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Search Results for: salsa

The legend of Gon Bops began in 1954 in California, USA.

It remains one of the oldest and most respected Latin instrument makers in the world.

 

The legend of Gon Bops began in 1954 in California when Mexican-American Mariano Bobadilla (born in Guadalajara), who would become one of the most respected conga makers in the percussion industry, began designing and building conga and bongo drums.

Bobadilla, a band instrument repairman and professional trumpet player, launched Gon Bops in his father’s old wooden garage in a downtown Los Angeles neighborhood.

He chose the name Gon Bops because “Gon” was one of the colloquial expressions of the time, like “everything goes, man,” and “Bops” because his friends nicknamed him Bob, which sounded like “Bop” in the Latin dialect.

Although Bobadilla’s drums remained true to the classic Cuban form, he was a true innovator in the development of drum hardware. He designed the first teardrop-shaped crown with rounded rims, developed to protect the hands of the musicians, a concept that is now universally accepted.

It remains one of the oldest and most respected Latin instrument makers in the world.
The legend of Gon Bops began in 1954 in California, USA.

He also gave birth to the first tunable hardware for congas and bongos in the United States. After seeing how Cuban congueros heated the drums in their kitchens before performing, Bobadilla decided there had to be a simpler and more reliable method for tuning these instruments.

Other innovations of the young company included taroles (wooden timbales), the first pre-assembled replacement heads for congas, chromatic tuned cowbells, and numerous stands, adapters and other accessories.

Gon Bops was very successful in its early days. The instruments were in great demand by the top musicians of the time – giants such as Alex Acuña, Mongo Santamaría, Francisco Aguabella, Armando Peraza, Poncho Sánchez, José Hernández and Rich Barrientos, all of whom contributed invaluable R&D input. Gon Bops quickly became the undisputed leader in Latin percussion instruments and remained so throughout the 50s, 60s and 70s.

Mariano remained deeply committed to a hands-on role in production and retained complete control of the design and manufacture of all his products. As a result, Gon Bops instruments were mainstays on the world’s biggest stages, including the massive Woodstock festival in 1969.

However, the winds of change swept through the American percussion industry. By the time the 1980s arrived, all the major U.S. percussion manufacturers had moved overseas to manufacture their instruments. Cheap Asian labor costs meant higher profits.

But as manufacturing costs declined, so did quality, and for that reason Bobadilla refused to move its production out of the United States. As a result, Gon Bops began to struggle financially. Unable to compete with its larger competitors, Bobadilla had no choice but to close the doors of his beloved company.

Fortunately, that was not to be the end of the Gon Bops brand. In 2001, Don Lombardi of U.S. drum manufacturer DW bought the company along with all its patents and trademarks.

Lombardi had met Bobadilla in 1978, when he used Gon Bops’ Timbale shells to build DW’s brass snares, and had subsequently continued to seek Bobadilla’s R&D advice. It was a great fit, and it was no coincidence that the quality of DW’s drums and hardware continued to grow after the Gon Bops acquisition.

To manage his newly acquired Gon Bops brand, Lombardi hired the best drum craftsmen in the United States. He even purchased San Francisco-based Sol Percussion to recruit its founder, drum builder Akbar Moghaddam, to the Gon Bops cause.

Moghaddam brought with him fellow drummer Octavio Ruiz, and Lombardi teamed them up with Alejandro Perez, a drum builder who had worked with Mariano Bobadilla at the original Gon Bops factory.

In 2010, cymbal manufacturer SABIAN Inc. announced that it had purchased the inventory, intellectual property, patents and manufacturing equipment of Gon Bops from DW.

"We are excited to begin this new chapter in the history of SABIAN and Gon Bops," notes Andy Zildjian
The deep commitment to innovation that SABIAN applied to its own instruments

The deep commitment to innovation that SABIAN applied to its own instruments had inspired founder Robert Zildjian and his son, SABIAN president Andy Zildjian, to seek out like-minded instrument companies available for acquisition. And it just so happened that Lombardi had begun looking for a buyer for Gon Bops.

“We are excited to begin this new chapter in the history of SABIAN and Gon Bops,” Andy Zildjian notes. “Gon Bops instruments are a perfect blend of vintage craftsmanship and innovative thinking. Since its founding in 1954, the company has pioneered several features and enhancements that have forever changed Latin instruments.

We are excited to not only expand distribution, but also to continue to focus on innovative designs that represent clear improvements to meet the needs of musicians.

Since its founding in 1954, the company has pioneered several features and improvements that have forever changed Latin instruments.
Andy Zildjian points out. “Gon Bops instruments are a perfect blend of vintage craftsmanship and innovative thinking.

The pursuit of the best sound is what our craftsmen work for every day. We know that the fit is perfect, above all, because sound matters.”

Today, Gon Bops remains one of the oldest and most respected Latin instrument makers in the world.

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Alexandra Albán Manitas de Piedra baptized by Bobby Cruz

The percussionist christened by Bobby CruzStone Hand.

Alexandra Albán is the daughter of José Vicente Albán and María del Carmen Illera. She remembers the musical variety of her city of birth, Pasto. She admires the playing of Giovanni Hidalgo and Ray Barreto. He has recorded with José Aguirre’s group Kema, with flutist Néstor Torres, with Charlie Cardona, with Tony Sucar, with Bobby Cruz, with Alberto Barros in his Tribute to Colombian Salsa and recently recorded for Aymé Nuviola.

Born in the city of Pasto, Colombia, even as a little girl her musical talent started to show as she started her career as a trumpet player for different musical groups in her home city. Soon she was also singing and participation in national level competitions in which she obtained numerous awards.

The percussionist baptized by Bobby Cruz as Hands of Stone
Alexandra Albán Stone Hand

On the other hand, when she decided to travel to the city of Cali, she began her career as a percussionist, where she began to be part of different groups, thus strengthening her musical talent especially as a percussionist, Alexandra has had the opportunity to participate with artists such as Puerto Rican flutist Nestor Torres in his Latin jazz album which was nominated for a Grammy and Latin Grammy for best album in its genre, also participated in the song “Agua para beber” by Bobby Cruz.

In 2016 she was invited to be part of the jury at the salsa world cup in Cali, Colombia.

In 2018, Maestro Milton Salcedo invites her to record one of the songs (Sombrero de Yarey) of his album Swing 80, where she recorded all the percussion and was also nominated for a Latin Grammy.

In 2019 the master Mario Ortiz invites her to record in his production “50 Aniversario” in the theme (Budo) which was also nominated for the Latin Grammy, and the singer Albita Rodriguez also invites her to record in one of the themes of her album “Acústico” nominated for the Latin Grammy.

Some artists Alexandra has worked with. Maelo Ruiz , Tito Nieves , Jerry Rivera , Luisito Carrión , Ray Sepúlveda , Ray de la Paz, Henry Fiol, Orquesta Mulenze, Tito Gómez (R.I.P), Richie Ray and Bobby Cruz (special guest percussionist), Roberto Blades, Cano Estremera (R.I.P) among others.
The percussionist baptized by Bobby Cruz as Manitas Hands of Stone

In 2020 she was called by the renowned producer Motiff, to record a project of the Artist Arthur Hanlon, production called “Piano y Mujer” where she had the opportunity to record Percussion, Artist like Kany Gracia, Natalia Jimenez among other Artists, participated in Piano y Mujer.

Some artists Alexandra has worked with. Maelo Ruiz, Tito Nieves, Jerry Rivera, Luisito Carrión, Ray Sepúlveda, Ray de la Paz, Henry Fiol, Orquesta Mulenze, Tito Gómez (R.I.P), Richie Ray and Bobby Cruz (special guest percussionist), Roberto Blades, Cano Estremera (R.I.P) among others.

She has also had the opportunity to work and record with Alberto Barros’ tribute to Colombian salsa, a group that won 2 gold records for sales in Mexico.

Anecdote with Bobby Cruz and the nickname he gave you as Manitos de Piedra (Little Hands of Stone)

Since she was a child her beginnings in music were not long in coming, she began her career as a trumpet player in different groups in her hometown, she also ventured into singing where she was winner of national competitions, including the singing contest of the house of culture of Nariño, where she won first place.
Alexandra Albán Born in the city of Pasto, Colombia

The Manitos de piedra thing was when the master Bobby Cruz invited me to record a CD with a song called Agua para beber. Bobby Cruz wanted some quinto solos and wanted me to do them, he calls me, I record them, and my surprise when I listen to the final product and in the middle of the solo he tells me Alexandra Albán, Manitos de piedra, hahaha. That song hit in Puerto Rico and Miami. Once I went to a concert dedicated to Richie Ray and Bobby Cruz in Puerto Rico, and people asked me if I was the aforementioned Manitas de piedra. For them, that’s my identification.

 He admires the playing of Giovanni Hidalgo and Ray Barreto.
I am from Colombia

Research Sources

Diana Marie: Correspondent for International Salsa Magazine in Miami, Florida

International Salsa Magazine

https://www.soultonecymbals.com/artist/alexandra-alban

 

By: Diana Marie Correspondent International Salsa Magazine in Miami, Florida

 

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Raymundo “Ray” Barretto Pagan was born in Brooklyn, New York on April 29, 1929.

Ray Barretto, Giant Force

 

Son of Ramón Barretto and Dolores Pagán, born in Aguadilla, Puerto Rico; he belongs to the generation of Puerto Ricans who grew up in New York and are known as “neoyoricans”: children of Puerto Ricans who did not know the Island.

His father leaves home and returns to Puerto Rico when Ray is barely six years old, leaving his mother, Doña Lola, alone to raise her children Ray, Ricardo and Cecilia. His childhood and part of his youth were spent between the streets of Spanish Harlem and the Bronx, listening to Latin music in the morning and jazz at night.

“My mother fought hard to keep us away from drugs and crime. She rented a room in the apartment to feed us. And as I recall, popular music was an escape for her from the reality of poverty and strengthened her spirit to keep fighting,” Ray recalled.

In 1946, at the age of 17, he enlisted in the army and was sent to Europe, where he curiously began his career as a jazz percussionist, performing officially at the Orlando Club GI, in Munich, Germany, in one of those jam sessions, a point of discovery for many great figures of music.

Regarding his performance in Germany, Ray comments: “That was an inspiration of the moment! There was an old banjo with old strings, I had listened to Chano Pozo through his records with Dizzy Gillespie, and I had that desire to play, to imitate Chano.

I took the banjo, went up on the stage and started to play by hitting the snare drum. Miracle the musicians didn’t throw me off the stage! But then they told me: ‘you have talent, you must go on and try to improve yourself’.

So when I returned to the United States, I bought my first drum and started looking for any place with live music to improve my technique by listening and watching how the musicians played, not on record, but live”.

Bella Martinez “La Escritora Irreverente de la Salsa” (Virginia, USA) is pleased and privileged to provide International Salsa Magazine with a worldwide release of her most recent publication and English translation of the book Ray Barretto, Giant Force.

 Raymundo "Ray" Barretto Pagan was born in Brooklyn, New York on April 29, 1929.
Ray Barretto, Giant Force

The availability in English of this work, assists in the diffusion of Latin culture within the English speaking public.  This was made possible thanks to the rigorous research and literary skill of Colombian author Robert Tellez, as well as the linguistic precision of Puerto Rican translator Ronald Vazquez.

This year, 2021, marks fifteen years since Ray Barretto left the earthly congas and five years since Colombian journalist Téllez Moreno released Ray Barretto, Giant Force.

On April 29th of this year, on the occasion of Barretto’s 93rd birthday, the Colombian author presented the translation of the aforementioned work, published in collaboration with Be More by Bella Martínez.

Like the work originally written by Téllez Moreno in Spanish and published by some publishers in 2016, this English version by the Puerto Rican translator gathers in a chronological and rigorous way the musical work of the also known as “Manos Duras”.

The book highlights Barretto’s beginnings in jazz and his influential career in salsa, collecting 11 Grammy nominations.

Ronald masterfully translates into simple, readable English the same journalistic narrative that Téllez constructed using testimonies gathered from those closest to Barretto.

After Barretto’s death in February 2006, Annette “Brandy” Rivera and the friend of the musician who is the subject of the book, George Rivera, shared with the author their memories of various moments in Barretto’s career.

Ray Barretto, Giant Force, was a virtual activity that was transmitted from Casa Norberto in Plaza Las Americas.

The presentation was moderated by journalist and writer Jaime Torres Torres, the independent editor in charge of the translation project, Bella Martínez, translator Ronald Vázquez, music professor and researcher Elmer González, author of the prologue to Ray Barretto, Giant Force, and the author of the book, Robert Téllez.

Research Sources by:

Bella Martinez

Andrés Campo Uribe “Contributor to Herencia Latina”.

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Latin America – May 2021

Tips for the Latin dances

Argentina and its musical genres

"Cuando se acaba el amor",

Gerson Aranda "La Tabla de Caracas".

Meet Liz Castillo

The macropana

8 de mayo

 

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Europe – May 2021

 

Arabic music

Learn To Dance Salsa in 3 Months With Studio Salsamás

Improve The Physical

Nora Suzuki

Why Is Rhythm & Vibes Dance Popular In London?

 

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.