Search Results for: Tito Rodríguez

Kharim Santos and his fight for the rescue of values and good music

His beginnings

Today we have famous Puerto Rican Kharim Santos. Mr. Santos, how have you been feeling? We learned that you were in poor health due to Covid-19.

First of all, I want to thank you and all your audience for the opportunity to take a few minutes to share with you and be able to talk. In regards of my health, I have always said that the Lord’s way is mysterious and I contracted Covid-19 despite being vaccinated three times, but I am out of that now and in the process of recovering fully. I am forever grateful to the Lord who gives us new opportunities to live.

During my convalescence from Covid-19, we released a new song entitled Lo Van a Entender and it received wide acceptance, so the Lord always blesses in mysterious ways.

Puerto Rican Khrarim Santos — Talented singer Kharim Santos, whose career start at Puerta de Tierra

You were interested in music from an early age. Could you tell us about the first memory of music?

I was born in a neighborhood in Puerto Rico called Puerta de Tierra where many important people like Isidro Infante, Joe Quijano, Raphy Leavitt and many other artists have come from. I was born and raised in that neighborhood and my mother, due to his relationship to Daniel Santos “El Anacobero”, received many artists of all musical genres at home like Pete “El Conde” Rodriguez or Ismael Rivera.

Being such a musical family, music was always very important to me because “Bohemian Nights” were held at my place. A group of friends came to my house and sing “Bohemia”. I was very young when I became really interested in music. I remember Daniel telling my mother that I had a lot of chances in that world.

The first time I took singing lessons, my teacher was Juan Luis Barry, may he rest in peace. He was the pianist for Silvia Rexach, one of the greatest poets of our country. I also started taking dance lessons with Leonor Contanzo, who is a very professional dancer in Puerto Rico and it was from there that I started to follow the path of music. This has been a complete blessing because this profession has helped me to go to many places both professionally and personally.

Do you consider that Daniel Santos was some kind of inspiration for starting down this road?

Oh, yes! What I have always said about Daniel Santos is that the new youth does not know a part of his story, but he was like the “Ricky Martin” or the “Bad Bunny” of the time. He was quite unique because he sang any kind of music and felt very comfortable in any genre. No genre was a problem for him because he sang it very well. He was an icon. I will never be able to be like Daniel Santos and have always wanted to shine with a light of my own taking into account the vision he had of music without disrespecting his career. I made a song called Linda in his honor. I believe that Daniel has been a fundamental part of my career and that of many artists.

Besides Daniel Santos, what other artists influenced your style and music?

I will take your question as an opportunity to extend a very special greeting to my friend Cita Rodriguez, daughter of Pete El Conde Rodriguez. Pete was one of those artists who was often on my way home and my mom had a warm friendship with him. I remember his singing, his way of playing “guapacha” (a mix of chachachá and merengue) and that sort of thing. Other artists from the old guard who inspired me were Tito Rodríguez, Rolando Laserie, Santos Colón, Vicentico Valdés and Raphy Leavitt and La Selecta. I bring Raphy Leavitt Y La Selecta up because they used to rehearse a block away from my place.

When Raphy was alive, he told me that Daniel came close to singing with La Selecta and I did not know a thing about it. These were artists who have marked my life. I believe that the artists of the past have marked my life the most, although there are some modern ones I faithfully follow such as Gilberto Santa Rosa and Tony Vega.

However, the best artists for me are Cano Estremera and Tito Rojas because they were both great friends I personally met and their singings were very parochial. They were stars, but their fame has never gone to their heads. They always had their feet planted firmly on the ground.

Daniel Santos El Anacobero — “El Anacobero” Daniel Santos, Kharim Santos’ uncle

Is Salsa a thing of the past?

Do you think that these artists and musical genres have gone out of fashion and been replaced by other references?

I think salsa is a genre that has been perpetuated. I do not think it is going to die or disappear. I hear many colleagues who are always saying that salsa is dead, but I think they are wrong. The concept of salsa is a generational thing, but we forget to connect young people with it. We do not teach them the culture of our music and I give the example of Colombia, which is a country I visited on several occasions with Orquesta La Solución and as a soloist. There salsa is widely heard and people think that urban music is heard more than salsa, but it is not.

What happens is that Colombians had made sure that new generations keep listening and watching these bastions of music. Many guys who sing urban music have called me to collaborate with me. Farruko uses a clip of Ismael Rivera for his song “El Incomprendido”. Many of these new artists are looking to salsa because they have realized that it is a very enriching genre and it helps them in their work.

That’s why we have to move on and say thanks to people like you who give us the opportunity to stay relevant and let more people know about us. I also think that we have to be vary careful about our lyrics and what we express. Salsa always distinguished itself for singing about small town stuff happening in our communities and when romantic salsa came, we sang to women with much respect. I think we should be maintained in that area.

If you listen to the music of the new generations, artists go off on such tangents and disrespect women. I think that women should not be devalued, marked out or treated as sexual objects. We have to teach our young people that we can hear good lyrics and enjoy music at the same time.

Anything that has always characterized salsa is to touch on social, political, and cultural issues. They also addressed the topic of romance with much respect, but that has recently changed. Do you consider that the quality of the lyrics is not an important matter in the industry?

I think we have devalued the concept of the genre. I have always said that the artist is like a teacher. If you think of it that way, the artist or singer should be like a teacher who brings the teachings of peace, love, hope and a number of things that you concentrate in your lyrics and music. When you sing positive things, you also generate positive things in people.

I’m going to be straight with you. I have listened to urban music made by friends of mine and wonder how girls can sing that, knowing that they are being denigrated. It’s as if they cover their ears and listen to that music, but are not interested in what artists are saying. Unfortunately, there are many salsa singers who believe that they should do the same as artists of urban music to get the same results. We have lost values and feelings and I do not understand why we have to sing humiliating things to women.

Kharim Santos next to Puerto Rican musician Rafi Marrero

We could not only talk about disrespect for women, but also about promoting crime and drugs.

Yes, it’s like a position of power. It’s about seeing how much power I can express in my songs or videos. In my case, I have focused on stopping my music videos from having anything sexual. A friend of mine who directs videos gave me the idea to make one with a model in a hotel room and I answered that it didn’t work for me. To this day, I am not sure that selling sexuality or violence produces something important in anyone’s life.

What do you and the artists that are of your opinion think you can do to promote positive things?

I think we also have to refrain a little bit and leave our biases behind us and our ‘I’ness. That is part of the problem we have. There are many artists who only look after themselves and think they are the best artists of the world, but I think we have to get out of it and I have been doing this. Many of these artists of urban music have called me to make songs and I have said yes, but I have given them my ideas.

Right now, I am recording the song “La Radio” with Crespo, who sings urban music. We made some modifications to the sing, which talks about this separated couple, but they remember their love when they listen to this song on the radio. That’s a nice thing. We have to educate young people and in so doing, I think that joining them to make collaborations can reform music. We have to help each other.

This is Kharim again — Santos wants to rescue values and improve the lyrics in salsa music

Do you believe that you can make culture and shape the society we want through music?

Of course I do. Music is culture. I have always said that. Music is the basis of how culture and people move. I believe music has been made to express ourselves, but we have to do it properly. In my personal opinion, we cannot use it in an inadequate manner. I have told many colleagues that the fact that a guy who sings urban music makes a denigrating song does not mean that they are going to have the same success. That’s not how things work.

I believe so much in talent. If you are a talented person, people will listen to you. I had that conversation with Gerardo Rivas, who is extremely talented, but his lyrics are positive because he knows not to denigrate anyone. That is our north. Salsa is culture. I have always said that salsa is not just a genre, but a way of life.

Something that caught my attention in your biography is that you served in the army and participated in certain renowned armed conflicts. How did you combine your military activities with music?

I was in the army and served 23 years. I retired in 2011 after serving 23 years. I was in Iran and Afghanistan twice. I was a combat infantryman and I was able to mix the two things because music help me to progress. There are things missing in the biography because it focuses more on my military life, but I am also a university professor.

There are a lot of things about me that people do not know, but I was able to combine the two things because music helped me overcome adversity when I was in those sites of fighting. I was a nighttime patrol and being in a place where you know you could be killed at any moment for 12 hours is not easy, but music comforted me. During my time in the army, I could also sing with various orchestras and do other activities. It was a great blessing for me.

Santos in the army — Kharim Santos during his military service

Sigo entre amigos de Luis “Perico” Ortiz

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”.

Sigo entre amigos begins by modernizing what would otherwise keep us in the nostalgia of the unforgettable production, Entre amigos. — Sigo entre amigos de Luis “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.

Luis "Perico" Ortiz — Luis “Perico” Ortiz

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

What Ángel Meléndez has to say about his brilliant musical career

Who Ángel Meléndez is

Ángel Meléndez is a source of pride for Puerto Rico who lives in Chicago, United States, and has a bright musical career that has not gone unnoticed by great well-known people and record labels linked to Latin music. The producer, arranger, composer, music teacher and trombonist studied at VanderCook College of Music, where he gained most of the knowledge that would serve him to become the figure he is today.

His hard work has allowed him to be nominated for the Best Tropical Music category at the Grammy Awards and the winner of the 2005 Annual Independent Music Awards thanks to the talent he displayed on his album Ángel Meléndez & the 911 Mambo Orchestra.

Meléndez was great lick to collaborate with some of the greats of music such as Cheo Feliciano, Adalberto Santiago, Tito Puente, Tito Allen, Frankie Ruiz, Ismael Miranda, among many others.

Trombonist Ángel Melendez — Producer, arranger, composer, music teacher and trombonist Ángel Meléndez

His most recent projects include the one he made with Gia Fu and Ralph Riley. Riley was in charge of the making of Big Band Maquina (album name) and was in charge of organizing the work of all the artists who lent their talent to carry out this ambitious project together with Meléndez and other producers. The album includes 11 tracks and a bonus track, as a result of the serious issue of fathering so many music professionals in a single project in the middle of the pandemic and from so many recording studios.

We had the opportunity to talk to him to learn a little more about his career and what he is doing now. We hope everyone reading this pleasant talk will enjoy it.

Interview

Today we are pleased to welcome composer, arranger, instructor and trombonist Ángel Meléndez. Good afternoon, Mr. Meléndez, how are you today?

I am doing very well, thank goodness. Although I am very cold here in Chicago, but it is not your fault (laugh).

You once commented that you always liked the Big Band sound. How important is the number of musicians in an orchestra?

When I was a kid, my family always organized parties and played the music of Machito, Tito Puente, Tito Rodríguez and many others. So when I went to college, the jazz band director made me his manager. When I had it in front of me, I knew that was what I wanted to. I love it. That is why I say the more the better, but there are also groups like Joe Cuba Sextet that sound great with only six or seven members.

You have been a music teacher for several decades. Do you think training other artists has influenced your style? Do you think that you have learned from your students?

I have had many students who have become professional musicians and also learned a lot from them. In college I learned to play many instruments on a very basic level. One of the things I have learned from my students is that you can learn to play two, three or four instruments properly. I love the piano, I bought a Spanish guitar and am learning to play flamenco late in life.

Ángel playing his instrument — Ángel Meléndez performing and playing the trombone

So you never stop learning and are always looking for new instruments and rhythms to add to your work

Yes! Right now I am working on a project with Hong Kong producer Gia Fu and she is going to kill me because she does not want anyone to know yet (laugh). It’s called the Borinchino Project and includes Chinese songs in Latin rhythms. The first song is a bolero cha cha chá.

What was the experience of working together with Gia Fu, Ralph Raley and the rest of the team of musicians with whom you made this album? Are you happy with the result?

Of course we are! We were all pleased with the record. What happened was that I made a jingle called Lisa La Boricua for a dance academy called Lisa La Boricua in swing dancing about 20 or 25 years ago. In Germany, it was a hit for about 14 weeks. Gia is also a salsa DJ, she was doing some work in Switzerland when she heard that track which was like a jam session. She liked it so much that she thought about collaborating with me. After many months of looking for me, he found me. So my former timbalero is now music director of Victor Manuelle and knows the best musicians in Puerto Rico. When they called me and offered me to collaborate with them, they only wanted to make two songs. I told them if I said yes, we were going to get it right and go to Puerto Rico. Since we are in times of Covid-19, the best musicians are available. We went to Puerto Rico, made two songs and loved the result, so they said to make four more songs. The second time, Gia came from Hong Kong. She is like a painter who knows exactly what she wants. She already bears in mind the idea of how this will all turn out. She can be a bit stubborn, but, at the end of the day, everything always goes as she hopes. If she imagines a song with Tito Allen singing, she got it.

Something that got our attention at International Salsa Magazine is the way you did this project. We know that you were conceiving everything from different countries and studios thanks to new technologies. How was the process of recording from several places as far apart? How do you feel about what you achieved?

Most of the recordings were made at Rolo Studios in Puerto Rico. The vocals for the two tracks recorded by Herman Olivera were created at Nino Cegarra’s studio, but vocals by Tito Allen were done in New York because he did not want to travel to Puerto Rico. That is why Ralph, Gia and I went to New York to record them there, but the base, percussion, brass and backing vocals were done at Rolo Studios.

Album Big Band Máquina — Album cover Big Band Máquina

In addition, the pandemic made everything difficult, especially travel, how much do you think the pandemic has affected your work? Do you feel that things are coming back to normal? Is your work back to normal?

It has made it impossible to go back to work. I had about three or four bookings, but everything got cancelled when the Covid pandemic was getting worse. As I told you, In part it was a blessing because no one was working. Luis Marín (Gilberto Santa Rosa’s piano player), bassist Pedro Pérez (he has worked in more than 500 recording productions), conguero Sammy García (musical director of Charlie Aponte), Pocorelli (musical director of Víctor Manuelle as I had said), Sammy Vélez (musical director of El Canario), Richie Bastar (El Gran Combo’s congocero) were available to work with us and that it was a blessing.

Exactly. This whole situation has given you the opportunity to do other activities such as writing music, making new arrangements and many other things.

That’s it. I put my students on an assignment and most of them paid no attention anyway. I gave them 10 or 15 minutes to practice while I sat at the piano and waited for them to tell me something. During that time, I used to write. As they say, everything happens for a reason.

What plans do you have for 2022?

There’s Borinchino, which is the project I am working on with Gia and Ralph wants to repeat what we already did in mambo. Right now I am writing two new musical productions with new songs. In the case of Borinchino, the album will include several Chinese songs with Latin genres such as salsa, bolero, merengue, cha cha chá, among others. In the case of the project with Ralph, it will be almost the same as we did with the previous album.

This is Gia Fu — Hong Kong producer Gia Fu

This all means this partnership with Ralph and Gia will continue for an indefinite time?

Of course it will! They are thrilled with me and I am thrilled with them. They are my family in Hong Kong. The two people I love most in Hong Kong. The only people I know there, but I still love them very much.

What recommendations do you make to young people who want to do the same thing in the future?

I would advise them to learn about their culture. Our music is incredible and has a very high level. We grew up with children’s songs like Cheki Morena, so a complicated rhythm is very easy for us. In contrast, Americans grow up listening to the A, B, C song. When kids from our Latin countries begin to learn music, it is much simpler for them to play things with complicated rhythms. What I would like to tell those who read this interview is that they have to learn about their culture and music.

Louie Ramirez “The Quincy Jones of Salsa” and his progressive talent a genius-in-hidden of Fania All-Stars

The most progressive arranger and innovator of New York Salsa in the 70s and 80s.

Music often requires characters who are always backstage and support with their talent the work of singers and performers, who are eventually the ones who “come forward” and assume the popularity. Sometimes, though, these anonymous characters shot to fame in order to be able to perform their own work and even become more popular than any fashion singer.

a Hidden Genius of La Fania All Stars — The most progressive arranger that Salsa had in New York.

In the case of Pop, this character is named Quincy Jones, who was said to be the arranger for Frank Sinatra and the producer for Michael Jackson. A “nonentity”. In the case of Salsa, these characters have been symbolized by the emulator of Jones, a guy named Louie Ramirez who has done everything with everyone.

An afternoon in 1994, Ramirez was driving his car on the highway that took him to Variety Studios in New York. It was going to be a quick session because he only lacked one track to complete his 20th album as a bandleader. Perhaps this is why he was nervous and full of anxiety. Minutes later, he could not resist the feeling and had to stop the car. He had not finished doing it when a heart attack ended his life.

Introducing Louie Ramirez

The fact was that Louie had the answer and visiting him was like rubbing Aladdin's lamp. That was a characteristic that always accompanied him, since that first recording "Meet Louie Ramirez" in 1963. — Introducing Louie Ramirez 1963

Louie Ramirez was a genius. The one to whom all run for advice and solutions to their problems. It did not matter if they were young or old musicians. The fact was that Louie had the answer and visiting him was like rubbing Aladdin’s lamp. That was a characteristic that always accompanied him, from the first recording “Meet Louie Ramirez” in 1963.

He was 20 years old back then and had a good record with regard to composing some pachangas and arranging for the orchestras of Pete and Tito Rodriguez. Commentator Dick Sugar introduced him like this: Ramirez breaks through the image of a bandleader who uses the talents of other composers and becomes a follower of a rhythm. No, Louie Ramirez is a creator in his genre.

Louie Ramirez Ali Baba

star of Fania Records and, at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramirez soon found himself in a busy schedule and was only able to record two albums during the sixties, "Good news" and "Alí Babá". — Louie Ramirez ‎ Ali Baba

That talent did not go unnoticed by the new Czar of Latin music in New York, Jerry Masucci, who hired him as a star of Fania Records and at the same time, as an arranger for the orchestras and ensembles that belonged to the record company. Ramirez was soon wrapped up in work and could only record two albums during the 1960s, “Good news” and “Alí Babá”.

The last album included the hit that allowed him to be a famous artist, El Títere, a true Salsa classic. The song was performed by Rudy Calzado, the third of the soneros Louie had used without finding the right one. It was a ballast that stayed with him as a director during the 1970s, when he used singers such as Pete Bonet, Tito Allen, Jimmy Sabater, “Azuquita” Rodríguez, Adalberto Santiago, and even Rubén Blades.

Louie Ramirez y Sus Amigos

Ramirez was considered in New York as the most progressive arranger that Salsa had. — Louie Ramírez y Sus Amigos

It was precisely Blades that he made an anthological album with, “Louie Ramirez y sus amigos”, which included the song Paula C, with an arrangement of those that deserve to be admired. By then, Ramirez was already considered as the most progressive arranger of Salsa in New York, thanks to the brilliant works done for the Fania All Stars. An excellent work had been the instrumental arrangement for Juan Pachanga, to be performed by Blades, from Canta for a performance by Cheo Feliciano, and of the entire album “Algo nuevo” performed by Tito Rodriguez with Louie’s orchestra.

Noche Caliente

But the high point of Ramirez's career came in 1980 when Joni Figueras, a representative of K-Tel International's K-Tel label, took Ramirez's career to a new level. — “Noche Caliente” and was recorded by Louie Ramirez’s own orchestra.

The peak of Ramírez’s career was in 1980 when Joni Figueras, a representative of the K-Tel International label, hired him to maka arrangements for the ballads Todo se derrumbó and Estar enamorado by Manuel Alejandro. The album, which included these and other songs, was released two years later under the title “Noche caliente” and was recorded by Louie’s orchestra.

Ballad-salsa or romantic salsa was born as a result of a work Ramírez did until his death, making occasional attempts in Latin Jazz, which he loved. That is why he recorded a tribute album to Cal Tjader in which Louie was the director, producer, composer and arranger. Apart from that, he played the timbales and his favorite instrument: the vibraphone.

Louie Ramirez was a genius of arrangements, in a career that included Guantanamera and Isadora for Celia Cruz, El Guiro de Macorina for Johnny Pacheco and El Caminante for Roberto Torres.

The Cesta All-Stars Vol. 1

The Cesta All-Stars
Vol. 1

Further to that, there are his works for La Alegre and the Cesta All-Stars. Regarding this Ramírez’s profile, critic Eleazar López defined it very well.

“It is not easy to arrange for a dance orchestra, especially when it is a group that cultivates the hot tropical genre. Many musicians feel influenced by Jazz and the result of their orchestrations leaves a vacuum in the dancer”.

Others arrange in a simple way, but it is so simple that they repeat and copy themselves, and the result is tired music, without any degree of creativity: music that says nothing, that leaves nothing. Louie Ramirez has found the perfect balance… that’s why he always stays relevant.

Louie Ramirez has found the perfect balance... that's why he always stays relevant — Louie Ramirez The Hidden Genius of La Fania All Stars

Article of Interest: Bobby Valentin, the King of Bass at the Fania All-Stars Machinery

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How Birdland began operating and its role in Latin music

What is Birdland?

Birdland has been the place in which many of the most important New York’s stars of the show were born and has represented the beginning of many artistic careers that have achieved worldwide fame, so this spectacular venue deserves all the recognition and fame that it has accumulated over the years.

This is a jazz club that began operations in December 1949 in Manhattan and was closed for a few years until its reopening in 1986. What happened was that a second location of the same name was opened in Manhattan and was not too far from the land on which the original club operated. Today, Birdland operates at the same facility as the headquarters of the famous local newspaper The New York Observer in the past.

Stage at Birdland — Stage of the jazz club Birdland

Story about how the idea to create Birdland was born

During the 1920s, there were a lot of musicians who had to move to New York City because it was there that the biggest jazz movement of the moment was being produced. It could be said that the birthplace of the most famous jazz styles of the last decades was the Big Apple and its surroundings.

It was there where and when the musical career of Charlie Parker, affectionately known as Bird by most of his fans, emerged. Some time later, it would be this brilliant artist and talented saxophonist who would get one of the most popular jazz clubs in the city and the country in general named after him. This would be one of the many tributes received by Parker before and after his death in 1955.

Once Birdland was opened in the late 1940s, the saxophonist began performing there on a regular basis along with many other music legends of the moment such as Dizzy Gillespie, Lester Young, Lennie Tristano, Maxie Kaminsky and many more. Although Birdland was named to honour Charlie, that did not keep the artist from having some friction with Oscar Goodstein, one of the founders of the venue, who said that Parker was constantly asking for too much money. As the story goes, this was the reason why the musician did not perform as many times as expected.

On the facade of the club, a neon sign could read Birdland, Jazz Corner of the World, making it clear what its customers would find once they entered the facility. Once inside, there was space for approximately 500 visitors and a full orchestra to lighten the mood that night. Birdland included a very long bar, spacious tables, stands with a wide variety of products, folding chairs, among other things. At that time, customers only had to pay a $1.50 fee to enjoy everything that the nightclub had to offer.

It went on to have so much prestige that it had among its visitors Marilyn Monroe, Frank Sinatra, Gary Cooper, among other personalities from the entertainment world. It has taken so much popularity in those years that composer George Shearing dedicated one of his greatest creations entitled Lullaby of Birdland to it, which was also inspired by Charlie Parker as well as the name of the place.

Tommy Potter, Charlie Parker, Dizzy Gillespie and John Coltrane at Birdland — Tommy Potter, Charlie Parker, Dizzy Gillespie and John Coltrane performing at Birdland in 1951

The role of Birdland in Latin music

Just as Birdland contributed to the emergence of important careers in the jazz music scene, it also did the same with a good number of Latin music singers who saw this corner of New York as an opportunity to make their art known to other audiences. One of them was world-famous bandleader, composer and musician Tito Puente, who performed at the venue on several occasions and improvised many sets with Dizzy Gillespie and Lionel Hampton.

There is also the case of Tito Rodríguez, who made use of his great talent to record a spectacular live album entirely dedicated to Birdland and whose name was Live at Birdland. In addition, he featured incredible collaborations with great musicians such as Clark Terry, Al Conh, Zoot Sims, among others.

Another of the great Latin music artists who came to perform at this venue was Cuban bandleader, arranger and trumpet player Chico O’Farrill. The artist played and recorded at the club on a wekly basis about the time he already had his own orchestra called Afrocuban Jazz Orchestra. Arturo O’Farrill, worthy son of his father, also performs regularly at Birdland with his orchestra The Afro Latin Jazz Ensemble.

Announcement about Tito Puente's concert — Announcement of Tito Puente’s show at Birdland in 1999