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Felipe Pirela | The Bolero of America

North America / USA / New York

Felipe Pirela:

En mi barrio el empedrao
Parroquia Santa Lucia
Había una barbería
Que era muy populachera
Te lavaban en ponchera
La silla se reclinaba
Y Luis el perro pelaba
Al son de una periquera

This is the sound of the tasty gaita performed by the group Sabor Gaitero and Los Gaiteros de Pillopo. It refers to a barbershop in a picturesque neighbourhood of Maracaibo in the Venezuelan state of Zulia. It was in this popular neighbourhood of Maracaibo, El Empedrao, that Felipe Antonio Pirela Morón was born in 1941. It was probably in this popular barbershop that he got his first haircut, and it was certainly in some corner of the neighbourhood that he took his first steps as a singer, perhaps interpreting gaitas or some other popular genre. The young Felipe was far from imagining that he would become “El Bolerista de América” (The Bolero of America).

The son of a bricklayer, Felipe Pirela Monsalve, and a housewife – an artist at heart – Lucia Morón de Pirela, the boy began his musical career as a child, supported by his mother, in small radio singing competitions. Incredibly, at the age of 13, together with some boys from the neighbourhood and his two brothers, he founded the group Los Happy Boys, which performed in various venues in Maracaibo, without even imagining that he would later become the main star of Billo’s Caracas Boys, a group that, upon arriving in Venezuela, debuted under the same name, Billo’s Happy Boys, directed by the Dominican maestro Billo Frometa.

At the beginning of his singing career, Felipe specialized as a bolerista, performing songs by prominent singers such as the Chilean Lucho Gatica, the Cuban bolerista Olga Gillot and Venezuela’s favorite tenor Alfredo Sadel.

Radio Caracas Television had the honor of making Felipe’s image public for the first time in 1957, through an amateur program in which Felipe placed third. Unfortunately, there were no video recording systems in those days, so there is no record of this historic achievement. Later, the now defunct and legendary Venezuelan regional television station from Maracaibo, Ondas del Lago, served as a springboard for Felipe, who was one of its founding artists.

These performances allowed him to sign a contract with the station in 1958, after which he moved to Caracas, where he performed on Radio Caracas and in various nightclubs.

Shortly thereafter, he returned to Maracaibo to join the orchestra Los Peniques, with whom he recorded his first album in 1960 and began his professional career.

Like most of the artists, baseball players and boxers from Maracaibo, Felipe was a man of humble origins, pobre del pobre, with limited economic resources, who for a time missed opportunities to be noticed despite his immense talent.

Fortune smiled on him when Maestro Billo Frometa heard him sing, at a time when the arranger, director and musician from Quisqueyano was preparing to restructure his band, Billo’s Caracas Boys, and at the same time hired another singer from Maracaibo, the remarkable José “Cheo” García. This hiring gave an enormous boost to the already famous Billo’s Caracas Boys; the band acquired great international prestige, performing throughout America and Europe, popularizing the immortal mosaics that for many years enlivened the parties and were the favorites of the Venezuelan public.

Not for nothing, Billo’s Caracas Boys Orchestra has been called the most popular in Venezuela, the Caracas and Venezuelan clubs, Latin American countries and even the European continent (Tenerife, Spain) showed full houses during the band’s performances. In these performances, the acclaim for Felipe Pirela was total. Huge demonstrations of support, full houses and legions of fans followed the “crooner” on his tours.

When Venezuela’s favorite tenor, Alfredo Sadel, left the popular genre and his country to devote himself to opera, Pirela almost immediately replaced him in the favorite place of Venezuelans.

In 1961, “El Bolerista de América” recorded with a string orchestra conducted by Billo, the long playing Canciones de Ayer, including old songs and songs of that time, a recording that marked his resignation and departure to Mexico, where he also had memorable successes.

In 1964 he married Mariela Montiel, a marriage that resulted in the birth of a daughter, Lennys, and in which La Retirada was quickly marked by the fact that Amor se Escribe con Llanto (Love is Written with Crying) and that it probably does not last a lifetime.

Canada and Mexico witnessed his successes in ’67 and his return to Venezuela. Successful performances in Miami that same year motivated him to reside in the United States, where he tried to structure his own record company, a project that came to nothing and he was deeply disillusioned and returned to Venezuela, later residing in Puerto Rico, where he was taking La Última Copa when he was tragically assassinated in 1972.

For some, his career was marked by Sombras Nada Más, but for the vast majority, “El Bolerista de America” remains in the memory as one of the most unique stars of Latin American music of all time.

For Mario Cabrera Bello

¡Attack Sergio! Unbreakable: A fun read because of the contradictory content

I placed the order online on October 25, 2023. By return email, I received confirmation of payment and a promise to receive my copy the following week.

However, after several days I received a delay notification from the supplier. It was understandable that an artist of Sergio George’s stature would trigger interest in acquiring the work that promised to tell his story, perspective and opinion on the music industry. Exactly on November 25, 2023, the order arrived.

¡Attack Sergio! Unbreakable: A fun read because of the contradictory content

As a reader, I was deeply disappointed with the content of the “book”. Attack Sergio! Unbreakable falls short of being an autobiography. I would classify it as a self-help book with little depth, no substance.

Writing a book requires literary knowledge, basing the content on rigorous research and stating the data with mathematical precision.

The cover of the text is appropriate for the trajectory of the artist who is the subject of the text. However, the data on the cover that assures that he is the winner of 19 Grammy awards contradicts the text. Specifically, on the third page of the introduction it says that he is the winner of 18 or 19. Evidently, the recently launched book should not be taken as a reference for a subject of such seriousness.

From the legal page it is clear that Sergio George is the author and that Janice Rodriguez was in charge of editing. Sadly, the work lacked editorial care, which detracts from the literary value of what is presented. There are many expressions that seem to be literal translations from English and that do not necessarily maintain the idiomatic integrity of what the author wants to express. Now, if that were the case, you should stop counting the missing and extra accents.

Having said that, I am going to manage my criticism, since space is limited and the idea is not to write another book about the “book”. Certainly, in the world of the versed salsero, of which I am one, the most awarded producer in Latin music has a great story to tell. But his literary delivery fell short. I understand the intention to approach his complaint as a self-help book. But that grand intention also failed.

I read in each of the 128 pages discontent, loathing, complaint, frustration, resentment and wounded self-esteem. Objectively, you have to read carefully to see that what he claims to do is the opposite of what has brought him so much controversy.

In his usual combative style Sergio George launches harsh criticisms of salsa artists. Resentment has won out over objectivity. Each blow takes away the value of his exposition, until it becomes the outlet that we all need to have at given moments.

Of course, emotional maturity is what prevents one from publishing matters that should remain in the privacy of conversations between the affected parties.

With a high sense of arrogance, characteristic of narcissistic personalities, the author accuses the “great salseros” of having murdered salsa because of their ego, pointing them out as the culprits of the death of the “musical genre”.

This becomes another of the great contradictions of the text. At times he claims that salsa is not a genre, but on multiple occasions he refers to salsa as a musical genre. On the other hand, he says that salsa is in danger of extinction shortly before assuring that it is dead. His point of view in that sense is not clear either, although he does state near the end that there is a legacy that does not die.

This is the contradictory nature of the reading, whose common thread is the attack. That may be the origin of the idea of the title, although at first glance one might think that “Attack Sergio!” is the repetition of the battle cry that invites him to attack the piano, while he prolifically produces music.

I believe in the evolution of the species and I see that the adaptations through which salsa has gone through are similar to the genetic modifications necessary so that, within each species, the fittest survive.

The text has several anecdotes. However, due to the lack of details, these do not add value to the construction of the history of salsa. In some of them, the names of certain characters are not mentioned. I guess the author did not want to enter into a request for relays or preferred not to risk dealing with legal controversies.

With so much that Sergio George has contributed to the history of Latin music, it is a mistake that the book has not been given more structure and objectivity.

Sergio George has been a cornerstone in the history of Afro-Latin rhythms and is the owner of a brilliant musical career that has made many shine. But to that exposure, the text does not do justice either.

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The Royalty of our Latin Music Pete “El Conde” Rodríguez first singer signed by Fania Records label

Pedro Juan Rodríguez, Pete “El Conde” Rodríguez “La Realeza de la Salsa” (Born in Ponce, Puerto Rico on January 31, 1933).

First singer signed to the Fania Records label in conjunction with the Johnny Pacheco Orchestra and of outstanding participation with the Fania All Stars and his own orchestra.

His father, who made his living as a musician playing in a string quartet that entertained parties and social gatherings, guided him during his first steps as a musician.

By the age of 6, little Pedro was very skilled with the bongo and singing popular Puerto Rican songs of the time.

Things became difficult after the death of his father and as a teenager Pete had to emigrate to the United States (1946) to live with his aunt in New York.

Once in New York, Pete managed to establish himself as a percussionist in the Orquesta Oriental Cubana. Before, long before joining the great Pacheco, Pete had to go through several orchestras among which stand out: Las Jóvenes Estrellas de Cuba (57), the Típica Novel and the Broadway from which he left for personal reasons.

In May 1962 Pete Rodriguez (he was not yet called El Conde), joined Pacheco in a Charanguero orchestra (flute, violin, rhythm and chorus). The first album with Pacheco was Suavito in 1963.

By 64 Jhonny Pacheco and Jerry Massucci founded Fania Records and created the internationally recognized Fania All Stars.

Pete was the first singer that Fania had, and on his shoulders was the responsibility of taking that project forward. On Fania’s first album Cañonazo (1964) Pete performs the song Fania, a composition by Josualdo Bolanos, with which the orchestra was inaugurated.

The Realiza of our Latin Music Pete "El Conde" Rodriguez — The Realiza of our Latin Music Pete “El Conde” Rodriguez

Rodriguez’s first appearance with Fania was at the Greenwich Village Red Garter Club in 1968.

For reasons of life Pete had to leave Jhonny Pacheco’s group; the concrete reasons for this separation will remain a mystery, but it seems that his departure was due to personal disagreements with other members of the group.

After Pacheco, Pete packed up his motets and moved with Rey Roig and the Sensación group (1964-1968). From his time with this group w For the years 66-67, Pete returned to the ranks with Pacheco. This was a more mature stage where the marvelous duo achieved their greatest hits: Azuquita Mami, Convergencia, La Esencia del Guaguanco, Sonero, Viralo al Reves and others.

The turmoil of the time, the world events, the new way of dressing and people’s way of thinking made Pete change his appearance; he let his beard grow and changed his hairstyle a little. This change gave him a new image and a new name “EL CONDE”.

The Pacheco-Rodriguez duo lasted approximately 8 years, since in 74 El Conde decided to go solo.

That same year El Conde released his best selling and Grammy award winning album El Conde (1974). Two years later (1976) El Conde became part of the Salsa Hall of Fame immortalizing himself with Catalina la O.

With the appearance of Salsa Romántica and the onslaught of Dominican merengue in the markets, salsa entered a crisis which was reflected in the musical work of El Conde. So between 1983 and 1990 El Conde managed to record only 5 albums of which Salsobita (1987) stands out.

In 1993 El Conde made way for his son Pete Emilio and his daughter Cita Rodriguez who joined the group as second voice and backing vocalist.

The family was already complete because Francis Rodriguez, his wife, was in charge of the administrative and financial part of the group.ere the following songs Salsa, Bailando Conmigo and his hit El Rincón.

El Conde made his last recording on the Masterpiece Album (1999) with Tito Puente (1923-2000) and Eddie Palmieri. This album is considered posthumous because in that same year (2000) Tito and El Conde passed away.

Cepelio de Pete El Conde Jhonny Pachoco, Cheo Feliciano, Ismael Miranda y Papo Lucca

El Conde had suffered from heart problems for many years, but was always reluctant to have open heart surgery. Pete “El Conde” Rodriguez passed away of a heart attack on Saturday, December 2, 2000.

His remains were taken to his native Puerto Rico. He is survived by his wife Francis, his two sons Cita and Pedro Emilio, and his grandchildren.

Remains of Pete “El Conde” Rodríguez finally rest on the island. December 7, 2023 – After his death in 2000, the remains of Ponceño singer Pete “El Conde” Rodríguez were transferred from New York to the National Cemetery for veterans in Bayamón.

Source: El Pozo de la Salsa

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Singer and manager of Cambalache Pancho Chavez

Peru continues to give much to talk about with regards to salsa and the guest we have this time is clear proof of that. We are talking about the talented singer and backup singer Francisco ”Pancho” Chávez, who has been kind enough to talk to us to reveal unpublished details of his life and career in his native country and, of course, in the United States.

Pancho, who currently serves as vocalist and manager of the Orchestra Cambalache, has a very long career in the U.S. Latin music scene, to the point that his group has established itself as one of the top salsa bands in the northwestern United States. It is a great honor for us to have an artist of this stature in this January 2024 edition.

Pancho from Cambalache — Francisco ”Pancho” Chavez, manager and lead singer of Cambalache

Pancho’s Musical beginnings

Pancho’s first contact with music happened thanks to his mother’s family, many of whom were musicians. Although the young man never go into business in his country, he was able to see how to handle things thanks to his relatives until moving to the United States in 1997.

One or two years later, someone gave him a double album by El Gran Combo de Puerto Rico that, he says, he played a million times because he really liked it. This material was one of his great inspirations to dedicate himself to salsa as a genre and nobody could change his mind.

It was in Seattle that he started making music with college friends when he was already living in the United States, implying that he was not yet formally dedicated to music. In fact, Pancho was studying business at the time and was looking for a small musical group with other young college students he met around 1999.

This group turned out to be Cambalache, which he founded along with Colombian musician Camilo Suarez. This would be the first and only group to which the Peruvian has belonged, so everything he knows about music and the industry was learned with this same project.

He always stood out for his talent to sing and do vocals, but he also learned to play some instruments such as the congas, timbales, bongos, cowbells, among others. He also learned a bit of sound engineering and can work a little in this area, although he recognizes that he is not yet an expert.

Pancho and Maelo — Puerto Rican salsa singer Maelo Ruiz and Pancho Chavez

Recruiting talent for Cambalache

Pancho says that there were not many Latinos at the university back then, so he and Camilo forged a strong friendship and shared many common interests, especially music.

At the time, both were facing the economic problems typical of a college student and saw music as an opportunity to make a little extra money during their summer vacation. Camilo knew other musicians, so he contacted them and proposed them to join the orchestra they were creating.

Pancho and Camilo had thought of a group of five or six people, but there were so many interested in joining the orchestra that the first rehearsals included about 13 people. In the end, solely for economic reasons, they only accepted nine members, of which only he remains.

All these members, including Camilo himself, ended up working with other artists and groups and obtaining new opportunities in the musical field.

Clasiqueando

Cambalache’s first album was ”Clasiqueando”, which was released almost 20 years ago. Pancho assures that the acceptance to the material was very nice, even though the details are not so refined and worked.

The success they had was a surprise for Pancho and the rest of the group, since the scope they expected was local. “We were surprised that people called us from many countries saying they had heard the album and loved it. There were even companies in countries like Japan and Italy that wanted to buy us songs for distribution” Pancho said on the issue.

It was a great start for everything that came next for the group in the years to come.

Pancho and Porfi — Pancho Chavez and Venezuelan arranger, producer, and musician Porfi Baloa

Why choose Seattle

Pancho and his musicians chose Seattle as their base of operations because he and all the members of Cambalache have lived there for many years. That is exactly the city the Peruvian chose to make his living there and he never left it.

It is also in Seattle where they all have their jobs and occupations outside of music and where they meet to rehearse and deal with all the affairs related to the orchestra.

In the beginning, it was very hard for them because the Latino audience was not very large when they created the project. However, that has been changing, and today, many Latinos live in the city and maintain their Latino customs, including music.

Other tasks besides music

In addition to being the vocalist and manager of the orchestra Cambalache, Pancho is also a business administrator and manages his own event company whose main element is, of course, music. In this company, Pancho and his staff are in charge of hiring artists and bands for private events. Of course, Cambalache is involved in the operation of this project.

The event center managed by the Peruvian singer has a capacity for 500 people and has its own stage. He rents it to hold events there and has all types of clients waiting.

They have hired artists such as Gilberto Santa Rosa, Tito Nieves, El Gran Combo de Puerto Rico, Willie González, Conjunto Bahía, Frecuencia Latina, among others.

Latin America / January 2024

DIRECTORY OF NIGHTCLUBS
ARGENTINA	ARUBA	BELIZE
BOLIVIA	BRAZIL	CHILE
COLOMBIA	COSTA RICA	CUBA
DOMINICAN REPUBLIC	ECUADOR	GUATEMALA
MEXICO	PANAMA	PERU
PUERTO RICO	VENEZUELA