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Flashback: Arturo “Chico” O’Farrill

The Architect Of Afro-Cuban Jazz

Arturo "Chico" O'farrill with reading glasses and sitting — In memory of the 20 years of his physical disappearance

Arturo O’Farrill, better known as “Chico” O’Farrill was born on October 28, 1921, in Havana (Cuba) at the height of Son. He had a normal childhood like any son of a Jewish family raised to continue the family profession, Law.

In the 1930s Chico was admitted to the Riverside American Military School in Gainesville, Georgia. His father, an eminent Irish lawyer recognized in the Afro-Caribbean country, decided to intern him to continue his studies.

During his stay at that institution, O’Farrill discovered the great jazz orchestras that made life in that territory. Those bands were known by the name of Big Bands. He entered that musical environment and began his process of love and passion for the industry. He listened to recordings by Benny Goodman, Artie Shaw, Glenn Miller, and Tommy Dorsey while learning to play the trumpet on his own. In almost immediate time Chico became the trumpet player for the school’s military band and large dance groups.

Years later, Arturo returned to Cuba. He studied the same profession as his father (Law) and at the same time with his studies, he developed his facet as a composer. He received composition and harmony classes from important island musical instructors such as Félix Guerrero.

His progress, determination, and development in music were unstoppable. He was a member of the Armando Romeu Bellamar Orchestra and the Isidro Pérez Orchestra at the time of Mambo and Son, rhythms that prevailed and enhanced Latin music for decades.

MUSICAL HISTORY

Arturo "Chico" O'Farrill seated and in black and white — Chico O’Farrill dabbled in rock

“The Architect of Afro-Cuban Jazz” worked for four years (1943 – 1947) in Montmartre, the Cuban cabaret with the greatest French style. In the same way, he belonged to the Bellamar Orchestra, directed by Armando Romeu with Luis and Pucho Escalante, and Mario Romeu, among many other members.

As a trumpeter, Arturo traveled to Mexico and Europe. He created Los Raqueteros del Swing band, being the director and member of the orchestra. Subsequently, he founded Los Beboppers (the first Cuban bop group) with continuous performances at the Hotel Saratoga. Here, Chico was once again at the helm as director of the band and musician with his related instrument, the trumpet.

In the 1950s he began his successes as an arranger, working briefly for various musical directors such as Gil Fuller, Noro Morales, Frank “Machito” Grillo, and Benny Goodman.

Likewise, he composed his first masterpiece, Afro-Cuban Jazz Suite in five movements: Canción, Mambo, 6/8, Jazz, and Rumba Open. This masterpiece of composition was made and recorded for the imprint of the businessman Norman Granz, with the Machito Orchestra as the rhythmic base and accompanist.

The expert comments on Afro-Cuban Jazz Suite were numerous, but here are two of the most outstanding opinions:

Luc Delannoy: “It begins and ends with a hypnotic flute and conga duo that reflects the essence of Cuban treatment; the union of musical universes: the European (the flute) and the African (the conga). These two instruments are joined by the oboe, followed by the trumpets, saxophones, and the double bass “Tumbao”… After a return to swing and bebop in the fourth movement, Chico takes us back to the origins of Latin jazz with a melody of clear Arabic accents, before immersing himself in the universe of Afro-Cuban percussions.”

And Benny Carter commented on the Afro-Cuban Jazz Suite the following: “The reason for the coherence of the rhythmic parts and their relationships with the solos that have their own life and independence, Masterpiece of a genius.”

Arturo "Chico" O'farrill dressed in black and with a red background — His last album was Heart Of A Legend

After the enormous success of this powerful piece of music, O’Farrill wrote Cuban Fantasy for Stan Kenton during his stay in New York (EE.UU). However, Kenton eventually changed the name of the piece and it was called the Cuban Episode.

In 1953 he moved from New York to the California state and founded his orchestra with renowned musicians such as Mario Bauzá, Doug Mettome, Jimmy Nottingham, Eddie Bert, Fred Zito, Lenny Hambro, Flip Phillips, and the saxophonist Eddie Wasserman. The orchestra used the Afro-Cuban rhythmic section of Machito, harp, and oboe.

Under this concept, he recorded for Norman Granz and performed in two emblematic venues of the American Jazz music scene: Birdland (New York) and Hat Ballroom located in Los Angeles, California. During this period he composed three new movements: “La Jungla”, “Contrast”, and “Rhumba Finale”, baptized as “Manteca Suite”. The latter recorded in 1954 with Jazzist Dizzy Gillespie and an orchestra with 21 talented musicians.

In 1956 he returned to Cuba in search of inspiration and immediately began to work for the best record companies such as Panart and RCA Víctor. In this record label, he made “Chico’s Cha-Cha-Cha”, adapting the Charanga rhythm to the Big band format. This album was released, once again, on compact disc by BMG during the last decade of the 20th century.

Two years later the restless O’Farrill traveled to Mexico due to the great platform that this country provided for Latin American musicians at the time. During that residency, he once again stood out with a special sound. He appears on television as music director for singer Andy Russell, and there his life takes a dizzying turn. He started the semi-retirement period but never stopped composing. By that time, he composed his next and one of his greatest works “Azteca Suite” for trumpeter Art Farmer. And he made history once again!

In the 60s and with the rise of rock, Chico returned to New York and made arrangements for such important figures as La Lupe (They Call Me La Lupe); Cal Tjader (Along with Comes Cal); Count Basie (High Voltage); Gato Barbieri (Chapter Three: Viva Emiliano Zapata); Ringo Starr (Night and Day) and dabbled in Rock music with David Bowie (I Know That It Will Happen and Looking for Lester) and finally was the director of the Venezuelan Aldemaro Romero’s Orchestra.

In this stage that lasted until the end of the 20th century and already in the 70s, the Big bands went from being an innovation to being displaced by other rhythms that were rapidly increasing in popularity. These genres used new techniques, styles, sounds, and harmonies. It led to the appearance of icons in Jazz and the disappearance of the exclusive Bing bands for ballroom dancing.

For this reason, Chico O’Farrill reinvents himself and begins to work in the lucrative field of music for audiovisual advertising.

Arturo "Chico" O'farrill in black and white — Pure Emotion album earned a Grammy Award nomination for Best Latin Jazz Performance

In the mid-nineties, American Jazz producer and director Todd Barkan contacted the “Afro-Cuban Jazz Architect” to pay tribute to his career with a compilation of his musical hits. The name of the album was Pure Emotion and it got a nomination for Best Latin Jazz Performance at the 37th Grammy Awards.

O’Farrill toured Europe with his orchestra in 1996 and recorded his latest album entitled “Heart Of A Legend” with 14 tracks.

For this album, they had an orchestra of 18 musicians and a collaboration of international artists. The arrangements and musical direction of “Heart Of A Legend” were in charge of his son Arturo O’Farrill Jr. and who continues with his legacy.

On June 29, 2001, at 80 years old in New York City, Arturo “Chico” O’Farrill passed away.

Undoubtedly, Chico O’Farrill was always a visionary, and he was at the forefront for more than half a century of the musical genre today recognized worldwide as Latin Jazz.

In memory of the 20 years of his physical disappearance

Arturo “Chico” O’Farrill Forever!

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The man who conquered Hollywood

The magic of a great musician is that he has the key to open your soul. He takes you to a dimension full of happy emotions, you forget all your pain and troubles and you just dance! For the Yoruba’s, one of the sons of Obatala, is Changó. He represents strength, virility, drums, music, fire, lightning, dance, justice, the need and joy for living. If one person was all of that, it was Mr. Johnny Polanco. Mr. Polanco is dearly remembered by all those whose life he touched. This June 2nd marks the sixth year of his passing. Altagracia and Socrates, from Puerto Rico and Santo Domingo were his parents. They lived in the Bronx in New York. Socrates was the owner of an auto mechanic shop. This is probably where Johnny first came into contact with automobile engines. He developed a passion for working with automobile engines. Johnny graduated from Alfred E. Smith High School; a school reputed for teaching shops. It’s very probable that he furthered his knowledge of engines there. His talent grew to engineering levels. If anyone could fix a problem on an engine, it was Johnny. All the musicians knew that if there was a problem, it was Johnny who could fix it for them. There’s a story about how DJ Robbie called Johnny at home one such time at around 3:00 am and Johnny got out of bed and went to his aid. His other passion was music. Johnny never attended music school. He mastered a number of instruments, all on his own. Everyone says that around five years of age, he was given a guitar. But it wasn’t until the age of ten, that he became serious in learning music. At the age of fourteen, he was already playing with the Steve Colon band. He played with a number of New York groups, Charanga Sensual, Conjunto Saoco to name a few. Johnny had flat feet, but nonetheless in 1979 he enlisted in the United States Marine Corp. The Marine Corps capitalized on his knowledge of engines and assigned him to the motor pool. His early assignments were in Camp Lejeune, North Carolina, Parris Island, South Carolina, and Okinawa, Japan. Johnny was a patriotic American who loved and served his country. Just before enlisting in the service at twenty-four, Marion Gonzalez gave birth to Christopher and three years later to Melody. In 1980 the marines sent Johnny to the west coast, Camp Pendleton, California. Marion and Johnny married, but their union did not survive. Marion and Johnny had joint custody. Johnny’s visitation turn was usually from Fridays after school to Monday morning, returning them to school. In 1984 Johnny was playing at the New Porter Inn, in Newport Beach, California. That night he met Joanna, a lady from Bronx. They say it was love at first sight. On January 23, 1987 they married and she remained his companion for the rest of Johnny’s life. Joanna worked as a Registered Nurse and had two children of her own, Angela and Anthony Wheaton. They made their home in Lakewood, California, where they had all their four children together on the weekends. They were fortunate, because the kids all got along well. Some called them the Brady Bunch.

Johnny Polanco and Conjunto Amistad — Johnny Polanco and the rest of the members of Conjunto Amistad.

The long full gear marches and Johnny’s flat feet became a problem. In 1987, with the rank of E-5 sergeant, Johnny decided to be a full-time musician and separated from the Marines. Close to their Lakewood home Johnny took a daytime job working for Mr. Tom Scott a Union 76 service station owner. Johnny stayed with Tom for next six years, when Tom sold in 1992. The job was conveniently within walking distance of his Lakewood home.

In this gas station Johnny Polanco worked many years — Union 76 gas station where Johnny Polanco worked for many years.

In Hollywood, there was a Vietnam disabled veteran who had been studying business, Armando Castro. Completing his studies, Armando opened a small restaurant. Although of Nicaraguan origin, Armando decided to serve Cuban food and named the restaurant El Floridita. On Monday nights they started to play Salsa. Cali Aleman was the first band that played.

Armando Castro Floridita owner — Armando Castro owner of El Floridita

In 1993 Orquesta Versatil was playing on Monday nights. It was then that Armando Castro introduced Johnny to the band leader, Carlos Navarro. At the time Versatil was a popular, strong, well liked band and Johnny fitted right in. Then things started to happen, the band leader Carlos had to fly to Venezuela, also the arranger Niño Jesus Alejandro went to Canada. So, they held a meeting with Armando. “mete mano Johnny, put a band together and take over.” For the next 22 years Johnny played Monday night with his Conjunto Amistad at El Floridita. Johnny’s band was in demand.

Carlos Navarro leader of Orquesta Versatil — Carlos Navarro band leader of Orquesta Versatil.

Albert Torres was a consultant and MC to over 50 yearly Salsa Congress’ around the world. Albert had a lot of connections and started to manage Johnny for some 15 years. With Albert’s connections the band played in Japan, England, Italy, Spain, China, Thailand, Mexico, Costa Rica to name a few. Everyone was busy with little time to spare, eventually Johnny started handling his own bookings and the relationship with Albert just disappeared.

Albert Torres manager of Johnny Polanco — Albert Torres managed Johnny Polanco for 15 years.

In business they always say location, location, location! Nothing could be truer than that for “El Floridita.” You see folks, this little restaurant in a small strip mall, is just across the street from … Pickford Center. What’s Pickford Center? It’s the film industry Academy of Arts. You know the “Oscars!” The clientele boasted of directors, writers, producers, actors like Patrick Swayze, Jay Leno, Jennifer Lopez, Nicole Kidman, Robert Duvall, Mick Jagger, Edward Olmos to name a few. They didn’t just go there to eat; it was the film industry’s connection to Salsa and the work just poured in. Johnny played for Hugh Heffner at the Playboy mansion and also the Playboy Jazz Festival. Prince chose Johnny to be his opening act in Las Vegas. Johnny did the music for countless films (see bio). When a victorious general was paraded in Rome, above his head, a slave would hold the laurel reave, while at the same time continuously whispering “this too shall pass.” The idea was to keep him grounded. Johnny didn’t need that. He was a man who saw the injustice in the world and was always looking out for the little guy, the underdog. He was a man who shared the wealth. Many remember how Johnny would call them to give their bands work. To this day many a story is told about how Johnny helped them out. He was a man who in his car, would carry cat food and milk to feed the strays. May God bless you in heaven Johnny. We remember you as a kind man who loved and cared for the poor. His accomplishments were so many that we created a link for you to view the photos and also his biography of recognitions and accomplishments.

Changó

The magic of a great musician is that he has the key to open your soul.  He takes you to a dimension full of happy emotions, you forget all your pain and troubles and you just dance!  For the Yoruba’s, one of the sons of Obatala, is Changó. He represents strength, virility, drums, music, fire, lightning, dance, justice, the need and joy for living.  If one person was all of that, it was Mr. Johnny Polanco.  Mr. Polanco is dearly remembered by all those whose life he touched.  This June 2nd marks the sixth year of his passing.  Altagracia and Socrates, from Puerto Rico and Santo Domingo were his parents.  They lived in the Bronx in New York.  Socrates was the owner of an auto mechanic shop.  This is probably where Johnny first came into contact with automobile engines.  He developed a passion for working with automobile engines.  Johnny graduated from Alfred E. Smith High School; a school reputed for teaching shops.  It’s very probable that he furthered his knowledge of engines there. His talent grew to engineering levels.  If anyone could fix a problem on an engine, it was Johnny.  All the musicians knew that if there was a problem, it was Johnny who could fix it for them. There’s a story about how DJ Robbie called Johnny at home one such time at around 3:00 am and Johnny got out of bed and went to his aid.
His other passion was music. Johnny never attended music school.  He mastered a number of instruments, all on his own. Everyone says that around five years of age, he was given a guitar.  But it wasn’t until the age of ten, that he became serious in learning music.  At the age of fourteen, he was already playing with the Steve Colon band. He played with a number of New York groups, Charanga Sensual, Conjunto Saoco to name a few.
Johnny had flat feet, but nonetheless in 1979 he enlisted in the United States Marine Corp.  The Marine Corps capitalized on his knowledge of engines and assigned him to the motor pool. His early assignments were in Camp Lejeune, North Carolina, Parris Island, South Carolina, and Okinawa, Japan. Johnny was a patriotic American who loved and served his country.  Just before enlisting in the service at twenty-four, Marion Gonzalez gave birth to Christopher and three years later to Melody.  In 1980 the marines sent Johnny to the west coast, Camp Pendleton, California. Marion and Johnny married, but their union did not survive. Marion and Johnny had joint custody. Johnny’s visitation turn was usually from Fridays after school to Monday morning, returning them to school.
In 1984 Johnny was playing at the New Porter Inn, in Newport Beach, California.  That night he met Joanna, a lady from Bronx.  They say it was love at first sight.  On January 23, 1987 they married and she remained his companion for the rest of Johnny’s life.  Joanna worked as a Registered Nurse and had two children of her own, Angela and Anthony Wheaton.  They made their home in Lakewood, California, where they had all their four children together on the weekends.  They were fortunate, because the kids all got along well. Some called them the Brady Bunch.

In 1993 Orquesta Versatil was playing on Monday nights. It was then that Armando Castro introduced Johnny to the band leader, Carlos Navarro. At the time Versatil was a popular, strong, well liked band and Johnny fitted right in. Then things started to happen, the band leader Carlos had to fly to Venezuela, also the arranger Niño Jesus Alejandro went to Canada. So, they held a meeting with Armando. “mete mano Johnny, put a band together and take over.” For the next 22 years Johnny played Monday night with his Conjunto Amistad at El Floridita. Johnny’s band was in demand.

In business they always say location, location, location! Nothing could be truer than that for “El Floridita.” You see folks, this little restaurant in a small strip mall, is just across the street from … Pickford Center. What’s Pickford Center? It’s the film industry Academy of Arts. You know the “Oscars!” The clientele boasted of directors, writers, producers, actors like Patrick Swayze, Jay Leno, Jennifer Lopez, Nicole Kidman, Robert Duvall, Mick Jagger, Edward Olmos to name a few. They didn’t just go there to eat; it was the film industry’s connection to Salsa and the work just poured in. Johnny played for Hugh Heffner at the Playboy mansion and also the Playboy Jazz Festival. Prince chose Johnny to be his opening act in Las Vegas. Johnny did the music for countless films (see bio).
When a victorious general was paraded in Rome, above his head, a slave would hold the laurel reave, while at the same time continuously whispering “this too shall pass.” The idea was to keep him grounded. Johnny didn’t need that. He was a man who saw the injustice in the world and was always looking out for the little guy, the underdog. He was a man who shared the wealth. Many remember how Johnny would call them to give their bands work. To this day many a story is told about how Johnny helped them out. He was a man who in his car, would carry cat food and milk to feed the strays. May God bless you in heaven Johnny. We remember you as a kind man who loved and cared for the poor.
His accomplishments were so many that we created a link for you to view the photos and also his biography of recognitions and accomplishments.

Film Academy of Arts Center — Pickford Center in front of El Floridita.

By: Eduardo Guilarte & Karina Garcia

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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.

Tito Rodriguez, Jr. Timbalero, Arranger, Composer, Producer and Bandleader, Tito Rodriguez, Jr is one of the leading

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

As soon as I got my hands on this album, I listened to it many times. Not that I owed an explanation, but I couldn't 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 I had chosen to write itself. — Bella Martinez “The Irreverent Salsa Writer”.

WebSite: Bella Martinez

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Javier Plaza “With Coconut Flavor”

From the 23 de Enero neighborhood of Caracas to Cologne – Germany

October 4, 1952: Javier Ernesto Plaza Castillo was born in the Tiro al Blanco area of the Sarría neighborhood in Caracas, Venezuela. He is a musician, percussionist, singer, and composer.

Javier Plaza is a great and veteran Venezuelan sonero that was trained in the 23 de Enero parish.

He started his professional career as a member of groups such as Rumbón 10, Sexteto Juventud, and Enrique “Culebra” Iriarte y Su Orquesta. It was “Culebra” who allowed him to be one of the singers of the orchestra.

He participated in records from different groups such as José Rosario y Sus Soneros, Federico y Su Combo, and El Clan de Victor.

Javier Plaza is an excellent veteran Venezuelan sonero trained in the parish of 23 de Enero — With Coconut Flavor

Javier visited Cali to promote his album “Con Sabor a Coco” and had the opportunity to listen to his live music accompanied by the Coimbre Orchestra formed by young musicians from Cali at the Baile Swing Latino Academy in March 2011. Without a doubt, it was a unique experience, Javier demonstrated that he is a true sonero.

In the early ’80s, Plaza created his band called Orquesta Café in the company of Joe Ruiz and Carlos Espósito, making possible the recording of one of his most important songs.

Sometime later, he participated in the group called Combo Ventú established in Paris.

In Europe, he participated in different groups and collaborated in recordings and performances of other artists.

Thanks to the performances with the Combo Ventú group, the Conexión Latina Orquesta’s director, contacted him, he has continued to remain in this orchestra for 18 years, being now the most ancient musician of the group.

In Europe he participates in different groups, and collaborates in recordings and presentations of other artists. — Javier Plaza and The Conexión Latina Orchestra

He has also participated in groups such as: Kimbiza, La Charanga Nueva de Alfredo Cutuflá, pianist Francisco Zumaqué, Salsamanía, César “Chino” Pérez and Gerardo Rosales. All this without dropping his responsibilities to the Conexión Latina orchestra.

Thanks to the orchestra, he has had the opportunity to accompany international figures in Latin music such as Luis Perico Ortiz, Ismael Miranda, Adalberto Santiago, and Camilo Azuquita, among others.

Since 1992, Javier Plaza has been managing his personal project, which is the Son-Risa Orchestra. Additional to that, he has performed two productions titled “Libre Soy” and “Mi Música” and most of the songs of his authorship.

Javier Plaza is one of the most recognized Venezuelan percussionists in Europe, with a career spanning more than 20 years in the salsa and Latin music industry. Do you want to know more about him? Here are the details.

Currently, he is still in Germany, working on his own project, the salsa band Son-Risa, and his mission is to spread the Venezuelan flavor throughout Europe. — Javier Plaza and his own project, the salsa band Son-Risa

While growing up, music was one of the most important things, and practiced different instruments with friends and family. Among those friends were future stars such as Bitervo Plaza, José “Cheo” Navarro, and Alfredo “Cutuflá” Franchesqui.

In the mid-’70s, his career took off when he joined different Latin bands such as Rumbón 10, Sexteto Juventud, and Enrique “Culebra” Iriarte, and his orchestra; this allows him to open the doors to a new recording market from the hand of producer Víctor Mendoza.

After many years, Alfredo Cutuflá invited him to join the Combo Ventú group in Paris with other Venezuelan musicians.

This is when Plaza started a career in Europe playing with different bands and in projects by other artists.

He participated in recordings of different groups, such as: José Rosario y Sus Soneros, Federico y Su Combo and El Clan de Víctor. — Javier Plaza “Con Sabor A Coco” (With Coconut Flavor)

Thanks to the Combo Ventu group’s connections, the Conexion Latina orchestra’s manager offered him to join the group in Munich, Germany, and from that moment he has been in this band for 18 years.

Currently, he is still in Germany, working on his project that is the salsa band Son-Risa and his mission is to spread the Venezuelan flavor throughout Europe.

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Johnny Pacheco founder of the Fania All Stars says goodbye

This Monday Cuqui Pacheco announced the news

Johnny Pacheco, one of the great Latin musicians, died this Monday, February 15 at the Holy Name Medical Center in Teaneck, New Jersey because of pneumonia, which he had already suffered for several days and for which he was hospitalized. Called one of the creators of salsa, Johnny left this world at 85 years of age, but his legacy will live forever not only in the hearts of Latinos, but also in the history of music.

A short statement was released by what is now his widow María Elena “Cuqui” Pacheco and the rest of his relatives:

“With great pain in my soul and an emptiness in my heart I inform you that the teacher Johnny Pacheco with much peace passed away this afternoon. Thank you so much for all the prayers from him and all the love you always gave him. At this time we ask for privacy and prayers. “

There were and still are many reactions around the departure of the founder of Fania. Salseros around the world have mourned the news and many musicians who in one way or another knew Johnny have expressed their sadness:

Rubén Blades published on his Facebook account: “I just received information indicating that Dominican Johnny Pacheco, flutist, arranger, composer and leader of the group “Las Estrellas de Fania”, has just moved “al otro barrio”. At 85 years of age, Pacheco leaves us an important musical legacy, represented by all the collaborations that he made during his distinguished career, with figures like Celia Cruz … To his family and loved ones we send our condolences . Have a good trip Johnny and “Simá!”

On his part, Marc Anthony took to Instagram to dedicate these words to him: “Teacher of Teachers and my good friend! Rest in peace! You were there for me from day 1. Your sense of humor was contagious and I am forever grateful for your support, for the opportunity to be in your presence and for your amazing legacy. “

Maelo Ruiz also left his words: “Today a giant left us ? We regret his physical disappearance! Thank you maestro Johnny Pacheco for everything you did for salsa, you left an insurmountable legacy for future generations! God receive you in heaven ? #QEPD #Rip #JohnnyPacheco #FaniaAllStars ”

Puerto Rican Victor Manuelle also used Instagram to remember Johnny: “Thank you teacher. I had the honor of honoring you in life. Your legacy will not die. Your music will live forever in our hearts. We are going to miss you, Master Pacheco. R.I.P.”

And another was El Caballero de la Salsa Gilberto Santa Rosa: “Today Salsa and music in general are in mourning. One of the pioneers, creative genius and in my personal case an exquisite person said goodbye … Rest in peace master Johnny Pacheco.”

And these are just an example of the many reactions that Latin musicians left when they heard the news. Johnny Pacheco definitely left his mark and a legacy that was difficult to emulate, but which gave the foundation to one of the most listened to genres in the world, of which Latin America is extremely proud.

The incredible career of Johnny Pacheco

Juan Azarías Pacheco Knipping was born on March 25, 1935 in the city of Santiago de los Caballeros in the Dominican Republic. His father was Rafael Azarías Pacheco and thanks to him his love for music arises since he was a clarinetist and a famous conductor. On his part, his mother was Octavia Knipping Rochet, who brought Pacheco a mixture of cultures, since she was the granddaughter of a French colonizer and great-granddaughter of a German merchant who married a Dominican woman of Spanish family.

Johnny moved to New York with his family at the age of 11, where he continued his studies, especially music, managing to enter the prestigious Juilliard School to study percussion. In 1960 he founded his first band: Pacheco y su charanga, after working in several Latin bands. With this band Pacheco achieves success by signing with Alegre records, and presenting a dance rhythm which he called the pachanga, in this way he becomes a star touring the United States, Europe, Asia and of course Latin America.

La Fania first started out as a record label, with a partner who was not thought to be interested in Latin music Jerry Masucci, a former policeman who became a lawyer, but fell in love with this music on a trip he made to Cuba. This foundation occurred in 1964, between Harlem and the Bronx where the productions were sold from the trunks of their cars. But the Fania legacy was only taking its first steps by giving an urban touch to Latin music using the term salsa to sell its releases.

With Pacheco, Fania achieved a new rhythm based on the existing ones of Caribbean music, especially the Cuban son, but by putting a faster tempo. One of the things that stood out in Fania’s music was the lyrics, which were used to talk about somewhat sensitive issues, from racism to the political problems of the time, without neglecting pride in their Latino origins.

During the ‘60s and ‘70s, Fania had under its wing many singers who today are considered the best in Latin music and the promoters of the salsa genre: Héctor Lavoe, Willie Colón, Celia Cruz, Rubén Blades to name a few, not counting the musicians who have been part of the band that accompanied the stars in their presentations. Practically the Fania All Stars became the school of many musicians.

Fania Records was called the Motown of salsa, becoming a music powerhouse, which led his band the Fania All Stars to tour around the world filling arenas and selling many records. Featuring never-before-seen collaborations such as Willie Colón, one of the best salsa composers, with Rubén Blades, a lyricist focused on the social part. Hector Lavoe was also a cult singer who made music history but whose career was very short and was marked by addiction problems which led to an early death at 46 years old.

During the ‘80s, Fania saw its end when facing many problems due to royalties and lawsuits, working with many artists was not easy and at that time there were many dark moments focused on addictions and monetary problems. In 2005 Fania returned to the spotlight as Emusica bought their catalog that was getting lost in a warehouse in Hudson, New York. Many hits were remastered and re-released in 2006.

Johnny Pacheco will always be remembered as the father of salsa, who with Fania managed to leave his mark on Latin music, rest in peace maestro.

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