Search Results for: King of Mambo

I have known DJ. Andy since he was the resident DJ. at the Embassy Suites in Isla Verde (Puerto Rico) for the salsa nights that I remember attending religiously every Saturday.

However, everything changed when one Saturday night we went to the weekly event as usual.  There we realized that DJ Andy was no longer there.  They say that necessity is the mother of invention.  It must have been out of sheer necessity that the man who would later become DJ Louie Love suddenly learned to play records on his own and without having planned it quite abruptly.

So, years later, destiny took me to the American capital because of a highlight of which there is no longer only the memory.  From that highlight that I would like to forget, in Washington, DC I remember with a deep affection to have met again with the one who had already been called “the most danceable”: DJ Andy.  Life and its twists and turns, we lost track of each other again until one day during one of my missions to New York I decided to go for a little dance without knowing that there I would meet again with DJ Andy.  Andy was already making his way in the Big Apple, the same place where salsa was cooked more than half a century ago.

Anyway, what we came to, to share with you my impression of the third album in which DJ Andy immerses himself in a parallel way in his facet as executive producer.  So, I am reviewing this catchy collection of fifteen tracks because I loved the programming and the variety of what I consider a very complete album, while achieving a first class musical performance.

Consejo Salsero (Venezuela All Stars)

Despite being performed by Venezuela All Stars, the arrangement of this salsa song is in the best New York style and very well done.  The title track opens the listener’s senses in an invasive but good way; something like a sure way to arouse curiosity about the production and the tracks that follow it.  Marcial Istúriz is as always a sure shot.  Good voice, impeccable rhythm and one of those sonorous sounds that could make him the new owner of sonorous music.  I summarize here from my corner without offending anyone, Marcial is a great sonero.

The son came to the city (Secreto a Voces)

If not the most, one of the most danceable songs of the production. Bravo!

Como se atreve (Renzo Padilla y su orquesta)

The singer’s voice is fresh and synchronized with the kind of lyrics that ask for another chance and shout sincerity.  Before the second minute, the bongo takes over the transition announcing the mambo and the take-off of the “trip” injected by the pregones and the play on words in the soneos.  The winds are carried by a trombone played with cleanness and precision.  The end is announced with a percussive interplay between the winds and the piano, which almost takes center stage without dulling the leather beats.

Señora Rumba (Julio Cortez and his court)

The singer, once again, fits the theme like a glove, since his voice recalls the metallic melody that a bravo theme requires.  The piano harmonizes perfectly with the coros and percussion.  Here there is a perfect harmony between piano, conga and timbales. It seems to me that I hear a xylophone flirting with the conga, without detracting from the piano.

Mary Juana (Carlos Guzmán y su orquesta)

The introduction of the song reminds me of the arrangements of the glory days of Orquesta La Solución, but with a bongó playing in the arrangement.  The trombones announce themselves early on and ask the bongo for permission to join them around the first minute.  The piano harmonizes and gives way to the brass without conflicting with the musical change that around the third minute adopts a style of those with which Wayne Gorbea established his sound.  Masterful the way in which the arrangement moves through varied styles without running over the flow of the music.

Salsa pa’ ti (Grupo Tahona)

This is a very heavy song, one of those that starts with the chorus without shyness.  The boldness of the arrangement threatens to go straight to the mambo in a very elegant way.  A gentle piano solo crosses over from a minute and a half in.  The piano solo gives way to a melodic trumpet solo that doesn’t allow screaming.  The conga takes the lead from just before the third minute, making sure that the brass does its thing, in anticipation of the return of a piano that dictates the chords of the distant line.  All in all, this is a very tasty track.

Quiéreme (Gumby Navedo and his orchestra)

The interpretation sounds great and the singer’s voice is one of those indisputable and unforgettable ones.  The lyrics are worthy of the interplay between the saxophones and the rest of the wind instruments.  At three and a half minutes the pregón changes with a lot of class and distinction before handing over to the saxophones at the end to give way to the closing, which the cueros make precise.

I come from New York (Son del monte)

The flute enters quite early and quite forcefully.  The violins match the flutes and the typical charanga bell ringing.  I imagine that Andy wanted to include a variety of rhythms within the range of Afro-Caribbean rhythms and manages in the process to give us a complete collection.  Even dancing pachanga doesn’t let us forget. Thank you!

Vengo del Congo (Julio Estrada y su orquesta)

The arrangement of the song is one of those classics that could be used as an example to demonstrate the salsa sound without pretension or fuss to anyone who has never heard salsa before.  At two and a half minutes, Julio Estrada plays a heavy piano solo before the mambo enters in all its splendor.  Winds, timbales, conga and piano come together to take us on a journey into a synchronized, non-competitive melody.

Pa’l bailador (La Negramenta)

The introduction of this unquestionably salsa song gives prominence to the baritone saxophone in a flirtation that walks between salsa and boogaloo. However, the boogaloo sound is short-lived, giving way to a well-defined, traditional salsa.  At the third minute, the trumpets enter in correspondence with the percussion. At minute 3:45, the conga takes over the distant line, giving way to the trumpets and timbales, announcing that the song is elegantly descending in intensity.

El rumbero (Leo Pacheco Jr. y su orquesta)

This song wants to highlight the essence of African music within the salsa music made in Venezuela.  This arrangement seems to be inspired by the evolutionary inventions that today are a winning formula.  I am referring to the adjustments that Bobby Valentín made, at the request of maestro Willie Rosario.  The big difference is that this arrangement is somewhat louder than the ones that started this formula several decades ago.  The trombone and conga take over, anticipating “salsa, guaracha y bembé” as the song says.

Nací pa’ cantar (Wiwi Buznego y su orquesta)

The song is pure salsa, conga, pregones and lots of rhythm for the dancer who responds to a fluid arrangement without much distraction.  The first significant percussive cut that captures the dancer’s attention hits the senses at minute fifteen (1:15).  From then on, the performer plays between conga beats, trumpet blasts, pregones and soneos.  The mambo is unforgiving and if the dancer lets himself be carried away by the music, he can feel it to the last drop of blood running through his veins.

Camina y ven (Charanga Masters)

A Cuban song from the heart made in the best charanga format, taking into account that technology allows to improve the sound of the past.  The flute and violins play with the percussion in a daring way, modernizing what was the charanga in its original form.

Mi propuesta (Robert Burgos and Descarga Zason)

The closing track travels to Cuba in pure timba sound.  The singer harmonizes perfectly with the arrangement and the execution of the orchestra, his voice being the typical Cuban voice that stands out in timba format.  Very successful to close the trip of the compact disc with timba.  Very well achieved farewell.

Although the release of this CD was in 2019, for me it is new.  So I take the trouble to assure you that if you listen to it you will love it.  If you dance, you’ll wear out your sole.  And if you don’t, you’ll be encouraged to learn to move your skeleton to the rhythm of this tasty treat.

 

Thanks, Andy, congratulations!

Facebook: Andy Rodríguez

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

Puerto Rico

WebSite: Bella Martinez

Article of Interest: From Italy Albert Giorgio Giovanni DJ. Lindo Salsa and Bachata

“Tell me your name in leather, Little Johnny, Little Johnny” Hard Strike.

Conguero, percussionist, producer, composer, and conductor, Little Johnny Rivero has performed throughout the United States, Canada, Europe, Africa, Asia, the Caribbean, and the South Pacific.

Born in New York City to Puerto Rican parents, Rivero was attracted to Latin jazz and the sounds and rhythms of the New York area rumberos as a child.

At age 10, Johnny began practicing percussion and joined his school band.

Shortly thereafter, he took dance lessons, which eventually led him to stage performances with the bands of the time at such famous venues as the Manhattan Center, Colgate Garden, Copacabana, and the Palladium.

At age 14, Rivero joined Orquesta Colón, the youngest Latin band in New York City, and recorded two albums with them.

Shortly thereafter, he took dance classes, which eventually led him to perform on stage with the bands of the time in such famous venues as the Manhattan Center, Colgate Garden, Copacabana, and the Palladium.

In 1973, Rivero moved to Puerto Rico with his parents and joined Sonora Ponceña in 1974.

After playing bongos with them for a year and a half, he switched to congas, which rekindled the love he had for the instrument as a child.

Rivero attributes the rhythms and professional direction he learned from Quique Lucca and his son, Papo Lucca, as qualities that have made him what he is today.

During the 16 years that Rivero played with La Sonora Ponceña, he traveled all over the world and made 18 highly respected albums with them.

Rivero has recorded with producers such as Eddie Palmieri, Brian Lynch, and Dr. Lonnie Smith.

In May 1997, Rivero shared the stage with his inspiration and idol, José Mangual. Rivero’s credits also include work with Charlie Palmieri, Dave Valentín, Rubén Blades, Cheo Feliciano, Andy Montanez, Ismael Miranda, Celia Cruz, Giovanni Hidalgo, Ray Barretto, Patato Valdez, Changito, Tata Guines, John Santos, Sergio George, Bebo Valdes, Paquito D’Rivera, Tito Puente, and many other artists.

Rivero’s first solo effort, “Pasos Gigantes,” was well-received by critics and music fans.

He wrote and produced all the songs on that CD, showing off his skills as an arranger and musician.

He is currently working on his next CD, “Music in Me”, his first Latin Jazz album, which will include musicians, Brian Lynch on trumpet, Zaccai Curtis on piano and keyboards, Luques Curtis on bass, Louis Founche on saxophone, Andrei Matorin on violin, Ludwig Alfonso on drums, and Anthony Carrillo on bongo and bata drums.

Currently, Rivero is traveling internationally with Grammy Award winner Eddie Palmieri.

He also continues to record in-studio sessions and perform with many of the most respected acts in Latin music, including his own band.

Legendary conguero, percussionist, producer, composer and bandleader Little Johnny Rivero is proud to present his latest album, Golpe Duro, with Anthony Almonte.

From New York and after moving to Puerto Rico, he spent sixteen years with the Sonora Ponceña band and recorded eighteen highly respected albums.

He has played with many of the biggest and most respected names in Latin music, including nine-time Grammy Award winner Eddie Palmieri.

During that same time, Little Johnny formed his salsa band and his Latin jazz band and continued to teach percussion at Kennedy High School in the Bronx, NY. It was there that Anthony Almonte, a high school student at the time, would become one of his music students.

Little Johnny has always had a passion for writing music and over the course of four years since his last album, he was inspired to write once again. He set out to create a danceable album that would highlight the roots of Son Montuno, Guaracha Mambo, and Latin jazz.

The only thing missing was a singer. In a rehearsal, his friend and colleague Jeffery Lopez mentioned that there was a talented “new guy” on the block. He came down, and here he was, Anthony Almonte from Kennedy HS. As they say “the rest is history” and the result of their collaboration is Little Johnny’s latest album, Golpe Duro.

Website: Little Johnny Rivero

Article of Interest: Eddie Palmieri: A Memorable Career

The Palladium legacy lives on

The idea of bringing together the three great Palladium orchestras in an innovative concept was the brainchild of Mario Grillo, better known in the music world as Machito, Jr. whom I had promised to address on the subject of the Big Three at the Palladium.

Here I share one of my dreams come true.  To be able to write about what I am passionate about is a great luxury, but to have these greats of music welcome me with so much affection to fulfill it is simply magic, fantasy and illusion.

Mario Grillo was born and grew up in a home that supported and sponsored his decision to become a musician.  However, his mother -Doña Hilda Torres (EPD)- forced him to practice one hour a day “the hard way” while she told him that being a musician was as serious as being a doctor or a “shyster”.  Mario Bauzá was his solfeggio teacher, since reading music was mandatory in his professional path.

At the age of ten he was already playing with his father’s orchestra.  When he was still in high school and only 15 years old, Mario Grillo was already the regular timbalero in Machito’s orchestra. However, Machito, Jr.’s career skyrocketed when he did not yet dream of being ready to become a bandleader.

In 1975, his uncles Mario Bauzá and Graciela Grillo Pérez left their Machito’s orchestra, forcing Machito to take action and rescue his orchestra.  Machito did not seem to be affected by the fact that Mario Bauzá’s replacement had not yet reached the age of majority.  At only 19 years old, Mario Grillo became a bandleader “a la cañona” as we say in Borinquen bella.

The new orchestra was affectionately called “Machito and his Kindergarten” since the musicians were youngsters hungry for musical experience.  Although Mario Grillo did not know it, the virtuoso timbalero had been preparing for this moment since he was only five years old when he had performed a timbal solo with none other than the “King of the Timbal”.

In 1982, at the age of 25, Mario Grillo directed and produced the recording of the 1983 Grammy winning album in the category of Best Latin Recording.  With great pride Mario adds that the recording was done in Holland and that the entire process was completed in four hours.  It is worth mentioning that Machito and His Salsa Big Band won against Julio Iglesias, José Feliciano, Willie Colón & Rubén Blades and Ray Barretto.

Here is a sample of the album in reference (Arrangement by Isidro Infante):

I ask you: How did the idea of establishing The Big 3 Palladium Orchestra come about?

Mario Grillo Torres, whose name honors the great Cuban jazzman -Mario Bauzá (EPD)- and whose nephew he is, tells us that the idea came out of desperation.  The booking agency of Mario Grillo’s orchestra found that its strongest market was rather in Europe and Scandinavia.  However, one bad day Mario Grillo had to face the possibility of modifying his orchestra.  His promoter suggested that he reduce the 16-piece orchestra to form a quintet or sextet to make the project more profitable.

Machito, Jr. laughingly recalls that he only knows about big orchestras, so he got down to work and started making phone calls.  He called Tito Puente’s widow:  Margie, Tito Rodriguez, Jr. and Tito Puente, Jr. Once Margie, Rodriguez, Jr. and Puente, Jr. agreed to ally with Machito, Jr. the latter returned to the booking agency in London to offer him three orchestras for the price of one.  Three calls were enough for Mario Grillo to return to counter negotiate with that promoter, offering him an irresistible orchestra.

The idea entailed a large orchestra with three timbaleros.  Each timbalero would play one third of the repertoire, corresponding to the repertoire of the Patriarch of the timbalero on duty.  That is to say, Mario would lead the orchestra during the performance of Machito’s orchestra repertoire; Tito Rodriguez, Jr. would lead the orchestra during the performance of El Inolvidable Tito Rodriguez’s orchestra repertoire prior to the closing in which Tito Puente, Jr. would lead the orchestra during the performance of the King of Timbal’s orchestra repertoire.  The booking agency representative had no choice but to give up the promoter’s original idea of reducing the large orchestra concept to form a smaller, more economical group, because no one offers three orchestras for the price of one.  And Mario is not a salesman.  As an important detail, the tour began after 15 concerts were confirmed, without the orchestra having posters, much less CDs to promote.  And “in a crazy way”, as Mario Grillo describes it, they began to fulfill the “stews”.  The first places to host that non-promotional musical tour concert were Columbia University and the Verizon Center.  From there they went on to England, France, Germany, Italy, Bulgaria and Latvia.

A year into the tour, Mario Grillo was asked by the booking agency to promote a tangible during the next tour.  The Big Three Palladium Orchestra, Performing the Music of Tito Rodríguez, Machito and Tito Puente was born.

This CD was recorded live at the Blue Note during two concerts that were “packed”, as Mario Grillo told me with emotion.  The recording of this masterful production was coordinated from a rolling recording studio that monitored 48 microphones.  The long awaited compact disc became the promotional item for the ten years that were added to that historic tour, which initially consisted of only fifteen concerts.  The first concert of this historic reunion was in 2000.  This year marks the 21st anniversary of the establishment of the Palladium’s Big Three Orchestra.  Having come of age, this orchestra has the repertoire of the owners of the mambo.  This results in more than three hundred record productions, which adds up to more than three thousand songs and no room for exaggeration; so as Mario Grillo declares: “Anything can happen”.

During the eleven years of touring Europe -Finland, Germany, Spain and France-, New York, Boston, Philadelphia, Washington, DC, Los Angeles and San Francisco -to mention a few places- Mario Grillo repeated what he did with Machito’s orchestra; this time the legacy sounds through The Big Three Palladium Orchestra.  For Machito, Jr. one of the most emotional moments was when they came to Puerto Rico for the Jazz Festival.  For the first time, the heirs to the mambo era – Tito Rodriguez, Jr., Machito, Jr. and Tito Puente, Jr. – teamed up again in their three-orchestras-in-one concept to bring the Palladium legacy to Puerto Rico.  In fact, between laughter and mischief Mario states that his father always insisted that: “the best interpreters of Cuban music are the Puerto Ricans” adding that this assertion guaranteed him tremendous fire within the Cuban community.

When I asked Mario about his favorite instrument, he commented with a loud laugh: “women, I’m malamañoso”.  Once we returned to the line of conversation, he added that he has been a TOCA artist for ten years.  With a serious tone he added that he is very proud of his colleagues, fellow artistic staff members within TOCA Percussion.  Among that list, he mentioned Tito Rodriguez, Jr. and the late Jimmie Morales, who, according to Mario Grillo, used to make a fire out of two coffee cans no matter what brand of instrument it was.

As you can see, each of the “Palladium’s Big Three” left behind a timbalero son, coincidentally.  These three timbaleros have made it their mission to keep the Palladium legacy alive and well.

With deep pride, Mario Grillo told me that in 2019, the 80th anniversary of the first Machito orchestra, established in 1939, was commemorated.  The average seniority of the musicians who remain in the orchestra since its establishment is forty years.  In fact, there are anecdotes that show Luis “Perico” Ortiz as an alumnus of Machito’s orchestra.  It is said that when “Perico” was part of Mongo Santamaría’s orchestra, he would go to play with Machito’s orchestra during his days off.  Another alumnus of Machito’s orchestra is the bongos player of the Gran Combo de Puerto Rico: Richie Bastar, who as a teenager became the substitute bongos player of that school orchestra.  With the privileged memory that characterizes him, Mario Grillo states with admiration that in 1979 Machito identified excellence in Isidro Infante -also a former student of Machito- when they played in Finland.

Although Machito, Jr. has not insisted on being Machito’s son, it is not possible to forget that he is the son of one of the greats of mambo, creator of Cubop and salsa, so it is not surprising that his father is still a topic of conversation in musical circles.

Here is one of my favorites (Arrangement by René Hernández)

 Website: Tito Rodríguez, Jr. “The Palladium legacy lives on”

WebsiteBy: Bella Martinez “The Irreverent Salsa Writer” Puerto Rico

WebSite: Bella Martinez

 

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