Search Results for: Tito Rodríguez

From the pen of the novel writer Urayoán Enrique comes Relatos en clave de salsa, a collection of eleven stories, all inspired by the same erotic salsa that revolutionized the salsa music scene at least three decades ago.

The eleven songs that inspired the stories contained in the book that Urayoán recently built-in clear homage to salsa erotica are all undisputed hits.  The concept of this collection of short stories follows the line that the author calls: from the LP to your library.

Most of the musical themes contained here came in LP (Long Play) format, those vinyl records that compiled ten musical themes in one unit, known as an album. From that concept, Urayoán came up with the idea of making the conversion, deciding that the collection of stories would be one of eleven, including ten tracks -in this case stories- plus the well-remembered bonus track, for a total of eleven.

During the official launch and presentation of the book, which took place at the Teatro Renacimiento in Arroyo, Puerto Rico on September 18, 2021; young actor Bryan (Brayito) Lebrón and Suhey Moraima played the lead roles in an apt theatrical interpretation of the story entitled Esa chica es mía.  Broadcaster and DJ Eduardo Huertas Alicea moderated the event.

Puerto Rican writers Bella Martínez and Richard Rivera Cardona, editor of the literary work, were in charge of the question and answer segment, whose answers brought to light details about the construction of this text that, as previously stated, pays homage to erotic salsa.

The titles contained in this collection, whose inspiration came to Urayoán by way of the musical themes with which the stories in reference share the titles, are:  Ven, devórame otra vez, Insaciable, Desnúdate mujer, ¿Quién será ese ladrón, Esa chica es mía, Desayuno, Caricias prohibidas, Mi mundo, Quiero morir en tu piel, Lluvia and Tu prenda tendida.

Before reading each story, it is suggested to listen to the musical theme that inspires it. The book is so carefully constructed that each story has the credits associated with the theme song.  The credits include the title, the performer, the composer of the lyrics, the arranger responsible for the musical composition, the album that contains it, the record label that published it and the year in which the song was published.  As can be seen, the research was exhaustive and the writing comprehensive; which evidences the care and respect with which this work, which has also been called salsa in prose, was treated.

Urayoán contemplates with his usual shyness to follow this literary line in order to continue building stories that keep the salsa alive and in the minds of the readers. There remained on the shelf the restlessness to write about: Me acostumbré (interpretation by “Tártaro de la salsa”: Frankie Ruiz), Sí, te mentií (interpretation by Lalo Rodríguez), Aquel viejo motel (interpretation by David Pabón) and 5 noches (interpretation by Paquito Guzmán).

By popular demand, Urayoán could write stories inspired by boleros. If he is motivated to explore the bolero, I suggested he develop a story inspired by Deseo salvaje (Lalo Rodríguez’s rendition). In addition to the lyrics of that song, the value lies in the fact that it was also composed by Lalo Rodríguez. Lalo wrote Deseo salvaje when he was only fourteen years old, and two years later he recorded the vocal part for Eddie Palmieri’s orchestra when he was sixteen years old. The album that contains the song I suggested here, The Sun of Latin music was the first salsa album to win the Grammy for “Best Latin Recording”. Even more significant is that it was the first salsa album to be nominated for the highest music award given annually by the world’s leading society of music professionals, better known as the Recording Academy.

In short, if the reader dares to dive into a daring read, inspired by salsa erotica, Relatos en clave de salsa is highly recommended.

Facebook: Urayoán Enrique

By: Bella Martinez “La Escritora Irreverente de La Salsa”

Puerto Rico

WebSite: Bella Martinez

Article of Interest: Tito Rodríguez, Jr. “The Palladium legacy lives on”

He was the last surviving member of the glory days of mambo preceding what we know today as salsa.

Ray Santos was a Latin musician, was born to Puerto Rican parents on December 28, 1928, in New York City, attended the Juilliard School of Music where he studied saxophone.

He was a Professor at the City University of New York (City College), where he teaches a Band or ¨performance¨ course.

Ray Santos ¨The last of the Mambo Kings¨

He was a musician in the orchestras of Machito, Tito Puente and Tito Rodriguez. He was also was an arranger and musical director for recordings of Tommy Olivencia, Junior Toledo, Willie Rosario, Lalo Rodriguez, and Rudy Victorino and an Oscar winner in 1992, for the music of the film “The Mambo Kings” starring Armand.

Maestro Santos is a Puerto Rican man who has made significant contributions to Latin music as an arranger, bandleader, and musician.

However, beyond the circles of mambo lovers and Latin music big bands of yesteryear, not much is known about his distinguished professional career in Puerto Rico.

Part of it, happens because of the nature of Ray Santos himself. This is a literate person but with an amiable and accessible character, totally devoid of vanity, presumption, or ostentation exhibited by other music personalities with attainments less than him.

For instance, unless he is asked directly, Ray Santos is not going to say that he participated with three arrangements on the compact disc “Palo Pa’ Rumba” CD of Eddie Palmieri, which received a Grammy Award from the Recording Academy in 1985.

Nor will he say that he also arranged for Eddie Palmieri and Tito Puente on the CD “Obra Maestra” which received a Grammy Award in 2001.

For Linda Rondstat he wrote all the arrangements and was the conductor for her CD “Frenesí”, which received a Grammy Award in 1993.

In the movie “Mambo Kings” he was a mambo director and arranger, including the arrangement of “Beautiful Maria of my Soul”, a song that was nominated for an “Oscar®” as “Best Song from a Motion Picture” at the 65th Academy Awards® of the Academy of Picture Arts and Sciences.

In other words, this is a person who has reached a seat of honor in the world of Latin music, is Puerto Rican, and is practically unknown by his countrymen.

On the one hand, the album “Mi Luz Mayor” celebrates the legacy of Machito, Puente, and Rodriguez. And on the other, The great contribution of Ray Santos to Afro-Caribbean dance music.

We would like to present the outstanding professional career of Maestro Ray Santos after he suffered a recent health problem.

Ray Santos passed away at his home died on October 17, 2019, at the age of 90.

Facebook: Ray Santos

Sources:

By Ewin Martinez Torre

[email protected]

Latin Heritage Contributor

San Juan – Puerto Rico

Jaime Torres Torres

National Foundation for Popular Culture

El eterno ‘swing’ de Ray Santos

Articles of Interest: Ralph Irrizary, a well-known percussionist, is considered one of the most “Swing” timbaleros in the world

Then professionally with Tito Allen and Gunda Merced (Salsa Fever).

In 1977 he started with his father at the Caribe Hilton Hotel accompanying local and international figures.

In 1979 with Willie Rosario with whom he recorded 3 albums.  He directed the album Nuevo Horizontes which featured Gilberto Santa Rosa and Tony Vega.

In 1984 he started with Mario Ortiz y Su Orquesta with whom he recorded six albums.

Mario Ortiz Jr. studied at the University of Miami in Coral Gables, Florida where he earned his bachelor’s and master’s degrees in music.

From 1991 – 1994 he traveled extensively with Juan Luis Guerra.

Mario Jr. has participated in recordings for Gilberto Santa Rosa, Tony Vega, Oscar de Leon, Ismael Miranda, Cheo Feliciano, Tommy Olivencia, Andy Montañez, and Willie Chirino among others.  He has accompanied artists such as Juan Gabriel, Raphael, Donna Summers, Gloria Estefan, Rocio Durcal, Julio Iglesias, José Luis Rodríguez, Frank Valli, Vic Damone, among other international artists.

His albums 45 Aniversario (2010), 50 Aniversario (2014), and 55 Aniversario (2019) have been nominated for a Latin Grammy.  For the past 23 years, he has worked in the public school system as a music teacher in Miami, Florida.

The late musician Mario Ortiz opened the doors of the artistic world to figures such as salsa singer Gilberto Santa Rosa. His contributions as musical director, instrumentalist, and arranger marked the careers of many artists, who did not hesitate to donate their talent for the making of the album Mario Ortiz All-Star Band, as a tribute to his 45 years of career.

Mario Ortiz, the son, summoned musicians and singers who shared with his father at a time when salsa was at its peak in the 1960s and 1970s.

The musician also managed to bring together Cheo Feliciano, Tony Vega, Gilberto Santa Rosa, Ismael Miranda, Richie Ray, Bobby Cruz, Roberto Roena, Andy Montañez, Elías Lopés and others in this record production.

“We recorded a tribute album, based on my father’s 1963 orchestra. Everyone told me that this group was ahead of its time. Some time ago, Gilberto gave me the LP On the Road (the orchestra’s first album), and that inspired me to make the record.

The first person I called was Elías Lopés and he told me to call everybody and that I would be surprised. And so it was because everyone was willing”, explained Mario Ortiz, son, in a press conference, attended by about twenty artists who recalled the times of the 60s and 70s.

The creator of the project said that the album contains 16 songs and an introduction featuring the original music of the All-Star Band, which became the first Puerto Rican orchestra to play at the Palladium in New York, where figures such as Tito Puente, Tito Rodríguez, and Frank “Machito” Grillo performed.

She mentioned that in the last track of the album, El Cid, she “played” the trumpet with her father thanks to technological advances.

Musical director Elías López and singers Gilberto Santa Rosa and Cheo Feliciano agreed that this production served as a pretext to recall anecdotes they lived together with the musician, who died on November 4, 1999.

“He was the only artist I have ever seen doing arrangements without piano and listening to other music on the other side. He had the virtue of concentrating and producing something well in advance,” said Elías Lopés.

“I had the joy of knowing Mario for a long time because he and Marito used to pick me up to go to school. I have always said that he is my dad in music…He told me to study because the music was a hobby, but when he realized my interest, he gave me that first opportunity,” commented El Caballero de la Salsa, adding that Mario Ortiz “was an outstanding musician and represents the heart of the career of many of us”.

Mario Ortiz All Star Band includes songs such as Chinita, with Gilberto Santa Rosa; Se acabó el bembé, with Ismael Miranda; Rumberito, with Bobby Cruz and Roberto Roena, and others.

Source: Primera Hora, Puerto Rico. By: Jaime Torres Torres

At the age of 64, trumpeter Mario Ortiz was a man brimming with health and life. Death took him by surprise on November 4, 1999.

Thus came down the curtain on one of the most brilliant careers in Puerto Rican salsa and jazz.

His wake was attended by practically all the musicians of the country to bid farewell to the virtuoso trumpet player, accomplished arranger, and experienced orchestra conductor.

His son Mario Jr. inherited part of his arrangements because the maestro was so generous that he gave his music to his friends and colleagues. To commemorate his memory on the 10th anniversary of his passing, Mario Jr. celebrates his father’s contribution to salsa and Latin jazz with the historic recording “Tribute”.

“I was able to transcribe the arrangements that I didn’t have and thus confirmed what the musicians at the wake were saying in terms of his music being ahead of its time. With the help of Lenny Prieto, Ernesto Sánchez, and Tito Rivera I was able to decipher what Papi did in terms of harmonics and rhythm,” said Mario Jr.

In “Tribute” Mario Jr. recorded without alterations the orchestrations and arrangements of “A quitarse”, “Yaré yaré”, “Chinita”, “Move”, “Se acabó el bembé”, “Mambo infierno”, “Güiro y pandereta”, “El soplo”, “Rumberito”, “Que bonito es Puerto Rico”, “Maina” and others.

“What I did to make them sound more harmonically updated was to extend the duration with more participation of the singers and with additional solos and moñas,” he explained.

Coining the name “All Star Band”, as his father’s group was known during the 1960s, Mario Jr. brought together a core of the most respected soneros and instrumentalists in salsa.

On “Tribute”, arguably the Afro-Antillean music album of the year, Cheo Feliciano, Andy Montañez, Gilberto Santa Rosa, Ismael Miranda, Adalberto Santiago, Tony Vega, Chico Rivera, Pedro Brull, Tito Allen, Primi Cruz, Anthony Cruz, Ismaelito Rivera and Bobby Cruz joined their talents.

And, representing the musicians, he recruited as soloists Papo Lucca, Bobby Valentín, Richie Ray, Elías López, Roberto Roena, and others.

None of the artists were paid, out of respect for Mario’s memory and in reciprocation of their friendship.

“It’s incredible. Elías was the first one I told to do this. He was so happy that he suggested I call everyone who knew Mario. And Gilbertito quickly said yes because his first recording was with Papi.”

The presentation of “Tribute”, in honor of the forty-fifth anniversary of the founding of the All-Stars Band, was held yesterday at the Alquimia Bistro Restaurant in Condado.

The album, a Zamora Music Group production, will be distributed by Sony Music. The first single is titled “Chinita” and is performed by Gilberto Santa Rosa.

“Sony is interested in my project because Gilbertito interceded on my behalf. He wanted to release it with his label Camínalo, but he thought it would have more possibilities with a multinational”.

Source: https://www.radioelsalsero.com/2009/09/se-viene-la-mario-ortiz-all-stars-band.html

Articles of Interest: Celso Clemente Torres is considered one of the best sounding bongos in the world

By: Diana Marie International Salsa Magazine Correspondent

60 years in the business in the “Salsa” music industry, Héctor Maisonave says: “I have not seen anyone who surpasses the talent of Héctor Lavoe”.

You have managed the careers of so many salsa luminaries, how do you consider Héctor Lavoe’s talent?

I saw in Hector a supreme talent, to this day I have not seen anyone who can surpass him.

Not only as an artist selling tickets, selling records, but also as a human being.

There is no comparison of any kind, no matter who the artists are that are current today, to this day there has been no one that can replace Hector Lavoe.

He continues to this day as the most successful artist in all aspects.

He has managed and catapulted the careers of stars such as Héctor Lavoe, La Lupe, La India, Ismael Rivera, Tito Rodríguez, Gilberto Santa Rosa, among others.

“I continue to derive satisfaction from my work, my main addiction,” said the Puerto Rican producer.

With almost 60 years in the difficult and no less unpredictable music industry, today, on his 81st birthday, the artistic promoter Héctor Maisonave looks back to see that nothing remains the same in the business, but even so, his “musician soul” does not allow him to give up.

He has been a faithful witness and an important part of Latin American musical history, as a tireless promoter of the salsa rhythm in every corner of the planet.

His resume is impressive; he has produced more than 6,000 events; he has managed and catapulted the careers of some 80 artists, including stars such as his namesake Héctor Lavoe, Tito Rodríguez, La Lupe, India, Ismael Rivera, Raphy Leavitt, Gilberto Santa Rosa and La Sonora Ponceña.

And his experience has been recognized on more than one occasion by the artistic world.

In 2010, this veteran businessman received the “Lifetime Achievement Award” from the Lincoln Center of New York, a distinction for his years in music production and management.

On that occasion, Diana Cortot, executive director of International Concert, the non-profit institution that presented Maisonave with the award, said that he was chosen because of the great help he has given to so many artists and his efforts to create a market for Latin music in the United States. “The Latin music industry, and salsa in particular, owes him a lot,” she said.

To this, the award-winning businessman, with the humility that has characterized him in each of his acts, simply said: “I don’t feel special, but privileged and honored”.

Born in Old San Juan, Puerto Rico, Maisonave was part of a great migratory stampede of Puerto Ricans who traveled to New York in the 1940s to escape poverty.

“It was here, in this city, where I took my first steps as a producer in the summer of 1950.”

Even at this age, memory remains one of his best attributes.

“I began to organize concerts in open spaces that attracted hundreds of people, who arrived in some buses that we arranged for the public, and they were like a kind of patron saint festivities in which transportation, food, dessert and dancing were offered… That was the beginning of everything,” he recalls while, suddenly, a special gleam begins to appear in his eyes.

That was the time when she discovered what her vocation was. But he also had to raise his voice, fight hard for his goals and defend his roots. He was even one of those who protested on New York’s iconic Fifth Avenue so that the New York City government would grant him permission to hold a Puerto Rican parade.

“There were many inconveniences that got in the way, but there are more beautiful memories that light up my mind when I think of the dreams achieved,” confesses the man who had the idea of organizing Latino shows aboard boats that crossed the Hudson River to Bear Mountain.

And aware that, as he says, “turning 81 is not an everyday thing,” he says he is very happy to continue fighting the battle. “I continue to get enormous satisfaction from my work, my main addiction,” said this industrious Puerto Rican with his usual good humor.

Lately, his schedule has been as active as ever. From April to date, he has organized concerts for Grupo Mania and Tito Rojas (both in Philadelphia, Pennsylvania); José Alberto, “El Canario”, and Andy Andy at Six Flags New England, Springfield, Massachusetts, and next month he will be in charge of the presentation in Panama that salsa singer India has scheduled.

Source: Frank Manuel Orellana Rosas

Article of Interest: Richie Bonilla Management is a Latin Music booking and Managing Agency