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His name is: Elio Osácar Douguet, and artistically we know him as: Sonny Bravo

Interview conducted by journalist and music researcher Robert Téllez M., on February 4, 2017 and originally published later on the SONFONÍA portal. Interview provided by the author for International Salsa Magazine (ISM).

Robert: His name is: Elio Osácar Douguet, and artistically we know him as: Sonny Bravo When and where were you born?

Sonny: I was born on October 7, 1936 in West Harlem, New York City.

Robert: Are you of Cuban descent?

Sonny: Yes, my grandparents were born in Havana, three in Santiago de las Vegas and one (maternal grandfather) in Bejucal. My parents were born in Key West, FL, and raised in Tampa, FL.

Robert: Tell me about your father Santiago “Elio” Osacar.

Sonny: Obviously, my first mentor! Santiago Osácar Colomá, born October 12, 1911 in Key West, FL, raised in Tampa, FL. He and his two older brothers, Juan and Tomás, founded the Sexteto Tampeño in 1928. He married my mother, Elisa Douguet Bravo in February 1932 and they settled in New York around 1933. Shortly thereafter he joined the Caney Quartet as bassist and second voice. At that time he also formed and recorded with his own group, the Conjunto Moderno. Later he was also a member of Monchito y su Orquesta. But he always returned to Caney! Until his death in the summer of 1957, from a pancreatitis attack he suffered on the stage of the Chateau Madrid in NY.

Robert: Maestro Sonny, is it true that you played baseball, but due to an injury you turned to music?

Sonny: Yes, it was in an amateur league in Miami where I was raised, my father was the manager! I was a pitcher and after pitching a complete game, while it was drizzling; the shoulder pains started the next day and that’s as far as my brief career went.

Robert: Did you write arrangements for Conjunto Caney?

Sonny: I only wrote one, “Añorado Encuentro” (Piloto y Vera), but it was never recorded.

Robert: What groups did you work with in Miami?

Sonny: My first job was with the Conjunto Casino de Miami. I also worked with several orchestras (Juanito Sanabria) and several combos (Cheo Venero, Gonzalo Barr). From 1959 to 1961 I was with Conjunto Caney. Then (1961-1963) with Mandy Campo, with whom I made my first tour outside the U.S., it was to Aruba and San Juan, Puerto Rico. Between 1963 and 1964 I worked with José Fajardo. He played dances in Miami on Saturdays and in New York clubs the rest of the week. When he decided to stay in New York, he convinced me to return with him.

Robert: Is the Típico Charanga format your favorite?

Sonny: Yes! I would like to have the same format we used on Alfredo de la Fé’s LP (Toca, Alfredo Toca) with the modern harmonies that can be heard in my arrangement of “El casabe,” my adaptation of Humberto Perera’s arrangement of “Que rico bailo yo,” and my arrangement of my own song, “Toca, Alfredo toca.”

Robert: What pianists influenced your playing?

Sonny: Charanga genre: Jesús López. Ensemble genre: Lilí Martínez. Big band and combo genre: Pedro “Peruchín” Jústiz. Variety of genres: Rubén González.

Robert: How did you become involved with the José Fajardo Orchestra?

Sonny: In 1963, bassist Nilo Sierra took me to the Palladium to meet Fajardo. After I married my first wife, I returned to Miami, and was able to contact him. During 1963 I played with him the dances I mentioned above and also toured with him to Venezuela, Mexico, Santo Domingo, and Puerto Rico. Fajardo stayed to fulfill his contract at the San Juan Hotel, but Orestes Vilató and I returned to New York. Orestes because of melancholy, and I, because I found out that my wife was going to give birth in January 1965.

Robert: As I understand it, when you settle in New York, you start playing with: Willie Bobo, Bobby Valentin and Ray Barretto What would you highlight about your work with Barretto?

Sonny: Between 1965 and 1966 I was Raul Marrero’s musical director. Besides what you mentioned, I also played with Vicentico Valdés, Mauricio Smith, Cortijo, Maelo and La orquesta Broadway, at that time. With Ray Barretto (and his charanga format) I only worked for two weeks, that was in October 1966, until the return of his pianist, Edy Martínez, who had stayed in Colombia after a tour. I felt very comfortable with Barretto’s group and I would have liked to continue playing with him.

Sonny was born on October 7, 1936 in West Harlem, New York City.

Robert: How did your integration with La Tipica 73 come about?

Sonny: I was there from the beginning. The group (unnamed) started in the summer of 1972 with musicians from various orchestras in a “jam session” (descarga) format, with the purpose of filling out the week with stews on Mondays, Tuesdays and Thursdays, that is, the laziest days in clubs and dance halls. Alfredo de la Fe was one of the original musicians. He and I played with Fajardo at that time.

There was also Bobby Nelson (flute) from Charlie Palmieri’s orchestra. Instigated by Johnny “Dandy” Rodriguez and with the support of several promoters and club managers, we decided to strengthen the group, create an ensemble and take the risk of competing with the already established groups.

Robert: Where did the idea of making the record production “Intercambio Cultural” come from?

Sonny: Johnny Rodriguez made the connection when he went to Havana on vacation. When he returned, he convinced Jerry Masucci to initiate the arrangements so that he could record at EGREM’s studios.

Robert: Was Típica 73 blocked because they had performed and recorded in Cuba and that’s why the group disbanded? Or were there other reasons…

Sonny: That’s the only reason!

Robert: What do you remember about your experience with Conjunto Clasico?

Sonny:

Side A: A lot of work, good music, good musicians.

Side B: Out of 20 songs, there were 19 solos of three and only one piano solo!

Robert: Maestro Sonny, you were present in several stages of Tito Puente’s orchestra, did you replace Jorge Dalto?

Sonny: Yes, in the Latin Jazz Ensemble. Jorge had his own group called “InterAmerican Band”. In the salsa band, I replaced Ruben Rivera. Eventually, the two formats came together to form a super-combo.

Robert: Of all the arrangements you have done in your career, which is your favorite?

Sonny: I have several, by format.

COMBO:

Typical ’73:

Chachagüere
Tula
Rumba caliente

BIG BAND:

Latin Giants of Jazz:

Gua Cha Rumba
I have to conform
I don’t bother

Mambo Legends Orchestra:

Conmigo, candela brava 2.

CHARANGA:

Alfredo de la Fé:

Toca, Alfredo Toca
El Casabe

Robert: And your favorite piano solo?

Sonny: I have two. El casabe (Alfredo de la Fe LP), because of the relaxed son montuno tempo and because of my favorite format: ¡Charanga moderna! And ¿Adónde vas? (Tito Puente’s LP) because it was recorded live and I could extend the solo, and because it’s the King’s orchestra!

Robert: On January 28, 2003 there was a historic reunion in Puerto Rico, which culminated with the release of the album TIPICA 73 LIVE. How did you live that experience?

Sonny: The audience enjoyed it, but not me. There was flavor and swing, but the piano had a damaged key and I was almost completely out of tune and the choruses were pretty weak. The record was bootlegged before it was released.

Robert: Of today’s pianists, who would you single out?

Sonny: In the Afro-Caribbean Jazz genre (Latin Jazz) there are a ton of Cubans like Chucho Valdés, Gonzalo Rubalcaba, Hilario Durán, Ernán López-Nussa, Harold López-Nussa, Aldo López-Gavilán, Iván “Melón” Lewis, Alexis Bosch, Yan Carlos Artime, Rolando Luna, Ramón Valle, Manuel Valera, Daniel Amat, the Venezuelan Luis Perdomo, the Colombian Edy Martínez, etc. In the genre they call salsa, my favorite: Papo Lucca, the poet of the piano, impeccable flavor and swing. Eddie Palmieri is Eddie Palmieri! Oscar Hernandez, Ricky Gonzalez, Edwin Sanchez and Yeissonn Villamar.

Robert: What future do you see for salsa?

Sonny: Unfortunately, I think it is diminishing with the disappearance of the old guard. We need to remember and respect tradition, but we also need to move forward, developing genres and sub-genres. For example, in Cuba, dance is developed and danzonete and danzón emerge. They develop the son and the son montuno, the guaracha, the mozambique, the mambo, the ritmo pilón, the ritmo pa’ cá, etc., emerge. Then came the songo and the timba, all based on the son. Where is the development of the New York, Puerto Rican, Caribbean or South American “salsa”? It is still more or less the same since the day it was discovered. If it were not for the innovations in Cuba, there would be no groups such as: Los Van Van, NG La Banda, La Ritmo Oriental, Klimax, etc. And please don’t talk to me about “salsa monga” or “bachata” or “reggaeton”, which, in my humble opinion, are not innovations, but aberrations!

Exclusive interview with Sonny Bravo

Interview by music journalist and researcher Robert Tellez M.

Also Read: Robert Tellez is undoubtedly “El más que sabe de salsa” (The one who knows the most about Salsa)

Renzo Padilla “El Borincaico”

Latin America / Peru / Lima

Renzo Padilla (Renzo Antonio Padilla Reyes) was born in Barrios Altos in Lima, Peru, on July 12, 1979. In search of a better future, in 1993 his parents decided to travel to the city of Buenos Aires.

Renzo Padilla. At the age of 15, Renzo began his career as a backing singer with the “New Band Salsa” Orchestra. His time with this group was brief, because later he would join the Orquesta La Original, made up of Peruvian musicians based in Buenos Aires.

In the year 2000 he moved to New York City, fulfilling a dream that he thought was impossible. That same year he signed a contract with the Grupo Fuerza Juvenil, he participated for two years in this group that was nominated for the Billboard awards in 2002.

He meets the timbalero Jimmy Delgado and he offered him a project to record, so Renzo resigns from Fuerza Juvenil and decides to record with Delgado, his first single titled Salsa con Dulzura. After this recording he was invited to accompany the most renowned artists in the world of salsa, such as: Frankie Hernández, Cheo Feliciano, Ismael Miranda, Cano Estremera, Ismael Quintana, David Pabón, Roberto Roena, Marvin Santiago, Meñique, Ray Barreto. , Adalberto Santiago, Cuco Valoy, Junior González, Paquito Guzmán, Yolanda Rivera, Luigi Texidor, José Bello, Pedro Conga, Cheo Andujar, Anthony Cruz, Luisito Carrion, Maelo Ruiz, Tito Nieves.

Another of his dreams came true when he met the master Willie Colon, he was invited by him to perform a song by Hector Lavoe, in a New York nightclub. He was also invited by El Gran Combo de Puerto Rico on several occasions.

In 2003, Ray Barreto and Adalberto Santiago met again, in which he participated as a chorister at the prestigious Carnegie Hall in New York.

In 2006 with bassist Ray Martínez he recorded his second album Alto Nivel, and recorded two songs with the Narváez Orchestra. In 2008 he sang with Jimmy Delgado at the Leyendas de la Salsa Concert, along with a lineup of artists such as Luis Perico Ortiz, Richie Ray, Bobby Cruz, Lalo Rodríguez and Adalberto Santiago.

Renzo also sang in the second part of the Legends of Salsa Concert in tribute to Ismael Quintana, where Tony Vega, Luis Perico Ortiz, Lalo Rodríguez, Héctor Tricoche performed, among others.

In 2009 he was a soloist with the Lavoe All Stars Orchestra, made up of musicians from Willie Colon and Hector Lavoe, such as Professor Joe Torre, José Mangual, Jimmy Delgado, Eddie Montalvo, Reynaldo Jorge, Milton Cardona.

In 2010 he was called by the New York group “Our Latin Thing”, to share the stage with Victor Manuel.

On the other hand, Renzo began to develop his talent as a composer. One of his compositions Donde Esta Tu Amor was recorded by Puerto Rican singer Maelo Ruiz.

In 2014 he got together with Jacob Plasse to form the Melaza Group, in which all the songs are his. In that same year, he participated in the largest salsa group, the “Fania All Stars”, and also sang for the recording of the Narváez Orchestra’s album 65 Infantería.

In 2015 he participated as a backing vocalist and as a singer in the concerts of the piano emperor Eddie Palmieri.

In October 2016 he was part of the Eddie Palmieri Orchestra that traveled to Lima to perform a concert at the National Stadium. He has been a vocalist for Los Hermanos Lebrón.

In 2017 he had a successful tour of different cities in Japan. Currently he continues to sing in Lima and on tour around the world.

This talented Peruvian singer is considered one of the promises of salsa. He will continue in his rising career of success and international recognition.

Orestes Vilato

North America / USA / New York

Orestes Vilato. Cuban Multi-Percussionist.

Cuban multi-percussionist, Orestes Vilato, is undoubtedly one of the greatest figures in the history of the Cuban drums known as timbales.

During the fifties, the Vilato family moved to New York, salsa capital of the world, where young Orestes would rise to fame as an innovator of his beloved traditional instrument, “Los Timbales”. While living in New York for 25 years, Orestes was intimately involved with many musical organizations that played seminal roles in shaping the course of Latin Music around the world.

Among the many groups were: Fania All Starts (founding member), Ray Barretto, Tipica 73 (founding member), Los Kimbos (founder-director), Tito Puente, Johnny Pacheco, Cheo Feliciano, Ismael Rivera, Joe Cuba, Eddie Palmieri, Ruben Blades, La Lupe, Celia Cruz, Rolando La Serie, Chico O’Farril, Lionel Hampton, Los Chavales de Espana, Cal Tjader.

Other artists with whom he has recorded or worked include: Winton and Bradford Marsalis, Paco De Lucia, Whitney Houston, Linda Ronstadt, Aretha Franklin, Willie Nelson, Herbie Hancock, McCoy Tyner, Cachao, Andy Garcia, Emilio Estefan, Gloria Estefan, Paquito de Rivera, Dave Valentin, Mongo Santamaria, Armando Peraza, John Santos, Rebeca Mauleon, Giovanni Hidalgo and Raul Rekow.

Orestes Vilato - Photo — Orestes Vilato – Photo

In 1981, Mr. Vilato moved to the San Francisco Bay area, where he still resides with his family. From 1980 to 1989 he recorded and toured with the renowned Carlos Santana Band.

Orestes was nominated for a Grammy in 1995 (Latin Jazz category) for his CD, Ritmo Y Candela With Patato and Changuito. In 2009 his solo CD Its About Time was nominated for a Latin Grammy.

Orestes has recorded several movie sound tracks that include: Our Latin Thing, Mambo Kings, Carlito’s Way, Steal Big Steal Little, The Bird Cage, Dance With Me, Just A Ticket, Things To Do In Denver and The Lost City.

He has been a special guest artist in multiple Jazz Festivals around the country and Puerto Rico including the San Jose Jazz Festival. He has performed and taught at numerous music conservatories including The Berkeley School of Music, UCLA, Fresno University, Standford University as well as many conservatories overseas.

Orestes was given tribute at Yerba Buena Garden, Monterey and San Francisco Jazz Festivals.

Orestes’ style is one of the most imitated and emulated among recording-performing artists.

Betty Zapata ¨The Lady of Salsa¨

Latin America / Venezuela / Caracas

In Venezuela, Caracas, the neighborhood is a way of life with its own identity. The neighborhoods of the entire National Territory, its inhabitants, become outstanding characters. Such is the case of Betty Zapata who was born in the emblematic La Pastora Parish located in the Capital (Caracas). There he spends his childhood in a neighborhood of colonial and historical houses of Venezuela.

There are many memories of that legendary Zone, they are inevitably built by those associated with survival, preparation, development, work, love, struggle and family formation, its magic and what marked it for life… . “Music”.

My connection with music is due in part to the fact that I live in a popular area where the music that was heard was Afro-Caribbean (mostly Salsa), the parties or meetings in my house and the neighborhood were always enlivened by that type of music, the most rooted and sticky collectively, originating the most varied dancers.

In the Carnestolendas festivities, improvised platforms (Templetes) were installed to stage the most varied costume and dance contests. Leaving my childhood and beginning my adolescent stage, I participated in dance competitions, obtaining recognition and prizes that were awarded to the young people of my generation.

I attended festive celebrations (dance meetings) with my older sisters at the age of 12, not because I was a dancer, but to not leave me alone, since I was the youngest of 3 sisters, this allowed me to share with people older than me and which I was learning the different dance styles “remembering with great affection the Cayender family, made up of excellent dancers” they are part of my school and love for dance. My cadence, flavor and body movement also allowed me to learn until I had my own dance style.

The music of the moment was the Danzones, Billo’s, Melodicos and in my house my sisters listened in the 70’s to Joe Cuba, Ricardo Rey and Bobby Cruz, Eddie Palmieri, the Latin Dimension prevails, Grupo Mango, Salsa Mayor, La Banda and his Young Sauce. That stuck with me forever and I felt drawn to Salsa.

That gave me the basis to fully incorporate myself into the exciting world of music. In the Barrio salsa is something essential, if you don’t dance it, enjoy it, feel it, you’re nothing.

Attending a meeting, an event, a concert, a presentation, a party or a meeting and there is no salsa, you feel an emptiness since with it we enjoy, we share, we dance and it definitely puts us to enjoy.

Photo - Betty Zapata ¨The Lady of Salsa¨ — Photo – Betty Zapata ¨The Lady of Salsa¨

In the course of my 6 decades of existence, I have not ceased to be linked to it in different facets: as an audience, spectator, guest, contestant, jury, organizer, producer and director of events.

Each of these participations has allowed me to stand out, stand out and be a well-known, popular and loved person, a reference in the organization of a good party, night events, presentations of representative groups of the world of Salsa such as:

Ray de La Paz, Herman Olivera, Frankie Vásquez, Bobbie Valentin, Willie Rosario, Spanish Harlem Orchestra, Sonora Ponceña, La Selecta, Mulenze, Carlos Cano Estremera, Julio López, Yolandita Rivera, Mambo Legends among others, and for those from the Patio: Bailatino, Rumberos del Callejón , Ensamble La Calle, Albondiga y su Pandilla, Repicao, Tributo, On Fire, La áquina de la Salsa, La Negramenta, Gerardo Rosales, Javier Plaza’s Son Risa Orchestra among others.

This has allowed me to be an obligatory reference when it comes to producing and making an event of great importance and musical quality where the Dancing Public is respected and appreciated, providing them with the comforts to enjoy an excellent show and Latin music is seen as an element of identity that belongs to all of us to live it and feel it.

I am (Betty Zapata) currently planning and developing projects in the short, medium and long term and to give you a heads-up I am giving you the scoop: I am here with my radio program to promote, support, disseminate and promote our exciting and magical world of Caribbean music.

El “Día de San Juan” Salsa Festival

North America / USA

El “Día de San Juan” Salsa Festival Western Region Puerto Rican Council, Inc.

Concilio De Organizaciones Puertorriqueños Del OEste

Countdown to El “Día de San Juan” Festival 2018

40th Anniversary

SAVE THE DATE

June 30, 2018

Due to the ongoing effects of the devastation of Hurricane Maria in Puerto Rico, the WRPRC will be directing all proceeds of El Dia de San Juan Festival to aid in the educational programs of the youth of Puerto Rico. http://www.wrprc.org/

“Día De San Juan” Salsa Scholarship Festival Line Up

Charlie Aponte

Charlie Aponte, one of the most beloved and remembered voices by millions of Salseros worldwide, returns to the stage as a Soloist after 41 successful years with La Universidad de la Salsa…El Gran Combo de Puerto Rico.

With Charlie Aponte as their lead singer El Gran Combo recorded many hits Brujería; Amor Brutal; La Loma del Tamarindo; No hay Cama pa’ tanta Gente; Hojas Blancas; Arroz con Habichuelas; among many others.

Tony Vega

Internationally known salsa singer and band leader, Tony Vega, emerged from Puerto Rico in the 1980’s, He has worked with many of the greatest salsa stars from the beginnings of the genre, to the present.

Vega was exposed to music at a very early age; influenced by many adults in his family who were musicians. Even in those early days, it was clear to Vega that nothing could satisfy his musical preferences like the music of his native Puerto Rico.

He was greatly influenced then by Ismael “Maelo” Rivera and Cortijo y su Combo, Rafael Ithierand El Gran Combo. Vega signed with the then new RMM record label and released his solo debut with “Yo Me Quedo!” in 1988.

Vega’s riveting voice and his innate ability to perform contemporary salsa in the best tradition of the classic “soneros” has been honed and refined over 19 years as an artist, first as a percussionist and then as a singer. Thus far Vega has participated in the recording of 17 albums, including the last four on the RMM label with his own band.

Tony Vega has recorded Hablando del Amor, Greatest Hits, Aparentemente, Hoy Quiero Cantarte, the self-titled Tony Vega, and these have established Vega as a highly regarded salsa star.

Taino Orchestra

Taino Orchestra began as a project to deliver salsa and latin jazz in August of 2010. The concept is very simple, a nine piece band with the sound and elegant sophistication of a big orchestra.

Inspired by bands and individuals such as Ray Barretto, Tito Puente, Willie Rosario, Eddie Palmieri and many others, TAINO has developed into one of the most solid, hard-hitting salsa bands in the area.

The band is led by percussionist and lead vocalist, Aaron Routtenberg. Aaron has toured and performed with some of the biggest names in the salsa industry including Jerry Rivera, Tito Nieves, La India, Tito Rojas and many more.

The percussion section features Carlos Caro on congas and Papo Martinez on bongo. On bass, Taino is proud to have veteran bandleader and musician Gilbert Roman, while the extremely talented Erick Peralta occupies the piano chair.

The sizzling horn section is proud to have Mike Rinta and Charly Aguilar on trombones, while Carlos McCoy dazzles audiences on baritone sax and flute. With this strong vocal section, swinging rhythm section, and blazing horn section that will make you move, we invite you to experience a musical masterpiece that you won’t soon forget! Ya lo ves, que viene TAINO!