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Johnny “Dandy” Rodríguez Jr. Growing Up in Latin Dance Music and Jazz
Johnny “Dandy” Rodriguez Jr. is a salsa legend and world-renown, pioneering bongocero.
His “Dream Team” is currently regarded as the hottest salsa “conjunto” performing In New York City.
It is rare, and ever increasingly so, that a musician would spend a lifetime in a band. But percussionist Johnny “Dandy” Rodríguez Jr. who was a teenager when he was allowed to sit in with the Tito Puente Orchestra and be an apprentice for a few months before earning a place in its rhythm section, was also there at the end, playing alongside Puente until his death, after a concert on May 31st, 2000.
“I went from being a kid, coming into the band as a 16-year-old to being the man running the band at the end,” said Rodríguez, 70, in a conversation from his home in Las Vegas.
Between that beginning and end, Rodríguez also contributed, in prolonged stints, to the sound of the Tito Rodríguez Orchestra, Ray Barretto, his own band, Típica ‘73, and more.
The son of Johnny “La Vaca” Rodríguez Sr., a respected percussionist who also played with the Puente and Rodríguez orchestras, “Dandy” Rodríguez is one of those essential musicians who have created and shaped the sound of contemporary Latin Jazz yet are little known by the public at large.
While some of the great players in Duke Ellington or Count Basie bands have long been recognized for their contributions, their counterparts in the Latin orchestras, for the most part, have not. Rodriguez will be honored by Arturo O’Farrill & the Afro Latin Jazz Orchestra in their concert “Tribute to the Great Sidemen of Latin Jazz” alongside Sonny Bravo, Ray Santos, Papo Vázquez, Reynaldo Jorge, José Madera, Joe González, and Bobby Porcelli at Symphony Space, in New York City, January 29th and 30th.
“When they called me about the concert I thought it was such a great idea,” says Rodriguez.
“Usually people just know the name of the bandleader and it’s fine,” he says. “But they must remember that there is a good team behind that leader which makes him look so much better.
There’s a way of playing that music that makes it sound the way they wrote it and the way they wanted it and these guys knew it and they knew how to do it.”
Rodríguez grew up in Spanish Harlem, Manhattan, in a house with “a great music collection, a good, what was then called, hi-fi system and always full of musicians,” he recalls.
“It was great but I was interested in baseball, in stickball. I didn’t get involved with music until later, but the music was always in the background, in my house.” By the time he was in junior high, Rodríguez played bongos, congas, timbales, and set drums and, as he puts it, “started to get into it.”
“Remember, I lived in El Barrio and back in those days, in that area, there was a lot of music in the air.
There would be speakers outside the furniture store or the bodega or the record shop, and music would be playing. This shop would be playing this radio station, the butcher would have another, so walking one block you’d be hearing three different pieces of music. It was an environment full of music.”
During the first two decades of the new century, the musical work of maestro Johnny Rodriguez continued; thus, his musical imprint has remained in other publications with The Latin-Jazz Coalition, Frankie Morales, Eddie Palmieri, Gilberto Santa Rosa, George Delgado, Victor Manuelle, Rick Arroyo, Orestes Vilató, Mitch Frohman, Cita Rodriguez, Doug Beaver, Adalberto Santiago and Jeremy Bosch.
In addition, special mention must be made of the participation of maestro Johnny Rodríguez with a group called The Latin Giants Of Jazz, in the best style of the classic Big Bands, made up of great teachers, among them, some of the former members of the band of maestro Tito Puente; with this group they have released four albums; this project gave rise to another band called The Mambo Legends, who recorded the album titled: Watch Out! ¡Ten Cuidao!
John Rodriguez is, without any doubt, one of the most prolific percussionists in the world of Latin music called Salsa; the nickname “Dandy” goes back to his childhood, when the car in which he was taken was bought in a warehouse or a store called “Dandy”, and people said: look how cute the “Dandy”, and from there he kept that nickname. In music he is better known as Johnny instead of John.
In the (year 2022) the experienced Johnny Rodriguez had three or four groups with which he is playing, among them Dandy Rodriguez and his Dream Team, and at the same time he teaches percussion classes over the Internet. He is part of the true legends of Latin music, not to mention that his talent has also been reflected in recordings for other musical genres such as: Electronic, Folk Rock, Folk, World & Country, Funk / Soul, Heavy Metal, Jazz, Stage & Screen, Jazz-Funk, Merengue and Pop.
In his very extensive artistic career, the master Johnny Rodriguez took part in historical and iconic recordings of our musical culture, some of these albums have been worthy of awards such as the Grammy Award, among which are:
Homenaje a Beny Moré – Year 1978.
On Broadway – 1983
El Rey: Tito Puente & His Latin Ensemble – Year 1984
Mambo Diablo – 1985
Goza Mi Timbal – Year 1990
Mambo Birdland – Year 1999
Masterpiece / Masterpiece Tito Puente & Eddie Palmieri – Year 2000.
“In 2008, Johhny entrusted LP’s Research and Development Department with the design of the John “Dandy” Rodriguez Jr. bongoes in the Legends series. John is proud that these drums, which bear his name, feature such outstanding sound and visual characteristics.”
He died on August 17, 2024 in New York City of a stroke.
Facebook: John Rodriguez(Dandy)
Article of Interest: José Madera Timbal de Machito and his Afro-Cubans, Tito Puente, Mambo Legends Orchestra and Fania Record Co.
ISM / September 2025
Coca-Cola Music Hall Performance and event venue in Puerto Rico
International Salsa Magazine / www.SalsaGoogle.com supporting the diffusion of amusement
Coca-Cola Music Hall offers the perfect stage for scenic events and legendary entertainment. This cutting-edge concert hall will change the music industry and live entertainment in Puerto Rico. Inauguration in August 2021!
Come to our opening with El Gran Combo de Puerto Rico “La Universidad de La Salsa” on August 28th. We will be the first salsa orchestra to perform in this new and trendy lounge, you really shouldn’t miss it!
PROCEDURES FOR STOPPING THE SCALE OF COVID-19
We are delighted to welcome you to Coca-Cola Music Hall while addressing the important health and safety needs of our guests and employees. We have worked diligently with health authorities to improve our already strict health, safety and cleaning measures.
ACCESSIBILITY
Our goal is to create that magic in the first time for all who come to Coca-Cola Music Hall by providing a memorable experience in receiving our guests with a smile, providing assistance, and outstanding service.
TICKETS TO ACCESSIBLE SEATING
Accessible seating is available at all events at Coca-Cola Music Hall. These are available at all levels of the venue and can be bought through the Ticketpop website by clicking on the accessible seating button located at the top left of the page where you can read “Buy Tickets”.
In addition, accessible seating is available at the ticket office at Coca-Cola Music Hall. Adjacent sets are available for companions depending on the availability.
ADDITIONAL SERVICES
ACCESSIBLE PARKING
Accessible parking is available beside Coca-Cola Music Hall at the Puerto Rico Convention Center for vehicles that show a handicap license plate issued by the State. These positions are assigned according to arrival, first-served basis, so we urge you to take this into account.
Places to drop off and pick up guests who are next to the ticket office.
ELEVATOR
The elevator is accessible to visitors who need help and is located on the esplanade of the main entrance at Coca-Cola Music Hall.
SERVICE ANIMALS
Service animals are welcome at Coca-Cola Music Hall and will rest in the seating area for the guest with a disability instead of the corridor.
It is recommended that people with large-sized service dogs occupy accessible seats for wheelchairs so that they do not block spaces.
PASSENGERS FOR WHEELCHAIRS
Coca-Cola Music Hall customer service provides free wheelchair escort to those visitors who request it. Passengers for wheelchairs can be requested from one of our service representatives or security officers at any entry point.
Please note that our staff members will not stay with you during the event, nor shall you be permitted to remain in the wheelchair of the venue during it. Upon request, our Service Representative will walk you to the door following the end of the event.
Coca-Cola Music Hall Events and shows hall
Coca-Cola Music Hall is the venue for the most important concerts and special events in the country. The place has internal systems of staging, sound, and lighting, a LED video wall, and a capacity for up to 5,000 guests. Seven full-service bars are conveniently located around the hall to maximize flow, efficiency, and customer experience.
Coca-Cola Music Hall is a unique space for special events, corporate meetings and other function shows like awards ceremonies, galas, graduations, receptions, coming-out parties, private events, etc.
For all of the above, both our staff and International Salsa Magazine invite you to attend our facilities.
Address and Contacts
250 Convention Boulevard
San Juan, Puerto Rico 00907
Box Office: (787) 425-0900
Box Office Hours:
Monday-Friday 10 AM to 5 PM
https://www.cocacolamusichall.com/
Article of Interest: Son Divas with new energy
The Superimposition of Conguero Eladio Pérez
Conguero Eladio Perez was born on May 5, 1946, in Cataño Puerto Rico
He alternated at the side of renowned orchestras and stellar figures of Salsa. He was a great percussionist with a career that includes collaborations with Tito Puente, Tito Rodríguez, Tommy Olivencia, Justo Betancourt, and Puerto Rico All-Star, one of the main ones is the one he did with Eddie Palmieri, with whom he recorded nine albums, four of which won Grammy awards.
Eladio gained fame as a member of the Orquesta del Maestro Eddie Palmieri, appearing in the band for the first time in the album Superimposition.
His first recording was with La Orquesta del Maestro Eddie Palmieri in 1970.
“A real scorcher from Eddie Palmieri as much a transition as Superimposition and the kind of record that would have a huge impact on Latin jazz in the 70s! Eddie’s got one foot in the small group styles of his 60s work, but he’s also reaching forward in a mode that’s rootsy and modern at the same time a back-to-basics approach that’s tremendously focused on the rhythm, and which mostly uses heavy percussion and piano to layout the grooves then tops them off with some jazzier riffing on brassy horns.”
Eddie’s piano is sublime throughout — crackling with life and energy that barely made it onto record before, and hitting notes that are modern, yet which sit comfortably next to the earthier grooves of the rest of the band. Ismael Quintana’s on lead vocals.”
He was a member of that “Ecuación Palmeriana” of the song 17.1 (download included in that LP) together with Chucky López and Nicky Marrero (it was said that 17.1 was the average age of the three young percussionists).
Eladio Pérez participated in the recordings of Vámonos Pa’l Monte, Harlem River Drive, the live LP at the University of Puerto Rico, and the two Salsa Grammy winners (Sun of Latin Music and Unfinished Masterpiece).
In the anthological song “Un Día Bonito” there are two congueros: Tommy López Sr. is the soloist in the opening rumba guaguancó and Eladio descarga in the solo accompanied by the entire band.
Around the same time he formed the Orquesta La Única with Julio Castro, Carlos Santos and Junior Córdova.
Years later, in 1976, Pérez was recruited by Frank Gregory to be part of the Puerto Rico All-Stars.
Charlie Palmieri and Roberto Roena also enlisted the services of the percussionist. When Eddie Palmieri returned to Puerto Rico and formed his new orchestra, he again called upon the conguero from Cataño, who shared credits with Giovanni Hidalgo (bongo) and Charlie Cotto (timbales).
1973, unloading of timbales in Panama with the man from Toa Baja Héctor Endel Dueño Rivera and the orchestra of maestro Tommy Olivencia in the song Cuero Na’ Ma where Eladio Pérez on congas, Papy Fuentes on bongos, with the intermission between each unloading of Reynaldo Jorge, Victor Candelario on trombones, the voice of Sammy González with the chorus of Paquito Guzmán and Papy Fuentes.
This song comes from Tommy Olivencia’s album “Cueros…Salsa y Sentimiento” from 1971 for the Inca Records label, but it was originally composed by Tito Puente in 1949 when he had Vicentico Valdés on vocals and Manny Oquendo on bongos.
In 1973 the Orquesta LA UNICA and Friends with the song PA’ LA RUMBA that comes on the album of the same name, composed and sung by Junior Córdova, with the direction and bongos of Julio Castro, the congas of Eladio Pérez, the timbales of Pedro Roque, Angel Rivera on piano, the trumpets of Joe Cepeda, Roberto Ramírez and Norberto Torres among others.
One of the last times we saw his name in recording credits was on Justo Betancourt’s Mató album.
On July 30, 2018, he dies while hospitalized at the Puerto Rico Veterans hospital.
El Conguero Eladio Perèz…Caballero
Facebook: Eladio Pérez
Article of Interest: Bella Martínez presenta “Las memorias de Jimmie Morales: un conguero para la historia”