CANADADIRECTORY OF NIGHTCLUBS |
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UNITED STATESDIRECTORY OF NIGHTCLUBS |
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| CALIFORNIA | FLORIDA | ILLINOIS |
| MICHIGAN | NEW JERSEY | NEW YORK |
| OHIO | PENNSYLVANIA | TEXAS |
| VIRGINIA | WASHINGTON | |
| NOVEMBER 2023 FESTIVALS | ||
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San Francisco SBK Congress 2023Nov 17 / 19, 2023 1333 Old Bayshore Hwy, Burlingame CA, United States, 94010 |
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Love Bachata Congress 2023Nov 23 / 27,2023 165 Courtland St NE, Atlanta GA, United States, 30303 |
Latin America/ Colombia/ Cali
He is responsible for transforming the violin into a sound much more suitable for Salsa and Latin music, as well as having manufactured and patented his own violin. De la Fe began studying the violin at the Amadeo Roldán Conservatory in Havana in 1962.
Two years later, he receives a scholarship to enter the Warsaw Conservatory, in Poland.
In 1965, he soloed compositions by Mendelssohn and Tchaikovsky with the Metropolitan Opera Orchestra at Carnegie Hall.
A scholarship at Juilliard opened new doors for him. De la Fe began his professional career, at the age of twelve, when he switched from classical music to Salsa, and accepted an invitation to join charanga legend José Fajardo’s Orchestra.
In 1972, he joined the Eddie Palmieri orchestra. He was a member of the group for a very short period, temporarily moving to San Francisco, where he met Santana. Returning to New York, De la Fe joined Típica ’73 in 1977. Two years later, he released his debut solo album, Alfredo.
In 1980, De la Fe signed with the Fania All-Stars, and produced thirty-two albums for Fania Records. His second solo album, Charanga ’80, was released in the same year.
In 1981, De la Fe became musical director of Tito Puente’s Latin Percussion Jazz Ensemble.
The following year, he confirmed his solo career, signing with Taboga, for whom he recorded the album Triunfo. He settled in Colombia in 1983, and signed with Philips; As a result of this, he released three albums: Made in Colombia, Dancing in the Tropics and Alfredo de la Fe Vallenato, at the end of the 80s.
In 1989, De la Fe signed with Discos Fuentes. Although he was one of the members of the Fania All-Stars for 1995, De la Fe continued his solo career.
He signed with Sony Music in 1997. Two years later, he toured with his own orchestra, appearing at festivals in Denmark, the Netherlands, France, Turkey, and Belgium, and reuniting with Eddie Palmieri and his orchestra for a European tour.
In 2002, after several years in Europe, Alfredo moved back to New York and visited the US with his New York band, led by pianist Israel Tanenbaum.
Other musicians including bassist Máximo Rodríguez, percussionists Tony Escapa and Johnny Pequeño Rivero, and autistic Andrea Brachfeld.
North America / United States / New York
Mario Bauzá (Havana, April 28, 1911 – Manhattan, July 11, 1993) was a Cuban saxophonist, clarinetist, trumpeter, arranger and composer.
Known above all for having been the musical director of the Machito orchestra (of whom he was also a brother-in-law), he was a pioneer of what is now known as Afro-Cuban jazz.
Bauzá played the clarinet in the Havana Philharmonic Orchestra. However, after traveling to New York in 1927 with the Antonio María Romeu orchestra, he was so impressed by the Big Bands of Paul Whiteman, Fletcher Henderson and Tommy Dorsey, and by the Harlem music revues, that in 1930 he decided to emigrate definitively to USA.
During the trip, he became friends with Antonio Machín. Mario Bauzá would return on the same boat in which Don Aspiazu’s orchestra was travelling, who immediately began the arrangements to record El manisero.
Upon arriving in New York, Bauzá went to live in Harlem with his cousin, the trumpeter René Endreira. Bauzá began playing the saxophone at house parties with pianist Lucky Roberts and began to absorb African-American culture.
Between 1930 and 1931, he was a trumpeter in the Antonio Machín quartet and made important recordings with this group in New York City. Anecdotally, it is said that he had learned to play the trumpet in just two weeks.
His first jobs were with the orchestras of Cass Carr, Noble Sissle and Sam Wooding.
In 1933 he entered Chick Webb’s orchestra as first trumpet, where he ended up as music director. He then worked with Don Redman and Fletcher Henderson, eventually landing Cab Calloway.
Being in that band, Mario brought the young trumpeter Dizzy Gillespie to the orchestra.
Bauzá married Estela Gutiérrez, sister of Francisco Raúl Gutiérrez Grillo, known as Machito.
On December 3, 1940, he debuted with Machito at the Park Plaza, a dance hall, with the Afro-Cubans, later working for almost four years at the La Conga club.
Bauzá works for Machito as artistic director, taking care of the arrangements and hiring the musicians.
The style of the Afro-Cubans mixes the son montuno of Cuba with features of swing bands.
Thanks to this, musicians like Dizzy Gillespie or James Moody introduced Afro-Cuban rhythms into jazz, starting in 1947.
He became interested in jazz when he heard Frankie Trumbauer play the saxophone performing Rhapsody in blue with the Paul Whiteman orchestra.
In the forties, Mario will develop the sound of Afro-Cuban jazz. His work as a clarinetist, trumpeter, saxophonist and arranger in the Machito orchestra constitutes one of the main pillars in the emergence and development of that Cuban genre.
North America / United States / New Jersey
Where his father, a respected percussionist in his own right, tutored and encouraged his son to become one of music’s best percussionists.
Luisito comes from a long line of outstanding musicians including his uncle, Carlos Nene Quintero and cousin Robert Quintero.
He studied at the respected Orquesta Sinfonica de Venezuela (The Symphonic Orchestra of Venezuela) and his percussion technique soon garnered attention from his colleagues.
Luisito joined the popular music ensembles Grupo Guaco and Oscar D’Leon, where he enjoyed worldwide acclaim.
Luisito Quintero has worked and recorded with many of music’s legends including The Rolling Stones, Vanessa Williams, Paul Simon, Santana, Jack De Johnette, David Sanborn, George Benson, Joe Sample, Bill Cosby, the late Celia Cruz and Tito Puente, Cachao, Eddie Palmieri, Marc Anthony, Gloria Estefan, Richard Bona, Ravi Coltrane, Nathalie Cole, Diana Krall, Giovanni Hidalgo, Toshiko Akiyoshi, Spanish Harlem, Willie Colon and countless others. One of his recent projects finds him as musical director for Louie Vega and the Elements of Life Band, as well as extensive work with Jack DeJohnette’s Latin Project. He has also had the privilege to tour and record with the Tony & Grammy award winning Jazz artist, Dee Dee Bridgewater.
Quintero himself has earned more than thirteen Grammy certificate awards for his participation in numerous recordings.
Luisito Quintero has two solo projects under Vega Records/BBE, entitled “Percussion Maddness” and “Percussion Maddness Revisited”.
Scheduled for release in the spring of 2013, his upcoming production entitled “3rd Element”, features guest artists Gato Barbieri, Oscar Hernandez, Doug Beavers, Richie Flores, Steve Khan, Reynaldo Jorge and his cousin Roberto Quintero. Currently, Luisito is the touring & recording percussionist for the legendary jazz pianist Chick Corea and for Spanish Harlem.
He had formal studies in drums during his adolescence, but more could the sounds of Tito Puente and Willie Bobo, his major influences.
He debuted in music with a high school ensemble called Orquesta Caribe.
However, his first recording session was at the age of 15 with the original band of another teenager born in 1950: Willie Colón.
Curiously, at the time of these sessions, three pillars of the Alegre All-Stars, Charlie Palmieri, Louie Ramirez and Kako, were present in the studio, and young Nicky was invited to participate as a timbalero.
In 1968 he was recruited by Eddie Palmieri, who by then, as a consequence of internal problems, gradually disbanded his original orchestra: La Perfecta.
The decade of the 70’s opens for him with three important events: the classic album “Vámonos Pa’l Monte”, his participation with Patato in the album “Portrait Of Jennie” by Dizzy Gillespie and the beginning of his career as a percussion teacher, as a member of the faculty of the East Harlem Music School, the school of Johnny Colón, legendary pianist and one-time pioneer of boogaloo.
At this institution Nicky gives his first lessons to a 13 year old boy named Jimmy Delgado.
In 1972 Nicky is invited to participate in the Afro-American Music Festival. 1975 he joins the troupe of the Wonderful Jew, Larry Harlow, then he is part of the Revelation Orchestra, two years with the Novel Orchestra.
In fact, thanks to his internship with Harlow’s band, Nicky was already part of Fania Records’ staff of musicians, recording as timbalero, bongos player and even drummer (and one of his first assignments for that label as a studio musician was the album “Pa’ Bravo Yo” by Justo Betancourt, produced by Harlow himself in 1972).
In 1973 he was included in the Fania All-Stars, replacing Orestes Vilató.
Marrero received an invitation from Pacheco to make his debut with them at Yankee Stadium in August of that year. Ironically, despite the events that separated Vilató from the stellar orchestra, he remained part of Fania’s studio staff. In fact, Vilató and Marrero crossed paths on countless sessions for various artists on the label between 1973 and 1980, in most cases with Marrero on timbales and Vilató serving as bongos player.
He is also invited to participate in the first of several rock sessions, this one specifically as an all-around percussionist for the group Electric Flag: “The Band Kept Playing”.
He travels with Fania to the African continent, later Jerry Masucci gets a potentially lucrative contract for the Fania All-Stars with Columbia Records, for recording purposes the orchestra is reduced to a sextet: Pacheco, Barretto, Nicky, Roberto Roena, Bobby Valentin and debuting with the orchestra, Papo Lucca.
This is how Nicky, without being a band leader, not only became a star member of the Fania All-Stars, but also an “exclusive artist” of the Fania label. And as such, he appears on several albums that are not necessarily Latin and travels with Fania to Europe (the first of several subsequent visits) and Japan. Together with Harlow, Vilató on bongo, Eddie “Guagua” Rivera on bass, Frankie Rodríguez on congas, Harry Viggiano on guitar and Pablito Rosario on percussion, he recorded an album of downloads for the Japanese market under the curious group name of Belmonte (“Olé”). [This album is very difficult to obtain.
Nicky introduces drum toms to his rhythm kit (the only drum component Nicky overlooks in his regular timpani set is the hi-hats).
Nicky even recorded his first drum solo on the song “Yo Bailo De Todo” on that album. By this time, production at the Fania label and its subsidiaries was exhausting and the salsa boom in New York was in full swing.
Exhausting tours with the Fania All-Stars, he travels with Tipica’73 to Havana, Cuba, the first time in 20 years of economic blockade and open political friction that a New York Latin orchestra performs in the home of son, Nicky’s visit with La Tipica and Orestes Vilató’s own visit the following year, replacing him with the Fania All-Stars, helped to restore the timbal and bongo to the importance they should never have lost in Cuba.
To this day, Nicky remains healthy and active in music.
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