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On November 1st, 1955, Alvaro José Arroyo González, better known as “Joe Arroyo”, was born in Cartagena de Indias, Colombia.

He was an excellent Colombian singer and composer of salsa and tropical music, considered one of the greatest interpreters of music in his country.

His songs were national and international hits, he won multiple Gold records throughout his career, among them, 18 Gold Congos and Super Congos won in the Festival of Orchestras of the Carnival of Barranquilla.

Among his most relevant songs are “La rebelión”, “Tania”, “Mary”, “En Barranquilla me quedo”, “El Ausente”, “Tumbatecho”, “Centurión de la Noche”, “Manyoma”, “La noche”, “La rumbera”, “La guarapera”, “El trato”, “Con Gusto y Ganas”, among others.

In November 2011, Arroyo won the Latin Grammy award for best singer/songwriter at the 2011 Latin Grammy ceremony.

Born and raised in the Nariño neighborhood of Cartagena, Arroyo began his career at a very early age, when from the age of eight he sang in bars and brothels in Tesca, the tolerance zone of his hometown.

In his early days he sang with groups such as Los Caporales del Magdalena, Manuel Villanueva y su Orquesta and the Supercombo Los Diamantes (the last two in 1970); in 1971 he recorded with La Protesta.

To look back, he started with the song “Manyoma”, which is Fruko’s, but has my arrangements. That’s where that hit was born, but it really came on strong when I had been with my band for four years. It is a sound that has soka, salsa, African sounds, cumbia, sea breeze and a 50% that comes from me but I have no fucking idea what it is.

Joe Arroyo commenting on the origins of joesón.

In 1973 he got his big break when he signed for Discos Fuentes after the producer, author and artistic director of Discos Fuentes, Isaac Villanueva, in the Suri Salcedo park in Barranquilla, was struck by a “pelao” who sang with the vibe of Cuban Celia Cruz. The announcer Mike Char had recommended him to Fruko and told him that he could see him in action at the El Escorpión stand, in the Pradomar (Atlántico) beach resort, as the voice of the house orchestra, La Protesta.

On Sunday Villanueva was there. And it caused him more impact. He spoke with Leandro Boiga, director of La Protesta, and obtained permission to take him to rehearse days later to Medellín. Thus Joe Arroyo joined Fruko y sus Tesos, an orchestra with which he achieved great fame and with which he recorded uninterruptedly until 1981.

Between 1974 and 1975 he performed with Los Líderes (Los barcos en la bahía), between 1976 and 1981 with The Latin Brothers (La guarapera), in 1976 with Los Bestiales, in 1978 with Pacho Galán (Volvió Juanita) and with La Sonora Guantanamera, and in 1980 with Los Titanes.13 He also sang in other groups such as Piano Negro, Afro Son, Los Rivales, Los Bestiales, Wanda Kenya, los Hermanos Zuleta, el Binomio de Oro, Juan Piña, Mario Gareña, Gabriel “Rumba” Romero, Claudia Osuna, Claudia de Colombia, Oscar Golden, Yolandita y los Carrangueros, among others.

In 1981 he founded his own orchestra, La Verdad, with which he dedicated himself to mixing diverse musical influences, mainly salsa with coastal music (cumbia, porro, chandé, among others) and with diverse Caribbean rhythms (socca, reggae) until he created his own rhythm, the “joesón”.

Some of the hits recorded with La Verdad are classics of the coastal music that earned him many awards and being considered the King of the Carnival of Barranquilla, where he won 10 Gold Congos and a Gold Supercongo (created especially for him) in the Festival of Orchestras.

One of his biggest hits was “La Rebelión” (1986), a song that tells the story of an African couple, slaves of a Spaniard, in Cartagena de Indias in the 17th century.

The piano solo, played by Chelito De Castro, and Arroyo’s soneos made “La Rebelión” an immediate hit that is still danced to at parties and discotheques throughout the continent.

In Mexico the same phenomenon happened since the song was first published in the LP “Tequendama de Oro Volumen 7” by Discos Peerless in 1987 and its LP “Joe Arroyo y su Orquesta La Verdad, Grandes éxitos”, still to this date the song is very popular in the sonidero movement.

Other of Joe Arroyo’s most successful songs were “El Caminante”, “Confundido”, “Manyoma”, “Tania” (dedicated to his daughter) and “El Ausente”, all recorded with Fruko.

The album “Fuego en mi mente” (1988) contains songs with influences from African music and contemporary salsa. With “La guerra de los callados” (1990), he made his first Spanish tour. In 1993 he released “Fuego” and played again in Spain.

Joe Arroyo recorded with Discos Tropical (1970-1971), Discos Fuentes (1973-1990) and Discos Sony (1991-2002). After an 11-year stint with Discos Sony, he returned to Discos Fuentes in Medellín in 2003, where he recorded his latest works: “Se armó la moña en carnaval” (2004), “Mosaico de trabalenguas” (2006) and “El Super Joe” (2007).

Joe Arroyo is one of the five Colombians who have appeared on the cover of Rolling Stone magazine.

Since the early 1980s, Joe Arroyo suffered multiple health problems that prevented him from touring and for which he was considered dead several times.

On September 7, 1983, he was presumed dead after suffering from a retrospective thyroid condition that kept him away from the stage. In 2000, he nearly died in Barcelona due to a diabetic coma and pneumonia.9

His medical history recorded ischemia, renal and motor problems and difficulty singing. In some concerts he even had to be helped up on stage due to weakness and disorientation.

In 1997, despite his health problems, he made a special appearance in the soap opera Perro Amor.

The singer’s health was affected on April 26, 2011 and he was hospitalized since late June 2011 in the clinic La Asunción de Barranquilla in intensive care for a clinical picture of hypertensive crisis, ischemic heart disease and diabetes mellitus with simple decompensation.

He was connected to an artificial respirator, underwent dialysis and a tracheotomy. His condition caused him to be considered dead on social networks, which was denied by both his relatives and the hospital.

All this took place in the midst of a controversy between the singer’s former family (his ex-wife Mary Luz Alonso and his children) and his friends, who considered that Joe was being exploited by his wife Jacqueline Ramón and his musical representative, who claimed that Joe Arroyo was not suffering from major health problems and announced his early return to the stage.

He died on July 26, 2011, at 7:45 (UTC -5), at La Asunción clinic in Barranquilla due to a cardiorespiratory arrest, as a result of a multiorgan failure (high blood pressure, infections, kidney problems) that had kept him in intensive care since Monday, June 27 of the same year.

He was buried on July 27, 2011 at the Jardines de la Eternidad cemetery in Puerto Colombia.

On October 19, 2011, his body was transferred to a special area for illustrious characters in the Jardines de la Eternidad cemetery.

On December 17, 2011, the Mayor’s Office of Barranquilla unveiled a statue of Joe Arroyo in the Musicians’ Park.

Arroyo had signed with Cenpro TV to produce a miniseries about his life, once Alejo, la búsqueda del amor of Caracol Televisión was finished, but in 2000 Cenpro TV went bankrupt after the crisis of public TV in Colombia.

Between June and December 2011 RCN channel aired a telenovela based on the singer’s life called El Joe “La Leyenda”. Sadly the singer passed away during the broadcast of the series.

After his death, Jacqueline Ramón and Mary Luz Alonso (two of Arroyo’s ex-wives) decided to build two museums respectively. Jacqueline’s museum will exhibit various items that stood out during her musical career, such as the 18 Golden Congos won at the Barranquilla Carnival.

In the future, the museum is expected to be moved to a more appropriate location, once the approval of the Ministry of Culture has been obtained.

A wax statue designed by an American sculptor will also be exhibited there.

The other museum, located in the home of Mary Luz Alonso Llanos and her daughters Eykol and Nayalibe Arroyo, will also feature articles, photos and other Congos de Oro, in addition to a statue.

In July 2011, the Mayor’s Office of Barranquilla decided to name one of the stations of the city’s mass transit system, Transmetro, “Estación de Retorno Joe Arroyo”, in tribute to the singer’s musical legacy. According to the then Manager of Transmetro, Manuel Fernández Ariza, the Joe Arroyo station is the most important station of the integrated transportation system.

On March 1, 2012, a Colombian scientist discovered a new species of bee on the Colombian Caribbean Coast that was named in honor of the singer, the Geotrigona Joearroyoi.

On the same day of Joe Arroyo’s death, singer Checo Acosta composed “Adiós Centurión” while on a trip from Medellín to Barranquilla.

The video and song were released months later. Another song that paid tribute to him was titled El Rey Del Carnaval, with the participation of Juan Carlos Coronel, Petrona Martínez, Checo Acosta himself, the pianist and singer Chelito de Castro, Ricardo El Pin Ojeda, who was timbalero of the orchestra La Verdad and also with Eykol Tato Arroyo, daughter of the Maestro. This song was included in the commemorative album made by Cervecería Águila.

Joe Arroyo

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Irakere was formed as such in 1967 but had begun to work much earlier; in that year precisely they went to a selection called in Havana to organize with the best musicians of that time the Cuban Orchestra of Modern Music; already in 1972 they were approaching to what they currently produce deciding in 1973 to call it Irakere, which in Yoruba language means Vegetation and that is how, starting from its name, they work based on the Afro-Cuban musical roots.

In this way, through the combination, mixture and interrelation of classical, impressionism, jazz, rock and various compositional techniques they managed to walk through all styles such as dance music, concert, traditional and popular Cuban music.

Thanks to the impulse of pianist Chucho Valdés, the Cuban group Irakere took off in 1973, nourished by Thelonious Monk’s bop.

Founders

Grupo Irakere: It was founded in Havana in 1973, by:

Jesús Valdés(Chucho) composer, director and pianist;

Paquito D’Rivera (Paquito), alto and tenor saxophone, flute and clarinet;

Carlos Averhoff, tenor saxophone, soprano, flute and bass clarinet;

Jorge Varona, trumpet, trombone and percussion;

Carlos del Puerto, bass, bass guitar and tuba;

Carlos Emilio Morales, guitar;

Bernardo García, drums and batá drums;

Jorge Alfonso, batá drums;

Enrique Plá, drums;

Carlos Barbón, güiro, chekeré and tambourine; and

Oscar Valdés, singer, tumbadora (conga), batá drums and bongo.

On the founding of Irakere, Chucho Valdés expressed:

“For us the group always existed, it was present at all times; it was like something pending. At the beginning it had no name, it was just an idea we were working on: to use Cuban folkloric percussion in dance music, and to look for different timbres with a common characteristic: “ours”.

Then Oscar Valdés came up with the idea of combining the not easy and little known batá drum with the tumbadora, güiro and cowbell and so, step by step we arrived at the current group…”.

About Irakere’s first stage, the musicologist Leonardo Acosta points out: “one of the successes of Irakere had been not to try to invent and identify itself with a “new rhythm”, according to the old guidelines of advertising so much used from the forties to the sixties.

The slogan about the “new rhythm” was until recently the “open sesame” on which the musicians counted to become famous overnight, and by that way sometimes quite commercial results were achieved.

Apart from the fact that no “new rhythm” is so new, they all come from the alteration or amalgamation of pre-existing rhythms.

Irakere’s only alchemy comes from the spontaneous creativity of its members. Since there is no commercial endeavor, laboratory practices are unnecessary, and the group can perform a contradanza, a danzón, a son montuno or a cha cha chá without fear of seeming “old-fashioned”, since they are in fact playing something else at the same time. And without setting themselves the goal, nor having to invent a “pega” name, almost by an imperative of the material they are working on, new rhythmic combinations are emerging, to the point that Irakere’s rhythm is unmistakable among Cuban listeners or dancers.

Certainly, and in spite of their triumphs in international jazz festivals, Irakere is not a jazz group. But these successes are not gratuitous either, because as we have seen, they have formidable musicians with great experience in the jazz field, especially in the aspect of improvisation, the great discovery of jazz and perhaps its greatest contribution to the music of the 20th century.

“Paquito D’Rivera: Irakere was born against the will of the Cuban authorities”.

When talking about Cuban music, the name of one of the most emblematic groups in the country’s musical history comes to mind, Irakere, which in Yoruba language means vegetation, jungle.

Irakere became the seed that would germinate a lush forest of rhythms and sounds, a school through which many of the great stars of Cuban music have paraded.

Founded more than four decades ago, this legendary band has been a pioneer of Afro-Cuban jazz and the initiator of the musical revolution in the seventies.

Irakere emerged at a time when, due to political demands on the island, music and culture were treated as an instrument of revolutionary identification and jazz was branded as imperialist music.

It was at this time, in the late sixties and early seventies, that a group of great musicians founded a band whose main goal was to enrich Cuban popular dance music with Latin jazz as essential elements.

Under the direction of the outstanding pianist Jesús “Chucho” Valdés, excellent musicians came together in search of a different sonority, based on the use of Afro-Cuban folkloric percussion together with the renewed timbres of the popular rhythms of the time that fused jazz, rock, funk and popular Cuban rhythms such as son, mambo or cha cha chá, together with classical or concert music.

“Irakere was the Musical Generation of change”.

Sources:

https://www.ecured.cu/Irakere

Leonardo Acosta

Radio Televisión Marti

Mirna Guerra

Irakere

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One of Puerto Rico’s salsa anthems is, without a doubt, ‘Borinquen’. Below, Papo Lucca, leader of the famous salsa group, tells us why he included the Peruvian percussionist in that song.

Papo Lucca needed an expert percussionist in Puerto Rican dance for the song ‘Borinquen’, written by Johnny Ortiz, which he would include in the LP ‘Unchained Force’.

It was 1980 and in those days Carlos Peluzza Del Carpio, the versatile Peruvian musician, was in San Juan.

Papo did not hesitate to summon him. “He lived here in Puerto Rico for a long time,” the Sonora Ponceña leader tells us over the phone. “It’s just that in the Sonora I don’t have a redoblante.

And since Peluzza was here and shared his musical journeys with many artists from Puerto Rico, he did know those secrets of Puerto Rican dance. It was for that reason that I invited him to be on that recording, recalls Papo, 37 years later.

Wison Torres Jr. was in charge of finding the Peruvian musician, who incidentally was in charge of the arrangements of the song (together with Papo). Peluzza’ was only informed that he was needed in a recording room. When he arrived he saw the percussion ready, a bass and a piano.

A few minutes later Papo arrived, greeted him and the memorable session began. The percussionist remembers it as one of the most beautiful moments of his life. Borinquen’, in its 6.56 seconds, was a hit.

The vocals were provided by Yolandita Rivera, one of the greatest soneras ever born on the Island of Enchantment. The choruses were provided by Toñito Ledee, Miguelito Ortiz and Edwin ‘Caneca’ Rosas. Papo was satisfied. And Carlos ‘Peluzza’ treasures the story fondly.

That is just one of the many anecdotes that the famous pianist has with Peruvians. He remembers that one day on television in his country a girl and her father were singing the song ‘Fina estampa’. He liked it.

That’s why, in 1979, in the album ‘La Ceiba’, in which Celia Cruz sings, he decided to include that famous waltz by Chabuca Granda. “From that moment on, I got to know other pieces of Peruvian Creole music,” he says.

Papo has visited Lima many times. He has already lost count. He has friendships. For example, he is a friend of Carlos Aparicio, the volleyball coach. He assures us that once they even participated in a game of Alianza Lima’s girls. In addition, he reminds us that Edwin Caneca Rosas is also a referee of that sport. So everything was conspiring.

It is a June morning in La Perla, Callao, and the conversation continues under the gaze of Juan Núñez, a Peruvian singer who a few weeks ago was in Ponce, Puerto Rico, fulfilling a dream: rehearsing with the Sonora Ponceña. Papo is generous with Juan, highlights his singing qualities and underlines the friendship that has grown between them.

Precisely, we took the opportunity to ask him about the orchestra’s recent hit entitled ‘Canción a mis amigos’. This salsa was born after the terrible natural disasters that Peru and Colombia faced at the beginning of this year with the El Niño Costero phenomenon.

The composition is by Francisco Alvarado, who wrote it in two days. The voices were provided by Jorge Nicolai and Darvel García. What happened to you identified us a lot,” says Papo.

The musician adds that he felt that La Ponceña should make itself felt with a song of solidarity. Now it is time for it to be played on Lima’s radio stations. Will it become popular?

The twenty minutes of chatting come to an end and Papo has many topics left in the pipeline. He is very grateful and Juan Núñez tells us that behind his solemn appearance there is a human being who enjoys, who is passionate about music and who is always observing how to amalgamate sonorities. La Sonora Ponceña is still going strong and hopefully soon we will be able to see it unload in Lima.

We need to chant ‘Canción a mis amigos’. And that Carlos Peluzza, in one of those, returns to redoblar in ‘Borinquen’. Also that Yolandita Rivera sings? Hopefully.

Sources:

Martín Gómez V.

Papo Lucca

Carlos Peluzza

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Edgar “Balín” Ocando, Venezuelan musician born in Caracas in the parish of El Recreo, specifically in block 7 and 8 of Simón Rodríguez.

He studied music at the José Reyna school located behind the same building where he lived, he also studied at the Conac de Sarria with maestro Orlando Poleo.

In his childhood he met with friends who had the same restlessness and passion for music, getting together every weekend to make noise as the neighbor said to the one who had to endure the music end after end.

As a result of these rehearsals he ended up in a group with which he began his music career and received his first professional payment at the age of 14 with the group Ases de la Gaita, a group formed by childhood friends in order to get away from drugs, which for the 80s was very strong.

In high school he joined the ranks of the Venezuelan Children’s Choir under the direction of maestro Raul Cabrera. During his time in the choir, the son of Professor Cabrera, known as Raulito, formed the salsa group Sabor Latino and became part of it.

Coming from a musical family, he always looked for a way to be close to his uncles Rafael and Yelitza Sivira, who were singers of the Polifónico Rafael Suarez and always looked for a way to be present in the rehearsals.

Yelitza Sivira was the one who took the responsibility to take him and he only sat and watched how they vocalized with the piano with the help of the director Maria Cabrera. It was then when they created the Polifónico Infantil Rafael Suarez and he became a baritone.

Already in adolescence at the age of 17 years old, he started working in a bank through a scholarship granted by the institution Insbanca, and while working, the Coral del Banco Italo Venezolano was created, thus participating in bank choral meetings, it was then that he returned to music as an instrumentalist when he saw in a newspaper advertisement that they requested a drummer to be part of a group of bagpipes, for which he went to the audition where there were countless drummers and of which he was left with the position thus becoming part of Estrellas de la Gaita.

The following year he was invited by a friend to join the group Santoral of Freddy Rangel, arriving to record for the first time in Requena Studios, the following year in full rehearsal with Santoral I was called to join the group Los Caracuchos of Joseito Rodriguez, forming part as a drummer for 2 years and recording in Manoca Studios, it was then where he enters the percussion workshops of the Biggot Foundation with the teachers Alexander Livinali and Williams Troconis.

He was in the ranks of important Venezuelan groups and orchestras such as Los Caracuchos, Catatumbo, Los Casanovas, Melody Gaita, Sabor Latino, Orquesta La Moderna, etc.

In 1999 he changed course and moved to Mexico where he has participated as a percussionist and backing vocalist in groups such as Cokodrilos, Kumbia Kings,

Sonora 100% Dinamita, Alicia Villarreal and today he has his own orchestra called Rumba Latina de Venezuela, which he formed in 2005 and has opened concerts for great international figures such as: Oscar D’ León, Willie Colon, Víctor Manuelle, Porfi Baloa y sus Adolescentes, Nigga, etc.

As well as Mexican artists such as Julión Álvarez, Los Tucanes de Tijuana, Mariana Seoane, El Grupo Pesado, Germán Montero, El Poder del Norte, Emilio Navaira among others.

Integrated by musicians of different nationalities from Venezuela, Cuba, Dominican Republic, Mexico and hand in hand with our representation office and record label Indepe Music, we will continue to bring our music to more and more people in every corner of the country.

Edgar Ocando Manager

Phone (52)-8132179324

Email: [email protected]

Edgar Balin Ocando

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