Paper Lanterns As Centerpieces

East

Before adopting the alias · Joe Cuba · , Gilberto Miguel Calderon Cardona called for a time Joe Panama. They'll think that the man changed his nationality as a Liberian ship, but it is not the case.

The story actually has its bembé. Nuyorican

as many stars from the Latin, Calderón fell into the world of music with one of those break points that usually produce a blunder. More if it's real. Just came the 50's when Gilbert broke a leg and thereby frustrating their desire to be baseball and basketball player (besides be studying to become a lawyer.) To avoid boredom at home, he asked his neighbor Street 115, New York to lend him some congas to mimic what I heard on albums by Machito .
And I was catching the taste with the matter.

Joe Cuba, the mayor of the district

much, that just around a year or two, was already playing as a replacement in various orchestras, participated in two or three times that of Marcelino Guerra, who is not little, until the good fortune, with the help of bassist Roy Rosa, brought him into the quintet of Panama David PREUDHOMME, which had been the nickname of Joe Panama. The fact is that PREUDHOMME was no businessman and Calderón yes, so he ended the last charge of finance and, after musical disagreements, staying with the group.
also recommended by Rosa, Joe adds a vibraphonist named Tommy Berrios, so the band renamed the Joe Panama Sextet ... until, during a concert at the club La Banda in the city, warning that appears PREUDHOMME had recorded the naming rights, so cuidao . Saw the picture, accepted the recommendation of the promoter Catalino Rolon and decided renamed Joe Cuba.

The rest you know.

not without some ups and downs, from the time the sextet was climbing the ladder of popularity in New York, mainly because its efforts to include songs with Latin rhythms, but sung in English, almost inadvertently helped to strengthen this fledgling Spanglish , and proved to be well received by those young people who are band without problems between the two languages.

was the opening act on numerous occasions, Titos in that Fantabulous Palladium, and the music was nurtured by generous that he always admired to create a unique style.
kept the margin (except for a couple of times in 1957) the use of wind instruments, concentrating the melody on the vibraphone. So forged a sound short but very effective, which could be accommodated even in small clubs, in which the cry of a trumpet could be very heavy.
Least to Most seemed to be always thinking.
already in the early 60's became one of the stars that dominated the landscape. Thanks to the lightness of his band, he could easily survive the death of the big bands, taking over the vacant lot and offering, from 1964, one of the crossovers that would give a twist to the sound newyork two years after . I'm talking, of course, the boogaloo.

radiograph of this germ, two years before hatching, is on the disc Steppin 'Out , the first full-length to record in your life. edited it Seeco Records in 1962 and serves as a transducer of the music that was dominating the sound spectrum of the Big Apple. Offers the still young but powerful voice of José Cheo Feliciano and points that music forms, in one way or another, was to assume in this decade of change.
Steppin 'Out is not only super-embarrassed recorded an album of that year Seeco may sound better than one of Fania, 1977 but the industry is well-but has a number of issues that are already part of American musical iconography. The secret seems to be that it was a hard thought, the same Cuba account the idea that he offered to record Rolon, who warned that the owner of the Seeco, Sidney Siegel, he would not give a penny of royalties. Joe also accepted because it was the perfect way to be disclosed to the public: the label was the main writer of Latin music right now, but Tico Records was already beginning to overshadow him.

So this album, recorded with the experimental stereo voices that puts one hand and the rhythm section on the other, brought together the best songs of the repertoire of the sextet: At six , the pachanga holiday that has been repeated so many times in dozens of montunos the 70 sauce; East, a old Cuban song with a phenomenal solo Berrios guapachoso few breaks and that letter says

sticky

Hey, I'm from East

hot rhythm

that makes you enjoy.

Hey, I bring joy

of this land mine

that makes you enjoy.

I bring belly, maraca,

cane flavor

and dance while my pachanga

and very cunning.

Hey, I'm from Santiago

of Ponce

Pachangueros

to know how to dance

is that I will bring hot pace East

A font mambo great, Rosalie, and a delicious guaguancó, Street, which is just one of hundreds of versions that have done the traditional flavored Yambú but downloads street. It also includes a bolero Cheo record again a decade later: How laugh, in a performance that he burst into applause to those in the recording studio; Forums, a mambo with flavor to neighborhood ; Women with choruses that game seal of the house I came pa see, with that delicious taste that Cuba could print on the montuno, and To Be With You , a bolero sung in English that produced by Jimmy Sabater a scene of professional jealousy in the heart study, since Feliciano wanted to record because I'm the vocalist of this band .
Genio. Good reception
this disc Joe reinforced the importance of Cuba in the musical spectrum. Also achieved in the years following interesting sign a contract with Tico, recorded for a time with both record labels and released in 1966 this fundamental album, which broke all sales records and helped trigger one of the most authentic musical madness New York. On that production
talk later.