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The Invaluable Legacy of an Afro-Antillean Percussion and Vocal Giant

Héctor “Tempo” Alomar was born on December 28, 1950, in Parada 19 of Santurce, Puerto Rico. A singer, percussionist, and true pedigree sonero, he became an essential figure in salsa music thanks to his outstanding contributions to world-class bands.

His resume included Orquesta La Conspiración, La Diferente, Conjunto Libre, La Charanga Afrocubana, La Charanga América, Orquesta Broadway, Charanga la Tapa, Casanova y su Montuno, Batacumbele, El Combo de Siempre, Zaperoco, Nacho Sanabria’s Orchestra, Grupo ABC, and, in a career-defining run, Roberto Roena’s Apollo Sound. He also led his own musical ensemble under the name Sexteto La 51, his last recording with the legendary and living legend of Fania All Stars Eddie Montalvo.

The remembered former member of Apollo Sound passed away at the age of 70 in his native Puerto Rico on May 9, 2021, leaving a profound void in the world of music collecting and salsa culture.

A Rhythm That Ran Through His Veins

The son of Doña Isabel Román and Don Luis Alomar, young Héctor showed an innate connection with the clave from a very early age. His mother used to recall that the boy would strike the rhythm with any kitchen utensil he could get his hands on, even breaking several glass cups while trying to draw sound from them with silverware.

He made his first professional recording as a minor, at just 15 years old. It happened when producer Joe Blanco invited him to record percussion with Chacón y sus Batirrítmicos, capturing his talent on tracks like “Ahorita va a llover” and “Mi guajira.”

In 1968, he moved to New York City, and by 1970, he reunited with his great childhood friend, maestro Ángel “Cachete” Maldonado. Maldonado introduced him to the city’s music circles, providing the decisive push for him to develop as a lead singer.

Blessed by “El Cantante de los Cantantes”

“Tempo” Alomar joined Orquesta La Conspiración as a timbalero, staying with the band for about three years. Later, thanks to a recommendation from trumpeter and arranger José Febres, bandleader Rafy Val recruited him for La Diferente. This gave him his first opportunity to formally record salsa on the album Fuerza Bruta, produced by Larry Harlow.

During his time with La Conspiración, a legendary anecdote took place at New York’s El Hipocampo club, right after a Fania All-Stars concert. Héctor Lavoe, who was scheduled to sing at the club that night, was running late, and the band couldn’t start. “Cachete” Maldonado assured José Mangual Jr. that “Tempo” knew the repertoire and recommended him to step up to the stage.

Out of deep respect for Lavoe, Alomar hesitated but ultimately took the stage to perform “Juana Peña,” winning the applause of the demanding crowd. Halfway through the second song, “No me llores más,” he spotted Héctor Lavoe walking into the venue, and out of sheer awe, he stopped singing. It was Lavoe himself who, from the audience, gestured for him to keep going.

When the performance ended, “El Cantante de los Cantantes” went up to the stage, congratulated him warmly, and encouraged him to keep pursuing his singing career.

Setting the Big Apple Ablaze

Around 1973, once again recommended by “Cachete” Maldonado, he auditioned for maestro Manny Oquendo, who was looking for a lead vocalist for Conjunto Libre. He was accepted immediately. After six months of intense daily rehearsals, the group chained together memorable hits driven by “Tempo’s” voice, such as “No critiques,” “Tú no me quieres,” “Bamboleate,” and “El Changó de María.”

These were five golden years with El Libre, a period during which he also recorded an album with Néstor Torres’ La Charanga Afrocubana.

As the 1980s arrived, he joined Charanga América. His versatility and high demand in the New York scene led him to collaborate and record with stellar figures, including Alfredo de la Fe, Johnny Rodríguez, Víctor Paz, Jorge Dalto, and the Latin Percussion label. He also worked with Orquesta Broadway and Casanova y su Montuno, played congas for Pete “Conde” Rodríguez, and played timbales for maestro Eddie Palmieri.

In 1985, he decided to return to Puerto Rico. On the Isla del Encanto, he contributed his talent to flagship ensembles like Batacumbele, Zaperoco, and Héctor Santos’ El Combo de Siempre, sharing the stage in the latter with Ismael Rivera Jr. (Maelito). Additionally, alongside Felo Barrios, he completed a prestigious one-month US tour with the legendary double bassist Israel López “Cachao.”

The Golden Era with Roberto Roena and Apollo Sound

In 1993, while rehearsing with Grupo ABC (where he worked alongside Nacho Sanabria and Roberto Angleró), the legendary Aníbal Vázquez Roberto Roena’s uncle invited him to participate as a vocalist in a special local television recording with Apollo Sound.

Roena was captivated by “Tempo’s” style and cadence, even though the vocalist hadn’t fully memorized the lyrics to some of the songs for that TV show. With his characteristic wit, Roena himself wrote the lyrics on large cue cards beneath the TV cameras and instructed the cameraman to avoid close-ups of Alomar, preventing the audience from noticing he was reading.

That chemistry sparked 16 uninterrupted years of back-to-back hits with Apollo Sound and a close, lifelong friendship between Roena and Alomar.

Together, they immortalized musical gems such as “Dale como es,” “El pueblo pide que toque,” “Atrévete conmigo,” “Sr. Bongó,” “Baila y goza,” “Mi mambo pide campana,” and the international smash hit “Cómo te hago entender”—a track that became a salsa anthem and took them to massive venues across Colombia, Panama, Peru, Venezuela, and all of Europe.

During his fruitful tenure with Apollo Sound, “Tempo” also took an active role in selecting session musicians and backing various artists. One of his most remembered cross-genre collaborations was with urban music icon Tego Calderón on his landmark album El Abayarde, where Alomar joined his voice to sing the classic “Planté bandera.”

Héctor “Tempo” Alomar lives on in the memory of music lovers worldwide as a bastion of syncopation, a street-corner sonero, and a true gentleman of rhythm.

Collaboration:

Historia Salsera

Augusto Felibertt

Also Read: It is indisputable that the most popular orchestra in Puerto Rico and South America during the 1970s was Roberto Roena’s Apollo Sound