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Latin Jazz

Saxophonist and flutist Dave Victorino talks to International Salsa Magazine

Dave Victorino is a saxophonist and flutist who plays various Latin genres such as salsa, Latin jazz and swing in the city of Los Angeles, California. The American musician has been kind enough to talk exclusively with International Salsa Magazine about various topics, including his beginnings, current career and existing projects. We hope that our esteemed readers will like the details of this conversation. 

Saxophonist Dave
This is saxophonist and flutist Dave Victorino

Young Dave’s beginnings in music

Dave recalls that his taste in music led one of his cousins to give him a flute so that he could start playing an instrument and see what happened. However, over time, the young man preferred the saxophone, which he found he liked much more at the time. He reckons that his interest in music began when he was just a 12 or 13-yeard-old.

His interest in the saxophone began with a friend of his mother’s who was a teacher of that instrument, so he was the first to teach him how to play it properly and, even after so many years gone by, he continues to remember everything he learned with him. 

Education

Dave graduated with a degree in music education from Cal State Los Angeles and assured us that one of his greatest mentors there was saxophonist Barney Martinez, a very important figure in Latin jazz at the time. This was a time of great learning for what was to come professionally, and that knowledge continues to help him a lot. 

He also studied with other important music teachers and professors who complemented his musical training almost perfectly. 

What has Dave learned from his greatest collaborations?

Throughout his career, Dave has collaborated with groups such as The Henry Mora Big Band, Temptations, Al Viola, Fred Ramirez, Little Anthony and The Imperials and many others. Obviously, all these personalities have had something important to teach the musician when sharing the stage with him.

Dave refers to Henry Mora as one of his greatest mentors in this whole process, as he had much more experience than the artist, so he had a lot to learn and imitate from him. 

Each professional experience is one more step on the road to excellence that Dave and any artist looks for in his work, which is achieved through practice and spending time with more experienced teachers.

Dave playing
Dave Victorino playing the saxophone live

Great inspirations

When we wanted to know Dave’s greatest inspirations, he could not help but first mention the group El Chicano, with which he played in the early 1980s. One of its founding members and singer Bobby Espinosa, who showed him some recordings of the Fania All Stars and Johnny Pacheco while playing one of the best solos Dave had ever seen. In fact, the artist considers Pacheco his favorite flutist from the very moment he first heard him. 

He also commented that he really likes the way Stan Getz, a Californian saxophonist whose main genres were jazz and pop, played.

How his love for Latin music was born

Dave’s first contact with Latin music was with the group El Chicano, but then came other groups that playing genres that caught his attention.

For several years in the 1980’s and 1990’s, he played in a park three times a week and, on those same days, a DJ would play music by Johnny Pacheco himself, El Gran Combo de Puerto Rico and other salsa groups. He became so fascinated with everything he heard that, little by little, he began to transform his repertoire into one that also included salsa and Latin jazz.

Initially, he only cared about playing this music without understanding the lyrics, but then he began studying and learning a little Spanish to get a better performance in his work. However, he assures that this detail has never posed a problem or a limitation to get good performances in Latin music.

Dave and Barbara
Dave Victorino playing with singer Barbara Reed

Music Classes

Another interesting thing about Dave is teaching. He currently teaches saxophone, flute, clarinet and piano to a good number of students, who have taught him the virtue of patience and determination to always learn something new.

His students are of different ages and he teaches various levels.

Dave and Anthony
Dave Victorino playing with saxophonist Anthony Gil

También lee: Eddie Muñíz continues to head Swing Sabroso

Larry Harlow and Ismael Miranda: beginning of the so-called “Salsa Arseniana” in honor of the music of Arsenio Rodriguez, the creator of Son Montuno and “King of Guaguanco”

Extracted from the book called: “El origen y la creación de la Salsa”; creator: Mon Rivera, promoter: Al Santiago.

For sale on Amazon kdp, by clicking on the following link:

With which is attached a complete summary of the musical work of Larry Harlow with Ismael Miranda from its creation in 1966 to 71.

At the end is the original song of Arsenio: “Oiga mi Guaguanco”, with the fabulous musical arrangement of Harlow himself in “Salsa Clasica”, with the exquisite singing of the “Niño Bonito de Puerto Rico” Ismael Miranda.

Larry Harlow and Ismael Miranda: 1966 – 1971 with trombones.

Julio Cesar Galindo Alarcón Diplomático de Peru Ministro (R), Historiador Musical. Autor de Libro sobre Creacion de la Salsa
Julio Cesar Galindo Alarcón Diplomático de Peru Ministro (R), Historiador Musical. Autor de Libro sobre Creacion de la Salsa

Lawrence Ira Khan, better known in the music scene as Larry Harlow, affectionately known as “The Wonderful Jew”, was born in Brooklyn, New York, on March 20, 1939 and died in New York on August 20, 2021, American musician, orchestra conductor, pianist, composer, musical arranger, producer, creator of the so-called “Latin Opera”, in 73 he was one of the most important disseminators of Afro-Cuban Jazz, “Arseniana” Salsa and Classical Salsa, confirming at the highest level the use of the trombone and the USA instrumental technique, corroborated as the two most important characteristics that identify the new American Musical Movement.

The beginning of Larry’s musical work must be analyzed from his return from Cuba in 1959, after having traveled to the island in the mid 50’s, to know and study Cuban music in its different rhythms, but because of the Revolution he had to return to New York; finding the boom and enthusiasm produced by the Pachanga spread by Charlie Palmieri, Pacheco, Quijano, Orlando Marin, Mon, Eddie Palmieri, Ray Barretto, Richie, among others.

At the end of 65 he forms his orchestra with trombones and application of the instrumental technique of Jazz; he signs a contract with the “Fania” label and plans to record his first album.

In 1966 he recorded his first album called “Heavy Smokin” with Felo Brito’s vocals; L.P. little known, in which stand out: “Tu Tu Ratan”, “Maria la O”, “Rica Combinación”, “Mi Guaguancó”, “Orchestra Harlow” and “Adios Mamá”.

In the same year he recorded his second album called “Gettin’ Off” or “Bajándote”, sung by Ramón Quian: “Monguito” el Unico, an excellent full-length album that was a great success.

Some of the highlights are “Bajandote”, “Guarachita”, sung by Vickie; “Tu no lo creas”, “Meta y Guaguancó”, “Coco May May” and “Cienfuegos”.

In ’66, a young teenager appears singing in Andy Harlow y su Sexteto’s group.

Andy gave him to his friend Joey Pastrana at the beginning of 67 to record the album “Let’s Ball”, in which the young singer Ismael Miranda had his first hit with the song “Rumbón Melón”.

Larry Harlow who lacked a good singer, offered the job to Ismael, who without hesitation accepted it immediately; and debuted with Larry on his third album in 67 called “El Exigente” and thus began the WONDERFUL DUPLE OF LARRY HARLOW AND ISMAEL MIRANDA, who together formed a sensational duet, amazing and impressive, in the History of Classical Salsa.

In “El Exigente” with the debut of the “Niño Bonito de Puerto Rico”, the songs “El Exigente”, “Las luces”, “Rumba me llaman” and “El Mejor” stand out.  The following year, in 1968, he recorded the album, “Orchestra Harlow presenta a Ismael Miranda”.  With this unsurpassable combination, the Classic, Brava and Hard Niuyorquina Salsa begins in the unique style of the “Judío Maravilloso” with the singing of the fabulous Ismael Miranda, one of the most attractive, fine and sharp voices in the history of Salsa, in which stand out the songs: “La Contra- ria”, “Jaguey”, “Yo me voy”, “Lamento Cubano”, “Bobby’s Boo-galoo, ‘Rumba a la vida’ and ‘Mi Guajira si’.

In 1969 he recorded his fifth album and third with Ismael Miranda, called “Mi Mono y Yo”, in which he continues the teaching of Classical Salsa with Afro-Cuban Jazz fusion, in which almost all the songs stand out: “El Malecón”, “Voy para la luna”, “Amorcito Ven”, “Jovenes del Muelle”, “Ven Rumbero Ven”, “Para donde tu vas”, “Mi Madre” and “Traigo Guajira”.  With these last two albums, Larry with Ismael had achieved the expected success; and they had become the favorite orchestra in all the Salsa Concerts that had already become customary in the weekends of the Big Apple.   In ’69, the author witnessed for a month these Salsa Dance Concerts that were usually given in the halls of the Hotels of the New York districts.

DIPLOMATICO DE PERU, MINISTRO (R); HISTORIADOR MUSICAL; AUTOR DE LIBRO SOBRE CREACION DE LA SALSA.
DIPLOMATICO DE PERU, MINISTRO (R); HISTORIADOR MUSICAL; AUTOR DE LIBRO SOBRE CREACION DE LA SALSA.

In 1970, Larry introduces the electric piano in his orchestral format; this motivates him to title his album of the same year: “Electric Harlow”.  With the recording of this album really begins the so-called “Salsa Arseniana” of Larry, coinciding with the last year of life of the great Cuban musician Arsenio Rodriguez, the father of Son Montuno and “King of Guaguancó”, Legend and undisputed genius of the development of Cuban music; but, however, having been the most important Cuban musician of the twentieth century, for his contribution of having created the Son Montuno and the modernization of Guaguancó, has NOTHING TO DO WITH THE CREATION OF SALSA:  BUT YES; FOR HIS VALUABLE CONTRIBUTION, WITH THE DEVELOPMENT OF THE MOVEMENT CREATED BY MON.

In “Electric Harlow” stand out: “La Revolution”, the wonderful Salsa arrangement of “Oiga mi Guaguancó”, by Arsenio Rodríguez, “Guasasa”, “Con Dulzura”, “Donde va Chichi” and “Tu Cosita Mami”. In 71 he recorded his album “Abran Paso”, and here we have to refer to Ismael Miranda as a singer-songwriter; because if from his first album recorded with Larry: “El Exigente”; he had already shown his composer’s fiber, having composed some songs together with Harlow; in this 71 album:  “Abran Paso”, he confirms and ratifies his conditions as a singer-songwriter, composing five themes of his authorship, successfully distinguishing the theme of the same name of the album: ‘Abran Paso’, ‘Donde lle- vas el Son’, ‘Abandonada fue’, ‘Oigan bien mi Guaguancó’ and ‘Dolor y Amor’.  Other highlights include: “Se casa la Rumba” and ‘Vengo Virao’, by Tite Curet Alonso.

Orchestra Harlow Vocal Ismael Miranda – Electric Harlow
Orchestra Harlow Vocal Ismael Miranda – Electric Harlow

Having died the penultimate day of 70 Arsenio Rodriguez, Larry Harlow, a few months later had the idea of offering him a posthumous tribute, which materialized with the recording in 71 of an album “Homenaje Póstumo”, which was called “Tribute to Arsenio Rodriguez”, including four hit songs by Arsenio:  “Tumba y Bongo”, ‘No me llores’, ‘Sueltala’ and ‘El Terror’; ‘Arsenio’, Harlow’s theme with Ismael Miranda and ‘Saludos a todos los Barrios’, by Lázaro Prieto.  The Harlow Orchestra in the last two albums was integrated with:  Conductor and piano: Larry Harlow; Singer: Ismael Miranda; Trumpets: Larry Spencer and Ralph Castrello; Trombones:  Lewis Khan, Leopoldo Pineda and Sam Burtis; Bass: Lydio Fuentes; Congas: Frankie Rodríguez; Bongó: Manny Oquendo; Timbal: Phil Newsum; and Tres y Cuatro: Yomo Toro, in “Abran Paso”.

Finally, Larry Harlow participated as pianist in “Red Garter”; and also as pianist and producer in “Chee-tah”.  Ismael Miranda did it as a singer in the two concerts of the “Fania All Stars” in ’68 and ’71.

Julio Cesar Galindo Alarcón

Diplomat of Peru Minister (R), Musical Historian. Author of a book on the Creation of Salsa.

Also Read: Larry Harlow ”El Judío de la Salsa”: innovative and irreverent

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.