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
Encantigo
Pete "El Conde" Rodriguez Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
no, no, no, ne, no, na
no, no, no, ne, no, na...
no, no, no, na...
Oye...
Oye...
Rumba la catinga la catumba bembé.
Ojo por ojo diente por diente.
Ojo por ojo diente por diente.
El abuelo de Tun buscaba una fuente
y en la fuente bailaba mucha gente,
rumba que tumba... rumba de muerte...
rumba la catinga la catumba bembé.
El rey de las Sínsoras surtía su mesón,
Guasón Cáscaras hacía su danzón...
Coco Loco se coloca sobre el lago Tangañica,
pica que pica, tambor repica,
sobre la playa de Marchiquita...
Ay!
Rumba la catinga la catumba bembé.
El rey de las Sínsoras surtía su mesón,
Guasón Cáscaras hacía su danzón...
Coco Loco se coloca sobre el lago Tangañica,
pica que pica, tambor repica,
sobre la playa de Marchiquita...
Rumba la catinga la catumba bembé.
Eh!.
(Rumba la catinga la catumba bembé).
Eh!.
(Rumba la catinga la catumba bembé).
Rumba la catumba, la catumba bembé.
(Rumba la catinga la catumba bembé).
Rumba la catinga la catumba bembé, rumbala.
(Rumba la catinga la catumba bembé).
Guipé, guipé, guipé, bembé.
(Rumba la catinga la catumba bembé).
Ojo por ojo, diente por diente.
(Rumba la catinga la catumba bembé).
En la fuente si baila mucha gente...
(Rumba la catinga la catumba bembé).
El abuelo de Tun anda buscando gente.
(Rumba la catinga la catumba bembé).
Timbe, timbero, timbero bueno.
(Rumba la catinga la catumba bembé).
Rumba la catumba, la catumba, la catumba bembé.
(Rumba la catinga la catumba bembé)
No, no, no, ne, no, na.
(Rumba la catinga la catumba bembé).
Que tumbale, que tumbale, que tumbale.
(Rumba la catinga la catumba bembé)
Rumbale, rumbale, rumbale...
(Rumba la catinga la catumba bembé).
Rumbale, rumbale, rumbale, rumbembe.
(Rumba la catinga la catumba bembé).
No, no, no, ne, no, na
no, no, no, ne, no, na
no, no, no, ne, no, na...
no, no, no, na...
Oye...
Oye...
The lyrics to Pete "El Conde" Rodríguez's song Encantigo are a mixture of Afro-Cuban rhythms and nonsensical phrases. The repeated "no, no, no, ne, no, na" at the beginning and end of the song serves as a rhythmic chant to keep the beat steady. The rhythmic structure of the song is based in part on the bembé, a religious celebration that blends African and Catholic traditions.
The lyrics themselves are filled with references to various characters and places, but their meaning is often opaque. The lines "ojo por ojo, diente por diente" ("an eye for an eye, a tooth for a tooth") suggest a sense of retribution or retaliation, while the reference to "rumba de muerte" ("rumba of death") hints at a darker, more intense atmosphere.
Line by Line Meaning
No, no, no, ne, no, na
The repetition of this phrase sets the tone for the song and expresses disbelief or disagreement with something.
Oye...
This single word can mean 'listen', 'watch', or 'hey', and is an attention-grabbing interjection.
Rumba la catinga la catumba bembé.
This phrase is a nonsensical chant that creates a jazzy rhythmic pattern.
Ojo por ojo diente por diente.
This well-known phrase is used to express the concept of justice and retaliation based on the severity of a wrongdoing.
El abuelo de Tun buscaba una fuente y en la fuente bailaba mucha gente, rumba que tumba... rumba de muerte... rumba la catinga la catumba bembé.
The grandfather of Tun seeks a source of entertainment where people dance to a lively and soulful rhythm with a feel of death.
El rey de las Sínsoras surtía su mesón, Guasón Cáscaras hacía su danzón... Coco Loco se coloca sobre el lago Tangañica, pica que pica, tambor repica, sobre la playa de Marchiquita... Ay! Rumba la catinga la catumba bembé.
The first half of this verse describes different individuals who may be dancing or performing various rhythmic movements, while the latter half reiterates the popular chant.
Eh!.
This expression can be used to show enthusiasm, excitement, or agreement.
Guipé, guipé, guipé, bembé.
This phrase is another nonsensical chant that reinforces the rhythmic pattern.
En la fuente si baila mucha gente...
This phrase repeats an earlier lyric, emphasizing the abundance of people dancing.
El abuelo de Tun anda buscando gente.
This is another way of saying that Tun's grandfather is looking for people to dance with.
Timbe, timbero, timbero bueno.
These words refer to someone who plays the timbales, a percussion instrument in Latin music, and is very skilled at it.
Rumbale, rumbale, rumbale...
This phrase is a call to dance, repeating the same word with enthusiasm and emphasizing the rhythm.
Rumbale, rumbale, rumbale, rumbembe.
This phrase combines 'rumbale' with a nonsensical word ('rumbembe') to maintain the rhythmic pattern.
Que tumbale, que tumbale, que tumbale. Rumbale, rumbale, rumbale...
In this verse, the singer is urging someone to dance with more energy, using the word 'tumbale' interchangably with 'rumbale' to maintain the rhythm.
No, no, no, ne, no, na
The chorus is repeated again to end the song, maintaining the same tone of disbelief or disagreement.
Oye...
This is repeated again as well, ending the song on its playful and attention-grabbing note.
Writer(s): ROY BROWN
Contributed by Emily I. Suggest a correction in the comments below.
@alexandermunos5536
3:15 - 3:30 voces de otro planeta , sonido celestial 🤯🔥
@albadiaz9144
Pues me uno con todo mi corazon ❤y oído 👂a este increíble y único sonido de los dioses la SALSA. Agradezco ser de las personas criada con este género musical. Que sabor💃💃
@robertosamudio1507
LA REINA, EL CONDE, REALEZA LATINO AMERICANA, LA FANIA...
NUNCA JAMAS SE VERA, BENDECIDOS LOS QUE LOS VIMOS...
ESO ERA MUSICA, PURA PLENA
@mauricioposso9438
Jamás pasará de moda... Se mantendrá vigente siempre, es la memoria de nuestra amada celia Cruz y Pete Conde! Que viva la salsa! Saludos desde Buenaventura
@Mia-sf9hy
Verdaderamente que como Puerto Rico nunca habra dos, mucho puerto Rico patrimonio de la humanidad de los Salseros increible oye.. oye...
@samuelcisneros1308
Voces celestiales, no había mejor dúo.
@alvaroplaza6927
Que delicia para el oído escuchar estos compases tan deliciosos 🍾🥂
@odavilan2025
EXTRAORDINARIO Y EXCELENTE TEMA DE CELIA, EL PETE . YOMO TORO Y LA FANIA ALL STARS...VIVA LA SALSA Y LA PATRIA GRANDE DESDE MEXICO HASTA LA TIERRA DEL FUEGO.....!!!!
@luzstellapreciado2609
Realmente esta música ha sido y será la mejor
@danielfernandoyustypears7022
TUVE EL GUSTO Y EL PRIVILEGIO DE VERLOS CANTANDOLO CON LA FANIA EN PLENO EN CALI, INCREIBLE, ESO SI ERA CALIDAD, QUE DIOS LOS BENDIGA.