Pete "El Conde" Rodríguez
Singer, Composer, Percussionist and Orchestra … Read Full Bio ↴Pete "El Conde" Rodríguez
Singer, Composer, Percussionist and Orchestra Director
FULL NAME: Pedro Juan Rodríguez Ferrer
DATE OF BIRTH: January 31, 1933
PLACE OF BIRTH: La Cantera, Ponce, Puerto Rico
DEATH: December 2, 2000 in Bronx, New York (USA)
Pete "El Conde" Rodríguez is not only recognized as one of the most extraordinary vocalists in the history of salsa, but also as the one that best assimilated the essence of son among those born in our country. That is why, in Colombia, Venezuela, Peru and other international places in the salsera culture - including Cuba -, connoisseurs often identify him as "the most Cuban of Puerto Rican soneros".
This teacher of rumba, son, salsa and bolero Antillean was the second of three children born by Emiliano Rodríguez and Anatilde Ferrer Colón. Intuitive musician. At the age of ten years he was already playing the bongo in the Conjunto El Gondolero, which was directed by his progenitor. At thirteen, he went to live with his family in the Barrio Latino, in New York. In this metropolis would spend almost the rest of his life. At 17, he began to work in a printing press, a job he held until he was recruited by the US Army to perform his military service in the Korean war. During this period (1953 - 1956) he was parachutist of the Air Force.
After his discharge and return to the Great City, he found accommodation in the set of Johnny Soler. Shortly afterwards he joined the Cuban Oriental Orchestra, whose repertoire followed the most genuine sonic tradition. From that organization went to another focused on the same wave: The Young Stars of Cuba, directed by the trumpeter and singer Roberto Rodriguez, who later would be the bastion of the orchestra of Ray Barretto and Fania All Stars. His internship for this group covered the period 1959 - 1961. It was then that he had the opportunity to record for the first time.
After appearing briefly in the Orquesta Típica Novel, by pianist Willie Ellis (1961 - 1962), he was recruited alongside Chivirico Davila and Monguito El Único to replace Rudy Calzado and Elliot Romero in Johnny Pacheco's charanga. From then on he would begin his promotion to fame. From his first stage with collective boy dating hits like "Suavito" (1963); "As Mango" and "I am Guajiro" (1964); "Alto Songo", "Guachinango" and "Soy del Monte" (1965). However, frictions between his colleague Monguito and he motivated him to leave this successful group. He then joined the sensation group of pianist Ray Roig (1964 - 1966). But when Monguito decided to go to the ranks of the orchestra of Larry Harlow, he returned to the charanga de Pacheco. The binomial that formed with this, which the fanaticada salsómana known as "The Perfect Combination" and "Los Compadres" - a term that alluded to the title of one of his most successful albums, although they were also in real life - has been One of the most striking and influential in the history of salsa.
Although Pete "El Conde" Rodríguez directed his own band during the period 1974 - 1980, he never separated artistically from Pacheco, who was the producer par excellence of his recordings. In 1980 - enthusiastic for the success of his performances in Puerto Rico accompanied by the Orchestra La Terrífica, by trumpeter Joe Rodriguez in 1979 - he tried to project his career from his homeland and settled here with his family. He then organized a new band. During the first few years he did very well. But from the second lustrum of that decade, due to the fever generated by the merengue genre and the boom of the so-called erotic sauce, the work began to be scarce, being necessary to return definitively to the New York square.
Still, "El Conde" lived one of the most significant nights of his career on Saturday, September 7, 1996 when he presented the lucid spectacle "35 years of royalty" at Teatro La Perla in his native Ponce. He celebrated three and a half decades of musical career - in fact, he had been in the stages for more than 40 years - surrounded by many of the companions and friends with whom he had shared during such a long journey. In this event, produced by businessman Frankie Moreno, were present: Johnny Pacheco, Papo Lucca & La Sonora Ponceña, Andy Montañez, Ismael Miranda, Bobby Valentin, Camilo Azuquita, Los Guayacanes de San Antón and Ruth Fernández. Their children Pedro Emilio "Little Pete" and Cita also participated in the function.
As evidence of his personal life emerges that Pete "El Conde" Rodriguez married Frances Caraballo. Fruits of this union are Pedro ("Cholo"), Lydia, Pedro Emilio and Cita. Pedro Emilio "Little Pete" is trumpeter, arranger and singer.
On the other hand, it can be added that the last performance of this talented Ponceño before his compatriots was in the concert "Masterpiece", presented / displayed by Eddie Palmieri & Orchestra Tito Bridge with the singers that intervened in the recording of the same title, in the Theater Amphitheater Tito Puente, on the night of Thursday, October 26, 2000. He then toured South America with Richie Ray & Bobby Cruz.
Pete "The Count" Rodriguez died while sleeping at his home in Bronx, New York (USA) on December 2, 2000, as a result of cardiac arrest. His remains were exhibited in the Bomb Park of his hometown and at the Buxeda Funeral Home in Hato Rey. On Thursday the 7th they were creamed, being buried in the National Cemetery of Bayamón. Shortly afterwards, Calle Mayor Cantera, principal of the La Cantera neighborhood where it was raised, was renamed with its name.
It should be noted that Pete "El Conde" Rodríguez always assured that his first idol in musical art was the great Pedro Ortiz Dávila «Davilita» (1912 - 1986). Likewise, his main artistic influences were received from Felix Chappotín and Sus Estrellas with sonero Miguelito Cuní and the no less revered Cheo Marquetti, Abelardo Barroso and Benny Moré.
Awards and recognitions:
• Tribute, shared with Johnny Pacheco, by the administration of the Tropicana Club, in Hato Rey, in the framework of a dance - show in which Sonora Ponceña, Los Hijos de la Salsa and other popular orchestras participated (April 28, 1989).
• Homage by the Association of University Teachers (APPU); The Students Council of the University of Puerto Rico and the folk groups Paracumbé and Plena de Ponce in the Amphitheater. 1 of the UPR (1990)
Discography as a soloist:
• "El Conde" (Fania, SLP - 459), 1974. Includes the jitazo "Babaila" (by Tite Curet
Alonso).
• "This black is tasty" (Fania, SLP - 489), 1976. Music Producer: Louie
Ramírez. Contains the hit "Catalina La O" (by Johnny Ortiz).
• "A Touch of Class" (Fania, SLP - 00519), 1977. Music Producer: Louie Ramírez.
• "I am the law" (Fania, SLP - 550), 1979. Music Producer: Louie Ramírez. It generated two hits: "Mi negra Mariana" and "Soy la ley" (by Ramón Rodríguez).
• "Fiesta con el Conde" (Fania, SLP - 606), 1982.
• "The King" (Fania, JM - 663), 1990.
• "Generations" (Trademarks 700B690A), 1993.
• "Pete & Papo" (RMM, RMD-697), 1996. Of boleros. Music Producer: Papo Lucca.
Discography with Johnny Pacheco:
• "Suavito" (Alegre, SLPA - 8220), 1962.
• "Spotlight on Pacheco" (Alegre, A - 827), 1964.
• "Cañonazo" (Fania, SLP - 325), 1964. First production in the history of the company.
• "Pacheco at the NY World's Fair" (Fania, SLP-326), 1965.
• "Typical flavor" (Fania, SLP - 339), 1968.
• "Flying Low" (Fania, SLP - 363), 1969.
• "Perfect combination" (SLP - 380), 1970.
• "Los compadres" (Fania, SLP - 00400), 1972.
• "Three of coffee and two of sugar" (Fania, SLP - 00436), 1973.
• "Pacheco and" El Conde "with Celia Cruz" (Fania / Vaya, V - 90), 1980.
• "New Los Compadres" (Fania, SLP - 625), 1983.
• "Jícamo" (Fania, JM - 638), 1985.
• "Salsobita" (Fania, JM - 644), 1987.
• "Celebration" (Fania, JM - 652), 1989.
Basic Discography as a Lead Vocalist or Guest Artist:
• Ray Roig & Orchestra Feeling: "Swing" (TLPR 4602), 1965. It generated three successes: "El rincón", "Baila conmigo" and "El pregón pastelero".
• Fania All Stars: "Live at Red Garter", Vols. 1 & 2 (1968, edited in 1969); "Live at Cheetah", Vols. 1 & 2, and "Our Latin Thing", soundtrack of the homonymous film (1971, published in 1972); "Live in Africa" (1974); "Live at Yankee Stadium," Vols. 1 & 2 (JM-465/1975); "Tribute to Tito Rodríguez" (JM-493/1976); "Commitment" (JM-564) and "California Jam" (Latin Music, ML-583/1980); "Latin Connection" (JM-595/1981); "What people ask for" (JM-629/1984);
"Viva la Charanga" (JM-640/1986); "Bamboleo" (JM-628/1988) and "Fania All"
Stars With Pete «The Count» Rodriguez (Sony International, ASIN-B000002 /
nineteen ninety six ). Compilation.
• Larry Harlow & Junior Gonzalez: "Hommy" (Fania), 1973.
• Tito Puente & Orquesta: "Tribute to Benny Moré, Vol. 2" (Tico, TLP-1436),
1979.
• Larry Harlow & Latin Legends Band: Idem (Fania / J & N, LP-82449), 1998.
• Jimmy Bosch & Orchestra: "Soneando trombón" (Ryko Latino, RL-1004), 1999.
Vocalizes the theme "Seagull", original of Jimmy.
• The Gold Stars: "Salsa Mask / Enjoying!" (Asefra Music), 1996
Singer, Composer, Percussionist and Orchestra … Read Full Bio ↴Pete "El Conde" Rodríguez
Singer, Composer, Percussionist and Orchestra Director
FULL NAME: Pedro Juan Rodríguez Ferrer
DATE OF BIRTH: January 31, 1933
PLACE OF BIRTH: La Cantera, Ponce, Puerto Rico
DEATH: December 2, 2000 in Bronx, New York (USA)
Pete "El Conde" Rodríguez is not only recognized as one of the most extraordinary vocalists in the history of salsa, but also as the one that best assimilated the essence of son among those born in our country. That is why, in Colombia, Venezuela, Peru and other international places in the salsera culture - including Cuba -, connoisseurs often identify him as "the most Cuban of Puerto Rican soneros".
This teacher of rumba, son, salsa and bolero Antillean was the second of three children born by Emiliano Rodríguez and Anatilde Ferrer Colón. Intuitive musician. At the age of ten years he was already playing the bongo in the Conjunto El Gondolero, which was directed by his progenitor. At thirteen, he went to live with his family in the Barrio Latino, in New York. In this metropolis would spend almost the rest of his life. At 17, he began to work in a printing press, a job he held until he was recruited by the US Army to perform his military service in the Korean war. During this period (1953 - 1956) he was parachutist of the Air Force.
After his discharge and return to the Great City, he found accommodation in the set of Johnny Soler. Shortly afterwards he joined the Cuban Oriental Orchestra, whose repertoire followed the most genuine sonic tradition. From that organization went to another focused on the same wave: The Young Stars of Cuba, directed by the trumpeter and singer Roberto Rodriguez, who later would be the bastion of the orchestra of Ray Barretto and Fania All Stars. His internship for this group covered the period 1959 - 1961. It was then that he had the opportunity to record for the first time.
After appearing briefly in the Orquesta Típica Novel, by pianist Willie Ellis (1961 - 1962), he was recruited alongside Chivirico Davila and Monguito El Único to replace Rudy Calzado and Elliot Romero in Johnny Pacheco's charanga. From then on he would begin his promotion to fame. From his first stage with collective boy dating hits like "Suavito" (1963); "As Mango" and "I am Guajiro" (1964); "Alto Songo", "Guachinango" and "Soy del Monte" (1965). However, frictions between his colleague Monguito and he motivated him to leave this successful group. He then joined the sensation group of pianist Ray Roig (1964 - 1966). But when Monguito decided to go to the ranks of the orchestra of Larry Harlow, he returned to the charanga de Pacheco. The binomial that formed with this, which the fanaticada salsómana known as "The Perfect Combination" and "Los Compadres" - a term that alluded to the title of one of his most successful albums, although they were also in real life - has been One of the most striking and influential in the history of salsa.
Although Pete "El Conde" Rodríguez directed his own band during the period 1974 - 1980, he never separated artistically from Pacheco, who was the producer par excellence of his recordings. In 1980 - enthusiastic for the success of his performances in Puerto Rico accompanied by the Orchestra La Terrífica, by trumpeter Joe Rodriguez in 1979 - he tried to project his career from his homeland and settled here with his family. He then organized a new band. During the first few years he did very well. But from the second lustrum of that decade, due to the fever generated by the merengue genre and the boom of the so-called erotic sauce, the work began to be scarce, being necessary to return definitively to the New York square.
Still, "El Conde" lived one of the most significant nights of his career on Saturday, September 7, 1996 when he presented the lucid spectacle "35 years of royalty" at Teatro La Perla in his native Ponce. He celebrated three and a half decades of musical career - in fact, he had been in the stages for more than 40 years - surrounded by many of the companions and friends with whom he had shared during such a long journey. In this event, produced by businessman Frankie Moreno, were present: Johnny Pacheco, Papo Lucca & La Sonora Ponceña, Andy Montañez, Ismael Miranda, Bobby Valentin, Camilo Azuquita, Los Guayacanes de San Antón and Ruth Fernández. Their children Pedro Emilio "Little Pete" and Cita also participated in the function.
As evidence of his personal life emerges that Pete "El Conde" Rodriguez married Frances Caraballo. Fruits of this union are Pedro ("Cholo"), Lydia, Pedro Emilio and Cita. Pedro Emilio "Little Pete" is trumpeter, arranger and singer.
On the other hand, it can be added that the last performance of this talented Ponceño before his compatriots was in the concert "Masterpiece", presented / displayed by Eddie Palmieri & Orchestra Tito Bridge with the singers that intervened in the recording of the same title, in the Theater Amphitheater Tito Puente, on the night of Thursday, October 26, 2000. He then toured South America with Richie Ray & Bobby Cruz.
Pete "The Count" Rodriguez died while sleeping at his home in Bronx, New York (USA) on December 2, 2000, as a result of cardiac arrest. His remains were exhibited in the Bomb Park of his hometown and at the Buxeda Funeral Home in Hato Rey. On Thursday the 7th they were creamed, being buried in the National Cemetery of Bayamón. Shortly afterwards, Calle Mayor Cantera, principal of the La Cantera neighborhood where it was raised, was renamed with its name.
It should be noted that Pete "El Conde" Rodríguez always assured that his first idol in musical art was the great Pedro Ortiz Dávila «Davilita» (1912 - 1986). Likewise, his main artistic influences were received from Felix Chappotín and Sus Estrellas with sonero Miguelito Cuní and the no less revered Cheo Marquetti, Abelardo Barroso and Benny Moré.
Awards and recognitions:
• Tribute, shared with Johnny Pacheco, by the administration of the Tropicana Club, in Hato Rey, in the framework of a dance - show in which Sonora Ponceña, Los Hijos de la Salsa and other popular orchestras participated (April 28, 1989).
• Homage by the Association of University Teachers (APPU); The Students Council of the University of Puerto Rico and the folk groups Paracumbé and Plena de Ponce in the Amphitheater. 1 of the UPR (1990)
Discography as a soloist:
• "El Conde" (Fania, SLP - 459), 1974. Includes the jitazo "Babaila" (by Tite Curet
Alonso).
• "This black is tasty" (Fania, SLP - 489), 1976. Music Producer: Louie
Ramírez. Contains the hit "Catalina La O" (by Johnny Ortiz).
• "A Touch of Class" (Fania, SLP - 00519), 1977. Music Producer: Louie Ramírez.
• "I am the law" (Fania, SLP - 550), 1979. Music Producer: Louie Ramírez. It generated two hits: "Mi negra Mariana" and "Soy la ley" (by Ramón Rodríguez).
• "Fiesta con el Conde" (Fania, SLP - 606), 1982.
• "The King" (Fania, JM - 663), 1990.
• "Generations" (Trademarks 700B690A), 1993.
• "Pete & Papo" (RMM, RMD-697), 1996. Of boleros. Music Producer: Papo Lucca.
Discography with Johnny Pacheco:
• "Suavito" (Alegre, SLPA - 8220), 1962.
• "Spotlight on Pacheco" (Alegre, A - 827), 1964.
• "Cañonazo" (Fania, SLP - 325), 1964. First production in the history of the company.
• "Pacheco at the NY World's Fair" (Fania, SLP-326), 1965.
• "Typical flavor" (Fania, SLP - 339), 1968.
• "Flying Low" (Fania, SLP - 363), 1969.
• "Perfect combination" (SLP - 380), 1970.
• "Los compadres" (Fania, SLP - 00400), 1972.
• "Three of coffee and two of sugar" (Fania, SLP - 00436), 1973.
• "Pacheco and" El Conde "with Celia Cruz" (Fania / Vaya, V - 90), 1980.
• "New Los Compadres" (Fania, SLP - 625), 1983.
• "Jícamo" (Fania, JM - 638), 1985.
• "Salsobita" (Fania, JM - 644), 1987.
• "Celebration" (Fania, JM - 652), 1989.
Basic Discography as a Lead Vocalist or Guest Artist:
• Ray Roig & Orchestra Feeling: "Swing" (TLPR 4602), 1965. It generated three successes: "El rincón", "Baila conmigo" and "El pregón pastelero".
• Fania All Stars: "Live at Red Garter", Vols. 1 & 2 (1968, edited in 1969); "Live at Cheetah", Vols. 1 & 2, and "Our Latin Thing", soundtrack of the homonymous film (1971, published in 1972); "Live in Africa" (1974); "Live at Yankee Stadium," Vols. 1 & 2 (JM-465/1975); "Tribute to Tito Rodríguez" (JM-493/1976); "Commitment" (JM-564) and "California Jam" (Latin Music, ML-583/1980); "Latin Connection" (JM-595/1981); "What people ask for" (JM-629/1984);
"Viva la Charanga" (JM-640/1986); "Bamboleo" (JM-628/1988) and "Fania All"
Stars With Pete «The Count» Rodriguez (Sony International, ASIN-B000002 /
nineteen ninety six ). Compilation.
• Larry Harlow & Junior Gonzalez: "Hommy" (Fania), 1973.
• Tito Puente & Orquesta: "Tribute to Benny Moré, Vol. 2" (Tico, TLP-1436),
1979.
• Larry Harlow & Latin Legends Band: Idem (Fania / J & N, LP-82449), 1998.
• Jimmy Bosch & Orchestra: "Soneando trombón" (Ryko Latino, RL-1004), 1999.
Vocalizes the theme "Seagull", original of Jimmy.
• The Gold Stars: "Salsa Mask / Enjoying!" (Asefra Music), 1996
Azuquita Mami
Pete "El Conde" Rodriguez Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Cuando yo te apriete a ti
nunca podrás olvidarme
y me puede trastornar.
Pero dame un poquitico y no me hagas sufrir.
De paso a Puerto Rico no traigo para ti.
Y toda la vida contigo me siento feliz.
Tu sabes que este negro se muere de corazón por ti.
¡Con ustedes Papo Luca!
Contigo quiero estar porque me siento feliz.
Tu sabes mamasita que te quiero con frenecí.
Azuquita pa' ti, azuquita pa' mi, pero que rico mami.
Oye mi hermosa hay... para ti.
¡Azúcar!
nunca podrás olvidarme
y me puede trastornar.
Pero dame un poquitico y no me hagas sufrir.
De paso a Puerto Rico no traigo para ti.
Y toda la vida contigo me siento feliz.
Tu sabes que este negro se muere de corazón por ti.
¡Con ustedes Papo Luca!
Tu sabes mamasita que te quiero con frenecí.
Azuquita pa' ti, azuquita pa' mi, pero que rico mami.
Oye mi hermosa hay... para ti.
¡Azúcar!
In the song "Azuquita mami", Pete "El Conde" Rodríguez sings about his love for a woman he adores. He sings about how he can never be forgotten once he has held her tightly. He claims that he can make her go crazy and lose her senses by his mere touch. He pleads with her to give him just a little of her love and not make him suffer. He admits that he did not bring anything for her from Puerto Rico. Despite this, he is happy to be with her as she makes him feel complete. He confesses that he loves her with all his heart. Papo Luca then takes over the song and adds that he wants to be with her because she makes him happy. He tells her that he loves her fiercely and passionately. The chorus of the song repeats the word "azúcar", which means sugar in Spanish, and signifies the sweetness that love can bring.
The song is a celebratory ode to love, and its lyrics capture the feelings of passion, joy, and bliss that come with falling in love. Pete "El Conde" Rodríguez was known for his mastery of the salsa genre, and this song showcases his skills in combining a catchy melody with poetic lyrics. The song became incredibly popular in the Latin American music scene and continues to be a classic in the genre.
Line by Line Meaning
Cuando yo te apriete a ti
When I hold you tightly
nunca podrás olvidarme
you can never forget me
y me puede trastornar.
and I can drive you crazy.
Pero dame un poquitico y no me hagas sufrir.
But give me a little bit and don't make me suffer.
De paso a Puerto Rico no traigo para ti.
I didn't bring anything for you from Puerto Rico.
Y toda la vida contigo me siento feliz.
And I feel happy my whole life with you.
Tu sabes que este negro se muere de corazón por ti.
You know that this Black man dies from his heart for you.
¡Con ustedes Papo Luca!
With you all, Papo Luca!
Contigo quiero estar porque me siento feliz.
I want to be with you because I feel happy.
Tu sabes mamasita que te quiero con frenecí.
You know, my darling, that I love you passionately.
Azuquita pa' ti, azuquita pa' mi, pero que rico mami.
Sugar for you, sugar for me, but it's delicious, baby.
Oye mi hermosa hay... para ti.
Listen, my beautiful, there is something for you.
¡Azúcar!
Sugar!
Contributed by Wyatt P. Suggest a correction in the comments below.
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@nikmorgam1989
(Azuquita mami, azuquita pa' ti
azuquita mami, azuquita pa' mi).
Cuando yo te apriete a ti
nunca podrás olvidarme
y tendrás que recordarme
con ardiente frenecí.
(Azuquita mami, azuquita pa' ti
azuquita mami, azuquita pa' mi).
Azuquita en tu cintura
tu tienes mami al andar
que me causa sabrosura
y me puede trastornar.
(Azuquita mami, azuquita pa' ti)
Ay!.. azuquita...
(Azuquita mami, azuquita pa' ti)
Pero dame un poquitico y no me hagas sufrir.
(Azuquita mami, azuquita pa' ti)
Ay! azuca' en tu cintura, azuquita pa' mi.
(Azuquita mami, azuquita pa' ti)
De paso a Puerto Rico no traigo para ti.
(Azuquita mami, azuquita pa' ti)
Azuquita en tu cintura, azuquita pa' mi.
(Azuquita mami, azuquita pa' ti)
Amorcito tu me das, tu cariñito pa' mi.
(Azuquita mami, azuquita pa' ti)
Y toda la vida contigo me siento feliz.
(Azuquita mami, azuquita pa' ti)
Azuquita mamita, azuquita pa' ti.
(Azuquita mami, azuquita pa' ti)
Tu sabes que este negro se muere de corazón por ti.
(Azuquita mami, azuquita pa' ti)
¡Epa!
¡Con ustedes Papo Luca!
(Azuquita mami, azuquita pa' ti)
Pero que rico azuquita, azuquita pa' mi.
(Azuquita mami, azuquita pa' ti)
Ay! azuca' en tu cintura, azuquita pa' mi.
(Azuquita mami, azuquita pa' ti)
Ay!.. azuquita.
(Azuquita mami, azuquita pa' ti)
Contigo quiero estar porque me siento feliz.
(Azuquita mami, azuquita pa' ti)
Tu sabes mamasita que te quiero con frenecí.
(Azuquita mami, azuquita pa' ti)
Azuquita pa' ti, azuquita pa' mi, pero que rico mami.
(Azuquita mami, azuquita pa' ti)
Azuquita en tu cintura, azuquita pa' mi.
(Azuquita mami, azuquita pa' ti)
Oye mi hermosa hay... para ti.
(Azuquita mami, azuquita pa' ti).
¡Azúcar!
@oliverassammy9794
El Enemigo # 1 de la palabra "Salsa"
A Johnny Pacheco, no le quedo más remedio que aceptar, un término que ya se venia popularizando entre los músicos puertorriqueños. Su influencia como director musical de la Fania, no pudo contra la determinación boricua, de seguirle llamando "Salsa" al nuevo sonido y estilo musical.
El director musical de la Fania, el dominicano Johnny Pacheco, alegaba que la "Salsa" era una sombrilla para guarecer todos los ritmos cubano, nunca mencionaba la increible influencia del Jazz en los metales y el piano, la eliminacion del saxofón y la iclusión de los trombones, el tiempo de la música, la inclusión del toque de Bomba, el Cuatro puertorriqueño, la Campana y la preponderacia músical de la guaracha y folclor boricua. Este dominicano se alimentaba de las letras cubanas y los obreros boricuas. Johhny Pacheco, es la persona que mas robos de derechos de autor de la música cubana existe en el mundo. Para no pagarle a autores y enriquecerse, usó las letras cubanas, de unos cubanos que estaban encerrados en Cuba y no podrían demandarlo. Pacheco habia creado una orquesta llamada; Pacheco y su Nuevo Tumbao, con letras y estilo musical cubano, copiando a la Sonora Matancera, este hombre no tenia originalid, pero era creativo "o listo" pues no pasaba el trabajo por componer, se valia de lo que ya estaba hecho. De esa forma genero una confusión en la mente de algunos, por oir letras cubanas, pero en un tiempo musical u bailable diferente. Es como transformar las letras de un Tango, una Ranchera. o un Flamenco en "Salsa". El Tango es Argentino, la Ranchera es Mexicana, el Flamenco es Español, pero la "Salsa: ni argentina ni mexicana, ni española. Hoy en dia unas letras escritas en la China pueden ser convertidas en Rancheras, Rock and Roll o Salsa indistintamente, las letras son chinas pero el estilo musical es de la cultura que la produce. De igual forma, el Son Montuno es una cosa, "Salsa, es otra. Veamos que nos dice el timbalero Manny Oquendo:-
Pacheco era muy bueno explotando la música cubana. El robaba muchas canciones, y no pagaba ninguna regalías, se aprovechó de que los cubanos estaban bloqueados y se apropió de los derechos de autor de estos, ya que no podían reclamar nada. Así fue que el hizo su fortuna, robando las letras de otros.- Manny Oquendo, músico de origen puertorriqueñoque que se inicio para los 1940's en Nueva York.
@miguelmaldonado6056
Héctor castro en un solo de piano
@joseorlandocendalezzuniga1029
Crecí escuchando al conde.Rodriguez tengo actualmente 60 años tremenda voz y mucho salsabor y que viva la salsa del ayer saludos desde Cali Colombia🤠
@gustavoadolforamosgrieco6405
Eso es clase de clases. Música de verdad. Saludos.
@fernandocaicedomera3615
Ese es el Sabor de mi Cali bella, y mi Valle del CAUCA.
SALUDOS DESDE COLOMBIA.
CON MUCHO AMOR.
@pedromc3766
Tremendo dúo, aquel individuo que no los conoce musicalmente, no sabe de salsa, qué extraordinaria dupla de los años 60, 70, 80 uffff que calidad con la que se se encontró, ésto es guaguancó me hubiese encantado poder nacer en esos tiempos, qué envidia sana siento por escuchar hoy día 26 de enero del 2021 ésta clase de música que es ESPECTACULAR 👏👏👏 GRACIAS PUERTO RICO Y REPÚBLICA DOMINICANA POR ÉSTOS DOS FENÓMENOS DE LA SALSA ANTIGUA, ESA SALSA QUE LOS JÓVENES DE HOY QUISIÉRAMOS QUE SE ESCUCHE TODA LA VIDA, YA NO ENCONTRAMOS A ÉSTA GENERACIÓN ANTIGUA DE MÚSICOS Y CANTANTES QUE DESLUMBRAN SIEMPRE EN LOS OÍDOS DE LOS AMANTES DE ÉSTE GÉNERO MUSICAL LLAMADO SALSA, LO QUE ANTES NO SE LLAMABA ASÍ, PERO BUENO SOY JOVEN Y EXTREMADAMENTE FAN DE LA MÚSICA ANTIGUA, ESA SALSA O GUAGUANCÓ, O SON MONTUNO ETC, SALUDOS CORDIALES DESDE EL PERÚ 🇵🇪 CALLAO, ÉXITOS HERMANOS LATINOS, EL COVID DESAPARECERÁ ESTOY POR SEGURO, SOLO NOS ENCOMENDAMOS A DIOS Y NOS CUIDAMOS CON TODAS LAS MEDIDAS DE BIOSEGURIDAD CORRESPONDIENTES 💪💪💪✊✊✊🎶🎶🎸🎶
@avegloria3913
Nunca más se verá algo como este aporte de América Latina al mundo, esta música unica y maravillosa
@carlosgines7317
Glory no somos ni a mericanos. ni latinos.somos seres humanos.
@johnwaters7847
Lo que pasa es que ellos son el Beethoven y el Mozart que los Latinos necesitaban.
@jamesr7170
Esta musica la podre escuchar mil veces seguidas y no me cansare, es eterna, inmortal ya va en nuestros genes
@sylvainlalancette7785
lo mismo digo es parte de mi sangre