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The place where salsa as we know it today was born
The role that the Cheetah Club played in the beginnings of salsa in New York
As we all know, New York City has been instrumental in the birth of what is today known as salsa because this has been the place that has seen the birth and bloom of the greatest talents who have given life and added rhythm to this wonderful and fast-paced genre. That is why when we talk about the history of salsa, we cannot leave out the most populous metropolis in the United States.
We all know how important the city that never sleeps is to the development of this musical genre, but where and how does this set of rhythms specifically born? Right, well this was a now-defunct nightclub called Cheetah, which met all the conditions for giving birth to salsa and making it a cultural phenomenon, which is now known worldwide.
The establishment, located in an area full of theaters and nightclubs close to Times Square, witnessed a spectacular and historic evening in which, unexpectedly, brought together several of the biggest stars of Latin music, including Willie Colón, Ray Barreto, Bobby Valentín, among others. None of them could ever imagine that they would draw crowds eager to hear them. From that night on, the Latins finally had voices to make known to the rest of the planet their purest essence.
As soon as the band started playing, those present started to dance no matter what. According to calculations by a pianist for Fania All Stars, they gathered as many as two thousand attendees who were lined up around the block to enjoy the talent of some of the considered greatest exponents of Latin music. It should be noted that the artists from that night had never played together, but when they took the stage, everything went spontaneously and the audience fell madly in love with them. However, nothing was by chance.
How it all started
After the Second World War, Latin music and dance began to be present in New York City during the 20th century. This was due to the arrival of Cubans, Puerto Ricans and other immigrants from the southern part of Latin America, who brought with them a number of rhythms that started playing in discos and nightclubs from various US cities.
When these sounds arrived in the Big Apple, there was a very interesting mixture of these sounds with jazz and some instruments that were incorporated to have as a result what we know today as salsa. This is how some of the most popular genres began to be played and become famous in places near the Cheetah Club, so, as a logical consequence, the establishment would end up falling under the spell and rhythms of so cheerful melodies.
One of those places was the Palladium Ballroom, where artists such as Machito and Tito Puente performed. Of course, the public that gathered there was Latin in origin, but its privileged location in the heart of Manhattan made it very well known to the locals of any nationality. It got to the point where there were spectators from the five continents and of all religions, which was unthinkable with any other musical style.
This is how the great concert at the Cheetah Club succeeded in bringing Latin music to places nobody thought it could reach and all thanks to American artists with a Latin background that was very awake in their being.
How was the Cheetah club created and what became of its facilities?
The Cheetah club was created by Olivier Coquelin and Border Stevenson in 1968 when it was formally opened to the public. From the beginning, it had two spaces specially designed for dancing: a dance floor of reduced size located on the top floor and a bigger one which could accommodate about two thousand people at the same time. Likewise, there was a stage on which no less than 20 musicians could perform in the same show.
Although the club enjoyed a certain fame among the locals in the area, what really made it famous was the concert performed by the Fania All Stars on August 26, 1971. That was a day that will undoubtedly remain in many people’s mind forever, both attendees and musicians. This was the moment when the musical phenomenon initiated by Johnny Pacheco and Jerry Masucci would reach well beyond what its creators have never dreamed of.
The idea of performing the show was conceived by Ralph Mercado, who would comment to Masucci on this. Given that the Cheetah Club had a large space and enviable acoustics, it was the place they finally selected for the historic concert.
Anyone seeing the place in which would be the colorful establishment would never imagine what happened there 50 years ago. At present, the formerly nightclub is a residential condominium of more than 20 floors housing large apartments with wide windows.
Although there is nothing left of the place that witnessed one of the greatest musical events in Latin music history, the memory of that special night will remain in the minds of those who witnessed such a waste of talent on that now-defunct platform in the 1970s.
For more information, you can read Génesis of Salsa, its essence, characteristics, rhythm, history and expansión and Where the idea of the name of the Fania Record label came from
Celso Clemente Torres is considered one of the best sounding bongos in the world.
Percussionist Celso Clemente Torres, was born on January 31, 1965 in San Juan, Puerto Rico his childhood and under the guidance of his father, Celso Clemente Sr., the young man was introduced to the world of music in 1973.
At the age of nine, he made his first big band performance at the Roberto Clemente Coliseum in Puerto Rico alongside Giovanni Hidalgo with the Roberto Roena Orchestra.
When he was twelve years old, he participated in his first recording called “Borinquen All-Stars” with the great Puerto Rican trumpet player and band leader Mr. Elias Lopez (R.I.P) with the great Gentleman of Salsa Gilberto Santa Rosa, he was the lead singer of that important project.
He has been a percussionist for 40 years. Clemente has mastered the following instruments; bongo, conga, timbal and minor percussion.
With all these instruments he has had the opportunity to be part of countless recordings in the tropical genre which have served as inspiration for new exponents of the genre.
Due to his vast experience in percussion he has been able to spread his knowledge, offering percussion workshops to different groups (children, youth and adults) with excellent results. This has led him to create his own line of bongo bells and timpani sticks with his name.
He has had the opportunity to work in big stages such as; Madison Square Garden, House Of Blues, Coliseo de Puerto Rico “José Miguel Agrelot” Centro De Bellas Artes, among others. He worked in these orchestras; Roberto Angleró, Moliendo Vidrio, Tommy Olivencia, Tony Vega, Tito Rojas with this work 27 years, of which he directed his orchestra in Puerto Rico and outside the Island for 20 years.
He has recorded with Roberto Angleró, Tommy Olivencia, Tony Vega, Tito Rojas, Gilberto Santa Rosa, Willie Rosario, Bobby Valentin, José Alberto “El Canario”, Rey Ruiz, Willie González, Frankie Ruiz, Puerto Rico All Star, Yan Collazo, Bomplenea, Plenarium among others.
He has also had the opportunity to be music producer, “Rompiendo Barreras” with Mario Feliciano, “Independiente” Tito Rojas, “Ritmo Caliente” with Bomplenea by Gary Vera, “Rompe La Rutina” by Del Gonzalez, “Te mando un beso” with Plenarium by Capitol Clemente.
He is an endouser of the Pearl Musical Instrument Company also in the line of cymbals “Soultone Cymbals”.
Celso Clemente is considered one of the best sounding bongos, which caught the attention of many record producers. Celso is probably the most recorded bongos player in the history of Puerto Rican salsa discography with more than 220 credited recordings.
The list of salsa legends Celso has recorded with is too long to list.
Celso is currently the timbalero and leader of the band of the famous salsero Tito Rojas (R.I.P) where he toured all over the world.
He offers Percussion Workshops to; children, youth and adults, both in person and online, based on his extensive musical experience, which is more than 42 years in the tropical genre (Salsa), bomba and plena.
Facebook: Celso Clemente Talleres De Percusión
Contact in Puerto Rico: +1 787-429-9971
Email: [email protected]
Source: Pearl Musical Instrument Company https://pearldrum.com/eu/artist/celso-clemente
By: Diana Marie International Salsa Magazine Correspondent
Long live music! Repeat after me: “Long live the musicians so they can keep making it”. And I add: “Long live SALSA”.
With a full tank, Transition by Tito Rodriguez, Jr.
Bella Martinez, International Salsa Magazine by the hand of www.SalsaGoogle.com presents and highly recommends this formidable and exquisite production of Tito Rodriguez Jr. The firstborn of the unforgettable Pablo “Tito” Rodriguez.
Long live music! Repeat after me: “Long live the musicians so they can keep making it”. And I add: “Long live SALSA”.
As soon as I got my hands on it I listened to it, many times. Not that I needed an explanation, but I could not stop listening to it and go off to take care of my duties.
So much so that I had to send the radio station of the Puerto Rican salsa singer on vacation for a few days until I finished writing the note that had chosen to write itself. The CD cover – showing the photo of Tito Rodriguez, Jr. settled on my desk for several weeks as if it belonged to the surface in front of which I sit every day. Until one fine day I said to myself: Today I hope to be able to understand the instrumental pairing of everything that happens in this piece.
Here I go…
In the first cut (Bailando con la más fea) there were several bars after the first minute, that transported me to my days of partying in New York during the bravo launch of that orchestra that I haven’t heard for a long time.
Of course, while that orchestra sounded bigger than it was, this one I’m examining today – Tito Rodriguez, Jr.’s – sounds bigger than it is and on steroids; among other reasons because the baritone enhances the personality of this serious sounding arrangement, albeit hand in hand with a jocular lyric.
During the second theme (El vive bien) we experience a very Cuban theme of those that sandungueando the waists of those who follow the leather beats to’ fuete.
Shortly before entering the third minute, the interplay of saxophones and twists in which the baritone and bongo play suggest to me that this song shares the flavorfulness of the pregón that says “Salsa ahí na’ma’ como me gusta a mí…” from one of the tracks on Gilberto Santa Rosa’s production Colegas (2020). In fact, Gilberto collaborates in this production, specifically in the song Volver.
In the third cut (Ándate nena), the trumpet solo stands out within an arrangement for large orchestra and allows the performance to be sprinkled with conga, marking the nostalgia of the memory of those geniuses that the traditional big bands left us as a legacy. The saxophones sound like those of the Palladium orchestras.
The 4th track (Volver) is an arrangement where the influence of Bobby Valentín’s inventions is evident. The track starts like the romantic arrangements of the 1990’s, although with a heavy and dominant piano, prior to the alto saxophone playing that opens the way for the rest of the saxophones in perfect synchrony with the conga, timbal and bongo. This cut features Gilberto Santa Rosa, although the song didn’t need Santa Rosa to shine.
Tito Rodriguez, Jr. gave way to the most prolific salsa singer in commercial salsa to perform a song that was already the polished diamond of this collection.
I found it to be a classic big band arrangement with an avant-garde touch where the saxophones give way to a touch of a musical arrangement that wants to be a sonorous orchestra. However, the perfection of the thing doesn’t let the sonorous touch tuck in the modern big band concept. Well, I understand myself. “Afinca y echa pa’ lante…” said Santa Rosa.
In the fifth track (Con el tanque lleno) the orchestra starts off powerful in sound and playfulness. The song is about a “convertible, colorado y con el tanque lleno”. The pregón reads: “Soy soltero y con el tranque lleno” (I’m single and with a full tank). I don’t think you will be surprised when I confess that this is my favorite song in this collection. The lyrics are funny, but the arrangement is a smashing one.
The conga’s correspondence with the melodic trombone solo by Alex Zapata’s blows sets the stage for a masterful closing by the saxophone ensemble under the leadership of Ismael Vergara’s baritone.
The sixth track (No vale la pena) is evidence of the chameleonic capacity of Sammy Gonzalez, Jr.’s voice, which can be used to proclaim, to sound, to become the most romantic rogativo in the middle of a heavy song, all within a romantic lyric full of feeling. Well, rarely does a man play the “victim” of a sentimental breakup.
This is one of those few times, a situation that makes the pregones both jocular and nostalgic at the same time. The contradiction of suffering and laughing is also visited at the end of the mambo, which makes the theme one of general interest in addition to the musical interest it awakens.
The seventh track (Pa ti morena) is a very brave Cuban son. I don’t know if this son is played in that unlikely combination of the style of Tito Puente, Machito and Tito Rodriguez knowingly or if it was pure chance. I felt like I was reaching for heaven while listening to Sammy Gonzalez, Jr.’s vocal performance when the alto saxophone solo brought me back to reality.
The beginning of cut #8 (Para los bailadores) marks the change of tempo to an aggressive one where the bongo is the one telling where the baritone is going. When the vocalist suggests to Tito Rodriguez, Jr. to enter the mambo with an anticipatory “y nos fuimos”, no one doubts the greatness of the orchestra’s sound.
The timbal solo by Tito Rodríguez, Jr. declines when the performer requests “mambo otra vez”. It is in this track that the distinctive sound of this orchestra is most noticeable, one inspired by the traditional big bands, although influenced by the advanced currents. In short, this is real salsa and it is salsa to enjoy. As promised in the lyrics, this song brings to the arena a very cool rhythm that is not to be confused with charanga.
After I finished writing this note, having already listened to the complete production, I was tempted to ask Tito for an audience and ask him “a couple of questions” according to me. That brief call went on and on and I asked him everything I could, taking advantage of the nobility of the timbalero heir to the musicality and name of one of our greatest musical glories….
During the “cañona” that I wanted to call an organic interview, Tito confirmed that Transición is his fourth album and the first to be titled in Spanish. Let’s go well, Tito.
This album was preceded by Curious? (1978), which featured José Alberto “El Canario” and Rubén Blades; Eclipse (1995) and The Big Three Palladium Orchestra live at the Blue Note (2004).
Why the title Transición? I’ll tell you about it next time. Obviously, Tito deserves another chapter in my salsa journey. Talk to you soon and I’ll tell you about his 2009 adventure when he was in Puerto Rico fulfilling one of his musical dreams.
Tito Rodríguez, Jr. Transición
By: Bella Martinez “La Escritora Irreverente de La Salsa”
Puerto Rico
WebSite: Bella Martinez
Legendary and Unavoidable Cheo Navarro Bravo Rumbero and his Orchestra de Moda
The first name of the great “Cheo” is José Natalio Navarro Barreto
José “Cheo” Navarro was born in San Agustín parish, Caracas, Venezuela on April 19, 1952. While still a child, his family moved to La Cañada de Jesús and later the 23 de Enero parish, the family Navarro Barreto settled in block 6 of the Monte Piedad sector where he spent his adolescence. The first name of the great “Cheo” is José Natalio Navarro Barreto.
The name and the musical activity of “Cheo Navarro” is substantial and unavoidable for salsa made in Caracas. This percussionist and bandleader has always been at the heart of Caribbean music in such a manner that we will always find a reference to him in various salsa phenomena of the country.
It was from the year 1971 when he got involved with the orchestra of Tito Rodriguez in such a way that he never wanted to do anything else but play like those folks (since he did it by beating every book, container and pot lid he could find at home with pencils and sticks), eventually joining other fans of music to found the group Mango (he was 21 years old at the time). He won the respect of those in the know by performing with that group, where he contended with the best in Caribbean music at that time.
In addition to founding orchestras that are already part of our musical and sentimental history (Mango, Sensación, Bailatino and now Cheo Navarro and his Orquesta Tributo), he played and composed for other leading orchestras such as the Sexteto Juventud, Federico y su Combo Latino, El Trabuco Venezolano, La Crítica de Oscar de León, the Orquesta Renovación, Coco y su Sabor Matancero, and Naty y su Orquesta; He has also collaborated with the orchestras of Orlando Castillo “Orlando Watussi””, Alfredo Naranjo Carvajal and his Guafeo, and “Pavo” Frank. As for the international soneo, he has played with Jhonny Pacheco, Ismael Miranda Carrero, Andy Montañez, Cheo Feliciano, Héctor Lavoe, Daniel Santos, Pete “Conde” Rodríguez and a plethora that is no longer necessary and, maybe, impossible to list in full.
“Bravo Rumbero“
Is probably his most important composition and the song the salseros of lineage and also those who were not necessarily salseros remember the most, but they had their sense of hearing working just fine, during the 70s and 80s.
He is much loved in Block 6 of the 23 de Enero parish they appreciate him with the same reverent generosity
with which the poor towns pay tribute to their genuine icons: He is the illustrious neighbor who has made and makes them dance and, in time, he is the simple man of the people whose stature is found in the work and not in vanity.
The music industry has not been as generous as it should have been with this gentleman. With him, who has been making great efforts to pay homage to the gods of his musical devotion. The sonorities of his orchestral works are a lasting tribute to the giants of flavor.
The fame that, using payola and other resources, has managed to raise up other names in this business and in history. But being face to face, musician to musician, with anyone, Cheo Navarro qualifies to be one of those fundamental icons who are worthy of being pleasantly remembered, rooted in his people and in urban culture.