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La Sonora Ponceña

Today marks 24 years of the death of Ismael Rivera.
Due to Blogger suffered plummeting yesterday (they are still picking up some pieces of the poor boy), and also because I'm traveling, now I can only promise a long post about Maelo for next week, where analyze which I believe is their best album, and I recommend, of course, listen and celebrate.
Ismael was one of the largest and most important events that have given birth in the Caribbean music. His art is as valid as 30, 40 or even 50 years. So a little rumba Friday night in his honor will not be nothing, nothing bad.
Do not forget, while your music sounds he will live.
Maelo I'm sure you'll be doing everyone dancing up there (or down there, anyway) at this very moment.

Écuajey.

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Écuajey turn on the stove

La Sonora Ponceña, founded in 1954 by Enrique Lucca, is one of the most memorable bands of the musical history of the Caribbean, not only because it has been known since the first time accurately recreate the sound that they came from Cuba (though initially had a lot to owe to the ubiquitous Sonora Matancera, orchestra orchestras, and the sound of Arsenio Rodríguez), adding, clarostá, that touch boricua needed to make a little distance and make it more intimate, if possible.

Papo Lucca (Diego R. Bravo)

Over time, moreover, has been creating his own style (thanks to the virtuosity of Papo Lucca, a brilliant pianist and musical director, who will speak more and better in the future) that maintains 57 years later, that intention and that taste. A watermark that began to be felt much more when, in the mid 70's, took away from the tedious repetition I was experiencing made Latin music in New York to shine with light itself .

Despite having been playing at parties and dances of his native Ponce for many years, with some dabbling in other cities of the island (and a trip to New York in the early 60's, which was the formal presentation to Puerto Rican colony located in the city), it was not until 1968 when he recorded his first Ponceña long duration, had little impact outside the island. Of course, they care little detail: in those days, most of the musicians what sounded Puerto Ricans in New York seemed alien and English with a rather unfortunate, too.

It would take several years before they could create those bonds that unite the sounds of the islands.

Just one of those first was the album ends From Puerto Rico to New York , produced by Larry Harlow in 1972 and still expands the traditional sound, although the virtuosity of one of the Papo- best pianists of the term, only 26 years marked some differences: his love of jazz and debugging when dwelling on the magnificent solos that drops in almost all subjects are, Paradoxically, as advanced as what was playing in NYC at that time. Perhaps the lack of the orchestra-by-call them that had more to do with the album in general (it was said that it was a format orchestral sound that sounded a whole ), his arrangements were a little behind what was listening, and hard-United States, plus the choice of themes, which still had a lot of debt with the Cuban theme, more rural than urban.

And that's a key point: for the urban Caribbean music lovers proposal Ponceña in those years was still a little, how to say, naive away from the neighborhood and their experiences.

singers in the orchestra, the great sonero and bolero singer Tito Gómez and the equally great Luigi Texidor, provide an interesting nuance to the band, which marked its sound with four trumpets, trombones no sight- also low, conga, bongo, piano, three and a guiro.

This is reflected in issues such as Tomb Jibarito cane (the Matancera), yes With skill, a slow Son Montuno allowing Lucca melodically expound the influence of Oscar Peterson on keys, merengue Force 'and face and three boleros: I forget, can not be and The door is open. It is also Turn the stove, with a letter rather macho, typical of the Caribbean in those years, that opens the record and intentions Antilles. It is also interesting

The guaguancó born in Havana, a spade a spade-composed and sung by Texidor-and Mayí Oh, in honor of the perennial Cuban deities.

It is definitely an album with lots of flavor that has a freshness that still did not overshadow the New York salsa production. It is also a good way to go finding out how Papo Lucca is virtuous when facing the piano, Latin music and arrangements. The germ disc as impressive as those who scored the late 70's can be found here.

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my weakness, you're my weakness are

is one of my favorite singers, to take off the hat. So, with gratitude. Type: pussy, thank you for existing . It is also an excellent composer, singer, when that word was not used. He was fortunate to be a pile of years of Eddie Palmieri, with whom managed to accumulate and provide an extraordinary experience. Managed to develop a way of addressing the very peculiar and authentic edge that does not owe anybody anything, was able to avoid circumlocutions when fools do verses to a theme (they are famous for their collaborations with Palmieri, who arrived with a tune and say, Ismael, put this letter ) and was able to also foster a sense of life with a lot of positivity, with a shape to deal with almost religious circumstances, which always accompanied him.

Pat Ismael Quintana (photo: Martin Cohen)

Additionally, he is a gentleman in forms, the friend of most musicians of his day, respected by the public (although not always been a favorite, too, that amply deserved it) and so cordial in dealing with people who are almost impossible to find someone who can to release a bad word, even one, Ismael Quintana · · .
Although born in Ponce, never came to live in Puerto Rico. So feel Nuyorican and is well aware of what that condition, Quintana bongo started as one of the many bands that sounded like beasts in the suburbs New York in the late 50. On one occasion, at the Hotel Taft Manhattan, the band member who was kicked off with how it was that big hit by Benny Moré, and he, at that time, also had a starter, undid the bongos, grabbed a microphone and launched into singing .
After the piece his colleagues were surprised by the performance: leaves the bongos, you're a singer! , they said.

was not until some time later at an audition for the orchestra, Orlando Marin, when he heard by chance by Eddie Palmieri (piano player at the time of Tito Rodriguez, although he can not wait to mount separate tent), who in 1961 called him to sing on his new band, La Perfecta.

After 12 years together, during which he provided a bulk of the best music ever recorded in that city, that Ishmael was attracted by the siren songs of of Fania Records. They offered him all the creative freedom she wanted, an orchestra with musicians high bill and a good promotion to launch his solo career. Quintana had already made two solo albums for United Artists in the 60's, was happy to be part of the team of his buddy Eddie and I had no intentions of launching a solo career. Rapport with Palmieri was great and what change that, right? But Jerry Masucci, Johnny Pacheco helped managed to convince him. Quintana, in fact, not a bad word when speaking of Fania capitoste: he was a great person to me was very supportive, helped me a lot .

In 1974, with the full freedom to him given Fania ( you choose the musicians, the songs you produce and you have a free hand to do what you want into them ), Quintana mounts a great band, wonderful, composed Bobby Valentin on bass, Orestes Vilató on bongos, congas, Johnny Rodriguez, Vinnie Bell on guitar, the extraordinary Dimond Markolino and Pappo Luca on piano, Adalberto Santiago on maracas (and choir), Nicky Marrero on timbales, Harry Viggiano in three, the unusual and former bandmate Barry Rogers, who is next to Lewis Kahn on trombone, plus Bomberito Hector Zarzuela and even little-known Luis Ortiz parrot on the trumpets. In the chorus, in addition to Adalberto, sang Johnny Pacheco, Hector Lavoe and Jimmy Savater.
and produces a great album, unfairly discontinued, which did not reach the seats he deserved but still sounds so current among connoisseurs. An album composed almost entirely of Ishmael, and he opened with a theme that served as the official presentation of their income to the Fania All Stars: My weakness

my weakness, you you are my weakness

The consuming me and I can not refuse

My weakness, hey mom, my weakness is

know you're around and not able to conquer

your beautiful eyes, your mouth coral

and all things that body can not be beaten.

not lose the hope that you're mine, i s total

and will be a good thing, just my weakness

Dimond's solo in half of Latin music is extraordinary, and which is released on trombone Rogers beam. Both contain nuances that remind palmierianas influences in the form of see Ismael's music and several of the musicians grouped into production. Do not forget that what they call the sound Palmieri is largely a contribution of the genius of Barry, who was in The Perfect since its inception. I bring the key is a statement of intentions and leave it there not a bolero of both liked to Ishmael (who has always preferred this song to uptempo). Tambo is a son that becomes reminiscent festive guaracha palmierianas-how no-one simply Ortiz amazing and Quintana Montuno shown in full power of her singing. blush blouse is another star of the album, with lyrics that now sounds sexist but it was not unusual in those years Yorkers. In it, Pappo Luca launches estupendísimo piano solo, which marks the contrast between the key Markolino intricate jazz with the soul of Puerto Rican and melodic Pappo, both so great and so different at the time.

That thing called love is another bolero under the old , ie with a guitar and maracas set the pace; Mai are squishy it be a delicious, clear homage to the Cuban contained in the music-although trombones play a major role in the final bow, and a parakeet trumpet is to re-listen. And why see closes the disc: a bolero rudeness, those of I cut the veins right now, that ends in a Son Montuno is a delight.

One such wonder is expected to end up as a blockbuster sales and playing on the radio more than a jingle. Not so: the slab palmieriana-here-also weighed heavily on top and, as rightly said César Miguel Rondón in the Book of salsa, melómeno accustomed to the tessitura of Quintana as part of the animal Music was his former partner, did not want to hear it separately. The result was not the same. A final l going to be that the strength-and weakness, while Ismael Quintana, Eddie Palmieri called.

would

poetic.


Ya ... I know, I know. I apologize for talking back to another disk destacalogado, also not available in CD . I never imagined that this album so special not been reissued by the folks at Code Music.
Palmie ri's curse, yet again? Maybe. The truth is that the only way to have some of these songs is through collections.
Yourself.