in my career, not recording a lot. I was in Mexico, one year in Costa Rica. Melodically it is very similar to the sound that we formerly had. There are songs like ‘Clima De Amor ' that have a lot of cadence, there are others that resemble ‘Taboga’. I think that those were very beautiful times, that LP (from '77) was stupendous, we miss it so much so that we play them all. But this disc overcomes many things musically. It doesn't have the swing of that time, but it is very varied, very beautiful” (salsaweb.com).
3rd March
1898
Armando Valdes Torres, cited as being the first pianist to play in a son band (1920‘s), born Havana Cuba. Son is said to have made its way to Havana around 1910, and is commonly cited as being brought by soldiers from Oriente province in particular. The early son sound is captured here, performed by Trio Matamoros:
http://uk.youtube.com/watch?v=eRNjGp0bTn0
1907
Victoria Hernandez, sister of Rafael, born Aguadilla, Puerto Rico. Moved to NYC in 1919 and in 1927 was the owner of the first Puerto Rican owned music store in NYC, Almacenes Hernandez -1635 Madison Avenue (moved to 1724 Madison Avenue in 1930) between 113th and 114th street. After selling this store in 1939 to producer Luis Cuevas she opened a second music shop at 786 Prospect Avenue in the Bronx, Casa Hernandez.
“Music stores were integral elements of the burgeoning Latin music scene in the 1920s, 30s and 40s, continuing through the 1950s "mambo era" and the later development of salsa. Musicians went to the record stores looking for orchestras and conjuntos (musical groups) that were in need of instrumentalists. Music stores such as Casa Amadeo also became gathering places for musicians, knowing they could find work either from record companies looking for session players or from bandleaders looking for instrumentalists. The major record companies, such as Victor and Columbia, depended on store owners to act as "middlemen" in obtaining musicians for recordings and to gauge the community's musical tastes as to what might sell: and some record stores produced records right on the premises” (National Park Service website).
As a piano teacher she tutored many, including a very young Tito Puente. It has been suggested that she had an unaccredited hand in the many compositions of her brother. Casa Hernandez was sold in 1969 to musician/composer Mike Amadeo and has been run as Casa Amadeo ever since. It was added to the US Register of Historic Places in 2001 (building #01000244).
“In this small, well-tended store, Latin musicians and enthusiasts have gathered, traded stores and information, and found musical material and inspiration. Mike freely shares his deep knowledge of the evolution of the music—its musicians, composers, bands, and recordings. His knowledge and unique inventory to help sustain the music's living memory” (citylore.org ).
1940
Trumpet/flugelhorn player Luis Gasca born Houston, Texas (also cited as 23rd, also cited as being born in San Antonio). Based on the West Coast he played with Isidro Lopez, Perez Prado, Mongo Santamaria (can be heard on Afro American Latin, 1969) and Cal Tjader (the album Descarga, 1971), Salsa Caliente and also artists such as Janis Joplin, Count Basie, Van Morrison and Santana. Led all star jam sessions in San Francisco in the early 1970’s, a time when he also issued albums under his own name (For Those Who Chant, 1972 & Born To Love You, 1974).
He’s the white haired chap soloing with the Mambo Kings here:
http://uk.youtube.com/watch?v=QDJx9TFQus0
1954
Candido Camero decided to quit regular gigging and freelance for a while "because of the never ending one-nighters which left him stressed out".
He’s in musical conversation here with Bobby Sanabria, a short feature-ette at the end of one of the Bobby Sanabria conga instructional videos:
http://uk.youtube.com/watch?v=dYp0zDSkfac
1957
Drummer Luis Daniel "Chichito" Cepeda born, Puerto Rico. His family are considered the ‘first family of bomba and plena’ and as well as playing in concerts he taught bomba and plena dance and drumming around the world.
“….boundless energy and a positive approach to life and music. He pushed dancers to stretch beyond their limitations and reach into the depths of their soul to attain that spiritual connection between dancer and primo [the lead drum] that is the lifeblood of bomba" (Jimmy Durchslag).
Based on the West Coast since 1999, he can be heard on Grupo Exploracion (Drum Jam, 2000), Cepeda (Dancing The Drum, 2002) and with his family on Modesta Cepeda y Los Patriarcas De La Bomba (2006 - must be older material as he died in 2003).
"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).
1966
West Coast singer/bandleader Julio Bravo born Lima, Peru. Arrived in the US in 1989 and played with Orquesta Internacional in 1992 before forming San Francisco based Orquesta Salsabor in 1994. The band released 10 Años De Salsa in 2004:
“The San Francisco-based singer had been working on making this CD for a few years when he met, in his native Peru, arranger Oscar "Pitin" Sanchez from Sensual 990, a well-known and recognized musician with a long trajectory in the Peruvian salsa scene. Sanchez directed and arranged most of the songs on this CD, recorded at IEMPSA Studios in Lima, Peru. Julio Bravo's 10 Años de Salsa shows his abilities to compose and to write, featuring five original songs out of ten original arrangements: "Mi Esquina," a song about Julio's memories of his Peruvian neighborhood, "Sin Rencor," "Una Mujer Como Tu," "Como Olvidarte," and the bolero cha-cha "Por Culpa del Destino." Also featured in this production is the talented San Francisco arranger and trombonist Paul Lyons, original member of Orquesta Salsabor” (cdbaby.com).
Hand held camcorder captures him singing with the band here:
http://uk.youtube.com/watch?v=CIK-HbS1N-8
1967
Cuban composer Oscar Hernandez (not to be confused with the SHO leader) died - a pretty good reason not to confuse the two. Wrote Rosa Roja, recorded by Sexteto Nacional, Sexteto Habanero, Celia Cruz and others.
1979
Habana Jam concert recorded in Havana, Cuba, featuring the Fania All-Stars. As well as a specific Fania All Stars album being made from this there was also a two set compilation album featuring the likes of Orquesta Aragon, Irakere, Kris Kristofferson, Rita Coolidge, Weather Report and the CBS Jazz All-Stars - released as Havana Jam vols 1 & 2.
1984
Composer/singer Miguelito Cuni died in Havana.
“Miguelito Cuni's vocals obligate you to push the repeat button on your CD controls. What phrasing, what a charming and elegant voice, and what mastery of the clave! Coño! Cuni! Wow! What taste!" (Al Santiago)
Considered to be one of the finest singers Cuba has ever produced, working with the bands of Arcano, Arsenio Rodriguez, Chapottin, Benny More and Rene Alvarez as well as Conjunto Modelo. Formed his own band, Miguelito Cuní y Septeto of whom a number of compilations are available.
He worked consistently up until his death, recording in 1981 on the album Las Estrellas Areito: Cuban All-Stars Produced By Ruben Gonzalez.
Chappottin: Sabor Tropical (Re-Issued 1993);
"This band influenced me very much and I wore out this recording many times. All these songs were re-recorded by contemporary artists. Great vocals by Cuni" (Larry Harlow).
Miguelito Cuni & Septeto: Sones de Ayer (1959, re-issued 2000);
“This compilation is considered a historical classic gem of Afro-Cuban music….. A superb septeto ensemble ……Definitely Miguelito Cuni's greatest and most popular recordings” (Luis de Quesada).
Composed a number of songs including Guachinango, covered by Johnny Pacheco on the 1972 album Pacheco At The N.Y. World's Fair, and A Tí Benny Moré covered in 2005 by Lussón y Lussón on the Estás Jugando album.
His son Miguelito Cuni Jr is also a singer and features in the contemporary versions of his fathers bands: Conjunto Chappottin Y Sus Estrellas - Una Nueva Generación (2003) & La Academia Del Son (2005), Conjunto Modelo - Sigiendo Nuestra Línea (2004).
Wearing his trademark porkpie hat, he fronts the band of master trumpeter Chappottin here:
http://uk.youtube.com/watch?v=q8FC0LzxGt8
2004
Puerto Rican born NuYorican poet/playwright Pedro Pietri died in NYC.
"He embraced and identified what it was to be a Nuyorican, a Puerto Rican growing up in New York. He empowered an entire movement. ... He was one of a kind" (Aurora Flores).
He helped establish the Nuyorican Poets Café in the 1970s, published more than 20 books (poetry/plays) and released two LPs of his work. His best known work was the poem Puerto Rican Obituary (1973).
Part One of a tribute documentary starts here:
http://uk.youtube.com/watch?v=YBbfJ6bR8HI
4th March
1973
Initially I had this as the birth date of Chata Gutierrez, West Coast lady DJ and radio show host. However this is the year she first broadcast so either this is her birthday (but wrong year) or when she debuted with her radio show. OK, not the most confident start to a factoid, I’ll admit….
She started working on radio in 1973 and her show, Con Clave (KPOO 89.5 FM), is broadcast every Saturday from noon to 4 pm. Recipient of several awards including a Tom Donahue Radio Award (Best Program) and a Special Recognition Award from the International Latin Music Hall of Fame.
"I don't play the same salsa on the radio as in the clubs. There are alternative salsa spaces as well as mainstream ones. I play accordingly. And I don't play salsa monga".
“A volunteer programmer who has never been paid a dime for her radio work, Chata shares a passion with her audience for music she got turned on to as a kid growing up in the San Francisco Mission District. A trooper for the community, Chata and her program reflect who we are as a vibrant barrio culture and aficionados of música Latina” (Chuy Varela).
"Her sultry between-set whispers coax couch-bound Saturday prisoners toward afternoon hip-shimmying frenzies. If her sensuous voice wasn't interrupted by the best salsa on the airwaves, you'd wish she'd just talk for four-hours straight". (SF Weekly)
1975
Current Program Director of long running public radio programme Alma Del Barrio (KXLU 88.9 FM), radio DJ Jose Cristobal (AKA lmu-Cuban) born.
5th March
1950
Arranger/pianist/guitarist Nestor Lombida born Havana, Cuba. Has worked with the Elio Reve orchestra.
1955
A version of "Cherry Pink & Apple Blossom White" released by Perez Prado after the song was featured in the Jane Russell/Richard Egan/Jane Mansfield movie, 'Underwater' (RKO Pictures-1955).
It’s instantly recognisable from the opening trumpet bars…..
http://uk.youtube.com/watch?v=xm7gUvTfpWo
1959
Singer/composer Sal Nuñez born. Based on the West Coast he has played with Benny Velarde (“lead vocalist Sal Nuñez, a classy singer that fits the crooner mold with a polished presentation and a broad smile” - Chuy Varela) and John Santos - can be heard singing coro on the 2005 album John Santos & The Machete Ensemble: 20th Anniversary.
“As a singer, I use the term ‘Latin Music’ or ‘Salsa’ to describe the music of my Caribbean heritage, which fuses Puerto Rico, Africa, Europe and the U.S. Latin music is rich in breadth and its performers utilize its rhythmical and melodic intricacies to elicit passion, joy, happiness and love. Music is like magic, and it’s powerful enough to induce connectedness between hearts. It triggers profound memories and feelings that can transpose us to another place and time, and even strengthen or sadden our soul. As a gift from the ‘Spirit of Creativity,’ music is the universal language that unites humanity” (Sal Nunez).
1963
Composer/guitarist/bandleader Eduardo Saborit died Havana, Cuba. Known for his Guajira/guaracha compositions such as Conozca a Cuba, La Guayabera and Cuba que Linda es Cuba he can be heard on the 2000 Egrem release Raices: Roots Of Buena Vista on the track El Carretero - (Ramon Veloz el Conjunto de Eduardo Saborit).
In the early 1960’s he used his compositions to help the population of Cuba to become more literate:
“Literacy is a Human Right: Awakening
How many things I’m able to tell you
For I have learned to read and write
Now, in my letters I can tell you
All that my soul needed to say
I have marked your name and mine
On the trunk of that raspberry tree
Where they will stay forever.
And my country has given me this treasure:
I have learned to read and write”
(Eduardo Saborit)
An annual music festival is held in Cuba under his name each year.
[slap super-trivia insert: The Havana Cricket Club plays at the Eduardo Saborit Stadium, Havana]
1973
Tito Rodriguez was cremated in Florida. There was some controversy surrounding the disposal of the ashes - rather than being scattered (as was apparently his wish) they were instead kept by his wife Tobi.
Here’s one for the ‘great British abroad’ in you, maybe fit it in-between up-tempo Robbie Williams and the Spice Girls numbers? – a karaoke version of his classic inolvidable:
http://uk.youtube.com/watch?v=OUmrsIT_st4
6th March
1939
Singer Rogelia “Canelita” Medina, mother of singer Trina Medina, born in La Guaira, Venezuela. First sang aged 15 with Sonora Caracas, also working with Los Megatones de Lucho, Federico y Su Combo and Los Dementes (where she can be heard on the 2005 compilation album El Tiempo Pasa, Pero Mi Salsa Llego).
“When Canelita started to sing, she shocked the hell out of me. She has that timbre like Celia. That powerful voice. She had that flavor that I like. Soneando [improvising] she did a hell of a job. She sounded terrific” (Johnny Pacheco, extract from salsatalks.com - in Venezuela he wanted to sign her to the Fania label, but was unable to).
Her last album was Tributo A Celia: Canelita y Andy Duran En Concierto in 2005.
1941
Trumpeter, composer, bandleader, singer, TV host & Latin music distributor Tony Pabon born Santurce, Puerto Rico. He is probably the true originator of the Boogaloo sound, writing Pete's Boogaloo for Pete Rodriguez in early 1966 - commonly cited as the first boogaloo track to get radio airplay.
“Popular Latin bands found themselves creating a musical common ground by introducing the trappings of Black American culture into their performances and thus getting the Black audiences involved and onto the dance floor....Latin boogaloo music in general was intended to constitute this meeting place between Puerto Ricans and Blacks and by extension, between Latin music and the music culture of the United States” (Juan Flores).
Despite having commercial success with his many compositions (some co-compositions) in the boogaloo filed (inc. Michaela, I Like it Like That, Oh That’s Nice, Guagaloo) he left Pete Rodriguez’s band after a fall out and very soon after formed his own band, Tony Pabon y su Estrellas, who released a self titled album in 1970 on Alegre, which featured his preferred singer Nestor Sanchez:
“ Without a doubt the most versatile vocalist that I have ever known. Nestor can deliver a balad in Spanish or English without the slightest trace of an accent in either. He can swing to typical Latin tunes, and for the same token burn a rock tune, need I say more?” (sleeve notes - Tony Pabon introducing his All Stars).
The core of this band went on to become La Protesta, who went on to record five, extremely fine, albums, also with Nestor Sanchez on vocals: La Protesta (1971), Free (1971), On The Right Track (1972), Introducing Nestor Sanchez (1973) & El Capitan (1974).
1963
Guitarist Raúl Verdecia born Havana, Cuba. Plays with Issac Delgado y su Grupo and can be heard on the albums La Formula (2000) & Versos En El Cielo (2002) as well as with guesting with Pachito Alonso y sus Kini Kini (Cantándole A La Vida, 2004) and Angel Bonne (Por Favor Escúchame, 2005).
1964
Bass player Ruben Rodriguez born in El Barrio, New York City.
Started playing the trumpet and moved to bass in high school:
"Actually it picked me. Nobody in the class would play the darn thing. It was a big, wooden upright, and from September of 77 to January of 78 I dealt with that thing. Then the school got an electric bass and I just switched".
First played with Johnny Colon in 1979 and since then he's worked with a huge list of people including Machito, Tito Puente, Willie Colon, Charlie and Eddie Palmieri, Mongo Santamaria, Africando, Louis Ramirez & Ray de la Paz, DLG, Johnny Pacheco, Jose Fajardo and the Fania All Stars.
“…my job is to play the bass, play support, the bottom, keep it together, keep it tight. Of course I have more liberties than if there was a singer, a little freer, but I still gotta be the foundation…..I gotta be a timekeeper and that's what I do…..When you have drummers or percussionists who tend to overplay, then somebody's gotta keep it! But if some nights they're holding the pocket, then I can be free to take liberties as long as somebody is keeping the time and keeping the groove happening. But 99% of the time it's me, so I do that and I love it” (in discussion with John Child/descarga).
His recent recordings include work with Grupo Caribe (Un Congo Me Dio La Letra, 2002), Frankie Morales, 2002), Gerardo Rosales (La Salsa Es Mi Vida, 2002), Soneros del Barrio (Siguiendo La Tradicion, 2003), Clara salsa (Baila Con Ella, 2004), Juicy & Eric (Huracan, 2005), 3D (Ritmo De Vida, 2005) and both SHO albums (2002 & 2004).
“There are many ways to measure the greatness of a musician. You can talk dollars or awards or recordings or even high-profile gigs. But for the best of the best, put your money on the ones that other musicians talk about. Among Latin bass players, that's Ruben Rodriguez” (Jim McSweeney).
A great funky beat is laid down by him here:
http://uk.youtube.com/watch?v=DeTXdJfxuHk
195?
West Coast based percussionist/bandleader/educator Robertito Melendez born, Philadelphia (raised in NYC). Has recorded with Dave Pike, Ray Armando, Johnny Blas, Manny Silvera and Bobby Matos, with whom he has recorded five albums, and has played with many more such as Pete "El Conde" Rodriguez, Ray Sepulveda, Melcochita, Johnny Polanco, Francisco Aguabella, Poncho Sanchez , Rudy Regalado, Octavio Figueroa and Susie Hansen. Also leads his own band, Robertito's 911 Salsa Band.
“The salsa dancing and moves here [Los Angeles] are okay, but I wish dancers would pay more attention and feel the vibes of the music. But, you know, culture is different everywhere you go. I guess you could say the salsa dance here on the West Coast has a unique athletic style that works for them” (extract from a Les Rivera interview).
1976
After a four year absence Orlando Castillo “Watussi” re-joined the band of Federico Betancourt - Federico y su Combo Latino - after stints with Los Satelites, La Renovacion and Porfi Jimenez y su Orquesta.
This hand-held camcorder, pointed at the fabulous Libre band of Manny Oquendo, manages to keep Watussi just out of shot for most of the song (he’s on claves, to the right of Frankie Vazquez who handles the vocals here):
http://uk.youtube.com/watch?v=KSlDs28gThI
2002
At La Maganette in Manhattan, debut of Las Charangueras de Nueva York, an all-female band including three flutists, Andrea Brachfeld, Connie Grossman and Karen Joseph.
2004
Cuban percussionist Julito Collazo died in the US. Along with Francisco Aguabella he moved to the US in 1952 to tour with Katherine Dunhams dance company, by 1955 he was living in NYC where he started playing with some of the best bands. A master of percussion - timbales, congas, bata, trap drums and all minor percussion can be heard on his many recordings. Selected recordings:
-
Several albums with Tito Puente including Top Percussion (1957) and Dancemania (volumes 1 & 2 - 1957/1960)
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Mongo Santamaria, At The Blackhawk (1962)
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Eddie Palmieri, Lo Que Traigo Es Sabres (1964)
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Mark Weinstein & Cuban Roots, Cuban Roots (1967: MW “At first none of the drummers I knew would touch the project since playing toques de santos with jazz instruments seemed sacrilegious. But when Julito Collazo said he would do it I was able to get the most knowledgeable drummers in the city, although they played on conga drums rather than batá) & The Orisha Suite (1977)
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Grupo Folklorico y Experimental Nuevayorquino, Lo Dice Todo (1976) [I’m sure he would have also featured in the 1975 Concepts in Unity but the sleeve notes/credits make no mention of him - however I think he might be pictured as the middle of 3 bata drummers - anyone able to yeah or neigh this?]
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Carlos 'Patato' Valdes, Ready for Freddy & Authority (both 1976)
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Israel "Cachao" Lopez, Dos (1976), Cachao Y Su Descarga (1977)
Wrote songs, mainly performed by his own group Julito Collazo y su Grupo Afro-Cubano (but also by others such as Con Sandunga, recorded by Tambo) and was active in the Santería tradition.
“a subculture always maintained the folklore traditions, in terms of drumming….The major colossus in New York was Julito Collazo. The drumming in his day was more secretive; it was still in a ceremonial setting. They’d play in parks in Brooklyn, or uptown. It was a handful of participants, both high-caliber drummers who understood the nuances and vocabulary of the style, and regular people who just brought a drum” (Eddie Bobe).
“….a master in the truest senses of the word…..master bata drummer, having been in the premier bata ensemble in Cuba before coming to the United States with Francisco Aguabella…..Julito Collazo was a man who never took well to pretentiousness or hypocrisy. He was always a model of strength, courage in his convictions, knowledge and compassion” (orishanet.org).
7th March
1960
Singer Anthony Martinez born, New York City. Sang with Orquesta la Solucion and can be heard on several of their albums (inc. Buena Pesca! 1987, Alcanzar Una Estrella, 1999 and 30 Aniversario, 2005) as well as on recordings with Conexion Latina (La Conexión, 1996) and most recently with Junito y Secreto a Voces (Bailalo, 2005).
1970
Percussionist Paoli Mejias born in Rio Piedras, Puerto Rico.
“Paoli was twelve years old when he played his first tumbao, back then listening to "Patato" Valdéz, Batacumbele and Irakere among others. At this early age Paoli began to develop an understanding and a deep awareness of what percussion meant to him. Paoli describes himself as "percusionista de formación callejera" that is, the formation of his musical talent occurred in the streets watching and absorbing the styles of his mentors, and eventually playing along side them. He is intuitive in his playing and has developed a unique style combining melodic rhythmic patterns and his physical strength” (lpmusic.com).
He first started playing with Rafu Warner and has gigged extensively with Eddie Palmieri. His recordings, around 20 in total, include:
Seis Del Solar (Alternate Roots, 1995), Puerto Rico Jazz Jam (1999), Eddie Palmieri (& Friends Live, 1999 & Obra Maestra: Tito Puente & Eddie Palmieri, 2000), Deep Rumba (Alto En La Fiebre De La Rumba, 2000), Alex Acuña (Top Percussion - Rhythms For A New Millennium, 2000) and Nelson Gonzalez (Pa' Los Treseros, 2001).
More recently he has released his own album as leader - Mi Tambor in 2004 - and appeared on the albums Recuerdos by Carlos Cascante y su Tumbao (2005) and this years Siguiendo La Tradicion by Steve Guasch y su Orquesta Nueva Era.
“Paoli Mejías is truly becoming a recognizable figure as one of the most talented percussionist on the planet” (Carlos Flores).
He’s in a jazzy mood here, featured leading his band, on congas, at the Heineken Jazz Festival in Puerto Rico:
http://uk.youtube.com/watch?v=s-wmZ-QF24U
1977
NYCs Avery Fisher Hall hosted the Lo Dice Todo concert:
“You had to be there to see it, to hear it, to feel it, and even then I'm not certain you would have believed it…... Master of ceremonies Roger Dawson's voice boomed as he announced the arrival of Charlie Palmieri. The white spotlight caught the popular pianist standing near his piano, smiling and waving to the applauding crowd……Adelante, another Cachao tune and arrangement followed. It grew in excitement, testing the listeners, beginning with the melody, right back to the introduction, and then introducing a second melody, until a mambo finally arrived. The spotlight caught Palmieri leaning forward on his stool, his fast fingers moving in a blur on the keys. After his fiery solo, a break was followed by pizzicato strings and flute montunos. The concert hall was in a furor. When the tune ended, waves of fever pitched fans rocked the auditorium. Backstage, in a jolly mood, Palmieri said, ‘it was a gas...I love this type of music and I admire Cachao...it was a labor of love’." (Salazar/Latin Beat magazine).
8th March
1940
Singer/bandleader Johnny Ventura (b. Juan de Dios Ventura Soriano) was born in Santo Domingo, Dominican Republic. Won radio and television talent shows in the mid-1950’s and by 1959 had changed his name to Johnny Ventura. Worked with a variety of bands and by 1965 was leading his own, releasing his debut album La Coquetona. Toured extensively from the late 1960’s and made his US debut in 1967. Known mainly for his merengue work he has also recorded an number of salsa tracks in his career.
“…the man who almost single-handedly developed and modernized the contemporary merengue sound, beginning with his first recordings in the early '60s. He was influenced by the original wave of rock & roll, and quickly imported the energy as well as some dance routines inspired by Elvis” (John Bush).
Actually, until the assassination of the Dictator Trujillo it was almost impossible for the merengue to develop due to his ‘influence’ on the music and it’s need to be played in an approved manner.
“By the end of the 1960’s we had to start modifying our style of merengue. Without knowing it, we were initiating a musical revolution parallel to the one the salseros had begun in New York. In our case what happened was that American music began to dominate the country; it’s the music that everyone was dancing to and that all the stations were playing, so we were forced to introduce some new ingredients to bring back the young kids to their musical habitat. We first started to use a Cuban instrument, la tumbadora, which was already part of merengue but had been put on the back burner. We rescued it because we understood that a great rhythmic richness was being lost, and when we combined it with the tambora, we managed to create a great fusion. As a result the traditionalists accused us of destroying the classical form of merengue, and God knows how many other offences, when what we were really doing was revitalizing the tumbadora to achieve a more solid rhythmic base. But at the same time we had to modify the role of the double bass because we were now playing at an international level. When we saw the dances of different audiences, we realized that Cubans dance to the double bass but Puerto Ricans dance to the tumbadora, so we started molding the structure to make sure our music would be well received by those diverse groups - so that they would feel the music and accept it as their own. Everything we did had a reason, and all these modifications served to modernize the merengue, to move it forward” (extract from the Leonardo Padura Fuentes book Faces of Salsa).
Also a qualified lawyer, he has been Mayor and Vice-Mayor of Santo Domingo, representing the Revolutionary Party.
“Since the 70’s I wanted to be a professional musician. I took classes in timbal from Victor D‘Carlos, Johnny Venturas timbal player at the time. At that time I was at Johnny Venturas house, or I was running 45’s and CD's between his office at his mother Virginia’s house and record stores in Santo Domingo” (Hector Cuevas, 911 Orchestra).
He’s on a talkshow here and takes time out to dance a merengue with J-Lo:
http://uk.youtube.com/watch?v=ayAAS1YD5p8
9th March
1894
Composer Pedro Flores born Naguabo, Puerto Rico (also cited as 1897). Moved to NYC in 1926 where he met Rafael Hernández, something that motivated him to write songs and play in bands, even though he had no formal training in music. He and Hernandez had a friendly rivalry for a number of years. His first recorded song was Toma Jabón Pa' Que Te Laves - a prolific career as songwriter followed and he is regarded as one of Puerto Ricos finest songwriters.
Formed Cuarteto Flores with Davilita, Panchito Rizet and Daniel Santos for who he composed some of his best-known works, including Perdón, Esperanza Inútil, Bajo Un Palmar Tranquilo, Obsesión and Qué Te Pasa? Moved to Mexico and Cuba before returning to NYC, finally settling in Puerto Rico, 1967.
"I was never a real musician. I have never played an instrument. I don't know a single note of music. I am not a poet. I think God gave me a sign with his finger and told me, ‘You are going to write songs so people can have fun and that is the destiny of your life.'"
[slap super-trivia insert: The yo-yo was first marketed in the US as such by inventor Pedro Flores, no relation]
1951
Trombonist/arranger/bandleader/educator Rick Davies born Albuquerque, New Mexico. Moved to NYC in the late 1970’s and is known for his work with Wayne Gorbea & Salsa Picante, for who he is musical director. He has also played with Charlie Palmieri, Johnny Colon, Libre, Tito Puente, Mario Bauza & Santiago Ceron and outside of salsa with the likes of Tony Bennett, Blondie, Bo Diddley, Gloria Gaynor and Michael Jackson. Leads his own band Rick Davies and Jazzismo who have released two albums - Salsa Strut in 2001 and this years Siempre Salsa.
"I like the dance thing. I consider myself a dance-band musician. I like playing jazz but I like the dance side of the thing better".
"When performing on stage with a salsa band, it is important not to detract from the swing of the band. I always watch the dancers and key up to the percussionists and the bass tumbao. Whether I'm playing a horn line or a solo, I always try and add to the rhythmic momentum. While swing is an important element in jazz and Latin jazz, the latter is much less forgiving of rhythmic irregularities".
He is also professor of music at Plattsburgh State University and has authored articles (including The Cuban Sonero: Beny Moré and Miguelito Cuní for the IAJE Jazz Research Proceedings Yearbook, 2004) and the excellent 2003 book Trompeta: Chappottín, Chocolate, and the Afro-Cuban Trumpet Style:
“provides a comprehensive history of mainstream Cuban music, examining the music of all its eras from the perspective of two seminal trumpet players: Félix Chappottín and Alfredo "Chocolate" Armenteros. One or the other was present at almost every significant turning point in the stylistic development of Cuban music. An overview of the entire Afro-Cuban genre and its development is provided, as well as an in-depth examination of both Chappottín's and Armenteros' performance styles” (Scarecrowpress.com).
"My advice for musicians is to lighten up and have some fun. I think a lot of musicians get so serious and worked up about their art form that they lose the sense of joy and fun that is the mark great music especially dance-oriented music…..Listeners and dancers should be more adventurous. We are all familiar with dancers who only want to hear merengues because it's too hard to dance to salsa. Part of the reason for the shallowness of many Latin music fans is the lack of radio play for all but the most commercially oriented music. The big radio stations should be impelled to abandon their criminally incestuous payola-based programming collusion with major labels. If the listener were given more choices, they would probably develop a greater depth of musical taste" (Latinjazznet.com).
Here he is, leading his own band Jazzismo:
http://uk.youtube.com/watch?v=nOqEXGOBPp4
1971
Singer La India (b Linda Belle Caballero) born Rio Piedras, Puerto Rico (raised in NYC since early childhood). Met "Little" Louie Vega in high school, later getting involved in the urban/house scene, at 14 she was singing backup for the Latin hip hop group TKA. Married Louie Vega when she was 19, he by then was a DJ/record producer.
"I felt pressure to follow in Madonna's footsteps, and I didn't want to base my career on sex, so I began to change how I saw myself" (NY Times).
Looking for a singer, Eddie Palmieri met her at Vega's studio and produced her debut salsa album Llegó La India in 1992.
“Eddie Palmieri was invited to go to the studio. He had also heard about us. He wanted to know what kind of talent we had. You know, he’s very critical…Eddie’s open to innovative things but if he doesn’t like something he’ll come out and say, "I don’t like it." I’m telling you, he’ll come right out with, "If I don’t see you ever again then God truly loves me. How do you like that?" That kind of stuff. So, you know, we were afraid to meet him because, you know, we heard a lot about him. We were shaking. I remember thinking, "Oh, My God. He’ll be here any minute." We had a box of Cuban cigars ready because we heard that he liked cigars. We figured that if he comes we’d want to be on his good side, you know. So he came in and, luckily, I don’t know what it was that possessed me that day but I decided to turn on a cigar and try one out and Eddie came in and he was impressed. He said, "Who’s that girl smoking like she’s my grandmother?" And Louie said, "That’s my wife, India." You know we were married at the time. Eddie said, "India? Nice to meet you India." I said, "Very nice to meet you Mr. Palmieri." He said, "Oh, don’t call me Mr. Palmieri. Call me Eddie." I said, "Great. Want a cigar?" and we made it. You know, that was the first time I met him” (Marla Friedler interview extract/salsaweb).
Several albums have followed:
- Yemaya y Ochun, 1994
- Dicen Que Soy, 1994
- India: Mega Mix, 1996
- Tito Puente/India: Jazzin' (with The Count Basie Orchestra), 1996
- Sobre El Fuego, 1997 (includes duet with Celia Cruz)
- Sola, 1999
- Latin Song Bird: Mi Alma Y Corazón, 2002
- Edición Limitada, 2002
- Grandes Éxitos , 2005 (there are 3 or 4 other ‘hits’ compilations around too)
- Soy Diferente, 2006
"Women see me as a figure they can respect. They know I've been through a lot. I'm not going to let no man put me under".
Possibly her best ‘salsa moment’ is captured here, La India & Eddie Palmieri with Mi Primera Rumba:
http://uk.youtube.com/watch?v=Ls1G_t_yY4Y
1976
Los Angeles based music writer (Sabor Magazine/Latin Beat)/DJ Walberto “Wally” Escobar aka DJRumberoo born.
10th March
1952
The guaracha El Madrugón was composed by bandleader/guitarist/singer Luisito Pla.
1958
Jose Antonio Terresola "Frankie" Ruiz was born Paterson, New Jersey. First recorded with Charlie Lopez y su Orquesta in 1971 when he was just 13 (two tracks; Salsa Buena and Borinquen) before moving to Puerto Rico. If you have heard these tracks you won’t have said “who’s that annoying kid?” as he sounds very grown up and polished indeed. Seems that he became a rather fanatical fan of La Solucion - going to every performance, learning songs by heart.
“He wanted very much to sing with them. His mother implored the musical director, Roberto Rivera to give her son an opportunity. Frankie, then very young and virtually unknown wasn't taken seriously. He, nevertheless, continued to show up to every performance. As luck would have it, one night the lead singer did not show up. Frankie was there of course and Roberto Rivera having little other choice offered Frankie Ruiz the opportunity he had dreamed of” (salsacentro.com).
Played and recorded with La Solucion for around 3 years, joining Tommy Olivencia for a similar period afterwards. By the mid 1980's had become an established solo artist and he has recorded many popular songs, including; Mi Libertad, Bailando, La Rueda and La Cura - all of which usually appear on the numerous ‘best of’ albums that are readily available. Drug and alcohol abuse are commonly cited as leading to his downfall - he had a 3 year sentence in Texas for assaulting a flight attendant - his last album was Nacimiento y Recuerdos in 1998, the year he died aged 40.
2004 saw the release of the DVD Concierto Homenaje A Frankie Ruiz: Va Por Ti, Frankie!, filmed inTenerife, Canary Islands - also released as a CD. Featuring great performances from Tito Allen (La Cura) and Luisito Carrion (Voy Pa’ Encima) and some not so great ones, especially Roberto Torres who misses his cue, keeps having to look at the idiot board for the lyrics and generally acts in a manner consistent with the undead. But the DVD is an all round winner IMO.
Si te dicen que yo me estoy
curando es la verdad,
y la cura que yo me estoy
buscando es realidad.
Aunque me salga tan cara
algo tiene que me ampara
es mejor que tu mentira
que me llenaba de ira y nada más.
Diariamente, yo me curo
de lo duro que fue vivir sin ti
diariamente, te lo juro
auque me agite a veces la desesperación
cuando le falta la cura a mi desesperación.
Si te dicen que yo me estoy
curando es la verdad
y si alegan que vivo
fantasía es zángana.
Es una cura tan mía
y mi privada alegría
vale más que tu mentira
que me llenaba de ira y nada mas.
Amargura, señores que a veces me da
la cura resulta mas mala que la enfermedad.
Coro:
Amargura, señores que a veces me da
la cura resulta mas mala que la enfermedad
.
(La Cura, written by Tite Curet Alonso, lyrics from salsaclasica.com )
When you have memorised the song, join in:
http://uk.youtube.com/watch?v=UGw5qoY4qRI
11th March
1919
Joaquin Mendivel, pianist/arranger/composer/bandleader born Ciego de Avila, Cuba. Led La Orquesta de Joaquín Mendivel, which at different times featured singers Pio Leyva, Lino Borges, Manuel Licea "Puntillita" and Blanca Rosa Gil. Was also the musical director for Orquesta Egrem and wrote songs including El Saxofón de la Orquesta.
1974
Bandleader Cesar Concepcion died. Initially a bandleader working in the ballrooms of Puerto Rico, playing generic Cuban and Latin standards, he was largely responsible for helping move the plena into mainstream music consciousness:
“Concepción adapted plena to the Latin popular music orquesta that included trumpet and saxophone sections, congas, timbales, güiro, bass, and piano. Notably absent from this instrumentation were the panderetas – the heart of the plena ensemble. Concepción's plenas, called "salon plenas," were sanitized versions of the plena from the barrios. But it was perhaps because of this "whitewashing" that plena came to be accepted by the elite. By the end of the 1940s, aided by the increasing influence of the recording industry and radio, plena's popularity and commercial success had spread throughout all levels of society. It had reached salons and ballrooms, gained recognition among the cultural elite, established itself among Puerto Ricans in New York, and set the stage for the emergence of Mon Rivera, Rafael Cortijo, and Ismael Rivera” (Roberta Singer).
He often used towns in Puerto Rico as the inspiration for his plenas (Ponce, Mayaguez, Yauco) and his rather unusual sounding big band mambo-plena work is available on a few compilations, those with singer vocalist Joe Valle being the better ones.
1999
The Conga Room, LA hosted an evening to honour eight individuals "who have dedicated their time and talents to promoting Latin music through the airwaves of Public Broadcasting Radio Stations".
2002
Cuban saxophonist/vibes player/teacher/composer/arranger/bandleader Armando Romeu Jr. died. His uncle was pianist Antonio Maria Romeu and his father, Armando Romeu Romero, was the leader of a charanga band. Toured with Alfredo Brito in the early 1930’s and had formed his first band in 1932, inspired as much by American jazz (esp. Duke Ellington & Fletcher Henderson) than it was by more typical Cuban music. By the 1940’s he had established himself as one of the main proponents of the Cuban jazz sound, forming the group La Bellamar which played in Havana’s best venues. Was hired by the Tropicana night club to form a big band; Orquesta Cubana de Musica Moderna, which included 3 trumpets, 3 Trombones & 5 Saxophones. Over the years this band would feature the likes of Chucho Valdes and Chico O’Farrill.
As a composer he wrote Mambo à la Kenton, and as an educator he developed an equation illustrating (in tones/orchestrations) the main differences between Cuban music and Salsa of the 1970's.
12th March
1928
Latin Big Band Pianist/Composer/Arranger Aldemaro Romero born Caracas, Venezuela.
1969
Ignacio Piñeiro, Cuban bandleader/composer/bass player died. A member of Maria Teresa Vera’s Sexteto Occidente he recorded in NYC as early as 1926 (these recordings can be heard on the Tumbao re-Issue album Yo No Tumbo Caña) and by 1927 he had founded Sexteto Nacional, soon after to become Septeto Nacional. One notable feature of the band was the adding of a trumpet to the orchestration, something apparently not done before in a Son ensemble - however one source claims that it was actually a cornet that was added, played by Lázaro Herrera.
This band still perform today and one worth picking up IMO is the 1999 Septeto Nacional & Guests: Mas Cuba Libres. However, the band has not had a continuous existence since 1927 - Piñeiro left in 1933
and the septet was disbanded in 1937, Miguelito Valdés reforming the band briefly in 1940 for a recording and musicologist Odilo Urfé did likewise for a 1954 television performance. Post 1959 the band were reformed on a permanent basis and have recorded consistently ever since.
As a composer his best known work is probably the classic Suavecito but his July 1933 composition Echale Salsita also gets mentioned a lot - typically it is wheeled out most times there is discussion about ‘where salsa comes from’ (and of course we had an example of this just the other day). Among his many other compositions are Lindo Yambú, No Jueges con los Santos and Coco Mai Mai - often recorded as Coco My My.
The 2003 DVD documentary Septeto Nacional De Ignacio Piñeiro: El Son Es Lo Más is available:
“Wonderfully made documentary… Includes historical narrative, interviews ….Complete performances…..will give you a bird's-eye view into the golden age of the son, after its arrival to Havana in the 1920's. The release also focuses on the early son septets…. If you consider the son to be the most sublime...don't miss out on this rare opportunity” (descarga.com).
"The son is the most sublime expression of the soul's delight" (Suavecito, Ignacio Piñeiro).
The most recent incarnation of the band can be heard here:
http://uk.youtube.com/watch?v=2RrTU92MAVI
1972
Bandleader/composer/singer/guitarist David Alvarez born Manzanillo, Cuba. First played with Pedro Luiís Ferrer in 1989 and founded his own band, Juego de Manos in the mid-1990’s. They have released three albums: Rimasones (1995), Mundo Loco (2000) and Son Demised (2002).
"I grew up listening to the music of my parents, Cuban music from the 1950s which turned me into a fanatic for 'bolero' and 'son'. We had an old record player which played 78 rpms and hundreds of vinyl discs and I used to wake up every morning to the voices of Beny Moré or Bienvenida Granda, Blanca Rosa Gil, Celia Cruz, Los Panchos and Trio Matamoros…These are the rhythms we Cubans dance almost before we learn to walk, rhythms we carry inside us and fuse into our music in one way or another. I've been a huge fan since a teenager of el Gran Combo de Puerto Rico, of Juan Luís Guerra….and more recently of Carlos Vives….as well as other wonderful musicians who have re-vitalised Latin music".
Wearing a headscarf that would cause an even younger man to look decidedly uncool, he performs here:
http://uk.youtube.com/watch?v=1C8WeDAicxc&feature=related
1978
Puerto Rican bandleader/singer/composer/arranger/multi-instrumentalist Mon Rivera (b. Efrain Rivera Castillo) died at home, Manhattan, NYC. Dubbed 'El Rey del Trabalengua' ('The Tongue Twister King'), he was 16 when he played with the band led by William Manzano and after a brief career as a professional baseball player (Shortstop Los Indios, Mayagüez, 1943-1945) he relocated to NYC in the early 1950s. Played with Moncho Lena’s in the 50’s and Joe Cotto early 60’s.
"An incomparable talent, a true musical genius. He was a gifted sonero, composer, and arranger. He played several instruments including: piano, conga, tambourine, clarinet, and guitar” (Moncho Leña).
Formed his own band and released Que Gente Averigua in 1961 (reissued as Mon y sus Trombones in 1976) - “This recording revolutionalized and changed the sound of Latin music ... The trombones were in”, Al Santiago - which contains a track that has been a consistent favourite among the dance floor crowd - Lluvia Con Nieve. Five more albums as leader followed; Karakatis-Ki; y su Orquesta Vol. 2, Kijis Konar, y su Orquesta Vol. 3. and the posthumous release Forever. Also recorded There Goes The Neighborhood with Willie Colon in 1975.
"Mon Rivera should get credit for starting the trombone bands. But his true fame should be for being the voice of the working class people of Puerto Rico" (Larry Harlow).
Here’s singer Yolandita running through a swinging medley of some of his plena compositions:
http://uk.youtube.com/watch?v=OVQwz3Y20js
1996
Joe Arroyo released the album Mi Libertad.
“A return to straight-ahead salsa, and even a sequel to his early hit "Rebelión" (title track). The arrangements are sharp, with more percussion and horns than you'll hear on six NY salsa albums ("Juegete De Amor"), and good tunes, if sometimes obvious ("Muévelo"). He gets extra points for including a fine 6/8 percussion fest that's apparently a traditional Colombian form ("Mara Paola"). It's heartening to hear such a good record from Arroyo after so many years in the business, and you won't regret giving it a spin” (warr.org).
Spanish language X-Factor here, the girls do Michaela and then a man in very shiny pants does Rebelion:
http://uk.youtube.com/watch?v=FzWBxjLfWQI
1998
Cuban singer Carlos Embale died, aged 74. Began his career with stints with Arcaño, Fantasia and Neno Gonzalez and was a member of Trio Matamoros from 1946-1954, after which he recorded with Grupo Afrocubano and the newly formed Compay Segundo y sus Muchachos in 1955 & 1956 and Conjunto Kubavana in 1958. Recorded with Mongo Santamaria (Our Man In Havana, 1959/1960) and led his own orchestra, Conjunto De Guaguanco (and other names),which recorded in the mid-1970’s and 1980’s. Also played for many years with Septeto Nacional (see entry above for Ignacio Piñeiro).
2003
Bandleader/reeds player /pianist/vocalist/percussionist/arranger/composer/ Bobby Rodriguez died Mount Sinai Hospital, Manhattan, NYC. Not to be confused with bass player of the same name.
Recorded several albums with his brother Ray’s orchestra then with Joe Bataan (Mr New York & The East Side Kids, 1971, Saint Latin's Day Massacre, 1972 and Salsoul, 1973) before forming his own band, Bobby Rodriguez y la Compania, in 1974. The band released a number of fine albums including Lead Me To That Beautiful Band (1975), Salsa At Joyous Lake Woodstock - Live (1976), Latin from Manhattan (1978), Hay Que Cambiar La Rutina (1980), The Force Of The 80's (1981) and Juntos Otra Vez (1987).
Also participated in the Alegre All-Stars and Salsa Meets Jazz at the Village Gate gigs.
“We have lost yet another giant: Bobby Rodriguez, leader of La Compañia (a much-loved band that personified and inspired New York-and a whole generation-with numbers like What Happened, Número Seis, Sonero del Barrio, Sunday Kind of Love and El Buzón)….His untimely death has tremendously impacted his peers and his community. His longtime friend and colleague, conguero Rolando Ramos, told me, ‘I have lost more than a friend, I lost my brother ... I feel like a part of me has died with him’.” (Vicki Sola/Latin Beat magazine).
Izzy Sanabria (that guy got everywhere in the 70’s!) claps the band in here for a rare video live performance:
http://uk.youtube.com/watch?v=ewy1PPnY5gc
2004
Bongocero Ivan Caceres died, Puerto Rico. Gigged with the likes of Joey Pastrana and recorded three albums with Orchestra Experimental who he was with for 19 years (Para El Mundo Entero, 1997 & Special Edition, 1999) and one with Corporacion Latina (the 2004 De Regreso, so that must have been on the shelf a while before being released).
Released a very well received album as bandleader in 2003:
“We receive promos of debut releases all the time, and I listen to them all. Well, most. Some of them are good, many of them are fair, and some shouldn't have been made. Every now and then, however, there is the BIG surprise - a truly great release. Iván Cáceres y Su Bongolandia's "Roots of Acid Salsa" is such a release - a slammin', well orchestrated, beautifully arranged, funky, hard-core salsa CD where each individual track is important to the overall whole…..there are a lot of fine tracks here: any number of them could be used to vastly raise the level of radio airplay quality. This is a DJ smorgasbord. Hands down, my vote for pick of the month - and will, most probably, make my top ten list for 2003” (Bruce Polin/descarga).
The Jose Mangual Jr. track Campana Mayoral, the Frankie Dante tribute Medley La Flamboyan and the Johnny Colon classic Merecumbe all received a lot of air/floor play and the band featured the vocal talents of Luisito Carrion & Ruben Roman and Willie Sotelo on piano.
“I have been thinking for about 20 years about what I was going to do in the studio once I got there and once I entered the studio I did exactly as I have had it in my brain for all those years…..Acid Salsa is the term I have chosen to declare my music which is driven by synthesisers, electric guitars, harmonicas and few other musical instruments which are not usually used in Latin music, when I decided to record this CD I wanted to do something different….I wanted all my music to be danceable but at the same time different and aggressive, so when I leave this world people can say, look what this guy leave us, something good for the next generations to come”.
He also ran the bongolandia website, which was a great resource for percussion heads.
“Earth has lost a fine musician and a compassionate human being” (Eric Stuer).
Nice tribute to him here, where he plays a somewhat unusual triple bongo, wannabe bongoseros observe closely:
http://uk.youtube.com/watch?v=K5IIbEFMMMU
13th March
1961
Percussionist/bandleader David Mora born Harbor City, California. Bought congas in 1979 and had his first professional gig at the age of 21.
14th March
1900
Guitarist/singer Rafael Cueto born, Santiago de Cuba. Cited in the Orovio book Cuban Music From A-Z as the “creator of the tumbao”, he was a founding member of Trio Matamoros and it has been suggested that it is Cueto that caused Benny Moré to change his name from Bartolome to Benny.
“Trío Matamoros developed a particular sound, with guitarist Rafael Cueto playing a tumbao by hitting the side of his guitar with his hand as he strummed it. It is very audible in their recording of Son de la Loma” (Figueroa/Latin Beat).
1939
Composer/guitarist/singer Emilio Cavailhon born Guantanamo, Cuba. Composed for and played with Ibrahim Ferrer.
1941
"Babalu" recorded by Xavier Cugat Orchestra, featuring Miguelito Valdes on vocals.
You can compare versions with the Desi Arnaz one from the last Salsa Notes (tip: don’t bother, there really is no comparison here, Valdes really powers through this):
http://uk.youtube.com/watch?v=nG9b7U2ov9Q
1981
Cuban born singer Pepe Reyes died in Chile. Lived and led orchestras in both Colombia and Venezuela.
2003
Legendary bassist Cachao honored with a star on Hollywood's "Walk of Fame"- the walk's 2,219th star, located in front of nightclub King King.
Here’s footage from last years London Barbican gig:
http://uk.youtube.com/watch?v=zeceHim9Pc4
2003
Bandleader/trumpeter/percussionist/singer Ernie Agosto died.
Led Orquesta la Conspiracion who released five albums in the 1970’s:
- La Conspiracion (1971)
- Ernie's Conspiracy (1972)
- Cada Loco Con Su Tema (1974)
- Afecto y Cariño (1976)
- Ernies Journey (1979)
He seems to have had a long standing relationship with Willie Colon and appears on WACs 1977 album El Baquine de Angelitos Negros (playing bongos) and WAC produced several of Ernies albums, as well as appearing in the coro, alongside Hector Lavoe.
Ernie's Conspiracy remains of my all time favourite albums, the voice of Miguel Quintana on this recording is about as good as it gets IMO, especially on the superb rendition of the much covered Magdalena and the killer track of the album, S.E.R.A.
Very little seems to have been written about this man and given the thousands upon thousands of hours of utter crap on YouTube there doesn’t appear to be a single kilobite related to Ernie, there really is no justice.
15th March
1940
Marty Sheller, arranger/composer/trumpeter, born in Newark, New Jersey. First played in the New York Catskill Mountain hotels in 1958, later playing with the bands of Louie Ramirez, Pete Terrace, Harvey Averne and Sabu Martinez before joining Mongo Santamaria in 1962. Became his musical director and by 1969 had stopped playing the trumpet and began to make his living exclusively as an arranger, composer, conductor and producer. Since then he has worked with many artists and has featured on hundreds of tracks by the likes of Tito Puente, Willie Colón, Héctor Lavoe, Ruben Blades, Libre, Larry Harlow and the Fania All-Stars.
"I get a sense of satisfaction writing an arrangement, hearing it come to life when I'm conducting a rehearsal and having it sound good on the final take. However, it is a different feeling and not as satisfying as being a performer for a live audience”.
“….he developed a technique for evaluating performances by Latin artists that includes the following points:
1) does it swing?
2) does the arrangement push the band and the vocalist?
3) is it in tune, in clave?
4) does the lead vocalist have his or her own sound and style and are the soneos creative?
5) are the instrumental soloists top notch improvisers? (Latin Beat magazine)
In 1998 he co-authored the book/CD Salsa!: The Rhythm of Latin Music with Charley Gerard:
“….provides the reader with an excellent introduction and overview regarding the history of the music we call Salsa from it's esoteric roots to present day applications. Written in a fashion that is both easy to read and understand, it contains 137 pages broken into 2 parts and 8 chapters. Well researched, the authors examine and explore various elements of Afro-Cuban music. We are shown how the music is put together, it's basic instrumentation, and various key rhythms and styles from folkloric to contemporary” (Bosco El Gitano)
Also lead his own Latin jazz ensemble and in the last few years provided arrangements for Conexion Latina, Gerardo Rosales, Johnny Ortiz and the Spanish Harlem Orchestra, among others.
1947
Much maligned BVSC producer Ry Cooder born in Louisiana.
"I felt that I had trained all my life for this and yet making this record was not what I expected in the 1990s. Music is a treasure hunt. You dig and dig and sometimes you find something" (Buena Vista Social Club album notes).
“The circumstances were that Nick Gold was trying to record some “Oriental” style songs with Africans from Mali. His thinking was that the sub-Saharan Africans who played guitar the Ali Farka Touré style had been part of an historical loop between Cuba and that part of Africa. A lot of the actual black American players had come from there. Then “High-Life” and 1950s Cuban music had interacted and had turned into something that both sides of the Atlantic were doing virtually the same way, with the exception of the clave - which the Africans don’t use - and certain chord changes that the Africans don’t use. You can hear this. There’s a great example of rumba by Celia Cruz that was turned into an African tune. It’s just one of the greatest things I’ve ever heard. It’s (rumba) straightened out so it isn’t as clave-inflected but it has the same charts, the same horn line and even different words. Nick thought this would be a good thing to explore since it was somehow historically basic and hadn’t quite been looked at or done. He wanted to do it. He was enthusiastic and called me about it. I said, “Good God, yes. Now is the time, the opportunity is here.”
I went down there and when he picked me up at the airport he told me the Africans hadn’t shown up. They hadn’t made it, and we never found out why until years later. “So what do we do?” he asked…..” (pbs.org).
He’s onstage here, playing electric guitar with the BVSC band and the ‘big hit’ from the documentary, Chan Chan. Within the clip you can se him riding around on a motorbike with his son in the sidecar:
http://uk.youtube.com/watch?v=6JEdf7XsV5g
1956
Orquesta Nuevo Ritmo, said to be the second charanga band to be formed in the USA, was created by bandleader and conga player Armando Sanchez in Chicago. Also cited as being the first US charanga.
19??
Latin and jazz bassist/bandleader Pepe Gonzalez born.
1973
Despite having no band, Oscar D'Leon signed a contract to perform on March 15th at a venue in his native Venezuela. By that evening he had put together the band that later became La Dimension Latina.
“I really started my professional career when I formed La Dimension Latina. Originally it was my orchestra, but I gave all the musicians a piece of the band. It was sort of like a cooperative band”.
One of Venezuela’s best known salsa bands with many albums to their name, their first release was a 45rpm titled ‘Pensando En Ti’ in 1973. D’Leon left the band and was replaced by former El Gran Combo singer Andy Montañez in 1977.
Here’s a nice album-cover-a-thon, slideshow style, to the sounds of Dimension Latina:
http://uk.youtube.com/watch?v=KPTaIG-Qy-U&feature=related
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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