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Néstor Sánchez “Maestro de Soneros¨.

Born in 1950 in New York, of Puerto Rican origin, he is considered by critics as one of the soneros with the best vocal technique.

Néstor Sánchez “El Albino Divino”.

In 1968 he began his musical career at the age of 19 in New York with the orchestra of Ray Rodriguez, Ray was the brother of the late Bobby Rodriguez, the recording was entitled “Introducing Ray Rodriguez and his Orchestra”, he was also with the Tonny Pabon Orchestra, and the Conjunto Candela.

1976 Nestor Sanchez joined the orchestra of the wonderful Jew, Larry Harlow, replacing Junior Gonzalez as lead vocalist and became a member of the Fania label stars, at that time,

Harlow was recording the album “La Raza Latina” for which Sanchez performed one song and the rest was in charge of the Panamanian Ruben Blades where he musically created the history of Nuestra Raza, from the Amerindians, the Spanish conquest, and the arrival of the black African slave.

The album, “El Albino Divino”, was one of his official presentations with the orchestra, with the Harlow Orchestra he spent almost ten years and recorded seven albums, among these: Rumbambola, Dulce aroma del éxito, Soy Latino.

1979 Harlow disbanded his orchestra, Sanchez also recorded with Tito Puente’s orchestra the song “Bonito y Sabroso” in the LP “Homenaje a Beny Moré” which won a Grammy award for Puente.

In 1984 he recorded the production Julio Castro y La Masacre, in 1990 he was released as a soloist in the romantic wave with the album Como Nunca.

In the year 2000 he was invited by the King of Bass Mr. Bobby Valentin to participate in the album La Gran Reunión, and in all the recordings where he participated as the first voice in the chorus.

This talented man, whom we consider one of the most outstanding voices in our music, and sonero of soneros, never had the recognition he truly deserved. As a tribute and vindication, the February 2017 Salsero of our page is dedicated to him in a heartfelt and sincere way.

As a singer, Néstor Sánchez loved Cuban music and considered himself an admirer of Abelardo Barroso, Beny Moré and Miguelito Cuni, and from La Isla del Encanto his favorites were Tito Rodríguez and Ismael Rivera, in whom he was most likely inspired to create his own style.

His musical career began at the age of 19 in New York in 1968 with Ray Rodríguez’s orchestra. His first recording was the same year and was entitled Introducing Ray Rodriguez and his Orchestra; the second, in 1969 and with this same orchestra, was called Delusion, these two musical works were made for Al Santiago’s label “Alegre Records”.

In 1970, Néstor Sánchez joined Tony Pabón’s orchestra with which he recorded six albums in LP format, these musical productions are: in 1970, Tony Pabon And His All-Stars and La Protesta With Tony Pabón: Free; in 1972, On The Right Track; in 1973, Introducing Néstor Sánchez; in 1974, Tony Pabón & La Protesta Featuring Néstor Sánchez – El Capitán; and in 1976, Tony Pabón Y La Nueva Protesta – Fango – Pura Salsa, Puro Disco.

After his time with La Protesta, El Albino Divino joined Conjunto Candela, with whom he produced an LP entitled Conjunto Candela.

In 1976, he joined the orchestra of “El Judío Maravilloso” Larry Harlow as lead vocalist, replacing the Puerto Rican singer Junior González. With that, he became one of the stars of the Fania label. Between 1977 and 1984 he recorded the albums La Raza Latina – A Salsa Suite, El Albino Divino, Rumbambola; Larry Harlow & Junior González – Our Latin Feeling / Nuestro Sentimiento Latino; El dulce aroma del éxito; Larry Harlow, Canta: Gary Carrión / Así Soy Yo; Larry Harlow – Yo Soy Latino and Larry Harlow / Señor Salsa, featuring the young singer Ray Pérez.

Between 1968 and 1984, Néstor Sánchez was not only part of the orchestras of Ray Rodríguez, Tony Pabón, Conjunto Candela and Larry Harlow. He also recorded with King Nando, Orchestra Colon, Los Hermanos López, Yambú, Andy Harlow, Adalberto Santiago, Charlie Palmieri, Ismael Rivera, Tito Puente, Willie Colón, El Conjunto Libre, Azuquita y Su Melao, Fania All Stars and Louie Ramírez.

Throughout the eighties, Néstor Sánchez’s career had a second stage, in which he participated in musical works as a singer and backing vocalist for other great stars of our musical firmament, such as Héctor Lavoe, Típica 73, Ray Barretto, Julio Castro y La Masacre, Rubén Blades y Seis del Solar, Cheo Feliciano, Ismael Miranda, Oscar D’ León, Celia Cruz and Bobby Valentín.

It is presumed that in his more than three decades of music he participated in some two hundred musical works, about half of which are presented in our “Discography” section, available on our web page. Her voice was also recorded in many musical works of the so-called salsa romántica.

Among the songs that the beautiful voice of our great Albino Divino left us, we highlight numbers such as: “Amor pa’ qué”, “Averigua”, “Bobo tú te quedarás”, “Bonito y sabroso”, “Compay, póngase Duro”, “Con la mayor elegancia”, “El bobito”, “El diablo viene”, “Madre”, “Mentiroso”, “Quasimodo”, “Suena La Quija”, “Va llover”, “Guaguancó para los soneros” and “Vamos a gozar”. Our great sonero also recorded some songs in English.

Finally, we repeat that the present investigative work on the musical life of the great singer, chorister, arranger and composer Néstor Sánchez, “El Albino Divino”, is a tribute to his musical legacy with which the section “El salsero del mes” of our web page www.latinastereo.com wants to remember and keep all his work in force. Néstor Sánchez will remain forever in the hearts of the salseros of the world.

On September 2, 2003, Néstor Sánchez passed away at the age of 54 at his home in Bronx County, New York, after losing a battle with lung cancer.

Main source:

By: Sergio A. Rendón Ángel

To: www.latinastereo.com

Medellín, Colombia

Article of Interest: Raymundo “Ray” Barretto Pagan was born in Brooklyn, New York on April 29, 1929

Ortiz features Tony Vega, Milly Quezada, Johnny Rivera, Gerardo Rivas, Henry Santiago, Yturvides Vílchez, Néstor Torres, Charlie Sepúlveda and Antonio Luis Orta.

The new production of the Puerto Rican trumpeter Luis “Perico” Ortiz, Sigo entre amigos comes to us with the same energy as always.  We trust this is a foretaste of what is to come because as the genius of musical production, Julio Gunda Merced, says: “We must continue to create”.

Sigo entre amigos begins by modernizing what would otherwise keep us in the nostalgia of the unforgettable production, Entre amigos.  The also masterful 1983 production featured Rafael Ithier, Rubén Blades, and Roberto Lugo, as well as the same Conjunto Quisqueya that for years dominated the danceable musical genre known as merengue.  In this new arrival, Sigo entre amigos, “Perico” continues with his trumpet and the rumba is back to form. In this renewed Sigo entre amigos, cut that gives title to this impeccable production, we find the voices of: Tony Vega, Milly Quezada, Johnny Rivera, and Gerardo Rivas. The legendary backing vocalist Henry Santiago also stands out, with the vocal power to which we are accustomed.

Beginning in the third minute of what has become the promotional cut, the unmistakable trumpet of the usual Luis “Perico” Ortiz stars in the notes of the arrangement until he joins in calm and saucy harmony the melodic wind collective formed by Yturvides Vilchez, Antonio Luis Orta, Jesus Rafael “Rafy” Torres, Eliut Cintrón, Randy Román, Miguel Rivera and Danny Fuentes in a masterful closing.

The second cut of this production, De mi para ti, features the crystalline voice of Johnny Rivera.  The song is a composition and arrangement by “Perico”.

The chorus that says: “Mi tributo es para ti, gracias al salón de baile” (My tribute is for you, thanks to the dance hall) enters in a tune that my ear associates to the style that stands out in the Orquesta Puertorriqueña del maestro Don Perignon.  I’m not saying that’s the way it is, I just think that’s what my ear appreciates.  I love it, by the way.

Johnny’s soneos bring nostalgia to the affair without abandoning the innovative touch of the arrangement.  This dichotomy of keeping the foundation constantly evolving has been very well achieved, highlighting New York as “the supreme soul of the art”.  Somewhat later in the song, the touting style that Johnny adds to “si tú quieres que yo cante, canto; y si tú quieres que yo baile, bailo” shows the malleability and mastery with which “Perico” manages to weave the classic with avant-garde expertise. Bravo!

After Johnny’s characteristic war cry in the fourth minute of the song, I recommend listening to what follows the “¡Vayaaa!” anticipating the forcefulness of Gadwin Vargas’ tumbadora. That, for the sake of highlighting my favorite special effect.

How can I say no, if it is a song inspired by the affection and respect that this avant-garde school obviously expresses for women.  It is about a gentleman who “sees lights” for a lady who approaches him cautiously and without haste.  Finally, the gentleman succeeds in making the lady fall in love and confesses to her that the wait was worth it, even though at first he did not even dare to ask her for a kiss.  In short, this composition by “Perico” himself is far from the lyrics that some fire-eating feminists condemned as misogynistic, in that past that this team of artists led by “Perico” were never part of.  In a way, this song repairs the damage caused by others.

In the vocal part, it distinguishes the duet between Gerardo Rivas, guest of this production, and “Perico” himself, who also interprets through the trumpet.

Musically, the arrangement of this song is easy to listen to, although I imagine that the arranger processed all the complication to make it simple for our inexperienced ears. The rhythmic changes within the salsa sound of this song have interesting transitions, the kind that make the dancer get active even if his dancing shoes are not well tied.

In the vocal part of Detente, the duet between Tony Vega, guest of this production, and “Perico” shines.  Detente lightens the speed compared to the rest of the songs in the production, so the dancer must be in good shape before trying to dance to it.  This fact shows us the versatility in the interpretative ability of Tony Vega whom we are used to hearing singing romantic and slower songs.  It is, without a doubt, refreshing to see how the performer’s horizons can be expanded by way of these artistic combinations of seemingly simple variations. Of course, a pioneer of these effects is “Perico” and this invention that I attribute to “Perico” is due to him having the necessary experience to achieve exceptional results with the usual performers.  At the 2 minutes and a half mark, the correspondence between the bass played by Jorge Rivera and the piano played by Carlos García; they reach a rhythmic transition, which makes this arrangement a remarkable one within the list of songs that compile this production.  Almost entering the fourth minute, we reach the social message that the song delivers to the listener as a chorus: “Persigue lo bueno…”.  The chorus and the pregones are framed within the tastiness of a trombone full of positivism.  The fifth minute gives way to the conversation between the trumpet of “Perico” and the voice of Tony Vega, affirming a message of love and truth.

Days after listening to the track, I can still hear Henry Santiago’s voice echoing, “chase the good…”

The intro of the track Solo tuya seré features “Perico’s” trumpet playing what appears to be a fragment of the Puerto Rican national anthem.  “Perico” demonstrates masterful mastery in the harmony of the aforementioned notes conjugating them with the vocal entrance of Milly Quezada.  The song’s lyrics are sweet and romantic with lots of melody and rhyme.  However, this does not limit the arrangement to a simple one.  On the contrary, it is one of those arrangements that conquers by its complexity and fluidity.

Before reaching the 2 minute mark, the leather beats come in, anticipating Milly’s proclamation, confirming in multiple ways the chorus that says: “solo tuyo siempre yo seré” (only yours I will always be).  The mambo goes on, while Milly continues to splash the feeling summarized in the confession she makes while singing in her characteristic color: “eres mi mejor canción, eres tú mi melodía” (you are my best song, you are my melody).  By 3:33, the arrangement returns to the undisputed sound of “Perico”.  This composition, also by “Perico” pays homage to patient love, good love that swears: “te amaré toda la vida” (I will love you all my life).  As you can see, it is possible to coordinate romance with a musical arrangement that is at once melodic, danceable and heavy.  Now, the question I have to ask myself is: Did “Perico”‘s return to his homeland after living in New York for about two decades inspire his pen? Is that the reason for the intro with the overlapping resemblance to the national anthem?  That is the question that leads me to: “Eres tú lo que soñé, eras tú mi fantasía” (You are what I dreamed of, you were my fantasy).

On Señores que se sepa, Henry Santiago’s unmistakable voice stands out again in the coros, backing up “Perico’s” vocal performance.  Shortly after 2:30 minutes, the trumpet leads the melodic development of the winds.  Well into the third minute, the association of bass and piano precede Jorge David Marcano’s timbal until the trombone and tumbadora begin to dominate by the fourth minute.  In the fifth minute, a trumpet-led mozambique takes over.  When the mozambique goes down, the piano seems to embrace the trumpet.  As can be seen, the development of the theme is one with modern overtones of undeniable Afro-descendence, without departing from the classic fundamental sound.

On Tres grandes amigos, Henry Santiago sings with his usual strength.  The melody benefits from a sound that I imagine was inspired by Puente, Rodríguez and Machito, since the saxophones stand out in that typical playfulness of the three Palladium greats.  It would seem that the composition and arrangement -both by “Perico”- are in tune with the upcoming reunion of those whom I affectionately call “Los herederos del Mambo” (The heirs of the Mambo).  I associate it, since on March 5, 2022 begins the reunion tour of Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. in the concert: The Big 3 Palladium Orchestra.  The reunion will be held at the Lehman Center for the Performing Arts in New York, under the concept called “The Big 3”; this time titled Palladium in the New Millennium.  On the other hand, on June 19, 2022, Tito Rodríguez, Jr. will be at the Centro de Bellas Artes de Puerto Rico performing as a tribute to “El Inolvidable”: his father, Tito Rodríguez.

Without wanting to compete with the theme performed live with the three timbaleros heirs of the Mambo: Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. backing the voices of Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román, I invite us to take a closer look at the presentation I am referring to, within the 6th Jazz Festival in Carolina, Puerto Rico.  The performance of this song closed the aforementioned festival and is on YouTube for the delight of those who could not make it there.  Click on the link, https://youtu.be/4jZLEnpaRCo you won’t regret it.  It gave me a more complete perspective of the song and its interpretation.  The arrangement of the song performed that night in Carolina is by Luis “Perico” Ortiz himself.  Highlights of the August 2010 performance included: Carolina Mayor José Carlos Aponte Dalmau, Mario Grillo, Tito Rodríguez, Jr., Tito Puente, Jr. and Luis “Perico” Ortiz.  On the vocal front, Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román stood out.  Of course, I can’t leave out Sammy Velez on baritone saxophone.

It is true that: “We are fortunate to have had three great teachers, three great friends…” and it is also true that Henry Santiago ate it. What a hurricane, that voice that sweeps!  Now what we have left is the appetite to enjoy this year’s concerts.  It’s coming, we are waiting for it.

In Yturvides & Perico, the characteristic speed of the other songs contained in the production is changed and the tempo of classic Jazz with the Latin touch that characterizes the master Luis “Perico” Ortiz stands out.  At minute 3:30, the arrangement is skipped for approximately thirty seconds to return to a soft minute of the undisputed Soñando con Puerto Rico.  The slow tempo is skipped again until the end of the song.  This arrangement is for connoisseurs only.  You know, those who know, know, and those who don’t, learn.  The last minute is pure trumpet accompanied by an orchestra that does not get in the way.  The percussion is complementary and sends the children to school.

As promised on the compact disc’s laminated cover, this song is a fusion of Osvaldo Farrés’ Tres palabras and Bobby Capó’s Soñando con Puerto Rico in a masterful arrangement by “Perico” that accommodates an exceptional performance by Yturvides Vílchez.  Simply exceptional.

In the song Warming Up, which closes this production, stand out:  Charlie Sepúlveda, Néstor Torres and Antonio Luis Orta.  The instrumental segment sounds like a big band, as it is.  The piano dominates and seems to direct the saxophones from the first minute, besides conversing in constant playfulness with the bongo played by Richard Carrasco.  The trumpets have a leading role entering and leaving in orderly shifts with the coros.  Distinguished among the coros is one of my favorite voices; not only for his vocal power but also because he can subtly balance that power with his unequaled melodic command.  That’s Henry Santiago, but that’s my preference.

Anyway, I love this production.  If you don’t have it, get it.  If you do, enjoy it.

Facebook: Luis Perico Ortiz

Article of Interest: Ray Barretto Giant Force y A Conguero’s Conguero

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico

How Luis González began his artistic career

Luis González is one of those artists who really make Puerto Ricans proud of being born in the Island of Enchantment. The fascinating story of this boricua begins in March 1954 when he was born in the town of Arecibo, located on the north coast of Puerto Rico, the country from which he moved to look for new opportunities on U.S. soil, starting in Milwaukee, Wisconsin. It was in this city where he spent most of his childhood and began his artistic career in the Youth Orchestra of this place.   

A few years later, he returned to his native country and was notable for being the trumpet player of the Orquesta Concepto Latino de Arecibo, accompanying a big number of artists such as Celia Cruz, Adalberto Santiago and many others. After completing his studies at the Conservatory of Music in Milwaukee, he moved to New York, where he was part of many famous orchestras and worked with renowned artists such as Ray Barreto (whom many consider him his mentor) and Luis Perico Ortiz. Back in Puerto Rico, he worked with La Mulenze, Bobby Valentín, Willie Rosario, Roberto Roena, among other stars. 

It was not until 2009 when he finally decided to give life to his own orchestra which he called Luis González Y Su Orquesta el Tsunami de La Salsa consisting of a total of 12 musicians with a long international career and an uncanny talent. At this time, it is seen as one of the best salsa orchestras in Puerto Rico in its history. The following year, he released what would be his first musical work with his new orchestra entitled Tributo A Un Gigante, which included the collaboration with Luis Perico Ortiz, Adalberto Santiago, Paquito Guzmán, Toñito Vázquez and others. This record production was recognized as one of the most outstanding of that year. 

Recent years

In 2015, he achieved the same feat with his second production Si te Preguntan…, which allowed him to gain great notoriety in the public and the media dedicated to promoting salsa in various parts of the world. 

Years later, González would be inducted into the Puerto Rico Music Hall of Fame thanks to his more than 45 years of musical career, but that was not all. The artist has also received other important recognition from cultural and musical institutions in his native country. Not to mention that he is a member of the Latin Academy of Recording Arts and Sciences (Latin Grammy), getting to participate in the commissions that choose the nominees in some categories. 

In 2020, under the Carnival of Barranquilla, the trumpet player was selected as a member of the jury at the 2020 Orchestras Festival, a well-deserved honor he received on behalf of the Colombian city due to his talent and experience. 

For the moment, he is working hard on his fourth music production, which he has decided to call 50 años… mi música… mi pasión! and will be released to the public in March of this year. A special peculiarity of this new album is that it will be arranged by a top-line team, including Luis Perico Ortiz (who has worked with González on repeated occasions), Ricky González, Oscar Hernández, Javier Hernández, among other eminences. 

By: Johnny Cruz correspondent of International Salsa Magazine in New York City, New York

The most progressive arranger and innovator of New York Salsa in the 70s and 80s.

Music often requires characters who are always backstage and support with their talent the work of singers and performers, who are eventually the ones who “come forward” and assume the popularity. Sometimes, though, these anonymous characters shot to fame in order to be able to perform their own work and even become more popular than any fashion singer.

In the case of Pop, this character is named Quincy Jones, who was said to be the arranger for Frank Sinatra and the producer for Michael Jackson. A “nonentity”. In the case of Salsa, these characters have been symbolized by the emulator of Jones, a guy named Louie Ramirez who has done everything with everyone.

An afternoon in 1994, Ramirez was driving his car on the highway that took him to Variety Studios in New York. It was going to be a quick session because he only lacked one track to complete his 20th album as a bandleader. Perhaps this is why he was nervous and full of anxiety. Minutes later, he could not resist the feeling and had to stop the car. He had not finished doing it when a heart attack ended his life.

Introducing Louie Ramirez

Louie Ramirez was a genius. The one to whom all run for advice and solutions to their problems. It did not matter if they were young or old musicians. The fact was that Louie had the answer and visiting him was like rubbing Aladdin’s lamp. That was a characteristic that always accompanied him, from the first recording “Meet Louie Ramirez” in 1963.

He was 20 years old back then and had a good record with regard to composing some pachangas and arranging for the orchestras of Pete and Tito Rodriguez. Commentator Dick Sugar introduced him like this: Ramirez breaks through the image of a bandleader who uses the talents of other composers and becomes a follower of a rhythm. No, Louie Ramirez is a creator in his genre.

Louie Ramirez Ali Baba

That talent did not go unnoticed by the new Czar of Latin music in New York, Jerry Masucci, who hired him as a star of Fania Records and at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramirez was soon wrapped up in work and could only record two albums during the 1960s, “Good news” and “Alí Babá”.

The last album included the hit that allowed him to be a famous artist, El Títere, a true Salsa classic. The song was performed by Rudy Calzado, the third of the soneros Louie had used without finding the right one. It was a ballast that stayed with him as a director during the 1970s, when he used singers such as Pete Bonet, Tito Allen, Jimmy Sabater, “Azuquita” Rodríguez, Adalberto Santiago, and even Rubén Blades.

Louie Ramirez y Sus Amigos

It was precisely Blades that he made an anthological album with, “Louie Ramirez y sus amigos”, which included the song Paula C, with an arrangement of those that deserve to be admired. By then, Ramirez was already considered as the most progressive arranger of Salsa in New York, thanks to the brilliant works done for the Fania All Stars. An excellent work had been the instrumental arrangement for Juan Pachanga, to be performed by Blades, from Canta for a performance by Cheo Feliciano, and of the entire album “Algo nuevo” performed by Tito Rodriguez with Louie’s orchestra.

Noche Caliente

The peak of Ramírez’s career was in 1980 when Joni Figueras, a representative of the K-Tel International label, hired him to maka arrangements for the ballads Todo se derrumbó and Estar enamorado by Manuel Alejandro. The album, which included these and other songs, was released two years later under the title “Noche caliente” and was recorded by Louie’s orchestra.

Ballad-salsa or romantic salsa was born as a result of a work Ramírez did until his death, making occasional attempts in Latin Jazz, which he loved. That is why he recorded a tribute album to Cal Tjader in which Louie was the director, producer, composer and arranger. Apart from that, he played the timbales and his favorite instrument: the vibraphone.

Louie Ramirez was a genius of arrangements, in a career that included Guantanamera and Isadora for Celia Cruz, El Guiro de Macorina for Johnny Pacheco and El Caminante for Roberto Torres.

The Cesta All-Stars Vol. 1

Further to that, there are his works for La Alegre and the Cesta All-Stars. Regarding this Ramírez’s profile, critic Eleazar López defined it very well.

“It is not easy to arrange for a dance orchestra, especially when it is a group that cultivates the hot tropical genre. Many musicians feel influenced by Jazz and the result of their orchestrations leaves a vacuum in the dancer”.

Others arrange in a simple way, but it is so simple that they repeat and copy themselves, and the result is tired music, without any degree of creativity: music that says nothing, that leaves nothing. Louie Ramirez has found the perfect balance… that’s why he always stays relevant.

Article of Interest: Bobby Valentin, the King of Bass at the Fania All-Stars Machinery

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