Search Results for: Celia Cruz

International Salsa Magazine showcases important facts about Héctor Lavoe

(Héctor Juan Pérez Martínez; Ponce, 1946 – New York, 1993) Puerto Rican singer and composer, considered one of the best interpreters of Caribbean music of all time and a pioneer in the introduction of New York salsa in the early 1970s.

He was part of the legendary orchestra of trombonist Willie Colón and was known by the nickname of El Cantante de los Cantantes.

-.Héctor Juan Pérez Martínez was born on September 30, 1946 in Ponce, Puerto Rico. His parents Luis and Francisca are musicians who, from song to song, manage to support a large family of several children.

-. In the year of Hector’s birth, the singers who would influence him are much older: Daniel Santos is 30 years old; Ismael Rivera, better known as “Maelo”, is 15; and Jose “Cheo” Feliciano is eleven.

-. At the age of three, he suffers his first loss: the death of Francisca Martínez, his mother.

-. Juan Morel Campos is a music academy where his father enrolls him. Héctor begins to learn classical music, but he quickly decides to learn what is played in the streets. Jesús Sánchez Erazo, better known as “Chuito el de Bayamón”, is his first idol.

-. Sings the song Campanitas de cristal, a bolero composed by Rafael Hernández Marín, at a school party.

-. In the early sixties, he forms with friends, including Papo Luca, a group that performs boleros and salsas. He earns 18 dollars a night and his talent seduces the people of Ponce. He is invited to sing on television programs. Musicians Felipe Rodríguez and Tito Lara give him a promising future.

-. At the age of 17, being recognized in his native Ponce, he travels to New York. His family does not agree with his departure. In the city he is greeted by the ghost of the death of a brother, who was supposedly a drug addict. He stays in the apartment of Priscila, one of his older sisters.

Before joining the Fania All Stars for the first time, a group directed by the Dominican Johnny Pacheco, he was part of bands such as Orquesta Nueva York and Alegre All Stars.

-. In 1966, at the age of 21, he sings alongside Pete Rodríguez, Adalberto Santiago, Tito Puente, Richie Ray, among other artists, in the incipient Fania All Stars. He meets Willie Colón, an American musician with Puerto Rican parents. “We both knew the world in the Bronx neighborhood. I learned to speak Spanish with Hector, although at first I understood what he was saying. I remember he had a brilliant sense of humor and was a great imitator of singers,” said Colón in an interview.

-. In 1967, he achieved fame with his first album with Willie Colón. It is a mixture of genres such as guaracha, plena and guaguancó, and is entitled El Malo. The album is a tribute to the slum culture of the United States and Latin America.

-. He tries to work as a painter, but his sister won’t allow it. After two weeks, he attends a musical rehearsal with his backing vocalist friend Roberto Garcia. Hector takes the microphone and makes the orchestra directors fall in love with him.

-. At the beginning of 1968 he meets Carmen, a follower he meets at a concert. On October 30 of that year Jose Alberto, his first son, is born.

-. After the birth of Jose Alberto, he has his second son with Nilda Román, another follower. With her, who is nicknamed “La Puchi”, he finally marries and stays in an apartment in Queens. Héctor Junior is the name of his second son.

-. At the end of the sixties he becomes addicted to drugs. In more than one stage he leaves the audience in a daze.

-. In 1971 he is called again to record, together with other stars, Fania All Stars at the Cheetah. This combo featured Cheo Feliciano, Richie Ray, Ismael Miranda, Celia Cruz and the young Rubén Blades. In 1973, the group filled the Yankee Stadium bleachers. Anacaona, Quítate tú and Ahora vengo yo are some of their hits.

-. With Willie Colón, he recorded more than 18 albums between 1967 and 1973. Thousands of reissues of Asalto navideño, El Juicio and Lo Mato were made. Che che colé, Ausencia, Calle luna calle sol, Todo tiene su final are the most requested songs by the Latin American public.

(H3) -. Willie Colón dissolves the duet in 1974. However, both continue to work. Lavoe’s talent continues despite his excesses and the author of Talento de televisión knows it well.

-. In 1975 he releases La voz, his first solo album. This incursion is interpreted as a second wind in his career. So much is his energy to continue that he releases eight more albums. De ti depende (1976) is a collection of boleros and Comedia (1978) breaks sales with the song El cantante, written by Rubén Blades. This work was also produced by Willie Colón, who that year teamed up with Blades to record Siembra, the best-selling salsa album.

-. His interpretation of El cantante helps to build the nickname “El cantante de los cantantes” (The singer of the singers).

-. He performs at the Coliseo Evangelista Mora in Cali in 1977. This concert was attended by the writer Andrés Caicedo, who managed to take a picture with Lavoe in the dressing room. Months later, the author of ¡Qué viva la música! committed suicide with an overdose of barbiturates.

-. As a result of a strong depression, Lavoe is interned in a mental sanatorium in the United States in 1977. His heroin addiction, which he had begun to suffer at the end of the sixties, is not only known by those close to him but also by his fans. “He paid a lot of attention to me and, when he was in trouble, he would call me”, confessed singer Ismael Miranda in an interview.

-. Lives in Cali between November 1982 and March 1983 at the Hotel Aristi. He is a regular singer at the Juan Pachanga discotheque, owned by Larry Landa, a concert organizer. In the capital of the Valley it is said that Lavoe takes drugs during the day and tries to sing at night.

Hector Lavoe el Cantante de los Cantantes

In February 1987, due to a fire, he jumps out of his apartment in Queens. At the same time, in Puerto Rico, his mother-in-law is stabbed to death.

-. On May 7, 1987, his son Hector is hit by a stray bullet. “That death broke his heart,” said Tito Nieves in an interview. “At that moment Héctor Lavoe’s soul dies”.

-. He is diagnosed with AIDS in 1988. Those who visit him in the hospital maintain that he does not lose his sense of humor nor his desire to return to the stage.

-. In Bayamón, Puerto Rico, he sings Mi Gente in a patron saint festival. But his presentation is sabotaged by one of the organizers who supposedly owes him money; in the middle of the song the lights are turned off and Lavoe is left without sound to continue.

-. In 1988, he throws himself from the ninth floor of a hotel in San Juan. He survives to continue fighting the battle. He sings on a Bronx street in 1989. His physical deterioration is a reflection of his state of mind. Lavoe is a ghost of his former self.

-. Tito Nieves is one of his friends who accompanies him in his difficult days. Lavoe depended on other people to live. A thrombosis paralyzes part of his body.

-. In March 1993, pushed by his record company, he makes his last presentation in New Jersey. He sings with Roberto Roena’s orchestra. Maestro Roena is not able to play in front of the “Singer of singers”. “It was too much to put him on stage”, he said indignantly.

-. At the age of 46 he dies of a cardiac arrest, on June 29, 1993, in New York. “He came into the world to enjoy it and suffer it. Although he was not happy, he made many people happy,” said his sister Priscila.

-. He is buried in Puerto Rico. He is accompanied by a horde of followers. The presence of his friend Ismael Miranda stands out, who bids him farewell saying: “He is not here with us, but his music continues”.

-. In 2007, El cantante, a movie inspired by his life, was released. It stars Marc Anthony and Jennifer Lopez.

-. Currently there are two monuments in his honor. One in his native Ponce, Puerto Rico, and another in Callao, Peru.

Héctor Lavoe

You can read: Génesis of Salsa, its essence, characteristics, rhythm, history and expansión

Wálter Rebatta from Peru is one of the most outstanding figures of Latin music

We are honored to present in this new delivery, one of the most outstanding figures of Latin music, representing the brother country of Peru; who has put very high the name of the musicians born in Inca lands to the world.

With you, directly from France, we have as a special guest Wálter Antonio Rebatta Hinostroza, a brand new and spectacular percussionist, who was born on September 14, 1973, in Bella Vista, Callao, Peru, being artistically known as “El Chato”.

Welcome Wálter to Salsa Escrita “La Columna Salsera de Barquisimeto, Venezuela”.

Wálter Rebatta desde Perú es una de las figuras más resaltantes de la música latinaWálter Rebatta desde Perú es una de las figuras

It is an immense pleasure to have you as a special guest in International Salsa Magazine through www.SalsaGoogle.com.

Thank you very much to you, my friend, Professor Carlos, for the invitation to your well read and recognized column and I take this opportunity to give a sincere greeting to all Venezuelans who are like my brothers.

How did you start in music? Well, teacher in my neighborhood called Ventanilla, in Peru, I grew up and since I was a child I breathed musical air, where at the age of 6 years old I was already playing “El Cajon”, traditional Peruvian Creole instrument, under the tutelage of my older brother Kike Rebatta, who took me later to learn other percussion instruments and prepare me with music theory, and then enter the music school of the renowned teacher Edelmi Chavez, and thus enter to form ranks in the most recognized orchestras in my country, such as: La Iniciativa, Orquesta la Grande, Banana Latin Jazz, among others. Wálter, which international orchestras and artists have you accompanied? I have accompanied and worked with “Los Hermanos Colón” from Puerto Rico and among many groups, I have had the honor of being on stage with my Venezuelan brothers, Hildemaro “El Sonero del Amor”, with whom I have a great friendship, as well as with the master timbalero Alfredo Villamizar, from whom I have learned a lot and from whom I must thank through his column Salsa Escrita.

Wálter Rebatta Multi-Percusionista Peruano

“Chato”, you are currently based in the French city of Grenoble and we would like to know how is the salsa movement, especially in Europe. In fact, professor, in 1995, I came to Europe with the “Orquesta Salsa Perú” and I met Mr. Rodolfo Guerra, with whom a great friendship was born and I became part of the “Orquesta Sincopa Latina”, directed by him, being present in his productions: Salsa que te pasa, Demasiado corazón, Mi bachata, Puerto Rico, Todo, Escándalo, Mi silencio, Mi toque, Habla conmigo and Azafata.

Wálter, I have heard that you have accompanied great salsa artists in their presentations, tell me who? I have had the honor of accompanying the late Tito Gómez, Willie González, Luisito Carrión and the great Venezuelan sonero Orlando José Castillo “Watussi”. Also, let me tell you professor, that I have worked in the Italian television Media Set, in the very popular program “Notte Vola”, also in 2002, I participated in the Tour of the Queen of Salsa, Celia Cruz, along with the orchestra of the prestigious world famous violinist Alfredo de La Fe.

Likewise, my friend Carlos, in 2004, I performed in numerous events with Latin jazz groups, among them “El Royal Cuba”, of the Cuban musician and singer Eduardo Céspedes.

In 2007, I participated in the prestigious and famous San Remo festival with the singer Daniele Silvestri, with whom I have recorded in his productions.

In 2009, I participated in the Italian tour “Terromotati Dil Abruzzo”, conducted by the famous singer Laura Pausini and later that same year I participated again in a tour in the United States for charity with Pausini again.

Excellent Wálter, and what can you tell us about the orchestra you are currently working with and what are your future projects? Professor Carlos, at present I am an official musician of the renowned orchestra “Mercadonegro” and in relation to my projects, is to form my own group and perhaps venture into the bachata, but without leaving aside the salsa, since living in Europe I have met many bachateros.

And something very important, my friend Colmenárez, I am also working on the project of my Venezuelan compadre, the musician Edwin Sanz, whom I would like you to interview at some point.

Very good Wálter, congratulations for your trajectory, what are your contacts in the digital platforms? My Facebook is: Wálter Antonio Rebatta Hinostroza and my whatsapp: +41 77 5122633.

Finally, we want to wish you the best on behalf of Salsa Escrita “La Columna Salsera de Barquisimeto” and that you continue to raise the name of Peru in all the stages of the world.

Thank you a thousand times, Professor Carlos Colmenárez, for taking me into account and thus making my career known and giving my greetings, thanks and respect to all the salseros of the world through International Salsa Magazine, www.SalsaGoogle.com and long live salsa, Peru and Venezuela, united forever.

Known artistically as Mahel, Singer, composer, percussionist and professional model

You can read: Walter Rebatta

Joe Arroyo was an excellent Colombian singer and composer of salsa and tropical music

On November 1st, 1955, Alvaro José Arroyo González, better known as “Joe Arroyo”, was born in Cartagena de Indias, Colombia.

He was an excellent Colombian singer and composer of salsa and tropical music, considered one of the greatest interpreters of music in his country.

His songs were national and international hits, he won multiple Gold records throughout his career, among them, 18 Gold Congos and Super Congos won in the Festival of Orchestras of the Carnival of Barranquilla.

Among his most relevant songs are “La rebelión”, “Tania”, “Mary”, “En Barranquilla me quedo”, “El Ausente”, “Tumbatecho”, “Centurión de la Noche”, “Manyoma”, “La noche”, “La rumbera”, “La guarapera”, “El trato”, “Con Gusto y Ganas”, among others.

In November 2011, Arroyo won the Latin Grammy award for best singer/songwriter at the 2011 Latin Grammy ceremony.

Born and raised in the Nariño neighborhood of Cartagena, Arroyo began his career at a very early age, when from the age of eight he sang in bars and brothels in Tesca, the tolerance zone of his hometown.

Joe Arroyo fue un excelente cantante y compositor colombiano de música salsa y tropical

In his early days he sang with groups such as Los Caporales del Magdalena, Manuel Villanueva y su Orquesta and the Supercombo Los Diamantes (the last two in 1970); in 1971 he recorded with La Protesta.

To look back, he started with the song “Manyoma”, which is Fruko’s, but has my arrangements. That’s where that hit was born, but it really came on strong when I had been with my band for four years. It is a sound that has soka, salsa, African sounds, cumbia, sea breeze and a 50% that comes from me but I have no fucking idea what it is.

Joe Arroyo commenting on the origins of joesón.

In 1973 he got his big break when he signed for Discos Fuentes after the producer, author and artistic director of Discos Fuentes, Isaac Villanueva, in the Suri Salcedo park in Barranquilla, was struck by a “pelao” who sang with the vibe of Cuban Celia Cruz. The announcer Mike Char had recommended him to Fruko and told him that he could see him in action at the El Escorpión stand, in the Pradomar (Atlántico) beach resort, as the voice of the house orchestra, La Protesta.

On Sunday Villanueva was there. And it caused him more impact. He spoke with Leandro Boiga, director of La Protesta, and obtained permission to take him to rehearse days later to Medellín. Thus Joe Arroyo joined Fruko y sus Tesos, an orchestra with which he achieved great fame and with which he recorded uninterruptedly until 1981.

Between 1974 and 1975 he performed with Los Líderes (Los barcos en la bahía), between 1976 and 1981 with The Latin Brothers (La guarapera), in 1976 with Los Bestiales, in 1978 with Pacho Galán (Volvió Juanita) and with La Sonora Guantanamera, and in 1980 with Los Titanes.13 He also sang in other groups such as Piano Negro, Afro Son, Los Rivales, Los Bestiales, Wanda Kenya, los Hermanos Zuleta, el Binomio de Oro, Juan Piña, Mario Gareña, Gabriel “Rumba” Romero, Claudia Osuna, Claudia de Colombia, Oscar Golden, Yolandita y los Carrangueros, among others.

In 1981 he founded his own orchestra, La Verdad, with which he dedicated himself to mixing diverse musical influences, mainly salsa with coastal music (cumbia, porro, chandé, among others) and with diverse Caribbean rhythms (socca, reggae) until he created his own rhythm, the “joesón”.

Some of the hits recorded with La Verdad are classics of the coastal music that earned him many awards and being considered the King of the Carnival of Barranquilla, where he won 10 Gold Congos and a Gold Supercongo (created especially for him) in the Festival of Orchestras.

One of his biggest hits was “La Rebelión” (1986), a song that tells the story of an African couple, slaves of a Spaniard, in Cartagena de Indias in the 17th century.

The piano solo, played by Chelito De Castro, and Arroyo’s soneos made “La Rebelión” an immediate hit that is still danced to at parties and discotheques throughout the continent.

In Mexico the same phenomenon happened since the song was first published in the LP “Tequendama de Oro Volumen 7” by Discos Peerless in 1987 and its LP “Joe Arroyo y su Orquesta La Verdad, Grandes éxitos”, still to this date the song is very popular in the sonidero movement.

Other of Joe Arroyo’s most successful songs were “El Caminante”, “Confundido”, “Manyoma”, “Tania” (dedicated to his daughter) and “El Ausente”, all recorded with Fruko.

The album “Fuego en mi mente” (1988) contains songs with influences from African music and contemporary salsa. With “La guerra de los callados” (1990), he made his first Spanish tour. In 1993 he released “Fuego” and played again in Spain.

Joe Arroyo recorded with Discos Tropical (1970-1971), Discos Fuentes (1973-1990) and Discos Sony (1991-2002). After an 11-year stint with Discos Sony, he returned to Discos Fuentes in Medellín in 2003, where he recorded his latest works: “Se armó la moña en carnaval” (2004), “Mosaico de trabalenguas” (2006) and “El Super Joe” (2007).

Joe Arroyo is one of the five Colombians who have appeared on the cover of Rolling Stone magazine.

Since the early 1980s, Joe Arroyo suffered multiple health problems that prevented him from touring and for which he was considered dead several times.

On September 7, 1983, he was presumed dead after suffering from a retrospective thyroid condition that kept him away from the stage. In 2000, he nearly died in Barcelona due to a diabetic coma and pneumonia.9

His medical history recorded ischemia, renal and motor problems and difficulty singing. In some concerts he even had to be helped up on stage due to weakness and disorientation.

In 1997, despite his health problems, he made a special appearance in the soap opera Perro Amor.

The singer’s health was affected on April 26, 2011 and he was hospitalized since late June 2011 in the clinic La Asunción de Barranquilla in intensive care for a clinical picture of hypertensive crisis, ischemic heart disease and diabetes mellitus with simple decompensation.

He was connected to an artificial respirator, underwent dialysis and a tracheotomy. His condition caused him to be considered dead on social networks, which was denied by both his relatives and the hospital.

All this took place in the midst of a controversy between the singer’s former family (his ex-wife Mary Luz Alonso and his children) and his friends, who considered that Joe was being exploited by his wife Jacqueline Ramón and his musical representative, who claimed that Joe Arroyo was not suffering from major health problems and announced his early return to the stage.

He died on July 26, 2011, at 7:45 (UTC -5), at La Asunción clinic in Barranquilla due to a cardiorespiratory arrest, as a result of a multiorgan failure (high blood pressure, infections, kidney problems) that had kept him in intensive care since Monday, June 27 of the same year.

He was buried on July 27, 2011 at the Jardines de la Eternidad cemetery in Puerto Colombia.

On October 19, 2011, his body was transferred to a special area for illustrious characters in the Jardines de la Eternidad cemetery.

On December 17, 2011, the Mayor’s Office of Barranquilla unveiled a statue of Joe Arroyo in the Musicians’ Park.

Arroyo had signed with Cenpro TV to produce a miniseries about his life, once Alejo, la búsqueda del amor of Caracol Televisión was finished, but in 2000 Cenpro TV went bankrupt after the crisis of public TV in Colombia.

Between June and December 2011 RCN channel aired a telenovela based on the singer’s life called El Joe “La Leyenda”. Sadly the singer passed away during the broadcast of the series.

After his death, Jacqueline Ramón and Mary Luz Alonso (two of Arroyo’s ex-wives) decided to build two museums respectively. Jacqueline’s museum will exhibit various items that stood out during her musical career, such as the 18 Golden Congos won at the Barranquilla Carnival.

In the future, the museum is expected to be moved to a more appropriate location, once the approval of the Ministry of Culture has been obtained.

A wax statue designed by an American sculptor will also be exhibited there.

The other museum, located in the home of Mary Luz Alonso Llanos and her daughters Eykol and Nayalibe Arroyo, will also feature articles, photos and other Congos de Oro, in addition to a statue.

In July 2011, the Mayor’s Office of Barranquilla decided to name one of the stations of the city’s mass transit system, Transmetro, “Estación de Retorno Joe Arroyo”, in tribute to the singer’s musical legacy. According to the then Manager of Transmetro, Manuel Fernández Ariza, the Joe Arroyo station is the most important station of the integrated transportation system.

On March 1, 2012, a Colombian scientist discovered a new species of bee on the Colombian Caribbean Coast that was named in honor of the singer, the Geotrigona Joearroyoi.

On the same day of Joe Arroyo’s death, singer Checo Acosta composed “Adiós Centurión” while on a trip from Medellín to Barranquilla.

The video and song were released months later. Another song that paid tribute to him was titled El Rey Del Carnaval, with the participation of Juan Carlos Coronel, Petrona Martínez, Checo Acosta himself, the pianist and singer Chelito de Castro, Ricardo El Pin Ojeda, who was timbalero of the orchestra La Verdad and also with Eykol Tato Arroyo, daughter of the Maestro. This song was included in the commemorative album made by Cervecería Águila.

Joe Arroyo

You can read: November 22nd International Musician Day

Carlos Peluzza Del Carpio, the versatile Peruvian musician, was in San Juan Puerto Rico

One of Puerto Rico’s salsa anthems is, without a doubt, ‘Borinquen’. Below, Papo Lucca, leader of the famous salsa group, tells us why he included the Peruvian percussionist in that song.

Papo Lucca needed an expert percussionist in Puerto Rican dance for the song ‘Borinquen’, written by Johnny Ortiz, which he would include in the LP ‘Unchained Force’.

It was 1980 and in those days Carlos Peluzza Del Carpio, the versatile Peruvian musician, was in San Juan.

Papo did not hesitate to summon him. “He lived here in Puerto Rico for a long time,” the Sonora Ponceña leader tells us over the phone. “It’s just that in the Sonora I don’t have a redoblante.

And since Peluzza was here and shared his musical journeys with many artists from Puerto Rico, he did know those secrets of Puerto Rican dance. It was for that reason that I invited him to be on that recording, recalls Papo, 37 years later.

Wison Torres Jr. was in charge of finding the Peruvian musician, who incidentally was in charge of the arrangements of the song (together with Papo). Peluzza’ was only informed that he was needed in a recording room. When he arrived he saw the percussion ready, a bass and a piano.

A few minutes later Papo arrived, greeted him and the memorable session began. The percussionist remembers it as one of the most beautiful moments of his life. Borinquen’, in its 6.56 seconds, was a hit.

The vocals were provided by Yolandita Rivera, one of the greatest soneras ever born on the Island of Enchantment. The choruses were provided by Toñito Ledee, Miguelito Ortiz and Edwin ‘Caneca’ Rosas. Papo was satisfied. And Carlos ‘Peluzza’ treasures the story fondly.

That is just one of the many anecdotes that the famous pianist has with Peruvians. He remembers that one day on television in his country a girl and her father were singing the song ‘Fina estampa’. He liked it.

That’s why, in 1979, in the album ‘La Ceiba’, in which Celia Cruz sings, he decided to include that famous waltz by Chabuca Granda. “From that moment on, I got to know other pieces of Peruvian Creole music,” he says.

Papo has visited Lima many times. He has already lost count. He has friendships. For example, he is a friend of Carlos Aparicio, the volleyball coach. He assures us that once they even participated in a game of Alianza Lima’s girls. In addition, he reminds us that Edwin Caneca Rosas is also a referee of that sport. So everything was conspiring.

It is a June morning in La Perla, Callao, and the conversation continues under the gaze of Juan Núñez, a Peruvian singer who a few weeks ago was in Ponce, Puerto Rico, fulfilling a dream: rehearsing with the Sonora Ponceña. Papo is generous with Juan, highlights his singing qualities and underlines the friendship that has grown between them.

Carlos Peluzza Del Carpio, el versátil músico peruano

Precisely, we took the opportunity to ask him about the orchestra’s recent hit entitled ‘Canción a mis amigos’. This salsa was born after the terrible natural disasters that Peru and Colombia faced at the beginning of this year with the El Niño Costero phenomenon.

The composition is by Francisco Alvarado, who wrote it in two days. The voices were provided by Jorge Nicolai and Darvel García. What happened to you identified us a lot,” says Papo.

The musician adds that he felt that La Ponceña should make itself felt with a song of solidarity. Now it is time for it to be played on Lima’s radio stations. Will it become popular?

The twenty minutes of chatting come to an end and Papo has many topics left in the pipeline. He is very grateful and Juan Núñez tells us that behind his solemn appearance there is a human being who enjoys, who is passionate about music and who is always observing how to amalgamate sonorities. La Sonora Ponceña is still going strong and hopefully soon we will be able to see it unload in Lima.

We need to chant ‘Canción a mis amigos’. And that Carlos Peluzza, in one of those, returns to redoblar in ‘Borinquen’. Also that Yolandita Rivera sings? Hopefully.

Sources:

Martín Gómez V.

Papo Lucca

Carlos Peluzza

You can read: September 22, 2022 marked the 48th anniversary of the Fania All-Stars concert in Zaire, Africa

This is the story of Percussionist Joe González

Young Joseph

Joseph Gonzalez has been one of the greatest Latin percussion icons of our time and it is worth talking about his past and current accomplishments. He was born on March 12, 1953 in the San Juan Hill section of Manhattan and grew up in a mixture of cultures with Puerto Rican and Italian roots, which ensured that the young Joseph and the rest of his siblings were raised with the best of each.

Percussionist Joe González posing for the camera

According to the musician himself, his passion for music started in the 1950s when he listened to all kinds of genres and rhythms at home, which trained the young man almost without him realizing it. At home, his family used to enjoy the talent of Frank Santana, Machito, Jerry Vale, Tito Puente, Mario Lanza, among many other artists of the time. Upon hearing these names, one can already get an idea of what Gonzalez’s vocational training would be like in the future.

From a young age, he would liven up family parties by playing the conga. At the age of 15, the boy first became interested in music as something more than just a hobby to kill some time. The teenager gave signs that music would be a very important part of his life.

Already in the 1960s, Gonzalez had made his first long-playing record with Frankie Nieves, vocalist and neighbor of the artist who had set himself the goal of taking over the boogaloo world and become one of its greatest exponents. The album was called ”The Terrible Frankie Nieves”, was under the direction of producer Stan Lewis and contained all kinds of popular genres for those years such as R&B, guaracha, mambo and much more.

Self-taugh musician

Something very striking about this music is that he never attended an institute or school of arts, but learned everything by himself through the experience he gained in San Juan Hill, where the best Latin music orchestras were always heard and whose musicians lived and some even resided in Amsterdam Houses.

In 1971, he became a member of the Ruben Betancourt’s orchestra, with whom he would play the group’s first LP entitled ”Orquesta Tentación” and published by the record label Mañana Records. A few years later, he married and soon he and his wife had their first daughter, to whom they gave the name Audrey Valentina. Around the same time, he separated from Rubénm stayed with ”Felix Morales & Orchestra Caprí” for two years and was part of ”Son De La Loma”, whose members were veteran musicians who taught Joe everything they knew.

Cover of the album ‘’62nd and 10th’’

During the 1980s, there was a dramatic decline in the Latin music scene, which caused Gonzalez to look for a regular job that could support his family and provide them with the the finaltial security they need. In those years, he partnered with jazzman Mario Bauzá and his orchestra, a group with which the percussionist finally achieved the level he was destined to get to.

He started making very important appearances in a lot of concerts with the Bauzá’s orchestra and recordings that would lead him to have access to many other opportunities on TV shows, film soundtracks, tours, awards, among many other things. This led him to be worthy of the Latin Grammy on several occasions and perform with stars such as Celia Cruz, Papo Vázquez, Arturo O’Farrill, Daniel Poce and many more.

His most recent album is entitled ”62nd to 10th”, which is absolutely dominated by Latin jazz and whose compositions are written by Gonzalez himself, except for one track. In this album, Joe Gonzalez once again demonstrates that he has not forgotten everything he has learned and is still as strong as ever.

By Johnny Cruz, ISM Correspondents, New York, New York City