Search Results for: Tito Rodríguez

Where did Ismael Miranda’s artistic nickname “El Niño Bonito de la Salsa” (The Pretty Boy of Salsa), with which he became known, come from?

I liked to dress up and look nice for the presentations on one occasion I went to the hairdresser’s and bought a suit for the show when I arrived at the hotel, Johnny Pacheco said to me: ‘How nice, the pretty boy is late! As always.

And from that day on they called me “El niño bonito de la salsa” (the pretty boy of salsa). Pacheco gave the nicknames to everyone in the Fania All Stars.

Johnny Pacheco had a lot of faith when he came up with the idea of making this movie and it was a success.

People vibrated with our songs and we took advantage of 4 emblematic concerts to record it.

That’s how we have to walk through life. It is enough to know that we are doing things right to reap triumphs. Said the trumpet player and composer.

Perico also took the opportunity to tell where all that tasty Caribbean rhythm comes from, of which they are such good exponents. “The folklore of Latin American music was born in Africa”. He recalled the first time he arrived with La Fania to this continent. He still has in his mind the gesture of the Africans when he saw people from other parts of the world playing the congas like masters. We all felt proud, he said.

Miranda also recalled that on August 6, 1980, he arrived for the first time in Barranquilla to present a concert with Héctor Lavoe.

“We were used to performing on huge stages and singing with a well achieved sound; in Barranquilla there was nothing like that, but something magical happened, the affection and joy of the people infected us.

Hector and I gave a show of height, at the end we realized that we enjoyed it completely with all the people of Barranquilla.

During the conference, Perico Ortiz explained why he never recorded an album with Las Estrella de la Fania.

“I never recorded an album, but I participated in many concerts. At that moment I felt in my heart that it was time to sing and I told Jerry Masucci to give me the opportunity, but he did not see me as an artist, but as a trumpet player and arranger, so I decided to retire from La Fania and concentrated on recording my first album as a soloist in 1977 titled My Own Image”.

Ismael was born in Aguada, in western Puerto Rico, but as a child his family settled in New York. He began singing in English in school plays when he was only eight years old, and was even part of a children’s group called “Little Junior in the Class Mate”.

Soon after, he began taking singing lessons at a music school at 46th and Broadway, and then to improve his singing skills he studied with a music teacher recommended to him by Tito Rodriguez.

The environment in which he grew up helped him cultivate his love for music. First he wanted to be a percussionist and not a vocalist. That is why at the age of 10 he told his mother of his desire to buy a conga. Later he acquired a bongo, which resounded throughout the neighborhood. He got to play the conga in Andy Harlow’s sextet, and was part of the Sexteto Pipo y su Combo. But he finally turned to singing, for which he was assisted by Ismael Rivera.

He made his first recording in 1967 with José Luis Pastrana Santos, a musician, composer and timbalero from Santurce, known as Joey Pastrana, on the album Let’s Ball.

This album, recorded for the Cotique label, contains Ismael Miranda’s first big hit, the song “Rumbón melón”.

Facebook: Ismael Miranda

On March 5, 2022, the heirs to the mambo will reunite once again, this time the concert entitled Palladium in the New Millennium will grace the Lehman Center for the Performing Arts in the heart of New York’s Bronx.

This concert coincides with the coming of age celebration of the establishment of The Big Three Palladium Orchestra.  The initial idea of bringing together the three great Palladium orchestras in this innovative concept came to Mario Grillo, better known in the music world as Machito, Jr. approximately twenty-one years ago.

His counterpart, Tito Rodriguez, Jr. told me about it and, thanks to his complicity, I had a pleasant conversation during which Machito, Jr. shared with me a myriad of details.  Having previously collected and shared the conversations I had with Tito, Jr. and later with Machito, Jr. I must now share the point of view of the youngest of the three mambo heirs -Tito Puente, Jr.- about this trilogy, among other things.  During the beginnings of this historic reunion, Tito Puente, Jr. was barely 30 years old.

As with me, the two oldest members of the trilogy have been very supportive of Tito Puente, Jr.  During an exclusive interview granted for this special assignment, Tito Puente, Jr. expressed his deep appreciation for having been so lovingly guided by Tito Rodriguez, Jr. and Machito, Jr. to the recording of what has become the legacy of the Palladium big three: The Big Three Palladium Orchestra live at the Blue Note (2004).

The youngest of the three heirs of the mambo is doubly celebrating, as he has just released his sixth production, entitled The King and I. It contains nine tracks, as you can hear on the album.  It contains nine tracks, as detailed below:  Picadillo, featuring Humberto Ramírez on trumpet; Salsa na ma, featuring José Alberto “El Canario” on vocals; Pa los rumberos, with a masterful performance by Domingo Quiñones; Oye como va, with a performance by “Mulato Rumbero”, Michael Stuart; Para la niña y pa la señora, with none other than Miguel Angel Barcasnegras, better known as “Meñique” (EPD) on vocals; Hong Kong mambo, instrumental theme that highlights the Puente dynasty, with Ronnie Puente on xylophone; El bribón del aguacero, with Yolanda Duke on vocals; 20 años and El Rey del Timbal.  Let’s be clear that this album is not the big band arrangement to which the eternal King of the Timbal has accustomed us.  It is, however, the best tribute that the youngest of the three heirs of the Palladium pays to his father, keeping the legacy alive and kicking.

As you can see, each of the “Palladium’s Big Three” inherited a timbalero son. Coincidentally, Machito, Jr., Tito Rodríguez, Jr. and Tito Puente, Jr. grew up surrounded by music.  Their family environments, respectively, supported them. Indeed, today, all three are musicians.  These three bandleaders have made it their mission to keep the Palladium legacy alive and well.  Although the mambo heirs have transcended the label of being the sons of the mambo owners, they do not forget that the Patriarchs are still a topic of conversation in musical circles around the world.

As the past is the past and the future is uncertain, here we are already waiting in despair. For this new reunion, first-class musicians have been secured, backing up the three heirs of the mambo.  The musical constellation that will be part of this historic night is formed by: Carmen Laboy on baritone saxophone and musical direction, Jorge Castro on tenor saxophone, Mark Friedman and Al Acosta on alto saxophones; Larry Moses, Seneca Black, Mike Mossman, and John Carlson on trumpets; Gilberto Colón, Jr. on piano, Jerry Madera on bass, John “Dandy” Rodríguez on bongo and Eddie Montalvo on tumbadoras.  On the vocal front, Sammy Gonzalez, Jr. leads with Luisito Rosario and Jeremy Montalvo on backing vocals.

I for one continue to live in salsa, which to put it in more earthly terms is, simply put: magic, fantasy, and illusion.

Article of Interest: Sigo entre amigos de Luis “Perico” Ortiz

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico

Néstor Sánchez “Maestro de Soneros¨.

Born in 1950 in New York, of Puerto Rican origin, he is considered by critics as one of the soneros with the best vocal technique.

Néstor Sánchez “El Albino Divino”.

In 1968 he began his musical career at the age of 19 in New York with the orchestra of Ray Rodriguez, Ray was the brother of the late Bobby Rodriguez, the recording was entitled “Introducing Ray Rodriguez and his Orchestra”, he was also with the Tonny Pabon Orchestra, and the Conjunto Candela.

1976 Nestor Sanchez joined the orchestra of the wonderful Jew, Larry Harlow, replacing Junior Gonzalez as lead vocalist and became a member of the Fania label stars, at that time,

Harlow was recording the album “La Raza Latina” for which Sanchez performed one song and the rest was in charge of the Panamanian Ruben Blades where he musically created the history of Nuestra Raza, from the Amerindians, the Spanish conquest, and the arrival of the black African slave.

The album, “El Albino Divino”, was one of his official presentations with the orchestra, with the Harlow Orchestra he spent almost ten years and recorded seven albums, among these: Rumbambola, Dulce aroma del éxito, Soy Latino.

1979 Harlow disbanded his orchestra, Sanchez also recorded with Tito Puente’s orchestra the song “Bonito y Sabroso” in the LP “Homenaje a Beny Moré” which won a Grammy award for Puente.

In 1984 he recorded the production Julio Castro y La Masacre, in 1990 he was released as a soloist in the romantic wave with the album Como Nunca.

In the year 2000 he was invited by the King of Bass Mr. Bobby Valentin to participate in the album La Gran Reunión, and in all the recordings where he participated as the first voice in the chorus.

This talented man, whom we consider one of the most outstanding voices in our music, and sonero of soneros, never had the recognition he truly deserved. As a tribute and vindication, the February 2017 Salsero of our page is dedicated to him in a heartfelt and sincere way.

As a singer, Néstor Sánchez loved Cuban music and considered himself an admirer of Abelardo Barroso, Beny Moré and Miguelito Cuni, and from La Isla del Encanto his favorites were Tito Rodríguez and Ismael Rivera, in whom he was most likely inspired to create his own style.

His musical career began at the age of 19 in New York in 1968 with Ray Rodríguez’s orchestra. His first recording was the same year and was entitled Introducing Ray Rodriguez and his Orchestra; the second, in 1969 and with this same orchestra, was called Delusion, these two musical works were made for Al Santiago’s label “Alegre Records”.

In 1970, Néstor Sánchez joined Tony Pabón’s orchestra with which he recorded six albums in LP format, these musical productions are: in 1970, Tony Pabon And His All-Stars and La Protesta With Tony Pabón: Free; in 1972, On The Right Track; in 1973, Introducing Néstor Sánchez; in 1974, Tony Pabón & La Protesta Featuring Néstor Sánchez – El Capitán; and in 1976, Tony Pabón Y La Nueva Protesta – Fango – Pura Salsa, Puro Disco.

After his time with La Protesta, El Albino Divino joined Conjunto Candela, with whom he produced an LP entitled Conjunto Candela.

In 1976, he joined the orchestra of “El Judío Maravilloso” Larry Harlow as lead vocalist, replacing the Puerto Rican singer Junior González. With that, he became one of the stars of the Fania label. Between 1977 and 1984 he recorded the albums La Raza Latina – A Salsa Suite, El Albino Divino, Rumbambola; Larry Harlow & Junior González – Our Latin Feeling / Nuestro Sentimiento Latino; El dulce aroma del éxito; Larry Harlow, Canta: Gary Carrión / Así Soy Yo; Larry Harlow – Yo Soy Latino and Larry Harlow / Señor Salsa, featuring the young singer Ray Pérez.

Between 1968 and 1984, Néstor Sánchez was not only part of the orchestras of Ray Rodríguez, Tony Pabón, Conjunto Candela and Larry Harlow. He also recorded with King Nando, Orchestra Colon, Los Hermanos López, Yambú, Andy Harlow, Adalberto Santiago, Charlie Palmieri, Ismael Rivera, Tito Puente, Willie Colón, El Conjunto Libre, Azuquita y Su Melao, Fania All Stars and Louie Ramírez.

Throughout the eighties, Néstor Sánchez’s career had a second stage, in which he participated in musical works as a singer and backing vocalist for other great stars of our musical firmament, such as Héctor Lavoe, Típica 73, Ray Barretto, Julio Castro y La Masacre, Rubén Blades y Seis del Solar, Cheo Feliciano, Ismael Miranda, Oscar D’ León, Celia Cruz and Bobby Valentín.

It is presumed that in his more than three decades of music he participated in some two hundred musical works, about half of which are presented in our “Discography” section, available on our web page. Her voice was also recorded in many musical works of the so-called salsa romántica.

Among the songs that the beautiful voice of our great Albino Divino left us, we highlight numbers such as: “Amor pa’ qué”, “Averigua”, “Bobo tú te quedarás”, “Bonito y sabroso”, “Compay, póngase Duro”, “Con la mayor elegancia”, “El bobito”, “El diablo viene”, “Madre”, “Mentiroso”, “Quasimodo”, “Suena La Quija”, “Va llover”, “Guaguancó para los soneros” and “Vamos a gozar”. Our great sonero also recorded some songs in English.

Finally, we repeat that the present investigative work on the musical life of the great singer, chorister, arranger and composer Néstor Sánchez, “El Albino Divino”, is a tribute to his musical legacy with which the section “El salsero del mes” of our web page www.latinastereo.com wants to remember and keep all his work in force. Néstor Sánchez will remain forever in the hearts of the salseros of the world.

On September 2, 2003, Néstor Sánchez passed away at the age of 54 at his home in Bronx County, New York, after losing a battle with lung cancer.

Main source:

By: Sergio A. Rendón Ángel

To: www.latinastereo.com

Medellín, Colombia

Article of Interest: Raymundo “Ray” Barretto Pagan was born in Brooklyn, New York on April 29, 1929

Ortiz features Tony Vega, Milly Quezada, Johnny Rivera, Gerardo Rivas, Henry Santiago, Yturvides Vílchez, Néstor Torres, Charlie Sepúlveda and Antonio Luis Orta.

The new production of the Puerto Rican trumpeter Luis “Perico” Ortiz, Sigo entre amigos comes to us with the same energy as always.  We trust this is a foretaste of what is to come because as the genius of musical production, Julio Gunda Merced, says: “We must continue to create”.

Sigo entre amigos begins by modernizing what would otherwise keep us in the nostalgia of the unforgettable production, Entre amigos.  The also masterful 1983 production featured Rafael Ithier, Rubén Blades, and Roberto Lugo, as well as the same Conjunto Quisqueya that for years dominated the danceable musical genre known as merengue.  In this new arrival, Sigo entre amigos, “Perico” continues with his trumpet and the rumba is back to form. In this renewed Sigo entre amigos, cut that gives title to this impeccable production, we find the voices of: Tony Vega, Milly Quezada, Johnny Rivera, and Gerardo Rivas. The legendary backing vocalist Henry Santiago also stands out, with the vocal power to which we are accustomed.

Beginning in the third minute of what has become the promotional cut, the unmistakable trumpet of the usual Luis “Perico” Ortiz stars in the notes of the arrangement until he joins in calm and saucy harmony the melodic wind collective formed by Yturvides Vilchez, Antonio Luis Orta, Jesus Rafael “Rafy” Torres, Eliut Cintrón, Randy Román, Miguel Rivera and Danny Fuentes in a masterful closing.

The second cut of this production, De mi para ti, features the crystalline voice of Johnny Rivera.  The song is a composition and arrangement by “Perico”.

The chorus that says: “Mi tributo es para ti, gracias al salón de baile” (My tribute is for you, thanks to the dance hall) enters in a tune that my ear associates to the style that stands out in the Orquesta Puertorriqueña del maestro Don Perignon.  I’m not saying that’s the way it is, I just think that’s what my ear appreciates.  I love it, by the way.

Johnny’s soneos bring nostalgia to the affair without abandoning the innovative touch of the arrangement.  This dichotomy of keeping the foundation constantly evolving has been very well achieved, highlighting New York as “the supreme soul of the art”.  Somewhat later in the song, the touting style that Johnny adds to “si tú quieres que yo cante, canto; y si tú quieres que yo baile, bailo” shows the malleability and mastery with which “Perico” manages to weave the classic with avant-garde expertise. Bravo!

After Johnny’s characteristic war cry in the fourth minute of the song, I recommend listening to what follows the “¡Vayaaa!” anticipating the forcefulness of Gadwin Vargas’ tumbadora. That, for the sake of highlighting my favorite special effect.

How can I say no, if it is a song inspired by the affection and respect that this avant-garde school obviously expresses for women.  It is about a gentleman who “sees lights” for a lady who approaches him cautiously and without haste.  Finally, the gentleman succeeds in making the lady fall in love and confesses to her that the wait was worth it, even though at first he did not even dare to ask her for a kiss.  In short, this composition by “Perico” himself is far from the lyrics that some fire-eating feminists condemned as misogynistic, in that past that this team of artists led by “Perico” were never part of.  In a way, this song repairs the damage caused by others.

In the vocal part, it distinguishes the duet between Gerardo Rivas, guest of this production, and “Perico” himself, who also interprets through the trumpet.

Musically, the arrangement of this song is easy to listen to, although I imagine that the arranger processed all the complication to make it simple for our inexperienced ears. The rhythmic changes within the salsa sound of this song have interesting transitions, the kind that make the dancer get active even if his dancing shoes are not well tied.

In the vocal part of Detente, the duet between Tony Vega, guest of this production, and “Perico” shines.  Detente lightens the speed compared to the rest of the songs in the production, so the dancer must be in good shape before trying to dance to it.  This fact shows us the versatility in the interpretative ability of Tony Vega whom we are used to hearing singing romantic and slower songs.  It is, without a doubt, refreshing to see how the performer’s horizons can be expanded by way of these artistic combinations of seemingly simple variations. Of course, a pioneer of these effects is “Perico” and this invention that I attribute to “Perico” is due to him having the necessary experience to achieve exceptional results with the usual performers.  At the 2 minutes and a half mark, the correspondence between the bass played by Jorge Rivera and the piano played by Carlos García; they reach a rhythmic transition, which makes this arrangement a remarkable one within the list of songs that compile this production.  Almost entering the fourth minute, we reach the social message that the song delivers to the listener as a chorus: “Persigue lo bueno…”.  The chorus and the pregones are framed within the tastiness of a trombone full of positivism.  The fifth minute gives way to the conversation between the trumpet of “Perico” and the voice of Tony Vega, affirming a message of love and truth.

Days after listening to the track, I can still hear Henry Santiago’s voice echoing, “chase the good…”

The intro of the track Solo tuya seré features “Perico’s” trumpet playing what appears to be a fragment of the Puerto Rican national anthem.  “Perico” demonstrates masterful mastery in the harmony of the aforementioned notes conjugating them with the vocal entrance of Milly Quezada.  The song’s lyrics are sweet and romantic with lots of melody and rhyme.  However, this does not limit the arrangement to a simple one.  On the contrary, it is one of those arrangements that conquers by its complexity and fluidity.

Before reaching the 2 minute mark, the leather beats come in, anticipating Milly’s proclamation, confirming in multiple ways the chorus that says: “solo tuyo siempre yo seré” (only yours I will always be).  The mambo goes on, while Milly continues to splash the feeling summarized in the confession she makes while singing in her characteristic color: “eres mi mejor canción, eres tú mi melodía” (you are my best song, you are my melody).  By 3:33, the arrangement returns to the undisputed sound of “Perico”.  This composition, also by “Perico” pays homage to patient love, good love that swears: “te amaré toda la vida” (I will love you all my life).  As you can see, it is possible to coordinate romance with a musical arrangement that is at once melodic, danceable and heavy.  Now, the question I have to ask myself is: Did “Perico”‘s return to his homeland after living in New York for about two decades inspire his pen? Is that the reason for the intro with the overlapping resemblance to the national anthem?  That is the question that leads me to: “Eres tú lo que soñé, eras tú mi fantasía” (You are what I dreamed of, you were my fantasy).

On Señores que se sepa, Henry Santiago’s unmistakable voice stands out again in the coros, backing up “Perico’s” vocal performance.  Shortly after 2:30 minutes, the trumpet leads the melodic development of the winds.  Well into the third minute, the association of bass and piano precede Jorge David Marcano’s timbal until the trombone and tumbadora begin to dominate by the fourth minute.  In the fifth minute, a trumpet-led mozambique takes over.  When the mozambique goes down, the piano seems to embrace the trumpet.  As can be seen, the development of the theme is one with modern overtones of undeniable Afro-descendence, without departing from the classic fundamental sound.

On Tres grandes amigos, Henry Santiago sings with his usual strength.  The melody benefits from a sound that I imagine was inspired by Puente, Rodríguez and Machito, since the saxophones stand out in that typical playfulness of the three Palladium greats.  It would seem that the composition and arrangement -both by “Perico”- are in tune with the upcoming reunion of those whom I affectionately call “Los herederos del Mambo” (The heirs of the Mambo).  I associate it, since on March 5, 2022 begins the reunion tour of Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. in the concert: The Big 3 Palladium Orchestra.  The reunion will be held at the Lehman Center for the Performing Arts in New York, under the concept called “The Big 3”; this time titled Palladium in the New Millennium.  On the other hand, on June 19, 2022, Tito Rodríguez, Jr. will be at the Centro de Bellas Artes de Puerto Rico performing as a tribute to “El Inolvidable”: his father, Tito Rodríguez.

Without wanting to compete with the theme performed live with the three timbaleros heirs of the Mambo: Tito Rodriguez, Jr., Mario Grillo (Machito, Jr.) and Tito Puente, Jr. backing the voices of Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román, I invite us to take a closer look at the presentation I am referring to, within the 6th Jazz Festival in Carolina, Puerto Rico.  The performance of this song closed the aforementioned festival and is on YouTube for the delight of those who could not make it there.  Click on the link, https://youtu.be/4jZLEnpaRCo you won’t regret it.  It gave me a more complete perspective of the song and its interpretation.  The arrangement of the song performed that night in Carolina is by Luis “Perico” Ortiz himself.  Highlights of the August 2010 performance included: Carolina Mayor José Carlos Aponte Dalmau, Mario Grillo, Tito Rodríguez, Jr., Tito Puente, Jr. and Luis “Perico” Ortiz.  On the vocal front, Gilberto Santa Rosa, Cheo Feliciano, Henry Santiago and Osvaldo Román stood out.  Of course, I can’t leave out Sammy Velez on baritone saxophone.

It is true that: “We are fortunate to have had three great teachers, three great friends…” and it is also true that Henry Santiago ate it. What a hurricane, that voice that sweeps!  Now what we have left is the appetite to enjoy this year’s concerts.  It’s coming, we are waiting for it.

In Yturvides & Perico, the characteristic speed of the other songs contained in the production is changed and the tempo of classic Jazz with the Latin touch that characterizes the master Luis “Perico” Ortiz stands out.  At minute 3:30, the arrangement is skipped for approximately thirty seconds to return to a soft minute of the undisputed Soñando con Puerto Rico.  The slow tempo is skipped again until the end of the song.  This arrangement is for connoisseurs only.  You know, those who know, know, and those who don’t, learn.  The last minute is pure trumpet accompanied by an orchestra that does not get in the way.  The percussion is complementary and sends the children to school.

As promised on the compact disc’s laminated cover, this song is a fusion of Osvaldo Farrés’ Tres palabras and Bobby Capó’s Soñando con Puerto Rico in a masterful arrangement by “Perico” that accommodates an exceptional performance by Yturvides Vílchez.  Simply exceptional.

In the song Warming Up, which closes this production, stand out:  Charlie Sepúlveda, Néstor Torres and Antonio Luis Orta.  The instrumental segment sounds like a big band, as it is.  The piano dominates and seems to direct the saxophones from the first minute, besides conversing in constant playfulness with the bongo played by Richard Carrasco.  The trumpets have a leading role entering and leaving in orderly shifts with the coros.  Distinguished among the coros is one of my favorite voices; not only for his vocal power but also because he can subtly balance that power with his unequaled melodic command.  That’s Henry Santiago, but that’s my preference.

Anyway, I love this production.  If you don’t have it, get it.  If you do, enjoy it.

Facebook: Luis Perico Ortiz

Article of Interest: Ray Barretto Giant Force y A Conguero’s Conguero

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico