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Honor to whom honor is due – Johnny Cruz

This month I hope to be able to pay tribute to great figures of our Latin music, who have worked tirelessly for years to make our music very high.

I want to greet my great friend Larry Harlow and wish him a speedy recovery. Larry Harlow is an American artist and performer, composer and producer of Cuban son, Montuno, Afro-Cuban jazz, mambo, guaracha, cha-cha, and salsa, hailing from Brooklyn, New York. Harlow, who is known for his mix of Afro-Cuban jazz and piano playing styles, studied music in the 1950s in Cuba, but was unable to complete his studies before the 1959 Cuban Revolution, forcing him to leave the island.

The Harlow Orchestra was the first to sign with Fania Records, Harlow has also produced more than 106 albums by various artists and more than 50 albums of his own authorship, in addition to those he produced for Fania. Among his most popular albums were “Abran Paso” and “Tributo a Arsenio Rodríguez” with Ismael Miranda as the vocalist. He also appeared with La Fania All-Stars, in the film, Nuestra Cosa Latina.

Harlow recorded one of his most momentous albums in just two days. Under the simple title of Salsa, it pays homage to the Cuban roots of tropical music, combining the sound of trumpets and trombones with two violins that evoke the aesthetics of the charanga of groups such as Orquesta Aragón.

With “The portfolio”, a version of a song by Arsenio Rodríguez, Harlow finds his greatest success. Thanks to the singers Adalberto Santiago and Junior González, the nickname “the wonderful Jew” arises. In 1972, salsa was in full swing. Larry Harlow, meditates on a musical concept for the Afro-Caribbean music market. Inspired by the success of the Anglo-Saxon opera, “Tommy”, Harlow was preparing for the launch of a similar concept, aimed at the salsa market.

For 1973 the opera Hommy, using the lyrics of Heny Álvarez, tells the story of a boy who, although blind and deaf, had a great talent for percussion. The outstanding musicians of the time and singers such as Justo Betancourt, Cheo Feliciano, Adalberto Santiago, Junior González, Pete “El Conde” Rodríguez and Celia Cruz joined.

The combination of musicians and voices achieved its goal with a recording that established a lecture in the history of Afro-Caribbean music with a radiant exhibition that captured the airwaves and the imagination of the salsa audience. The songs “Es un Varón”, “El Día De Navidad”, “Quirinbomboro”, “Gracia Divina”, “Cari-Caridad” and “Soy Sensacional” were undoubted radio hits that became themes of dance and discussion among all the salseros.

It was the first time that an opera, Spanish-speaking, and in the salsa guild, was directed to the populace. Salsa got dressed up and that legacy opened the doors for the Afro-Caribbean musical tradition to now visit the most prestigious venues in the world.

That is the legacy of “Hommy”, one of the best recordings of the time, which brought together the best musicians of the moment in an expression that transcended time; and, in turn, he brought Celia Cruz to the salsa market and placed her in a seat of honor which she never left. But more importantly, “Hommy” took Salsa to a new place among audiences. What a contribution from Larry Harlow!

I also want to send my regards and appreciation to Ralph Irizarry. Recognized as one of the timpanists with the greatest “swing”, Ralph Irizarry has a distinctive style that has allowed him to leave an indelible mark in the groups where he has played. Born in Harlem Latino New Yorker, Ralph is a self-taught musician who learned his trade by listening to his brother’s records and the music of his idols in nightclubs, where he used to sneak into when he was 16 years old.

His family moved to Puerto Rico when Ralph was in his teens; There he acquired his first professional experiences with La Terrífica, El Gran Combo, La Sonora Ponceña and many other groups. After three years on the island, Ralph returned to New York, where he began playing with local groups.

One winter night in 1978, he met the legendary Ray Barreto at Manhattan’s Corso Nightclub and began a productive working relationship that would result in five extraordinary recordings. Ralph has recorded with David Byrne, Paul Simon, Harry Belafonte, Earl Klugh, Juan Luis Guerra, Cachao, Celia Cruz and Yomo Toro, although he is widely recognized for his musical relationship with Rubén Blades and Seis Del Solar, with whom he remained. recording and performing internationally for 13 years.

His musical contributions have also been fundamental in the recording of two Latin jazz albums made by Seis del Solar for the Messidor Records label. Currently, he is one of the most sought after musicians who has kept working on commercials and film and television soundtracks.

His charisma also allowed him to develop an unexpected acting career: he acted in The Mambo Kings, playing the role of Pito Fernández. In the summer of 1996, Ralph participated along with Tito Puente in the show Master Timbaleros, presented at S.O.B.’s in New York. This historic concert was the culmination of 26 years of dedication, practice, and love of music. He founded the group Timbalaye, a septet with a strong big band sound.

The group combines contemporary Latin jazz with diverse tropical rhythms (timba and songo) and traditional Afro-Cuban rhythms (bomba, cha cha chá and son montuno). Their innovative sound has allowed the group to perform weekly at various venues in New York. Among his most recent projects is a recording at Birdland for a compilation to be released by the RCA Records label. Timbalaye is considered the force of Latin jazz. My hug and respect to you Ralph!

I am happy to express my gratitude and admiration to a powerful woman, Director of Taínos Tower and Vice President of the Museum of Salsa: María Cruz.

María Cruz was born in Carolina, Puerto Rico. In 1966 she came to New York looking for new opportunities. While studying at Manhattan Community College, she began working with the East Harlem Pilot Block Redevelopment Project. Although she may have had no idea at the time, that job was the beginning of her career as a community activist and advocate for social services. As a community worker at the East Harlem Pilot Block, she helped design and offer a tenant orientation in preparation for the occupation at Taino Towers.

Later, she became a Building Representative and worked with tenants regarding apartment issues, rent, social service issues, and Section 8. Maria Cruz has been involved in many community activities:

From 1984 to 1989; She served as president of the Tenants Association of her apartment building. She was vice president of the East Harlem Little League Baseball organization. In her spare time, she organized bus trips for neighborhood children to amusement parks and ball games. Encouraged and assisted several tenants to return to school and continue their education, so that they can be trained and empowered to return to the workforce and leave Public Assistance. Ms. Cruz earned her RAM (Registered Apartment Manager) certificate from NYU and is registered as a Certified Leasing Professional.

Currently, Ms. Cruz is the Executive Director of ARCO Management Inc. / Taino Towers. She has always been a strong activist for the community. In the summer of 1999, Ms. Cruz organized the first annual Taino Family Day. Day in which all residents and members of the East Harlem community participate and celebrate a day of unity. On Taino Family Day, residents rent “kioscos” food stalls and sell various ethnic foods, dance to the rhythm of various musical bands, and children enjoy activities such as face painting, puppet theater, and a petting zoo.

Each year, Ms. Cruz focuses on a different topic such as: education, music, tributes, and family values. As Executive Director, one of her greatest accomplishments was the renovation of the Touro College building. She is currently a board member of the East Harlem Council for Human Services and works closely with local politicians and representatives.

In 2002, Ms. Cruz along with Irving “Magic” Johnson opened the Magic Johnson Computer Learning Center. This program provides computer classes to Taino Towers and the East Harlem Community. As Executive Director, she was also able to oversee the completion of the Senior Park at Taino Towers.

In the summer of 2003, voted by the majority of the tenants, the Park for the elderly was renamed the Maria Cruz Park for the elderly. In September 2019, she was honored with the Eugenio María de Hostos Award from the Puerto Rican National Association for her commitment to the East Harlem Community. People like Mrs. Cruz are exemplary citizens of the Latino community in the United States, and in New York.

Do not stop listening to the new single: “Gracias”, and the first solo production of Papo Rosario, produced by the arranger and musician Isidro Infante. Rosario is grateful to be alive and to be able to walk after being bedridden as a result of a car accident. Papo Rosario is a world-class artist who has put the name of Puerto Rico high. Rosario, withdrew in 2019 from the group considered the “university of salsa”, El Gran combo de Puerto Rico, after having an accident and presenting health problems. Now, he affirms that he already feels ready to resume his musical career with the launch of his first solo production by producer Isidro Infante. Much success in this new stage.

I highly recommend that you follow the track of Quintero’s Salsa Project, a Venezuelan salsa group based in New York, nominated for a Latin Grammy and led by cousins Luisito and Roberto Quintero, released an album in which they pay tribute to the work of La Dimensión Latina, the orchestra that represented a before and after in the history of this musical genre in Venezuela.

The band wanted to go back to the 60s to remember that particular style with which La Dimensión Latina championed Venezuelan salsa: “Many of the world’s salsa players and Venezuelans identify with this rhythm. We, the Quintero, have always been loyal fans of these great teachers. With this album we wish to pay tribute to those who today are a world icon of salsa ”, they said through their networks. “Ya tú lo verás”, promotional single from the album composed by Oscar D’León, was arranged by the legendary trombonist and director of La Dimensión Latina, César Monges, better known as “Albóndiga”.

The album is the second released by Quintero’s Salsa Project, following their debut project, Nuestro Hogar, which was nominated for the 2019 Latin Grammy for Best Salsa Album. In that same ceremony, Luisito Quintero, one of the great Venezuelan percussionists who make a professional life in the United States, received the gramophone as a member of the Spanish Harlem Orchestra, which was recognized for his Anniversary album as Best Latin Tropical Album. Quintero is also a member of the group of the great pianist Chick Corea. Do not miss it!

The invitation to tune in to the new Fm / Internet radio station on Live365.com continues: Salsagallery. Good music, interviews with the artists and much more.

At the Spanish Harlem Salsa Gallery Museum we are happy to say that we are gradually returning to our activities and we will be opening the gallery sporadically. We do not stop, we continue to work for our music and we will always keep you informed through our social networks. We hope to have more news shortly and that we can return to normal soon.

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

Women in music: Carmen Laboy tells of a full life, without regrets

Talking with Puerto Rican saxophonist Carmen Laboy is so pleasurable that it becomes a therapeutic experience for the listener as she leads the musical journey that has become her working life.

The enthusiasm with which she talks about her work is contagious. With that effervescence that characterizes her, for thirty years she balanced her work as a teacher with artistic contracts that led her to perform on countless stages. As an educator, until her retirement in 2012, she headed the Music Department at Columbus High School in New York. As a musician she remains active and current, accompanying when hired and conducting when it is her turn

Talking with Puerto Rican saxophonist Carmen Laboy is a pleasure.

She began her story by holding up a book of photographs while laughing out loud at the images that show a life surrounded by music greats at countless concerts.

Neither at the age of nine when she began taking private piano lessons, nor at the age of twelve when she auditioned for a place at the Escuela Libre de Música in her native Ponce, did she imagine that thanks to music she would travel the world accompanied by her inseparable baritone saxophone. Today she reflects and reports a full life, with no regrets.

Graduated from the Interamerican University of San Germán with a Bachelor’s degree in Music Education and Performance, she obtained her Master’s degree in Music Education and Orchestration from Herbert H. Lehman College in the Bronx, New York; but not before having been awarded a scholarship as an outstanding student by the Vienna International Music Center in Austria.

The woman in music Carmen Laboy gives an account of a full life, with no regrets.

The saxophonist Pete Miranda also connected her to the New York music scene when orchestras on Puerto Rican soil denied her a place because she was a woman, forcing her to leave the island that taught her to love the music she continues to treasure and share with the world.

She decided not to comment on this unfortunate rumor. She preferred to thank that from then on she has not ceased to make music with large format orchestras (big band), delivering Latin music. Colleagues such as Tito Puente, José Madera, Eddie Montalvo, Jimmy Delgado, José Alberto “El Canario” and Frankie Morales have allowed the maestro to play her instrument while accompanying them or when she assumes the musical direction, as the case may be.

The rejection to which she was subjected, which at first glance seems to have been a stroke of luck, did not divert her from her goal. On the contrary, she found in it the strength to blow in other lands. More than five decades of musical work at the helm of her baritone saxophone with the orchestras of Tito Puente, Machito, Ray Santos, Joe Cuba, Frankie Morales, Tito Rodríguez, Jr., The Big 3 Palladium Orchestra, Kit McClue Big Band and Harbor Conservatory Latin Band; as well as having accompanied Choco Orta, Paquito Guzman, Andy Montañez and Cano Estremera -among others- attest that her priority has always been to remain active in the music scene; this while wearing the same uniform as her male counterparts, be it a tuxedo or a tie. Among musicians, Carmen Laboy lets the music do the talking, far from worrying about her gender.

Bella Martínez
Writer, Researcher in Afro-Caribbean music.

Miguelito Cuní recognized among the best soneros of Cuba

Miguelito Cuní. Pinareño recognized among the best soneros of Cuba, who shared the stage with Benny Moré, Arsenio Rodríguez, Félix Chapotín, Richard Egües, Enrique Jorrín, among others.

Miguel Arcángel Conill, better known as Miguelito Cuní (Pinar del Río, May 8, 1917 – Havana, March 3, 1984), was a Cuban music singer. He was one of the emblematic voices of Cuban son in the 1940s and 1960s.
He was born in Pinar del Río, the westernmost province of the island of Cuba, into a humble family.

Miguelito Cuní Pinareño reconocido entre los mejores soneros de Cuba

During his school days he dedicated himself to the exercise of minor trades to help support the family. In 1932, at the age of fifteen, he began as a vocalist in the group “Los Carameleros”.
Soon after, he was the vocalist of Septeto Lira, Septeto Caridad and other groups in his province.
In 1938, already in Havana, he joined Arsenio Rodríguez’s group, and also worked actively with the orchestras “Melodías del 40” and Arcaño y sus Maravillas, making recordings and performing live and on the radio.

During the forties he developed an intense artistic life, he lived two years in Panama and in 1949 he settled in New York, as director of the orchestra of trumpeter Félix Chappottín.

He worked with Cuban music icons such as Beny Moré and in 1956 he traveled to Caracas to work with the “Bárbaro del Ritmo” with the group “La Tribu”. In 1960 he returned to New York, where he made several presentations, including the famous “Palladium”.

He returned to Cuba in 1966 where he founded his own group.
He participated in the film “Nosotros, la música” and other documentaries.

Some of the melodies that reached popularity in his voice were Con maña se rompe, No hay amor sin caridad, Viejo Socarrón, Nos estamos alejando, Canallón, Quimbombó, Yo sí como candela, Ay qué Canuto, Ya tú ves campeón, Cuento na’ ma, Mi son, mi son, mi son, mi son, Alto Songo, Canto al monte, Cuchillo para la piña cubana, Sacando palo del monte, Camina y prende el fogón, Rompe Saragüey, Convergencia, La protesta de Baraguá, Todos bailan con la guajira, Cárdenas, Guachinango, El carbonero, among others, most of them recorded with the group Chappottín y sus Estrellas, a group with which he achieved great projection and in which he sang until his death.

In his last recording he interpreted the bolero “Lágrima” from the long-playing record entitled “De nuevo Arcaño”. His last trip abroad was to Mexico in 1982.

Composer

Besides being a singer, he ventured into the world of musical composition, of his authorship are cited: Congo africano, Ay mamita!, Batanga africana, A bailar con la guajira.
Sones montunos from the late 1950’s, the boleros: Lloró Changó, Toque santo, Las ansias mías, A ti, Benny Moré.
And the guaracha “Esto no se ve”, among other titles.

He died in Havana on March 3, 1984, three months after his dear friend and companion of countless days, Félix Chapotín, who had passed away on December 21, 1983.

Tribute

Miguelito Cuní was admired by all those who knew him, highlighted by all his friends and close ones as a man of excellent human qualities, in homage to his trajectory the Commander of the Revolution, Juan Almeida composed the lyrics “Este son homenaje”, which was interpreted by the singer-songwriter Pablo Milanés.
In the artistic field, he deserved the recognition of his colleagues and thousands of admirers, and in the personal field, those who treated him remember him as a man of impeccable words and good speech, Miguelito Cuní was a true Creole gentleman.

Source: Ecured

Larry Harlow ”El Judío de la Salsa”: innovative and irreverent

A set of innovative ideas

Recorded live on January 16, 1974 at Sing Sing Prison, listeners will immediately discover that the musicians actually came to play from the first note. In a recent conversation, Harlow considers this album to be one of the best of his career and tells how the enthusiasm of the audience positively affected the performance. This was the only Latin album to be recorded in quadraphonic format. The basic concept was similar to today’s surround sound systems, but the way to achieve the four audio channels changed in terms of format.

Harlow took advantage of new technology and recorded the live album live an 8-channel RCA unit and mixed the recording by spinning on a chair surrounded by four speakers. The Fania sound was created by New York musicians who added swing and a distinctive musical sensibility to Cuban son and other Spanish-speaking Caribbean genres. In the process, they twisted the music into something totally new. “Live in Quad” provides an opportunity to hear that musical transformation, as the main part of the music from this concert consists of compositions by Arsenio Rodriguez.

In the 1950s, Harlow made several visits to Cuba, where he followed and became friends with Rodriguez. Back in New York, he had the opportunity to play with his idol and eventually dedicated an full album to him. For Harlow, the piano is overdubbed and interacted with a harpsichord, simulating the union of the tres and the piano made by Arsenio. This album sounds as exciting and fresh as it did 32 years ago. “Señor Sereno,” Harlow’s big hit with Ismael Miranda, opens the album. Junior Gonzalez, who debuted with Harlow in Hommy, gives us his own version. On a personal level, this performance is an example of the Fania sound: great orchestral work, swing and energy.

More details about the album

Also from Hommy, the song “Gracia Divina” grows in intensity with Tony Jiménez’s brilliant rhythmic fills over Harlow’s guajeos and the powerful swing of the horn section. Justo Betancourt’s gifted voice stars in the treatment given by Harlow to “Mayari” by Compay Segundo. “Jóvenes Del Muelle” is another Cuban classic, arranged by the great Barry Rogers. The arrangement and playing evoke classic ensembles while still sounding modern. Here we listen to trombone solos and a tasty bass solo by Eddie Guagua Rivera.

To date, Harlow is best known for his version of “The Wallet.” This arrangement by Sam Burtis in a masterclass. Notice the Lilí Martínez’s influence in Harlow’s solo, followed by fine trumpet solos and another violin solo by Lewis Kahn. “Tumba y Bongo” was originally composed for Arsenio’s rhythm section (Kila, Quique and Chocolate). This arrangement by Mark Weinstein highlights an exciting hand-to-hand between Pablo Rosario and Tony Jimenez, who delights the audience when he raises his drum in the middle of the solo.

“Suéltala” provides a framework for Júnior González’s soneos while offering exciting solos by Reynaldo Jorge and Nicky Marrero. “Arsenio”, the theme song of the dramatic album Harlow recorded in tribute to his musical hero, gets the matancero flavor of Justo Betancourt with Tony Jimenez standing out with another great solo. In “Descarga Final,” Harlow unleashes the creativity of the members of his orchestra and the singers exchange soneos in a friendly hand-to-hand. Guagua offers another impressive solo while the percussionists are meant to steal the show.

Credits:

Ralph Castrella – Trumpet

Charlie Miller – Trumpet

Junior Gonzalez – Maracas

Larry Harlow – Piano, Harpsichord

Reynaldo Jorge – Trombone

Pablo “El Indio” Rosario – Bongo, Cowbell

Anthony “Tony” Jimenez – Congas

Nicky Marrero – Timbales

Eddie “Guagua” Rivera – Bass

Lewis Kahn – Trombone, Violin

Lead Singers – Justo Betancourt, Junior Gonzalez

Choir – Adalberto Santiago, Larry Harlow, Ralp Castrella

Master Of Ceremonies – Paco Navarro

Producer – Larry Harlow

Engineer – Bernie Fox

Assistant Engineer – Randall Shepherd

Mixing – Good Vibration Studios, N. Y. C.

Recorded Live – Sing Sing, January 16, 1974.

Arrangements – Louie Cruz (“Señor Sereno,” “Gracia Divina”), Larry Harlow (“Mayari,”, “Descarga Final”), Barry Rogers (“Jóvenes del Muelle”), Sam Burtis (“La Cartera”), Mark Weinstein (“Tumba y Bongo”), Charlie Camilleri (“Suéltala”), Bobby Valentín (“Arsenio”)

Original Album Cover – Gary Mason

Metal Graphic Art From Original Album – Charlie Rosario

Devised used by Harlow — Device used by Harlow to record the album

Señor Sereno
Ismael Miranda

Garcia Divina
Larry Harlow / Jenaro ”Heny’’ Álvarez

Mayarí

Jóvenes Del Muelle
Sabino Peñalver

La Cartera
Arsenio Rodríguez

Tumba Y Bongó
Arsenio Rodríguez

Suéltala
Arsenio Rodríguez

Arsenio
Larry Harlow / Ismael Miranda

The magic timbales of Nicky Marrero

Today’s character

After a long wait, we have managed to make the talented New York musician Nicholas Marrero, better known as Nicky Marrero, to come to the Spanish Harlem Salsa Museum to share with Johnny Cruz and his friendly staff on February 26th of this year. Therefore, we would like to take this opportunity to talk a little about his brilliant career and the great contributions he has made to Latin music in the United States.

Beginnings

Nicholas Marrero was born in the Bronx, New York, on June 17, 1950 and both his parents are Puerto Rican. This made the boy grow up among maracas, guitars, güiros and other instruments at home. In addition to the roots of his parents and the whole family, young Nicholas showed a talent that made him stand out very quickly and led him to study drums until his interests began to change and he started feeling drawn to the music made by Willie Bobo and ”The King of Timbales” Tito Puente. Both figures were arguably two of his greatest influences and inspirations in the world of music.

According to rumors in certain circles, his first recording was with Willie Colón’s band when he was only 15 years old, but the material was never released because of some alleged problems with the record label involved. The first albums with his participation as timbalero that were made public were ”El Malo” and ”The Hustler” by Willie Colón, both made in 1968. The usic productions were released in LP format in both cases.

Johnny Cruz and Nicky Marrero playing the timbales in 2017

Collaborations with Eddie Palmieri and others (título 3)

That same year, the growing artist began collaborating with Eddie Palmieri’s orchestra and had an important participation in the album ”Champagne”, which was released through the Tico Records label and whose repertoire includes songs such as ”Cinturita”, ”Palo De Mango” and ”Ay Que Rico”. Marrero contribute his talent to Palmieri’s on 15 more productions over the next 50 years that followed. Many of them were extremely successful and earned him the Latin Grammy Award on several occasions.

Another important step in his career was the replacement of Orestes Vilato as timbalero in the Fania All Stars, with whom he performed all kinds of activities in many countries such as tours, concerts, press releases, among other things. He played in 25 music productions for this important salsa and Caribbean music orchestra during the time that he was a member of the group.

Johnny Cruz and Nicky Marrero again in 2023

Although the artist’s most outstanding collaborations have been with Eddie Palmieri and Fania All Stars, the timbalero has also collaborated with other great names in the world of salsa and Latin music such as Hector Lavoe, Louie Ramirez, Larry Harlow, Alfredo De La Fé, Ismael Miranda, Cheo Feliciano, Joe Quijano, Daniel Santos and many more.

Among the latest works in which Nicky participated is the album ”Full Circle” by Eddie Palmieri for the Ropeadope Records / Uprising Music label. The unmistakable sound of the musician is more than present with his characteristic bongos and timbalitos along with the unforgettable notes from the piano of maestro Palmieri, who has been more than a mentor since the artist started his prolific career.

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