Who's Online?No members online Guests: 1
|
|
Salsa Notes Part7 (Apr 1st to 15th) |
|
|
|
Written by slaphappy
|
|
Saturday, 05 April 2008 |
Well, a quarter of the year has passed us by and if you have read Salsa Notes from the beginning until the end of this sentence you can congratulate yourself for having the patience to read 58,505 words. Here are the notes for the first part of April….
1st April
1911
The O’Farrill School of Music in Havana was renamed; The Havana Municipal School of Music (currently the Amadeo Roldan Conservatory).
1940
New Havana radio station RHC-Cadena Azul opened its offices. The doorman/bodyguard of station owner Amado Trinidad was Chano Pozo. According to Ned Sublette, Pozo would sit in the reception area with his conga “playing and singing when he wasn’t shining shoes”.
1946
Afro-Cuban singer Caridad Cuevo born Havana, Cuba. Can be heard on the 1999 album Septeto Nacional & Guests: Mas Cuba Libres.
1950
Trombonist/bandleader “Flip” Solaro born Lima, Peru. Known to have made all of his studio recordings in the nude in order to “free up his artistic spirit” - as can be heard on the 1972 album Es Necesario el Traje de Etiqueta? and the 1975 release Creo Que Tengo Gripe.
2nd April
1997
Jose Armengol Diaz "Mengol", guitarist , died. Played with a number of the early NYC recording groups such as Canario y su Grupo, Pedro Flores, Rafael Hernandez & Grupo Victoria and Johnny Rodriguez. Can be heard on early recordings by these artists including the Harlequin Records album Pedro Flores 1933-1942 and the Sony album El Legendario Daniel Santos.
3rd April
1926
Son Septet Los Naranjos debuted in Cienfuegos, Cuba. Founded by singer Gumercindo Soriano Zayas, the band were apparently so called because they first met together under an orange tree. Eighty years later the band are still recording and recently guested on Jane Bunnett’s album Cuban Odyssey in 2003 and released their own, Nada Más Que Son, in 2004.
Here they are in typical son mode:
http://www.youtube.com/watch?v=CUTDKcSdiZM
1953
- West Coast based Flautist/saxophonist/vocalist Juan Ceballos born, Mexico. Has played/recorded with Tito Puente, Orquesta Batachanga, Los Compas, LaTiDo and Anthony Blea y su Charanga .
“….he has impressed Bay Area folks with a firm melodic tone. Like the great José Fajardo, his solos incite excitement” (Latin Beat magazine).
- Also on this day in 1953 Carmelo "el abuelo” André Llanes, timba trumpeter born, Cuba. Currently with Charanga Habanera he has previously worked with played with Omara Portuondo, Elena Burke, Issac Delgado, Calixto Oviedo, Paulo FG, Havana Ensemble, Danny Lozada and Son Candela.
1961
Trumpeter/Flugelhorn player/percussionist/composer/arranger/Professor of Music Ray Vega born Bronx, New York.
"One key thing that happened to me in the summer of 1973 was a concert given by Felipe Luciano and Nancy Rodriguez at the Band Shell in Central Park. The opening act was the new Tipica' 73 and they opened with Mañono. It was unbelievable. I wasn't even playing the trumpet yet. Then came the Machito Orchestra in jackets and ties. Mind you it was about 90 degrees out there. In the trumpet section was Chocolate, Ray González, maybe Manny Duran. In the sax section was Danny Turner, Mario Bauzá, Pin Madera, Leslie Johanikans. Graciela sang, Julian Cabrera was on congas. They opened up with a mambo thing and the crowd went bananas. That made the biggest impact on my life, that concert. Here I am a twelve year old with an incredible feeling in my gut. That was the thing that made me say someday in my life I wanna play music. That's why I made that comment about Mario Bauzá playing the saxophone" (Latin Beat magazine interview extract).
First ‘proper’ band he played with was Ray Ramos y su Sonora in 1985 and he has since played/recorded with many bands such as Tito Puente (including the albums Obra Maestra, Mambo Birdland and Dance Mania '99), Ray Barretto, Mongo Santamaria, Mario Bauza, Luis "Perico" Ortiz, Hector Lavoe, Johnny Pacheco, Pete "El Conde" Rodriguez, Louie Ramirez, Tito Nieves, Adalberto Santiago, Celia Cruz, Eddie Palmieri, The Caribbean Jazz Project, Poncho Sanchez, Pete Escovedo, Wilson "Chembo" Corniel, Yomo Toro and the Spanish Harlem Orchestra.
Leads his own band, The Ray Vega Latin Jazz Sextet, and has released four Latin jazz albums under his own name since 1996. Most recently he can be heard on Flugelhorn and trumpet on the Steve Guasch y su Orquesta Nueva Era 2006 album Siguiendo La Tradicion.
"Vega's own style of trumpet imparts the best in his forerather's traits: the crisp, intelligent delivery of Freddie Hubbard, the passionate fortitude of Kenny Dorham, the clean precision of Woody Shaw, and the romantic depth of Chet Baker and Art Farmer" (allaboutjazz.com)
He’s the one in the hat here:
http://www.youtube.com/watch?v=CGtFivT4JQg&feature=related
1997
Joseito Gonzalez, pianist/arranger/bandleader died Havana, Cuba. Worked with Conjunto Rumbavana and Orquesta Riverside for a number of years and many other artists, including Omara Portuondo, Marcelino Guerra “Rapindey” and Irazu. His last recording was possibly for the Tumi album Orquesta America: Guaracha-Son Vol. 4 as this was “Recorded at ICAIC Studios, Havana, Cuba between April and August 1996”.
“You certainly noticed that we have a particular way of playing the keyboards in Cuba. My favorite example is Joseíto González, pianist and leader of the Conjunto Rumbavana. His style is muy bonito and comparable to Lilí Martinez, pianist of Arsenio Rodriguez” (Manolito Simonet).
Here is Conjunto Rumbavana in action:
http://www.youtube.com/watch?v=oLNLBJg1p_s
4th April
1928
Trumpet legend Alfredo "Chocolate" Armenteros born Ranchuelo, Santa Clara, Cuba. Nicknamed by bandleader Julio Gutierrez after a fan confused him with boxer Kid Chocolate, Cuba’s then world featherweight champion. Made his recording debut with Rene Alvarez y su Conjunto Los Astros in 1949, later working in Cuba with Arsenio Rodriguez, Sonora Matancera, Benny More, Joseito Fernandez, Cheo Marquetti and Rolando La Serie.
“Damn, working with Arsenio back then was the best…..Honestly, I still say it with a lot of heart and a lot of pride. I’m proud and privileged. What’s more, he gave me a tune called “[name of song missing from text]”. It isn’t min; he put my name on it so I would get some money to make my first uniform with him” (extract from translated interview by Rick Davies in the book Trompeta).
Moved to the US in the late 1950s, playing with Jose Fajardo, Caesar Concepcion, Machito, Mongo Santamaria, Orlando Marin, Tico All Stars, Charlie & Eddie Palmieri, Chihuahua Martinez, Joe Quijano and Ismael Rivera, among others. Led his own band Conjunto Los Contemporarios and has released a few albums as leader, 1974’s Juntos with Roberto Torres being a particular favourite of mine though Chocolate Caliente (1975) and Chocolate En El Rincon are both excellent examples of his work. The complete list of who he has played with is exhaustive to say the least but among his many recordings are those with Grupo Folklorico y Experimental Nuevayorquino, Larry Harlow, Lebron Brothers, Tipica Novel, Henry Fiol, A.J. Diaz, Jimmy, Las Estrellas Cobo, Alfredo Valdes, Los Guaracheros de Oriente, Chamaco Ramirez, Son Boricua and Cachao.
"No one represents the sound of the tipico in Cuban trumpet as well as Chocolate Armenteros. He is our link to the era of Arsenio Rodriguez and Beny Moré" (Raúl Fernández).
Featured in his early career with Arsenio Rodriguez (the other trumpeter is Chappottin):
http://www.youtube.com/watch?v=8b1EUJWcntU
…jamming with Tito Puente, Nicky Marrero and singer Choco Otra:
http://www.youtube.com/watch?v=7mBbDExLXEM
…and here he is more recently, again with cigar in hand:
http://www.youtube.com/watch?v=ApCxkJYCCdk
1930
- Percussionist Johnny Rodriguez, father of John "Dandy" Rodriguez, born NYC. Known by the nicknames ‘La Vaca’ - given to him by Mario Bauzá in 1943 because aged thirteen he was six-feet tall and overweight - and ‘Big Daddy’. First played professionally for Noro Morales aged fifteen and went on to play in NYC with many other bands including Xavier Cugat, José Curbelo, Miguelito Valdés, Pupi Campo, Alfredito Levy, Machito, Pete Terrace, Joe Quijano, Tito Puente (original Picadilly Boys member), Tito Rodríguez, Louie Ramírez, Lou Pérez and Orlando Marín. Moved to Los Angeles and played with Stan Kenton and Johnny Martínez among others.
"In the '40s and early '50s, I worked seven days a week recording or performing as a substitute bongocero, conguero or timbalero at ballrooms, theatres, nightclubs, cabarets and vaudeville. When the Sunday matinee dances at the Palladium started, Tito Puente organized a pickup group, The Picadilly Boys, in which I was the bongocero."
In the late 1960’s-1980’s worked regularly with Ray Barretto, Tipica 73's, Fania All-Stars and Tito Puente again, with who he would make his last appearance a s a musician.
- That same day in 1930 NYC Spanish language daily paper La Presna carried an advert:
“La Habana in New York! The Rumba. 2050 Broadway at 70th St. la Orquesta Royal Rumba de la Habana will play rumbas, danzones and tangos. The only orchestra of its kind in New York”. The band opened the following day.
1962
Percussionist Rafael "Tito" De Gracia was born in Villa Palmeras, Santurce, Puerto Rico. Late 1970’s played with Los Chiquitines del Son and Maldades, early 1980’s played with Héctor López’s Orquesta San Juan and Orchestra Panamericana. In the mid-1980’s he played with Roberto Roena y su Apollo Sound and Cano Estremera and throughout the 1990’s was with Andy Montañez’s orchestra. Since 2000 he has performed with Michael Stuart, Truco y Zaperoko and Rumbantela.
In the last few years he has recorded with Ivan Cáceres, Willie Gonzalez and Tito Gomez as well as releasing his own album My Latin Roots (2003).
5th April
1919
Gonzalo “Tio Tom” Asencio born, Havana, Cuba. Referred to as ‘The King of Guaguanco’ he was a singer, percussionist, dancer and composer of many rumbas.
“Tio Tom, that legend of Cuban Rumba to whom a monument must be created some day, has been my greatest stimulus” (folkloric singer ‘Goyo’).
Carlos Embale y Coro Folklórico perform his composition Consuélate como yo in the second part of this clip:
http://www.youtube.com/watch?v=EUG6CEizTcE
1947
Wilfred “Willy” Chirino, singer/composer/multi-instrumentalist born Consolacion del Sur, Pinar del Rio, Cuba. Aged nine years old he saw Benny More perform in Cuba and cites this as the defining moment in his ambitions to become a music star:
"He was usually late to his shows. That afternoon the orchestra was already playing but the people were not happy because of the star's absence. I was next to the stage watching what was going on when this tall guy with an incredible personality walks past me. He climbs on stage and, suddenly, everyone forgets about his tardiness. The moment he started singing, the mood of the place changed completely.….I wanted to be like him, climbing on a stage and making people happy".
His family moved to Miami in 1961 and after a short period in NYC as a percussionist (played with Julio Gutierrez's Orchestra in 1965) settled in Miami, in his early career he played solo with his guitar in and around Miami. In 1974 he released his debut album, Chirino: One Man Alone, followed by Chirino in 1975 and Chirino 3 in 1976. The quality of the album titles has improved over the years and his discography now contains 26 albums, the last of which were Cubanismo in 2005 and the 2006 Grammy winner Son del Alma - whilst this went down like a lead balloon with salsa dura fans, as these announcements seem to do every year, it was actually his first nomination so he’s hardly a serial offender, yet. He has been a constant presence in the Miami Latin music scene for around forty years and in part recognition of his work a section of NW 17th Avenue in Miami was christened ‘Willie Chirino Way’ in 1995.
“….I, at times, have felt discriminated for my political and patriotic views. This is something that I have felt very clearly many times over the years. It has never, however, worried me much. The good, however, has been that thousands of times, over the same years, I have been told that my music has served to give hope to many. I have been approached countless times by people who have told me that on a raft, in the middle of the Florida straits, for example, when all seemed lost, they have chorused my songs and have felt the better for it. What I do and how I do it comes simply from my identity and condition, and I face it all as honestly as I can" (Francisco Ojeda interview extract).
Here he is, filmed quite recently, but you should really ignore him and focus on Cachao – legend – who sadly died on the 22nd last month:
http://www.youtube.com/watch?v=Zr95nDAL9d0&feature=related
1962
Flautist Eddy Zervigon arrived in the US (Miami) and began a four month night club stint, "but I never liked Miami" and was in NYC by June 25th the same year.
Nice jam session here, with Eddie Palmieri and Orquesta Aragon:
http://www.youtube.com/watch?v=9IjlsUyUpVQ
6th April
1900
The City Council of Havana passed a law that outlawed the use of African drums inside buildings, public thoroughfares or La Comparsa (street festival) because "they caused uproars that disturbed the peace and tranquillity of the city". Anyone caught playing a drum of African origin was punished with a fine of ten dollars. This kind of political interference was common across the Latin Caribbean at this time and was a blatant attempt to stifle the promotion of overtly African culture(s). Ironically, much of the music and dance we enjoy today owes a debt to the need for those wishing to express themselves having to be creative and more subtle about means of expressing and celebrating culture.
1911
Cuban singer/guitarist/composer Guillermo Portabales, (b. Jose Guillermo Quesada del Castillo) born Rodas, Las Villas, Cuba. Particularly known for performing the guajira, he is credited with creating the Guajira de Salon - an urban version of the country sound, which he developed in Santiago de Cuba. Made his radio debut on CMHI (Cienfuegos) in 1928 and performed in Eastern Cuba until 1936 when he moved to Puerto Rico, having been hired by Leopoldo Fernandez to perform a regular gig in San Juan’s Tapia Theatre. He Lived in Puerto Rico (touring South & North America during this time also) until 1940 when he returned to Cuba. Moved back to Puerto Rico in 1953 where he stayed until his death in 1970.
"One afternoon in 1968, completely by accident, I happened to hear a tune on a juke box which really grabbed me on a gut level and changed my entire musical orientation. It was Guillermo Portabales singing what eventually would become one of my favorite tunes, 'El Carretero.' What I found so striking about this song was not just Portabales' lyricism and sincerity, but also its utter simplicity. It was the skeleton of a son--two guitars, one conga, and voices--that's it. There were no horns, no piano,no bongoes, not even a maraca or a guiro. This piqued my curiosity and prompted me to investigate Cuban country music, or musica 'guajira' as it's called, and after I studied the records, I took what I'd learned and incorporated it into my sound. My tumbao has always had a rustic feel to it and it all stems from this chance encounter with Portabales" (Henry Fiol).
His most famous composition is El Carretero, written in the late 1930’s:
Ay, por el camino del sitio mío un carretero alegre pasó
En su tonada que es muy guajira y muy sentida alegre cantó
Ay, por el camino del sitio mío un carretero alegre pasó
En su tonada que es muy sentida y muy guajira alegre cantó.
Me voy al transbordador a descargar la carreta
Me voy al transbordador a descargar la carreta
Para llegar a la meta de mi penosa labor.
A caballo vamos pa´l monte, a caballo vamos pa´l monte
A caballo vamos pa´l monte, a caballo vamos pa´l monte.
Yo trabajo sin reposo para poderme casar
Yo trabajo sin reposo para poderme casar
Y si lo puedo lograr seré un guajiro dichoso.
A caballo vamos pa´l monte, a caballo vamos pa´l monte
A caballo vamos pa´l monte, a caballo vamos pa´l monte.
Soy guajiro y carretero, en el campo vivo bien
Soy guajiro y carretero, en el campo vivo bien
Porque el campo es el edén más lindo del mundo entero.
A caballo vamos pa´l monte, a caballo vamos pa´l monte
A caballo vamos pa´l monte, a caballo vamos pa´l monte.
Chapea el monte, cultiva el llano, recoge el fruto de tu sudor
Chapea el monte, cultiva el llano, recoge el fruto de tu sudor.
(from lyriczz.com)
You know the drill….you memorise the words, the song follows and you join in to the sights of this nice slideshow homage. Well, I say nice, ‘a bit odd’ in places might be more apt:
http://www.youtube.com/watch?v=Vu8RBvFABx0
1921
Singer/composer José Luis Moneró born in Juncos, Puerto Rico. Known for his bolero singing he first sang with Mario Dumont in 1938 before joining Noro’s brother Luis Morales and soon after Rafael Muñoz with who he worked until the early 1940’s.
“These were perhaps his best and most productive years, during which he recorded his best work on the RCA Victor label. His voice embodied a melodic lyricism and he was acclaimed in songs such as ‘Caminos de Ayer’, ‘Di Corazón’, ‘Enojo’, ‘Muñequita Linda’ and ‘Sin ti’ (musicofpuertorico.com).
Moved to NYC in 1942 playing with Noro Morales, José Curbelo, Siboney and he joined the Xavier Cugat orchestra in 1944 with whom he toured extensively. Formed his own orchestra in 1954, later moving back to Puerto Rico to work with Super Orquesta Tropicana after which he once again led his own band.
He can be heard on the Disco Hit re-issues Jose Luis Monero Sings, Dancing at the Escambron (a famous Beach Club venue that featured many of Puerto Rico’s best bands) and the more recent Harlequin issue Xavier Cugat with Jose Luis Monero 1946-1948.
1930
Singer Celeste Mendoza, ‘The Queen of Guaguanco‘, born Santiago de Cuba. Moved to Havana as part of the dance group Cabaret Tropicana, but soon found fame as a singer with her powerful voice. Popular all over the Caribbean and South America she toured extensively including visits to the US, Japan, Mexico and Spain. As well as recording many albums under her own name she also recorded with Los Papines, Miguelito Cuní, Bebo Valdes, Benny More and Sierra Maestra.
Dull intro masks some great old footage that follows:
http://www.youtube.com/watch?v=dEQn4ELZ0KQ
1956
The 23-piece Tito Puente orchestra completed the album Cuban Carnival at the RCA studios, NYC.
Elegua Chango 5:13
Cual Es La Idea 3:21
Pa' Los Rumberos 3:23
Que Sera 3:24
Oye Mi Guaguanco 3:39
Yambeque 3:43
Happy Cha Cha Cha 2:33
Mambo Buda 2:51
Cha Cha Cha De Los Pollos 2:46
Guaguanco Margarito 3:29
Cuban Fantasy 1:54
"Tito Puente’s arrangements for this album take on the brilliance of Stan Kenton without the ponderousness; the combined presence of Mongo, Willie, Patato, Candido and Bobby Rodríguez make this arguably Tito’s greatest rhythm section. From the first menacing saxophone section trills the music has overpowering sweep. As impressive as the parts are, the sum is indescribably greater" (David M. Carp/descarga).
"Here's an LP that really stretches, encompassing many Afro-Cuban rhythms from mambo, rumba and guaguanco to cha-cha. A must for anyone who loves music." (Joe Conzo/descarga).
1957
Billboard Magazine announced that "(George) Goldner has sold his interests in the Roulette, Rama, Gee and Tico labels outright to the Morris Levy Combine".
1977
Bass player Randolph Chacón Paz born Havana, Cuba. First played professionally with Los Chicos de la Salsa and first recorded with Rolo Martínez on the 1998 album Para Bailar Mi Son. Joined Charanga Habanera the same year and has featured on the albums El Charanguero Mayor (2000), Chan Chan Charanga (2001), Live In The USA (2002), Light (2004) and El Ciclon De La Habana (2006).
1978
Cuban singer Alberto Ruiz died. Founder of Conjunto Kubavana de Alberto Ruiz, one of Cuba’s most influential bands which at various times has featured the talents of Armando Peraza (whom he made his debut with), Patato Valdes, Rudy Calzado, Alejandro "El Negro" Vivar, Chocolate Armenteros, Carlos Embale and Raul Planas.
“Ruiz was a singer who would go on to define what bolero singing was all about. In 1936, he formed Conjunto Kubavana, a group that would become the model for the pivotal Conjunto Casino in what was a significant period, when the conga drum was just getting integrated into the conjunto and charanga formats” (Chuy Varela).
7th April
1917
Ramon "Mongo" Santamaria born Havana, Cuba (also commonly cited as 1922). Nicknamed Mongo by his father (‘mongo’ being the name for a Senegalese chief). He played at Havana’s Tropicana Club in the late 1930‘s with bands like Conjunto Matamoros and Conjunto Azul before moving to Mexico City with Pablito Lilon in 1948 and then to New York in 1950. First performed with Gilberto Valdés charanga orchestra - though often cited as first playing in NYC with Perez Prado, can be heard on the 1951 album Perez Prado & His Orchestra, The Mambo King Vol. 3: Savoy Mambo, as well as performing with Armando Perazza and others as the Black Cuban Diamonds.
From 1951-1957 he worked with Tito Puente being part of what is widely regarded as TP’s finest rhythm section. During this time he featured on the albums Cuban Carnival (1955), Cubarama: Let's Cha Cha (1956), Top Percussion (1957) and Dance Mania (1958). Also during this time he recorded Drums And Chants/Changó with Silvestre Méndez in 1955. Left NYC for the West Coast and joined Cal Tjader in1958 but continued to record as leader, first with Afro Roots in 1958:
" Afro Roots is an essential disc of incredible Afro-Cuban drumming and rumba. Mongo brought together an impressive assemblage of master musicians: Francisco Aguabella, Willie Bobo, Al McKibbon, Armando Peraza, Emil Richards, Chombo Silva, Carlos Vidal, and Cal Tjader. 'Timbales y Bongo' is a three man show with Aguabella, Bobo and Mongo as a trio.....incredible" (Jose Rizo).
Also recorded in 1958 with Victor Feldman. His 1959 album Mongo included his best known composition Afro-Blue. Went to Cuba with Willie Bobo to record Our Man In Havana with local musicans in 1960 and on his return recorded with Joe Loco in 1961 before he formed his own band which released Sabroso! in 1962. That same year he recorded what would be his best known hit song, the Herbie Hancock tune Watermelon Man, released in 1963 on the album Go, Mongo!. Mongo Introduces La Lupe was also released in 1963 and over the next 40 years he would go on to release dozens of albums under his own name as well as working with Justo Beta court (Ubane) & the Fania All Stars in the 1970’s and with Poncho Sanchez in the 1990’s.
He died aged 85 on 1st February 2003 in Miami. Gerardo Rosales released an excellent tribute album of Mongo compositions in 2005; Mongomanía - Tribute To Mongo Santamaria.
Featured here with the Buda All Stars:
http://www.youtube.com/watch?v=E3nhm9Ef1fo
1936
Pianist/composer/arranger/bandleader Javier Vázquez born, Matanzas, Cuba (also cited as 8th).
One of those names that when you see it on an album you just buy it. Simple as.
In the US worked with Chihuahua Martinez on the fabulous 1964 Chihuahua All-Stars album Descarga Cubana and arranged and played on Ismael Quintana’s solo debut album Punto y Aparte in 1968. In the 1970’s he really hit his stride and was involved as arranger/pianist (often both) for many artists, good examples of his work from this period include Su Nuevo Estilo (Chivirico Davila,1971); El Castigador (Roberto Torres, 1973); Live At Carnegie Hall, Vol. 1 (Tico-Alegre All Stars, 1974); Fantasia Africana (Lou Pérez & His Orchestra, 1975).
Formed his own band in the mid-1970’s - La Verdad (1974 - includes Se Formo la Rumbantela), Javier (1976 - killer track Tu No Me Has Visto Miguel) and the 1999 compilation of 70’s tracks Salsa y Montuno featuring singers Monguito, Wuelfo (credited as Welfo) and Orlando Contreras are IMO essential picks.
During this time he also worked with Ismael Rivera y sus Cachimbos and was arranger and pianist on the albums Vengo Por La Maceta (1973), Traigo De Todo (1974), Eclipse Total (1975), De Todas Maneras Rosas (1977) and Maelo (1980). Interestingly, the 1979 Chamaco Ramirez album Alive And Kicking was intended by Vasquez (producer/arranger) to be an Ismael Rivera recording.
Though busy with El Sonero mayor at this time he still found time to work with Linda Leida, Cabrera y su Super Combo Managua, Johnny Pacheco and Monguito and Pacheco, Jose Fajardo & Pupi Legarreta (Javier Y Su Charanga: Las Tres Flautas, 1980) among many others. Worked in the 1980’s with Sonora Matancera, albums involving both Justo Betancourt and Ismael Miranda.
More current information is a bit thin on the ground, I know the great man is still around, anyone able to tell us what he has been up to lately?
He plays piano here:
http://www.youtube.com/watch?v=8OrPhD2jYzI
19??
West Coast based timbales player Karl Perazzo born. A child prodigy, he had played with Cal Tjader before his 10th birthday.
Best known for his work with Carlos Santana, who he has played with since 1991 ("I used to play with the band when I was younger, but then the needle broke"), he is also well known for producing/playing in a number of percussion instructional DVDs:
“I'm still a student and I'll be that for life. But it is my duty as a musician to give back to the youngsters. Now through DVD technology, we're able to share how rhythms are laid out, how parts are played and how energy is dispersed. When I grew up, all we had was records. There's a lot of stuff I learned that was technically wrong that I had to correct later because it was bad sticking. It's very important to give back to the youngsters, who now are faster, quicker and jump higher. It's a whole new breed of cats” (Chuy Varela/Latin Beat magazine interview extract).
Here he demonstrates the art of the bongo solo:
http://www.youtube.com/watch?v=6zHsaAj76P4
1999
The International Latin Music Hall of Fame first annual induction ceremony held, Birdland, NYC. Inductees: Tito Puente, Celia Cruz, Eddie Palmieri, Johnny Pacheco, Joe Cuba, Israel "Cachao" Lopez, Johnny Ventura, Orquesta Aragon, Jose Fajardo, Marc Antonio Muniz and La Sonora Matancera, Graciela, Chico O'Farrill and Marco Rizo. Posthumously: Miguel Failde, Ignacio Pineiro, Rafael Hernandez, Ernesto Lecuona, Arsenio Rodriguez, Chano Pozo, Beny More, Perez Prado, Mario Bauza, Machito, Tito Rodriguez, Miguelito Valdes, Enrique Jorrin, and Agustin Lara. Beny More award: Emilio and Gloria Estefan. Lifetime Achievement award: Rogelio Martinez. Special Recognition awards: Ralph Mercado Jerry Masucci & Johnny Colon.
8th April
1936
Pianist/composer Javier Vázquez born Matanzas, Cuba (also cited as 7th - see yesterdays notes).
1998
Jimmy Bosch released his debut album, Soneando Trombon.
“From the ivy-covered walls of Columbia University to the sweaty dancehalls of Cali, Colombia the name Jimmy Bosch is synonymous with invention, honesty and relentless groove. Rarely does a musician end up with the kind of accolades Jimmy has received without being a bandleader in his own right. The fact that he has garnered such acclaim as a sideman is in some ways a unique achievement. However, happily with the release of SINGING TROMBONE the raves will be for him as a leader, as a songwriter, as an arranger and even as a singer!” (rykodisc.com).
“Smokin' debut release by one of New York's most sought after bone players. Bosch, a graduate of the Manny Oquendo University of Libre, New York, has pushed the envelope even further. Get it” (Bruce Polin/descarga).
Produced by Aaron Levinson & Jimmy Bosch and with a superb vocal line up including Herman Olivera , Frankie Vazquez, Jimmy Sabater and Pete "El Conde" Rodriguez the album includes DJ favourites Descargarana, La Soledad and what I consider to be a modern classic, Otra Oportunidad.
“For me, it's worth more for one person to come up to me in tears, which has happened often, and say, thank you for this song that you wrote because it touched my heart, because this has happened in my life. In one of the songs I talk about losing a brother to drugs and alcohol. There are millions of people around the world who identify with that experience and a song like Otra Oportunidad allows them to feel their pain, and process their pain, and feel better, and create permission for us to move along with life” (extract from Jack el Oso/salsafrance.com interview).
The band play Descargarana here, at what appears to be one of the Heineken Jazz festival gigs:
http://www.youtube.com/watch?v=MQ_tcv9hkyE
2001
Violinist Pedro Depestre Gonzalez died on stage while performing with Buena Vista Social Club bassist Cachaito Lopez in Basel, Switzerland. He had been leader of the bands Maravillas de Florida and Orquesta Tipica de Juventud as well as working as a producer for Egrem. In his latter years he released his own album Son Charangas y Pasiones in 1999 and recorded with Richard Egües (Richard Egües & Friends: Cuban Sessions, 1999), Orlando Cachaito Lopez (Cachaito, 2001) and the self titled album by Pepesito Reyes, released after his death in 2002.
9th April
1920
Writer and dancer Vincent Lavalli born. The famous Cuban dance couple, Rene y Estella taught him how to dance at the Park Palace Ballroom and was present at the dawn of Latin music in NYC.
1948
Bandleader/singer Humberto Luis "Tito" Gómez born Juana Díaz, Puerto Rico. Not to be confused with Cuban bandleader (Riverside) of the same name, this Tito Gomez (who died recently BTW) started singing aged 17 with Sonora Ponceña, Pappo Lucca joined at the same time, also aged 17. Stayed with the band for five years, leaving in 1973 to work with La Terrifica. Sang with Ray Barretto in 1975 and 1976 (albums Barretto and Tomorrow) before attempting to launch a solo career in 1977 with the Larry Harlow produced Para Gozar Borinquen in 1977. Re-joined Sonora Ponceña in 1978 - around this time also worked with Charlie Palmieri, Ray Barretto (again), Rubby Haddock and Venezuelan band La Amistad. Had a successful five year stint with Grupo Niche in Colombia from 1985-1990:
“A Colombian friend invited me to a club called “Abuelo Pachanguero” in Queens to see Grupo Niche play and introduced me to (the band’s director) Jairo Varela. When I caught on (to the way they sang salsa), right there and then I went on stage and started to sing, but changed the style of singing a little. When I came down from the stage (Jairo) spoke to me and offered me to go with them to Colombia to become the band’s singer. He told me that the next day he would give me $5,000 and my clothing for the show” (Mosaico21.com).
Embarked on a solo career from the early 1990’s and he has released a number of albums of varying quality including Agradecimiento (1993), Recogiendo Frutos (1995), Volver (1997), Quien Nos Iba A Decir? (2000), Las Paginas De Mi Vida (2001) and most recently Comenzando En Cero (2004):
“The singer, backed by a high-energy band, sends his tenor voice ripping through the monas. This is power salsa, pitched high, with the mix favoring the upper register. It's dance floor magic, rocking and exciting. Gomez's voice has a tear to it, a cry that gives even his come-ons sadness. Luis Vargas is a guest on a batchata; the rest is non-stop old school salsa” (Peter Watrous).
Here’s some slower paced salsa from him, circa early 1990’s:
http://www.youtube.com/watch?v=dmUmlZbnchE
1981
Havana born Pianist/composer/bandleader Humberto Suarez died San Juan, Puerto Rico. Recorded in Cuba with his band Orquesta Cosmopolita in the 1940’s and 50’s as well as with Bebo Valdes y suu Orquesta Sabor De Cuba in the late 1950‘s. Moved to Puerto Rico in the 1960’s, peforming with Gilberto Monroig among others. Has also recorded as Humberto Suarez & his Cuban Strings and Humberto Suárez y sus Hermanos.
1997
Eugenia Ramos dancer, singer and mother of percussionist/bandleader Francisco "Kako" Bastar died. She performed with bomba and plena groups of Puerto Rico.
10th April
1946
Sonora Poncena leader/pianist Enrique Arsenio "Papo" Lucca jr born Ponce, Puerto Rico. A child prodigy, he studied piano, clarinet and saxophone. His father was leader of Conjunto Internacional - a group that formed the basis of his fathers La Sonora Poncena, a band with whom he performed with as young as eight years old and with whom he made his recording debut aged twelve (or eleven according to some sources). He was also recording in his childhood with Obdulio Morales, Orquestra Panamerica and Machito.
“I went to see La Sonora Ponceña and had to climb to a tree because I was so small that the people doesn't let me see, so that's how I saw Papo Lucca the first time and he was so small too that his father Quique has to put a wooden case under his feet so he could reach the Piano Keys” (Ivan Caceres).
In 1968 Papo took over from his father as musical director, signalling a change in direction for the band (group expanded to use four trumpets, singers Yolanda Rivera and Luigi Texidor joined as a lead vocalists) and resulting in a highly successful period with the Inca label, producing over 30 albums beginning with Hacheros Pa' Un Palo released in 1969.
“With his dynamic piano playing and unique approach to salsa, Papo Lucca (born Enrique Arsenio Lucca, Jr.) has led his band, Sonora Porcena, to the forefront of Latin music …..While Ruben Blades called Lucca, "the best pianist in the world," Cuban pianist Ruben Gonzalez explained, "of non-Cuban pianists, I most admire (Lucca) because his salsa is very close to son. Son piano is more varied than salsa piano which is more formulaic and holds on to a single riff much longer" (musicofpuertorico.com).
In 1976 he became a regular member of the Fania All Stars (Fania having bought the Inca label) and has also developed a reputation as a great arranger. Over the years he has worked with many including Willie Colon, Celia Cruz, Johnny Pacheco, Cheo Feliciano, La Puertorriqueña, Bobby Valentin, Azuquita, Justo Betancourt, Pete "El Conde" Rodriguez, Alfredo De La Fe, Roberto Blades, Mickey Cora, Ismael Quintana and more recent guest appearances with Guayacan and N' Klabe.
“I recall that my first piano lessons were in classical music, only later did I begin to copy from albums by Cortijo….solos by Rafael Ithier….although I never had sheet music. But I think that helped me a lot later on, as an arranger, and it gave me an idea of the freedom with which the popular musician should work…. I’ve always studied Cuban pianists a lot. People like Lili Martinez, Peruchin, Emiliano Salvador and Chucho valdes have had a great influence on my formation, as have musicians like Eddie and Charlie Palmieri…and of course I’ve learned a lot from jazz pianists……in other words I’ve taken something from everyone who’s offered me something interesting……Look, if tradition becomes a model, I think you’re going down a dead end road. That’s why, without losing tradition, you always have to keep searching. So, without disrespecting Caribbean music, we’re always proposing innovative variations, incorporating elements of other musical traditions, from the United States, Brazil, or from anything that’s artistically related to our ideas, because if you draw from only one source, you can get stuck on that dead end” (extracts of an interview from the book Faces of Salsa).
Here he is with Sonora Poncena:
http://www.youtube.com/watch?v=7h9FueP-TYo
1975
Recording of the landmark album Concepts in Unity by Grupo Folklorico y Experimental Nuevayorquino completed at CBS Studios, NYC.
Cuba Linda 9:03
Choco's Guajira 6:14
Anabacoa 6:24
Adelaida 4:56
Luz Delja 3:07
Carmen La Ronca 6:57
Canto Asoyin 4:26
Canto Ebioso 3:00
A Papa Y Mama 7:53
Iya Modupue 8:29
“This is a milestone in the evolution of the music brought about by the commitment of the distinguished collector, Rene Lopez, and other noted musicians in New York City” (Raul Fernandez).
"These musicians took street music to a whole new artistic level. Jerry Gonzalez (congas), Andy Gonzalez (bass), Manny Oquendo (timbales), Milton Cardona (bata), Chocolate (trumpet), Nelson Gonzalez (tres) and Oscar Hernandez (piano) were some of the main ingredients. When this album first came out in 1975, it blew everybody away. This CD is really a piece of art" (Jose Rizo).
“This is an absolute must. This 1975 release is important in many ways. It was the first Latin recording ever to be reviewed by 'Down Beat' magazine (the #1 jazz periodical), which thus recognized the music as an art form to be taken seriously. It also showcased the reaffirmation of a group of New York based Latino musicians to preserving the deep roots of the culture” (Bobby Sanabria).
“Absolutely one of the best recordings of Cuban and Puerto Rican music in the US! …..What can I say about this landmark work, which gave birth to such an amazing child as Conjunto Libre. The combination of musicians on this album has yet to be equaled on any other project” (Rebeca Mauleón).
Filmed at a German festival last year, here you can see a newly formed version of that group:
http://www.youtube.com/watch?v=qLBnNLXrhUI
1992
All female salsa band Orquesta Canela founded, Cali, Colombia. The band, which typically has between ten and fourteen members, is led by María Fernanda Múnera Ricci and Alvaro Cuervo Villafañe. They released their first album, Un Toque Diferente, in 1992 and have issued six further albums.
“The group….has performed in many major festivals throughout the world together with legendary salsa groups such as La Sonora Ponceña, El Gran Combo de Puerto Rico, Grupo Niche, Guayacán, among many others……and has toured throughout the world to countries such as USA, Mexico, Ecuador, Venezuela, Puerto Rico and Europe. Some of their popular songs are Embrujo De Amor, Contaminame, Quiero Rumbear, Dejala and El Mujeriego” (salsaartists.com).
Here they demonstrate that you can play your instrument perfectly well whilst wearing a backless top:
http://www.youtube.com/watch?v=ZN8ZUEop_Zs
2000
Latin Beat Magazine celebrated it’s 10th Anniversary with an event featuring Jimmy Bosch's band, Benjamin Lapidus & Sonido Isleno, held at SOB.'s in New York. In attendance were Joe Bataan, King Nando, Joey Pastrana, Sonny Rivera and Jimmy Sabater, among others.
Created in Los Angeles by Rudy and Yvette Mangual, the magazine can now boast of a readership of 150,000 on the newsstand and many more via the website.
“…both noticed a considerable lack of information and resources for Latin music. They immersed themselves into researching publications dedicated to the genre and found only a few that filled the niche and those were small European magazines in other languages. Here in the States there was no publication that dedicated itself completely to serious Latin music…….Its mission is to report and inform on all facets of Latin music but at the same time the magazine entertains and educates readers with in-depth comprehensive articles about the artists of the past, present and future. Latin Beat informs on the latest local, national, and international music events, record reviews and live entertainment. The publication further delves into the limitless world of Latin jazz, Tropical music, Latin pop and World music……the magazine is highly respected and collected throughout the world. Music departments of high schools, colleges and universities continue to utilize Latin Beat Magazine as a resource tool for music, sociology and history classes, and invite Latin Beat writers to speak and lecture on the history of Latin music. It has no equal. Over the past ten years Latin Beat Magazine has established itself as the preeminent publication in the world of Latin music. In a field in which passions run high and opinions strong, Latin Beat is almost universally embraced. The journalists who contribute to Latin Beat are serious, dedicated and passionate writers whose talent and experience is sought after in the music industry” (latinbeatmagazine.com).
slap says: “I get Latin Beat Magazine delivered, it’s great”.
2006
Panamanian percussionist/dancer Luis 'Puntilla' Kant died in Las Vegas. He learned to play percussion from Cuban musicians working in Panama and learned to play bongos from Ruben Blades father, Ruben Blades Sr. Left Panama to tour with Myrta Silva's group in 1946, travelling to Costa Rica, Guatemala, Mexico and Cuba where he learned conga techniques with Wilfredo "Chonguito" Hernández and Chano Pozo. Moved to Miami in the late 1940’s and later to NYC where he was given his nickname by promoter Federico Pagani. Played with Moncho Usera, Alberto Iznaga, Enrique Madriguera, Ralph Font, José Curbelo, Julio Andino, Pupi Campo, Charlie Palmieri, Celia Cruz and Tito Puente. Moved to the West Coast with Joe Loco in 1953 and soon after formed his own band which played in Las Vegas and San Francisco, performing with Rene Bloch, Willie Bobo, Eddie Cano and Cal Tjader, among others before retiring from music in 1980.
11th April
1936
Singer/timbales player Jaime "Jimmy" Sabater born Harlem, NYC. In his youth he studied music, learning the piano and then the timbales as well as having voice lessons.
“It was during a 1951 stickball game between the Devils and the 112th Street Viceroys that Jimmy's life would turn towards history. A young man named Gilberto Calderon of the Devils met Jimmy, and invited him to a party. The two became fast friends. They had a lot in common. Both wanted to be musicians after being influenced by the music of Machito, Marcelino Guerra, Noro Morales, Puente, and Tito Rodriguez. 1954 saw the Joe Panama Sextet as one of Spanish Harlem's most popular music groups. When Panama's Conguero, or conga drummer, left the group, Jimmy recommended his friend Gilberto for the job. Soon after, bandleader Joe Panama fired his sidemen and replaced them with others. The now unemployed musicians which included vocalist Willie Torres and pianist Nick Jimenez formed a group which included bassist Roy Rosa, vibraphonist Tommy Berrios, timbalero Jimmy Sabater, and conguero Gilberto Calderon (who had been selected by the musicians to direct the band.) One evening, the group appeared at La Bamba Club in midtown Manhattan under the name of "The Joe Panama Sextet". When Panama's mother threatened to sue Gilberto if he continued using the name, promoter Catalino Rolón recommended that the group change its name to "The Joe Cuba Sextet". So they did” (josemangualjr.com).
Later Cheo Feliciano was added to the band, mainly to sing songs with Spanish lyrics while Sabater sang those with English lyrics. With the Joe Cuba Sextet he recorded many fine albums including Steppin' Out in 1962 (which included the song Salsa y Bembé), We Must Be Doing Something Right in 1966 (including the monster hit El Pito/I'll Never Go Back to Georgia) and also in 1966 Wanted Dead or Alive, credited as the first boogaloo album to sell one million copies.
“As Jimmy Sabater later detailed to Juan Flores, the material that the group wrote during this period was often inspired on-the-spot at their live dates. Sabater described a pivotal appearance at Manhattan's Palm Gardens Ballroom. "It was a black dance", he recalled. "That night, we were playing selections from our new album . . . the one with 'El Pito' on it, you know. The place was packed, but when we were playing (our) mambos and cha-chas, nobody was dancing. So at the end of the first set, I went over to Joe Cuba and said, 'Look, Sonny (that's his nickname), I have an idea for a tune that I think might get them up . . . I went over to the piano and told Nick Jiménez, play this (riff) . . . before (long), the people were out on the floor going beep-beep, haaa! Beep-beep, haaa!" This nonsense phrase was one of several party chants that were popular among black young people in the '60s. Joe Cuba himself continued the story: "Suddenly, the audience began to dance side to side, (it was) a wave-type dance, and (they) began to chant . . . sort of like an African tribal chant and dance". For a quarter hour, musicians and dancers fed off of each other's energy. The scene was repeated at subsequent dates, and soon the Sextet was inflaming crowds all over town, setting off a frenzy of beep-beep-bang-banging, hip-swaying and finger-popping. Thus was born the raucous and rowdy single "Bang! Bang!" Its absurd lyrics about "cornbread, hog maw and chitterlings" good-naturedly mock some of the more bizarre staples of African-American cuisine” (spectropop.com/tico).
In the late 1960’s he started a career as a soloist releasing the albums The Velvet Voice of Jimmy Sabater (1967), Solo (1969) and El Hijo de Teresa (1970) - later for Fania he recorded Gusto (1980) - From 1977 to 1981 he was the lead vocalist for Al "Alfredito" Levy and between 1982-1988 was with Charlie Palmieri’s El Combo Gigante.
Also in the 1970’s he can be heard on a variety of tasty recordings such as Fania All Stars Live At The Red Garter, La Crema De New York Jimmy Urbina Revolucion En N.Y and Ocho Numero Uno. In the 1980’s recorded with José Mangual Jr. In 1998 joined Mangual again as lead singer for Son Boricua, a band with whom he has recorded the albums Son Boricua, Homenaje a Cortijo y Rivera, Mo!, Clásicos 60's and Fabulosos 70's. The band gig under a variety of non-Son Boricua names, something to do with rights and the like. During this period Sabater has also recorded with Las Estrellas Cobo, Ricky Gonzalez and also the Spanish Harlem Orchestra debut album.
Filmed in the last couple of years at NYCs Copacabana, he plays timbales and sings whilst being stalked by Ana Flores and her video camera:
http://www.youtube.com/watch?v=Nne9YIxqOVs&feature=related
Nice and funky here, but I don’t think that full use has been made of the video element, what do you think?:
http://www.youtube.com/watch?v=j8RAMWVqfBw
Here he’s with Jose Mangual jr (though YouTube would have you believe he’s called Jose Monguel):
http://www.youtube.com/watch?v=0CE1OlLIC5Y
1996
Jimmy Bosch debuted as a bandleader at SOB's club, New York City.
“In his concerts and recordings, Bosch, a charismatic musical director and bandleader, engages his audience by generously sharing the stage with his highly accomplished and veteran band members. While audiences revel in his unbridled creativity, Bosch graciously defers to his all-star band and orchestrates “solo-movements” for them to spontaneously shine; but more importantly, to climax with multiple moments where all are acknowledged, appreciated, and celebrated” (jimmybosch.com).
This same day (in 1996, keep up)……….
The first of the Buena Vista Social Club concerts held, Carre Theatre, Amsterdam, Netherlands. Some of the footage from this concert was included in the film (the other concert footage is from the NYC Carnegie Hall gig). A track from this concert, El Cuarto de Tula, was included on a World Circuit Records free sampler, but I’m not sure if any of the live concert songs have been released anywhere else on CD. Concert footage follows:
http://www.youtube.com/watch?v=F9_igl5SMAk
12th April
1897
Bandleader/composer/trumpeter Julio Cueva born Trinidad, Cuba (also cited as 1887). He first played in the 1930s with Don Aspiazu, with whom he travelled extensively. During one tour with Aspiazu, Cueva remained in Paris joining Snow Fisher and his Harlomarvels jazz band, later starting his own group which played at La Cueva, a Paris venue named after him. Fought during the Spanish Civil War:
"The history of Julio Cueva during the Civil War is an entire separate novel, going far beyond the demobilization, the painful retreat, crossing the French border and the 78 days in the Argelés-sur-Mer concentration camp. In spite of the abuse and terrible living conditions, he has the spirit to create a satiric song against the attitude of the camp authorities..." (granma.cu).
On his return to Cuba in the early 1940's and led his own band, Julio Cueva y su Orquesta, and several compilations of this bands work are available - many of the songs are sung by Orlando ‘Cascarita’ Guerra and Manuel ‘Puntillita’ Licea. Cueva wrote many compositions, Tingo Talango perhaps being his best known piece.
[slap super-trivia insert: Spanish crooner Julio Iglesias was born Julio José Iglesias de la Cueva]
13th April
1919
Singer with many bands born Cuba.
(inc. Senén Suárez/ Orq. Riverside/Roberto Faz/Fajardo)
Yes, that is a rather weak entry – when compiling this info I sometimes find that a wrong, or in this case, non, button has been hit resulting in ‘not very much’. Rest assured dear reader that SOMEONE who sang with these great Cuban orchestras has been cited as being born on this date, but who exactly, well, not sure. Sorry. Probably best to carry on reading and forget this bit…
1921
Cuban pianist Frank Emilio Flynn born. Considered the godfather of Cuban jazz piano he was born of an Irish North American father and a Cuban mother, he was raised by an aunt and uncle who encouraged his musical studies. Was a self-taught pianist from an early age, completely blind at the age of thirteen, the same age he led his own danzón orchestra. Participated in the Cuban descargas of the 1930's and went on to play with the likes of Miguel Matamoros, Antonio Maria Romeu and Septeto Nacional. In the 1940's he led his first ‘proper’ band, Loquibambia, which included vocalist Omara Portuando.
"In the 1940s I listened to alot of jazz and it left an influence on me. We began to cultivate jazz in Cuba in the 1940s and 1950s with the filin (feeling) movement. used to play on radio station Mil Diez and in the rehearsal studio muchachos y muchachas who were into filin would gather. They wrote songs that drew from jazz in its compositional ideas and stirred up a popular current".
In the 1951 he led Los Modernistas, a band that blended Cuban rhythms and jazz and . This band formed the basis for Grupo Cubano de Musica Moderna (later known as Los Amigos), which featured the likes of percussionists Gustavo Tamayo, Guillermo Barretto and Tata Guines, in the late 1950s. This culminated in 1958 with the creation of the influential Club Cubano de Jazz/Cuban Jazz Club.
"I was a founding member of El Club Cubano De Jazz in 1958. We would invite jazz musicians touring on the island to come and sit in with us. We had a jam session on Sunday afternoons and sometimes we would offer passage and a place to stay to musicians in Miami. Most never got paid but people Philly Joe Jones, Zoot Sims and many others enjoyed doing it".
"In the Fifties and Sixties, Frank Flynn and his quintet nurtured the Latin jazz style. They were a model for a lot of groups and for individual musicians" (Chucho Valdes).
As a teacher he has had among his students the talents of Chucho Valdes, Gonzalo Rubalcaba and Emiliano Salvador among many others.
"Many musicians in and out of Cuba have learned to 'see' Cuban music through Frank Emilio. Chucho Valdés and Paquito D'Rivera are among the long list of those who worship him. He doesn't like to talk about politics, but says that he wishes his story, with its happy ending, could serve as an example to the politicians in the United States and Cuba. Frank has a new family and his music has emerged from the darkness where it has been for many years, due to other's blindness, not his own" (Frank Figueroa/Latin Beat magazine).
1930
Mario Bauza left Cuba for good when he arrived in New York for the second time (on the same boat as Justo Azpiazus band) - he had previously been in NYC in 1925 with Antonio Maria Romeus group, but, back in Havana was “tired of being the negrito in the band”.
1955
West Coast based "Latin Lady DJ" member Margarita Valdes born.
Visit her website, listen to her radio show, read her reviews – she has been doing this for a long time and is well worth listening to:
http://www.latinladydj.com/
1963
Mongo Santamaria's Watermelon Man released. The song was written by Herbie Hancock who released it on his 1962 album Takin' Off, a reworked version also appeared in 1973 on his Head Hunters album. Mongo Santamaria released the most commercially successful version on the album Watermelon Man and in 1998 it was inducted into the Grammy Hall of Fame. Whilst the song and album were the Mongo’s biggest sellers it could be argued that this success created a record companies view that he needed to release more of the same kind of music.
“Watermelon Man quickly became Mongo's signature tune and the title of an entirely great jazz album. Unfortunately the same spark never lit up his subsequent albums, although some of the same players stayed with or returned to him, notably arranger Marty Sheller. The Sheller-Santamaria collaboration continued for the rest of Mongo's career, just as the teamwork with Willie Bobo had lasted before. Personnel was never the problem, but the drive for further commercial success surely limited his creativity” (hipwax.com).
Mongo plays here, the clip is a specially made animation for the song:
http://www.youtube.com/watch?v=vjJaH40rArU
1974
Multi-instrumentalist Alberto Iznaga retired after playing at an Easter dance held at Colgate Gardens, Bronx. Iznaga came to the US from Cuba in 1929 and played with Xavier Cugat .Iznaga’s band La Siboney was one of the great early Latin NY outfits which has featured Machito and Johnny Nieto among many others.
“…in the U.S. by the late 1920s and early 1930s…..Orquesta Siboney - led by the classically trained Havanese violinist Alberto Iznaga -was mostly confined to the uptown clubs frequented by Latin American immigrants, where it played boleros, rumbas and danzones” (Luis Tamargo/Latin Beat magazine).
19??
Cuban trumpet player Julito Padron born. Known as one of the best, if not the best, Cuban trumpet players around at the moment he was musical director for Irakere and has played/recorded with the Afro Cuban All Stars, Isaac Delgado, Mayito Rivera, Ernan Lopez-Nussa, Tamayo y la Salsa, Oderquis Revé, Sonia Santana, Jessie Márquez and Klimax.
He’s one of the trumpeters here:
http://www.youtube.com/watch?v=8XsV38pMnL8
2006
Dancer Tati Rodriguez died, Las Vegas. Wife of Johnny 'La Vaca' Rodriguez and mother to John 'Dandy' Rodriguez. One of the pioneering, though less ‘celebrated’, dancers during the Palladium era.
14th April
1922
- Bandleader Juan Segui Jr. born Spanish Harlem, NYC. Relocated to Ponce, Puerto Rico in 1925 and led his own conjunto in 1942.
"In early 1945, I recorded a demo at a studio located at El Morro. I mailed it to my father in New York and he placed it in a jukebox. The listeners liked it and urged my father to bring the group to NYC. The first thing we did was to have each man contact families in New York who would allow the musicians to live with them."
Moved to NYC in October 1945, debuting Johnny Segui's Los Dandies at the Grand Plaza in the Bronx and recording Me Voy Pa'l Pueblo, Que Se Corra La Bola, Te Dejaron Sola and Rumba Jíbara in November that year.
"To supplement my music income, I painted signs and copied music charts. During the time I was a copyist, Tito Puente permitted me to copy his arrangement of Lágrimas Negras and Tatilibaba. Tito Rodríguez permitted me to copy Yamboro and El Campanero. I had about 500 charts in my repertoire. More than half were tunes sold as stock arrangements that I bought for thirty-five cents. During the '40s, music-publishing companies had Puerto Rican and Cuban song composers on contract and sold their compositions and arrangements for a few dollars. Almost every music store in the city sold hundreds of stock arrangements".
Over time the band would feature Willie Bobo, Mongo Santamaría, Yayo El Indio, Mandy Visoso, Charlie & Eddie Palmieri, Mario Roman, Joe Loco and Willie Rosario, who would go on to inherit the band.
“…when Johnny Segui decided to return to Puerto Rico I decided to go for it. Since Johnny was returning to Puerto Rico I started recruiting some of the musicians that had been in his band. I then spoke with Tito Puente and Tito Rodriguez, who both contributed music for my orchestra” (Willie Rosario).
- Also on this date in 1922 Songwriter/singer Evelio Landa Martinez born Havana, Cuba.
Responsible for the compositions Me Duele el Corazon, Dos Lagrimas, Carita de Cielo and possibly his best known piece, Baila mi Son. Recorded with Rene Alvarez and Pello el Afrikan:
“I sang in Pello’s tribe and I know the way in which he put together his compositions, without arrangements, with a drummer’s sensibility. But the whole thing worked".
1972
Trombone/euphonium player/composer/educator Rafi Malkiel born Jerusalem, Israel. Started playing the trombone aged twelve and trained at the Rubin Academy of Music in Israel.
"It was love at first sight. There was a brass band in my neighborhood, and I joined it. Trombone was my favorite brass instrument".
Teaches at the Harlem School of the Arts and Bloomingdale School of Music. As well as working with Wayne Gorbea’s Salsa Picante, Arturo O’Farrill’s Riza Negra and leading his own Latin jazz quintet he has recorded with Nu Guajiro and Jose Conde among others.
He takes a jazz trombone solo here:
http://www.youtube.com/watch?v=Mw5j9l01nSc
1978
Cuban composer/guitarist Pablo Cairo died, Havana. Led Pablo Cairo y su Grupo and as a composer is best known for Tibiri Tabara:
Sabes lo que traigo ahora? negra!
El tibri
Lo demas te lo dejo pa'ahorita
Hay un dichito por ahi, que se ha hecho popular
Hay un dichito por ahi, que se ha hecho popular
Y dice asi: y que mi hermano?
Y dice asi: y que mi socio?
Con el tibiri tabara
Oye con el tibiri tabara
Hay un dichito por ahi, que se ha hecho popular
Hay un dichito por ahi, que se ha hecho popular
Y dice asi: y que mi hermano?
Y dice asi: y que mi socio?
Con el tibiri tabara
Oye con el tibiri tabara
Mira come dice
Tibiri, tibiri, tibiri . . .
(tibiri)(tabara)
Que es lo que se comenta (tibiri)
Un camello en la habana (tabara)
!que cosa mas extrana! (tibiri)
Los gatos ya no salen; (tabara)
Se fueron de parranda (tibiri)
Pa'l caldero y montados en un chivo
(tibiri)(tabara)
Belen, belen, belen
Belen, belen, belen.
Esto es para ti negrirta
Abelebe, abelebe, abelebe, como?
Ni yo mismo me entiendo, por eso mejor
Escuchamos a bernardo sassetti.
(tibiri) (tabara)
Como se goza en la habana
Baila la cubana
Como baila, como baila, me arrebata
Baila mambo y cha-cha-cha
Lo que tu quiera elle baila
Goza como yo, pero goza
Goza como yo, eh, que rico
Nos vamos con el tibiri
Y con el tabara
(metrolyrics.com)
Lovely footage here of Daniel Santos and la Sonora Matancera (and yes, the printed lyrics don’t actually match):
http://www.youtube.com/watch?v=4zeTX2l2FJg
1997
Percussionist Enrique "Papi" Mesa Cespedes died Matanzas, Cuba. Played folkloric percussion with Afrocuba and Los Tambores de Chacha.
2001
Percussionist Raúl Travieso died, Los Angeles. Brother of Arsenio Rodriguez (and was his last living sibling) he played with Arsenio on the Sabu Martinez album Palo Congo in 1957. After many years without recording he made an appearance with Caravana Cubana for their 1999 album Late Night Sessions. Made a major contribution to the excellent David F. Garcia book on Arsenio by way of hours of interview with the author.
15th April
1957
Latin music/performance photographer Peter Maiden born. His work appears regularly in Latin Beat magazine:
“I've been really happy shooting for Latin Beat because I think the magazine has a lot of integrity. It tells the truth about the music without the hype. People that get turned on to my work from there are getting it from a healthy view of the music”.
….and at timba.com:
“Peter Maiden has an incredible gift for capturing the colors, motion and pure excitement of live music. His photographic style is immediately recognizable and timba.com is very proud to feature his work”.
“I like it more than any other kind of subject for photography. There's so much action in salsa. It's so photogenic. There's singing, dancing, and energetic instrumental work. I find that there's a lot coming through my viewfinder when I'm shooting salsa”.
You can see his excellent work at his website:
http://www.maidenfoto.com/musicamaiden/index.html
1970
Tico Records founder George Goldner died. According to Al Santiago, the circumstances of his death were particularly tragic:
"(He) died at a friend's house after complaining about heart pains during his last recording session. He refused to go (to the emergency room) because he lacked medical insurance".
Born in New York City, he switched from the garment business to open a chain of dance halls in the 1950’s - apparently he was a pretty decent dancer. In his 22 years in the recording industry he would own over a dozen different record labels, including Rama, Gee, Roulette, Gone, End and Red Bird as well as distributing more than 50 other labels. For us it is his first label, Tico, which released it’s first record - Mambos, Volume 1 by Tito Rodriguez (LP-100 , 10” vinyl) that’s of course of most interest:
“The initial Tico label was black with silver print; at the top is the word "TICO" (on the top of two drums, or "tumbadoras"), with a banner going across it saying "KING OF THE CHA CHA MAMBO". On later pressings this banner read "HI-FIDELITY". More recent labels had a yellow background. Almost 40 albums were pressed in the late '60s by Alegre Recording Corporation with the Tico label. (The Alegre code is "LPA 8xx" for mono and "SLPA 8xx" for stereo)” (bsnpubs.com).
“A national mambo/cha-cha craze in the early ‘50s began to draw a more diversified audience to his dance halls including black people who brought with them a new kind of music, or at least new to George Goldner. This music was "Urban Blues," heavily influenced by gospel. Goldner became deeply involved with this new form of music and decided to try to find groups to record. Since Tico was identified with Latin music, he formed a new label called Rama in early 1953. This label was to record "race" music as R&B was called in those days” (Edwards & Callahan).
“Goldner did not have his own studio. Most of his recording was done at Bell Sound Studios in Manhattan. In the studio, Goldner and his right-hand man Richard Barrett (recruited from the Valentines, writer of "Maybe") had multi- faceted jobs : find the right key and "groove" for a song ; collaborate with the musicians to create a "head" arrangement ; encourage and control the young, often inexperienced singers during their maiden visits to the recording studio ; oversee the vocal balance by placing the singers at the proper distance from the microphone ; keep an eagle eye on the clock (sessions were traditionally three hours in length, after which overtime kicked in); and, most importantly, recognize the magical "best take" that would ultimately click with the record- buying teenagers” (rockabilly.nl).
He died as his newest label, Firebird Records, was about to release its first records.
1971
Bandleader/guitarist/composer Miguel Matamoros died, Cuba. One of the most important figures in Cuban musical history. Played with Trio Oriental in Havana in 1925 with Rafael Cueto and Miguel Bisbé and in 1925 Siro Rodríguez joined, the band becoming Trio Matamoros.
“This Trío was known for taking their work seriously, staying faithful to the music and always interpreting the music with good taste. These were the characteristics they were known for and they were born from the true brotherhood the members felt for each other in their art and in their personal lives” (Nereyda Barceló Fundora/salsa power.com).
Wrote many songs that have become standards in Cuban son repertoire including Son de la Loma, Triste Muy Triste, El Que Siembra su Maiz, Juramento, Olvido, Mientes, Mariposita de Primavera and Lagrimas Negras:
Aunque tú
me has echado en el abandono
aunque ya
has muerto todas mis ilusiones.
En vez
de maldecirte con justo encono
en mis sueños te colmo
en mis sueños te colmo
de bendiciones.
Sufro la inmesa pena
de tu extravío
y siento el dolor profundo
de tu partida.
Y lloro
sin que sepas que el llanto mio
tiene lágrimas negras
tiene lagrimas negras
como mi vida.
Tú me quieres dejar, yo no quiero sufrir,
contigo me voy mi santa,
aunque me cueste el morir.
Tú me quieres dejar, yo no quiero sufrir,
mira mulata si me dejas
te tendras que arrepentir.
Yo no quiero sufrir, y tú me quieres dejar,
mira mulata si me dejas
yo me voy a suicidar.
(lyrics from cancionero.cibermancia.com).
Guaracheros de Oriente give a typical rendition here:
http://www.youtube.com/watch?v=9QBlihV0Teg&feature=related
…and here’s Cachao again, this time with Bebo Valdes, and a jazz version:
http://www.youtube.com/watch?v=XE1xm99kgw8
1984
Bandleader Machito died of a heart attack, London, England. John Childs 7 year old profile remains the best out there, so I won’t waste my time trying to improve upon it:
http://www.descarga.com/cgi-bin/db/archives/Profile49
It seems incredible that there is still no major book available that details the achievements and role that he had on our music. An extremely well received documentary by Carlos Ortiz is probably the best existing publicly available document of his life:
http://www.frif.com/cat97/k-o/machito_.html
"Without question [Machito], the best Latin band of all time" (José "Pin" Madera).
“Machito's orchestra has been the single most powerful orchestra I have ever witnessed….in retrospect when the Machito orchestra took the stand everyone listened. That for me has been the most complete orchestra of all times” (Willie Rosario).
“Mr. Machito, for whom I had the honor to work and play when I was about 13 or 14, and Mario Bauza, who was the musical director, both influenced me. I spent quite a few years with them. I learned a lot from them. They were my mentors, because they were playing Latin jazz at the time” (Tito Puente).
“Machito was a tremendous bandleader, always laughing and having a great time” (Omara Portuondo).
"We were always playing opposite Machito in Birdland in those years and I always did like the sound of timbales, the approach. Sometimes when I'd play my solos, I'd approach the traps with that same effect, like when I hit rim shots" (Roy Haynes).
“I also got to meet Machito when I was 15 or 16 years old. Machito, Mario Bauzá and Graciela were the sweetest people in the world, and they always provided encouragement to the young musicians” (Bobby Matos).
“I've had a fascinating journey as a musical artist in that I've been able to record with a lot of my heroes…. I also had a chance to play with Machito and that was exciting for me. That experience never left me” (Jimmy Bosch).
“Many things are absorbed so we cannot call that Cuban music because it is not. When you used to listen to Machito that was Afro-Cuban music mixed with jazz because he was living here and played with a lot of jazz artists” (Isidro Infante).
"Salsa is nothing new, its the same music I have been playing for over 40 years and these young people don’t even know how to play it" (Machito).
1970’s wobbly video here;
http://www.youtube.com/watch?v=Elk1265teB4
More colour footage here:
http://www.youtube.com/watch?v=izs-knR30rI&feature=related
…and for those who can only enjoy Machito in black and white, here’s some great ‘heyday’ footage:
http://www.youtube.com/watch?v=n7xGFrNQs2E
1988
Leading musical figure in Cuacao, bandleader Edgar "Gachi" Supriano, died. A household name in Cuacao and known as ‘the golden trumpeter’ he was leader of Estrellas del Caribe which were formed in 1947 and who played throughout the Caribbean, accompanying Celia Cruz and Daniel Santos on their travels.
“When the trumpet player Oy Sprock left the band to study in the Netherlands, Edgar considered the time had come for him to seriously start to learn to play the trumpet. He began taking lessons from the Dutch Catholic priests on the island. They thought he should first learn the saxophone. He started to learn to read music, and was helped by Julian Coco and the singer José Casseres. Satisfied with the results of his sax playing the priests let him learn the trumpet. After three months of practice he played his first gig on trumpet with Estrellas. He soon developed into one of the island’s best trumpet players” (Tim de Wolf).
His work can be heard on the excellent compilation Riba Dempel: Popular Dance Music of Curaçao 1950-1954.
Salsa Notes are compiled, edited and misinterpreted by slaphappy – who does not expect to see his work used anywhere else without acknowledgement.
|
|
