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Do you enjoy Latin music? Would you like to get more involved in this genre and share your passion for Salsa, Bachata, Kizomba, Merengue and more. Why not joint our Global Team of volunteers as a correspondent?
You can ask for more details with no obligation and we’ll be happy to talk to you about the benefits that come with the role [Read more…] about ISM / June 2024
Jesús Giselo Blanco was his first name, born in Mirandino, but settled in Caracas when he was still a child.
To talk about his musical beginnings is to evoke part of the history of the Son in our country, since “El Pure” before arriving to the San Agustin Parish had already participated with old groups such as Conjunto Rex and the well remembered Sonora Caracas.
El Pure Blanco was recognized in San Agustin Marin as a true builder of musicians since, with his work as a musical artisan, besides having created the first music school in Marin, many young people were nurtured and formed with his teachings.
Jesús “el Pure” Blanco was a key character in the formation and integration of several groups in Barrio Marín, among them we remember the aguinaldo group Los Juveniles, Los Gaitetricos, Los Super Cremas, La Nueva Generación and of course his biggest dream, the “Son Marín”.
The group Son Marín had several stages, starting in 1981 when in Barrio Marín an improvised musical group was organized to receive at the International Airport of Maiquetía the Grupo Madera that was arriving from an important presentation in an International Festival in the city of Avignon, France.
As fate would have it, that group, which was only a provisional “vente tú” organized by Pure, later became another of the emblematic groups of San Agustín, SON MARÍN.
In particular we remember pleasantly the participation of Son Marin as a representation of the San Agustin del Sur Parish, in the Afro-Caribbean Music Festival “La 5ta Esencia de la Salsa” held on June 17, 1983 at the Nuevo Circo de Caracas, by then the group had not yet recorded their first album, but we had already had the opportunity to listen to a demo with a couple of numbers that came to promote the announcer Hector Castillo in his radio program on the now defunct Radio Aeropuerto.
Over time the group grew and new instruments were added; and of course the inclusion of other musicians, such is the case of Jesus Guzman the popular “Paicosa” who enters as guitarist to later become the bassist and musical director of the group, it was the idea of “Paicosa” with the support of “Pabloco“, to expand the group’s equipment incorporating Hugo Olivero’s sax, Josue Silva’s trumpet, Randal Monasterio’s piano, while the percussion was reinforced with Juber Ramirez.
Unfortunately, a month after the recording began and without being finalized, Jesús “el Pure” Blanco died, however his voice and feeling were reflected in this album that was finally released in 1987, quickly gaining strength and penetrating the taste of the music lover public after the composition of Pablo Martínez, AQUÍ EMPEZO LA COSA, a tribute to this neighborhood that has given so many important musicians, a cradle of soneros as Gonzalo Martínez says in the song.
The voice of Pure Blanco was recorded in the song LA CAÑA; all the numbers were original pieces except for the song “Sin Compromiso” by the Brazilian Chico Buarque, but with an excellent adaptation of the lyrics by Pablo Martínez and Joseito Romero.
To end this biographical sketch, I leave here part of the thanks contained in the back cover of the album from Son Marín.
JESUS BLANCO “Pure” every joy lived with this work, makes us feel you more.
SON MARIN… This is where it all began!!! (1987) Mucer International DL-7140
SIDE A
1.- HERE I STARTED THE THING (Pablo Martínez)
2.- SIN COMPROMISO (Chico Buarque) Lyrics Adaptation: Pablo Martínez/Joseito Romero
3.- YOUR HOLY BLESSING (Pablo Martínez)
4.- EL BUHONERO (Pablo Martínez)
SIDE B
1.- LA CAÑA (Rafael Quintero/Pablo Martínez)
2.- RECUERDOS (Rafael Quintero/Pablo Martínez)
3.- VOLVAMOS A EMPEZAR (Rafael Quintero/Pablo Martínez)
4.- BENITO EL CHICHERO (Jorge Rondón)
Members:
Randal Monasterio (Piano)
Arnaldo Blanco (Tres)
Jesús Guzmán (Bass, Conductor)
Josue Silva (Trumpet)
Hugo Salinas (Trombone)
Hugo Olivero (Saxophone)
Jorge Rondón (Flute)
Jimmy Fariñas (Congas)
Fidel Martínez (Bongo/Campana)
Juber Luis Ramírez (Timbales, bongo, bell)
Gonzalo Martínez (Vocal)
Pablo Martínez (Vocal)
Jesús Blanco (Vocal)
Pablo Martínez/Gonzalo Martínez/Arnaldo Blanco/Mauricio Silva/Daniel Silva (Backing Vocals).
Guest Musicians:
José Pepe Vera (Saxophone)
Raúl Agras (Trumpet)
Mauricio Silva (Piano/Trombone)
Felipe Blanco (Conga/Güiro)
José “Cheo” Escobar (Conga)
Douglas Guevara (Tumbadora)
Daniel Silva (Bass)
Other Credits:
Arrangements and Musical Direction: Mauricio Silva
Recording Technician: Fernando Hernández
Sound Engineer: Fernando Hernández and Mauricio Silva
Executive Production: Wolfgang Roldan
General Direction: Mauricio Silva (Cortesía Sonográfica)/Son Marín (Mucer Internacional)
Recording Studio: Sonomatrix
Photos: Pedro Hernández.
Also Read: If you want to listen to Tasty Salsa tune in to Ritmo Sabor y Salsa with Nesmary J. Gómez
Lenin Francisco Domingo Cerda, known as Frankie Dante, was born in Santo Domingo, Dominican Republic, on September 15, 1945.
He traveled to New York City in search of the sound of the barrio, influenced by Willie Colón and Eddie Palmieri with his Orquesta La Perfecta.
Frankie Dante, always characterized for being an authentic sonero, who interpreted the stories of the Latin barrio.
In 1968 under the label Cotique he appears in the album “Los Coquetones”, where Ismael Quintana also participated, the great influence in his development as a vocalist, this album is produced by Mr. George Goldner.
Launches the album: “Se Viste de Gala”. Resuming his social commitment, he includes the piece “Venceremos”, accompanied by the electric guitar played by Harry Vigianno, who also plays the tres in this production.
In 1972, Frankie Dante is invited by Larry Harlow to produce a new album entitled: “Orquesta Flamboyán Con Larry Harlow”.
Here Frankie achieved hits such as: “La Cuna del Son”, “Yo Te Seguiré”, “Vive La Vida Hoy” and “Presidente Dante”.
The album featured the participation of Larry Harlow on piano and musical production, Ray Romero and Jerry Gonzalez on Congas, Ismael “Pat” Quintana and Milton Cardona on backing vocals.
This album is considered as a recognition of Frankie Dante’s talent when he was asked by the “Wonderful Jew”, Larry Harlow to record together.
Frankie shows all his irreverence by substituting the montuno for a political speech in the manner of a candidate.
As a representative of the Underground current, Dante prefers to perform in a bohemian way in Clubs such as: El Caborrojeño and the Cheetah.
While in these clubs he meets pianist Marcolino Demond and they release the historic album: Beethoven’s V.
Dante and Marcolino were a duo without precedents, taking into account that both had the stigma of rebelliousness.
The album features Frankie Dante and Chivirico Davila on vocals and Yayo “El Indio”, Pete “El Conde” Rodriguez and Ismael “Pat” Quintana on backing vocals.
Other great musicians that participated in the band are Nicky Marrero – Timbales, Bongos; Pablito Rosario – Bongos; Barry Rogers – Trombone; Mike Collazo – Timbales, Eddie “Guagua” Rivera – Bass; Lewis Kahn – Trombone; Reinaldo Jorge – Trombone and Frank Malabé – Congas.
Among the songs on the album were “Ciencia Política” by Frankie Dante and “Chupa El Pirulí” composed by the wonderful Ciego Arsenio Rodríguez.
That year he published his seventh album “The Flamboyán All Star Band Frankie “Be Bop” Dante”, also recorded for Cotique Records, which included songs such as: “El Pipón”, “Son Retozón” and “Mumbo Jumbo”, compositions by Frankie Dante himself and a version of the song “María Cervantes” by the Puerto Rican Noro Morales.
Sonny Bravo, Norberto Cruz and Marty Sheller participated in the arrangements; Charlie Palmieri – Arrangements and Director and Mr. Ralph Lew as Producer.
The album also counted with the participation of other great musicians of the salsa movement such as: Leopoldo Pineda – Trombone, Ray Maldonado – Trumpet, Frankie Malabé – Congas, Orestes Vilató – Timbales, Ronnie Cuber – Sax and Flute, Willie Colón – Chorus and Tito Allen – Chorus.
His last recording appearance would happen in 1979 with the release of “Los Rebeldes”, where he decided to name his group: Frankie Dante Y Los Rebeldes.
This album has songs such as: “Los Congresistas” by Frankie Dante, a version of the song “Semilla De Caña Brava” by Cuban Luis Martinez Griñan “Lily” and “Vuelve El Rumbero” by Puerto Rican Johnny Ortiz.
Also participating in the recording were: Sal Cuevas – Bass, Louie Cruz, Marty Sheller, and Louie Ramirez in the Arrangements, Alberta Dering – Artistic Director, Ralph Lew as Producer and Milton Cardona as Musical Director.
Dominican Frankie Dante developed his musical career in New York City, where he died of cancer on March 1, 1993.
Dante, emulating his compatriot Johnny Pacheco, settles in the city of skyscrapers and takes with his “precursor” lyrical talent in terms of social conscience in salsa. With good artistic sense he perceives that the sound of the neighborhood and its hurtful musical style will be the main axis of the new concept that is born in the land of Uncle Sam.
“He recognizes in the almost adolescent Willie Colón a style to follow, he is enormously attracted to that “sour” way of arranging the songs, the maestro Eddie Palmieri and his Orquesta La Perfecta (already in full swing) also influence the young Dante as well as Ismael “Pat” Quintana’s way of interpreting, a style that Frankie incorporates immediately in his first production in 1968 under the Cotique label (Ref. CS-1043) titled Los Coquetones”.
Sources and Bibliography:
The salsa museum has received several of the greatest artists and their families, who have donated valuable objects related to their careers. Today, it was the turn of Ángel Tomás Olivencia Rodríguez, who is artistically known as Tommy Olivencia Jr.
Tommy Olivencia Jr. is a percussionist and timbalero born on March 19, 1969 and is the son of the famous Puerto Rican musical icon and director of the Primerísima Orchestra Tommy Olivencia, from whom he inherited his great talent and has left his family’s name very high.
Eager to find his own way and make his own name in the industry, the artist made his debut with the recording ”Planté bandera de nuevo”, which was carried out in his native country and presents a total of nine tracks, some of them created by composer and percussionist Jerry Ferrao.
A very important fact during this period is that the timbalero made his official debut for AJ Records, Inc. in the framework of the 40th anniversary of Tommy Olivencia Y Su Orquesta at the beginning of this millennium, making this event even more special.
It is also important to highlight that this colorful musical work included the participation of figures such as Luis ”Perico” Ortiz. Máximo Torres, Tito Rivera, Pedro Bermúdez and many others. All these big talents made it possible for Tommy Olivencia Jr.’s first step as an artist to be on the right foot.
Once the incomparable Tommy Olivencia passed away, his son took the lead on the Primerísima Orchestra, which represented a great professional challenge for his career considering that many of his father’s hits are already salsa classics worldwide.
At the beginning, ”Tomito”, as he is also affectionately known, wanted to keep alive his father’s legacy with his most famous songs such as ”El Son Cubano”, ”Trucutú” or ”Doroteo”. However, there came a point where Olivencia and the rest of the members of La Primerísima had to get to work with new songs to join the previous hits.
When asked about these changes he had to make, he said that he has always worked on his father’s original repertoire, since the audience always asks for those songs in his performances. However, he says he is very happy to be able to contribute his grain of sand with the song ”Mi Querido Viejo”, which was dedicated to Tommy Olivencia senior and of which he is proud for the strng impact that it has had.
Something that made him very happy is that he was finally able to record his first video clip with the orchestra and other great artists such as Gilberto Santa Rosa, Lalo Rodriguez, Sammy Gonzalez, among others.
Although he feels quite pleased to be able to continue with the steps taken his father, he is very proud to offer completely new songs to join the already prolific repertoire of La Primerísima. Among the new songs are ”Un Legendario de Pueblo” and ”Evelio”.
As well as a good number of other stars and their families, we were fortunate to enjoy the pleasant presence of Tommy Olivencia Jr. at the Spanish Harlem Salsa Museum, where he and the president of the institution, Johnny Cruz, had a nice chat and walk around the facilities of the place.
At these visits, it is very common for visitors to make donations to contribute to the extensive collection that the museum has to present and this was no exception. ”Tomito” donated a suit and the güiro of maestro Tommy Olivencia that whosoever visits the museum has the opportunity to appreciate some of the elements that his father used during his career.
From this space, we really thank his visit and his contributions and we wish him the greatest success in all the projects he undertakes both professionally and personally, especially what has to do with music.
Read also: Joe Bataan’s music remains in force
By Johnny Cruz, ISM Correspondent, New York, New York City
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.
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.
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.
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.
Read also: Life and career of Ernie Acevedo
By Johnny Cruz, ISM Correspondents, New York, New York City
