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Timbalero, Arranger, Composer, Producer and Band Director, Tito Rodriguez, Jr. is one of the most important timbaleros of Salsa and Tropical Music as well as being one of the heirs of the mambo.

I had previously listened to, analyzed and shared my impressions about Transición (2017), by Tito Rodríguez, Jr. In conversation with Tito himself, he confirmed that Transición is his fourth album and the first to carry a Spanish-language title.  We are doing well, Tito.  This album was preceded by:

Curious?

Eclipse (1994) y

The Big Three Palladium Orchestra live at the Blue Note (2004).

The idea of bringing together the three great orchestras of the Palladium was Machito, Jr.’s, whom I will be approaching soon.

Promise is a promise, so here I am to elaborate a bit on what I left out of the previous report.

Why the title Transition?

For much of his productive life, Tito has held a conventional job so music has been his part-time love.  Well, we should clarify what this so-called “part-time” has meant for Tito because even part-time, from 1994 to 1999 his orchestra was performing once a month at the world famous Copacabana in New York City.  On the other hand, The Big Three Palladium Orchestra live at the Blue Note secured him a promotional tour – through Brian Theobald of BPR Music – that lasted a whopping eleven years.

Well, now it looks like Tito is getting ready to hit the stages that have been waiting for him so long.  So get ready, what is coming is not from friends.  I wonder if the title track Volver had something to do with Tito’s dream of surrendering to his first love: music.

Tito has been consistent in following the musical line of his progenitor’s orchestra although he has managed to modernize the baseline, adding his own forceful stamp.  That is why the musical line of Tito Rodriguez, Jr.’s big orchestra is more modern without straying from the classical foundation.

Reading several articles, I stumbled upon one by Robin Denselow published in 2010 for the international newspaper The Guardian.  My chest swells with Puerto Rican pride when I review the legacy left by the “Mambo Kings”: Machito, Puente and Rodriguez, those 3 bandleaders who transformed the American music scene.  The Palladium located on Broadway and West 53rd Street no longer offers mambo, chacha or rumba but the musical legacy of the mambo kings remains more alive than ever.  According to Denselow, when that Palladium Orchestra took the stage with a brass section it was Tito Rodriguez, Jr. who first led that historic reunion.  According to the British view Rodriguez, Jr. lovingly revived his father’s compositions while showing off his percussion skills.

This was just the hors d’oeuvre for when Larry Harlow arrived to raise the bar even higher.  Of course, having the luxury of having the pianist hero of not only the mambo kings but also the Fania All-Stars was no small feat for these virtuous offspring.  Perhaps they are the offspring of the most influential trio in Latin music.

Back to Borinquen:  In 2009 Tito Rodriguez, Jr. was in Puerto Rico fulfilling one of his musical dreams. With that dream in his suitcase, Tito, Jr. arrived behind his timbal to lead a very large orchestra.

Once on Puerto Rican soil, they joined that dream: Luis Nazario “Güiriche” on conga, Paquito Corselles on bass, Luisito Marín on piano, Pablo “El Indio” Rosario on bongo; Emilio Reales, Darío Morales, Simón Rivera and Edwin González on trumpets; Rafy Ruiz and Al Schnitzler on alto saxophone; Nelson Vega and Wilfredo de la Torre on tenor saxophone plus Angel “Chiqui” Vidal on baritone saxophone.

On vocals, Josué Rosado was backed by José Miranda and Juan Manuel Lebrón on backing vocals.

On that occasion, the orchestra performed in the Chucho Avellanet Show, at the gala of the Puerto Rico Chamber of Commerce, at the Yagüez Theater in Mayagüez with the special participation of Chucho Avellanet.

The show that closed the tour in Puerto Rico took place at the Science Park in Bayamón.  It is worth mentioning that Al Schnitzler and Emilio Reales were musicians in Tito Rodríguez’s orchestra in the 1960s.

Searching through the archives I think I fell for the performance of El Mulato Rumbero.

Although Tito, Jr. has not insisted on the label of being the son of the great vocalist Tito Rodriguez, it is not possible to escape the good shadow of being the son of a Puerto Rican glory who, almost fifty years after his death, is still a topic of conversation in musical circles.

WedSite: Tito Rodriguez, Jr.

By: Bella Martinez “La Escritora Irreverente de La Salsa”

Puerto Rico

WebSite: Bella Martinez

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Johnny Rivera Born in Manhattan and raised in the Bronx, NY.

Better known as El Noble de la Salsa, with more than 40 years of artistic career, a descendant of Puerto Rican parents.

He began his artistic career in New York, thanks to the influence of his uncle Adalberto Santiago, he began to demonstrate a strong inclination towards music and a great desire to prosper as a singer and learn all genres of music and especially Salsa, he continued his studies to improve his technique in singing and in a short time as a singer and chorus singer, he joined his uncle Adalberto Santiago and once he had the backing.

JOHNNY showed his talent, recording in the album Noche caliente, Volume 2, the song “Terciopelo y piedra” with Meñique and Tito Allen.

In 1980 JOHNNY RIVERA, was presented with the opportunity to record with several great orchestras that put him in the spotlight of the Music Industry, including a youth orchestra, Grupo Fascinación.

He recorded three additional albums, later he also received the opportunity to join Conjunto Clasico, standing out as a lead singer, he recorded two albums with Conjunto Clasico before leaving for his solo career, he recorded his first album now for real in his debut as a soloist, he stayed between Puerto Rico and New York.

The songs “Necesito Una Amiga”, “Esa Chica Es Mia” and “Como Fui A Enamorarme de ti” were hits from that production and the salsa singer had already recorded his second album entitled Encuentro Casual.

The first single from this album, “Te Regalare”, became a hit upon its release.

In 1993, Johnny Rivera recorded his third album, Cuando Parara La Lluvia, which featured three hit singles, “Cuando Parara La Lluvia”, “Por Eso está conmigo” and “Voy a Conquistar Tu Amor”.

Cuando Parara La Lluvia earned platinum accolades shortly after its release and made an impact around the world.

Rivera made a name for himself at New York’s Madison Square Garden, during his tenure with the late Ralph Mercado’s RMM label, Johnny Rivera had the opportunity to join another of the most important music star conglomerates of all time, the RMM Salsa Stars or the also renowned Combination Perfecta, where along with salsa artist Ray Sepulveda he earned multiple Gold and Platinum Records for sales in the United States and Latin America, including the Caribbean for the worldwide hit titled “No vale la Pena”.

In 1994 Johnny received the Paoli Award for Newcomer of the Year and the Diplo Award for Best Album of the Year.

Johnny Rivera has also obtained first places in the Billboard charts and has performed in the most important stages of the world such as Madison Square Garden in New York and is one of the most recognized salsa artists worldwide who has traveled with his music and charisma to cities around the world such as Cali, Bogota, Medellin, Venezuela, Lima, Quito, Guayaquil, Panama City, Guadalajara, San Jose, Paris, Madrid, Barcelona, London, Los Angeles, Miami, New York, among many others, always enjoying great acceptance and popularity in recent years.

Now Johnny Rivera, a salsa legend hopes to surpass the success of his past and present musical endeavors with a resume that boasts the accomplishments that only a man of his caliber and experience can show.

For this year 2021 El Noble de la Salsa launches his latest album titled “Romántico y Algo Mas” 

Already available on all digital platforms…!

Born in the city of Carolina, Puerto Rico in 1969 with music in his veins.

Carlos Enrique Lopez (Carlitos Lopez el gordito favorito), he begins to show interest in music in general, boleros and trios

The bomba, plena, jibara music which he listened to in the countryside when his uncles and aunts visited his family, they liked to play stringed instruments and harmony either the tres or the Puerto Rican cuatro and the symphony.

At the age of 7 he moved to his grandparents’ house to begin studying in elementary school in his native Puerto Rico, while studying in the afternoons he spent his time listening to Fania and its stars. Singers like Hector Lavoe, Cheo Feliciano, Ruben Blades, Ismael Rivera among others.

Courtesy of his cousin who was a loyal fan and collector of Willie Colon’s salsa etcetera, little by little he was learning to vocalize demonstrating the ability to learn to do vocals for the choir at that time he met a young Anthony Cruz for the first time and was impressed with his melodious voice, although they never shared in those days.

Carlos debuted at the age of 14 with an orchestra created by his cousin and some students of the vocational music school where he had the opportunity to accompany Santos Colon former singer Tito Puente, he decided to move back home to his parents where he met Anthony Cruz who lived on the same street where his parents lived, and who already belonged to the orchestra of Mario Ortiz and began to attend rehearsals, recordings and dances.

There he met a young Tony Vega, Gilberto Santa Rosa, Elias Lopez, Lalo Rodriguez, Dario Morales who encouraged him to take vocal lessons, but he never did for lack of time.

but he never made it due to lack of support from his parents because there were other hopes and expectations.

The teacher Mario Ortiz noticed his uneasiness and spoke casually with his parents, but the decision had already been made by his parents.

but the decision was already made by them leaving Carlos disenchanted with music and taking the decision to emigrate to the United States where he dedicated himself to the culinary arts for the rest of his life until 2004 when he met again with Anthony Cruz who already had a successful career as a soloist and was touring they spoke for a moment and that was enough to return to her first love, music.

Anthony Cruz introduces him to several of the musicians who accompanied him in that activity and the rest is history. He joins the orchestra as a chorus singer and debuts as a composer where he writes 4 songs for the production of a CD of the orchestra entitled Going solo under the musical direction of Harry Rios.

They gain the popularity and admiration of the salsa people playing in different parts of Central Florida, festivals, clubs, and discotheques.

They return and record a single Going Back to Old School on which Carlos dedicates a song to Israel Lopez Cachao titled 80 Year’s of Cachao with arrangement and direction by Luis Jungo Ortiz which had tremendous acceptance from the dancing public and the radio listeners, from there Carlos decides to retire from music again to continue his career in the culinary arts.

Until he receives a call from an old friend asking him to help him with the choirs because he was going to accompany different artists.

Carlos began to accompany different singers with that orchestra called La Predilecta as a chorus singer among which there were names of the height of Anthony Cruz, Lalo Rodriguez, Cano Estremera, Manolo Lezcano, Chamaco Rivera, Frankie Figueroa, Ommy Cardona, Paquito Acosta, Paquito Guzman, Hector Tricoche, Papo Cocote and many more.

Carlos has written several songs including a collaboration between Anthony Cruz and Danny Sanchez titled No Vale la pena Enamorarse with arrangement by Luis Jungo Ortiz.

In addition to a song titled Today again under the tutelage of Harry Rios sung by Danny Sanchez currently Carlos Enrique Lopez known as Carlitos (the favorite fatty) made his debut as a solo singer.

And is promoting the theme of his authorship entitled Me Enamore under the direction, arrangement and production of the master Luis Jungo Ortiz which has enjoyed a good reception on digital platforms, social networks and independent radio stations on the internet.

As Radio Brisa Tropical con the master Taíno Roldán, Radio Calidad de vida del Dr Ted, Top 98 radio with Richie Sanchez and also.

Que Siga la Fiesta

Carlos has just recorded a song of his authorship entitled Que Siga la Fiesta in collaboration with 2 talented gentlemen from Orlando Central Florida and Miami are Edwin el Calvito Reyes and Luis Jibarito de Jesus under the direction and arrangement of Mike Rivera The Professor in the studio 305 Imma Studio owned by music engineer Immanuel Ramirez which came out on April 20, 2021.

Facebook: Carlos Enrique López

 

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On July 20, 1969 the orchestra “El Apollo Sound” of the great Puerto Rican musician Roberto Roena was born. Together with trumpeter Elías Lopés he founded “El Apollo Sound”.

This name comes from the first rehearsal of his group, which coincided with the day of the launching of the Apollo rocket to the moon.

Roberto Roena recorded 10 albums in nine years for the Sello Internacional, part of the Fania label, and although he was not a great student of music, he was able to surround himself with very good musicians and use his talent to form his own group, which is now in its fiftieth year.

It is indisputable that the most popular orchestra in Puerto Rico and South America during the 70s was Roberto Roena’s Apollo Sound.

“Lucky 7” was his seventh release in front of Apollo with the Fania International label, after his discreet debut as leader with Los Megatones and after a fruitful career as bongocero of Rafael Cortijo’s Combo and Rafael Ithier’s El Gran Combo.

With “Lucky 7” Roena consolidated his popularity on a continental level thanks to the arrangement of an innovative song that challenged the schemes of the overwhelming salsa sound institutionalized in New York during the decade: “Mi desengaño”, by Julio Merced and Pucho Soufront.

In 1976 the Apollo and its new singer Papo Sánchez, pride of Hatillo, climbed the charts with a nostalgic lyric inspired by unrequited love. In his arrangement, trombonist Merced himself incorporated the cadence of the samba, linked through its bars with a son covered with the nuances of bossa nova, jazz and bomba.

The hit “Mi desengaño” invited many to reinvent their sound and reformulate their proposals in salsa, with more elaborate arrangements and harmonic sophistication, such as those made in New York by Marty Sheller for Willie Colón.

In addition to the brilliant debut of Papo Sánchez, the excellence of “Lucky 7” rested on the arrangements and orchestrations of such great musicians as trumpeters Luis ‘Perico’ Ortiz and Elías Lopéz, pianists Papo Lucca and Jorgito Millet and the King of the Bass, Bobby Valentín.

The sequence begins with the guaguancó “Que me castigue Dios”, performed by Sammy ‘El Rolo’ González, Apollo’s star singer until “La 8va. Maravilla”, their next album. In “Que me castigue Dios” we hear at the end the then incipient Rubén Blades with the declamation of some verses that today would deserve the repudiation of feminist organizations, but that in 1976, were applauded by the prevailing macho sociology in the industry:

May my mouth dry up/If I ever kiss you again/And if I ever look at you again/May my eyesight blur/I’m tired of your bad breath/I never reproached you/Your feet smell too/And I know that not even the worms/With you they wouldn’t get their hands on that day you die/You a cow and I a horse with class/I wish a truck would run over your head/Pa’ que salga la sucieza con que tú a mi me me trataste.

“Lucky 7” was also an LP that satisfied the expectations of the dancer. Although many may have crossed themselves dancing to the samba of “Mi desengaño” and the fusion of “Que me castigue Dios”, the merengue “La mala maña”, arranged by Conjunto Quisqueya pianist Chokie Acosta, the pachanga with cumbia “Estás equivocada”, the composition “A bailar mi bomba” by Arsenio Rodríguez and the guaguancós “Me le fugué a la candela”, “La hija de la vecina” and “Fea” pleased the couples who in those days overflowed halls such as Rancho Luna, El Moroco and El Carretero.

There is no doubt that the best oiled edition of the orchestral collective Apollo Sound was precisely the one that intervened in “Lucky 7“, led then by flutist Miguel Rodriguez, trumpeter Mario Cora, timbalero Cuqui Santos, conguero Papo Clemente and trombonist Julio Merced, who later defected with singer Papo Sanchez to found the band Salsa Fever. Three decades after its release it is an irrefutable affirmation.

 

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