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
La Esencia del Guaguancó
Pete "El Conde" Rodriguez Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Escuche usted la esencia del guaguancó...
Escuche usted la esencia del guaguancó...
Y un coro que dice así
Y un coro que dice así.
Escuche usted la esencia del guaguancó...
Escuche usted la esencia del guaguancó...
Y un coro que dice así
Y un coro que dice así...
Le traigo mi guaguancó sabrozón
(Escuche usted la esencia del guaguancó)
Que con Pacheco no hay quien pueda
Es el rey del guaguancó negro
(Escuche usted la esencia del guaguancó)
Caballero el conde le está inspirando esta linda insipiración negro
(Escuche usted la esencia del guaguancó)
Y aquí queda demostrado, perfecta combinación con mi son
(Escuche usted la esencia del guaguancó)
Pero que rico, que rico, y que lindo se baila el guaguancó en Nueva York...
(Escuche usted la esencia del guaguancó)
Escuche bien, escuche bien, que sabrozón
La esencia soy yo mamá
(Escuche usted la esencia del guaguancó)
Caballero, el conde le esta inspirando...
(Escuche usted la esencia del guaguancó)
La esencia la traigo yo, pa que gozen
(Escuche usted la esencia del guaguancó)
Con Pacheco y su tambor mongo
Escuche usted la esencial del guaguancó...
Escuche usted la esencia del guaguancó...
Y un coro que dice así
Y un coro que dice así.
Escuche usted la esencia del guaguancó...
Escuche usted la esencia del guaguancó...
Y un coro que dice así
Le traigo mi guaguancó sabrozón
(Escuche usted la esencia del guaguancó)
Que con Pacheco no hay quien pueda
Es el rey del guaguancó negro
(Escuche usted la esencia del guaguancó)
Caballero el conde le está inspirando esta linda insipiración negro
(Escuche usted la esencia del guaguancó)
Y aquí queda demostrado, perfecta combinación con mi son
(Escuche usted la esencia del guaguancó)
Pero que rico, que rico, y que lindo se baila el guaguancó en Nueva York...
(Escuche usted la esencia del guaguancó)
Escuche bien, escuche bien, que sabrozón
La esencia soy yo mamá
(Escuche usted la esencia del guaguancó)
Caballero, el conde le esta inspirando...
(Escuche usted la esencia del guaguancó)
La esencia la traigo yo, pa que gozen
(Escuche usted la esencia del guaguancó)
Con Pacheco y su tambor mongo
Escuche usted la esencial del guaguancó...
The lyrics of Pete "El Conde" Rodríguez's song La Esencia del Guaguancó celebrate the essence of Guaguancó, a style of Afro-Cuban music and dance that originated in the eastern region of Cuba. The repetitive chorus urges the listener to listen to the essence of Guaguancó, while the verses pay tribute to Pacheco, the "king" of Guaguancó, and his mastery of the rhythm.
The singer declares that his own Guaguancó is flavorful and no one can match Pacheco's skills. He praises the "perfect combination" of his Guaguancó with his son, and highlights the joy of dancing to the rhythm in New York. The lyrics also emphasize the importance of inspiration in music, with El Conde crediting Pacheco for inspiring his own creation.
Overall, the lyrics of La Esencia del Guaguancó celebrate the vibrant and intoxicating rhythm of Guaguancó, paying tribute to its origins, its masters, and its power to inspire.
Line by Line Meaning
Escuche usted la esencia del guaguancó...
Listen carefully to the true essence of guaguancó music...
Y un coro que dice así
And a choir that sings like this
Le traigo mi guaguancó sabrozón
I bring you my delicious guaguancó music
(Escuche usted la esencia del guaguancó)
(Listen carefully to the true essence of guaguancó music)
Que con Pacheco no hay quien pueda
With Pacheco, no one can compete
Es el rey del guaguancó negro
He is the king of black guaguancó music
Caballero el conde le está inspirando esta linda insipiración negro
The Count is inspiring this beautiful black inspiration
Y aquí queda demostrado, perfecta combinación con mi son
And it's proven here, perfect combination with my music
Pero que rico, que rico, y que lindo se baila el guaguancó en Nueva York...
But how delicious and beautiful it is to dance guaguancó in New York...
La esencia soy yo mamá
I am the true essence, mama
La esencia la traigo yo, pa que gozen
I bring the essence, so you can enjoy
Con Pacheco y su tambor mongo
With Pacheco and his Mongo drum
Escuche usted la esencial del guaguancó...
Listen carefully to the true essence of guaguancó music...
Writer(s): Catalino Curet Alonso
Contributed by Sadie W. Suggest a correction in the comments below.
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@oliverassammy9794
do esto mucho mas antes que johnny pacheco(El Charlatan): Inicios de la salsa en Nueva York
La ciudad de Nueva York, albergaba sobre 750,000 puertorriqueños para la decada de los años 50's. La mayor parte de las orquestas eran de puertorriqueños y allí donde su dueño fuera algún cubano, practicamente la totalidad de los músicos eran boricuas. Ejemplo de ello lo fueron las orquestas de Machito o Arsenio Rodríguez cuyos músicos eran boricuas en su inmensa mayoria. La música cubana estaba no solo recibiendo influencia de los Big Bands y Jazz Americano, sino que tambien de los puertorriqueños y su cultura. Veamos que nos dice el dueño de orquesta y musico José Fajardo:
Es imposible montar una orquesta en Nueva York, sin que sus músicos, sean mayoritariamente puertorriqueños, y no recibír de ellos su influencia boricua José Fajardo (flautista cubano y dueño de orquesta)
Para 1959 se dio la Revolución Cubana y a raíz de ello, muchos músicos cubanos con Visas en Estados Unidos, se tuvieron que regresar. Posteriormente Cuba y Estados Unidos se cierran mutuamente las puertas y la vieja epoca de la música cubana y sus orquestas en Nueva York, serian cosa del pasado. En Cuba incluso se comenzaron a cerrar clubes nocturnos y salones de bailes de manera que la vieja música comercial cubana, vino a ser para ese entonces, música de recuerdo y cosa del pasado.
Caratula del disco Salsa Na' Ma' del año 1962 de Charlie Palmieri, donde ya los boricuas nos referiamos a nuestra música como Salsa.
13 años antes que lo hiciera La Fania
@neldadon
💯%
El maestro arquitecto de salsa.
💡🎨🎼🎹🎷🎻🎸🎶🗽
🇩🇴Johnny pacheco
Y tambien
Aparte de eso los BRAVOS de todo Los
ritmos caribeños y
sul/ centrol AmericaNOS
son Dominicanos
Damiron y chapuseaux
Billo formeta
Rafael solano
Joseito Mateo
CUCO VALOY
Johnny Ventura
Santiago CERON
Rey reyes
Raulin rosendo
El canario
Los magos Del ritmo
Peter Cruz
Jose bello
Rafael labaste
@salsero3982
HÉCTOR LAVOE nace en PONCE un día como HOY hace 73 años. Un músico y cantante de primera que enamoró al hemisferio con su voz.
Su talento lo convirtió en un ÍCONO de la música tropical, excelente exponente de plena y salsa. Todo lo que cantaba, PEGABA; todo era un éxito. Cuando HÉCTOR murió, realmente se convirtió en una LEYENDA, realmente se INMORTALIZÓ como pocos cantantes tropicales lo han logrado. Su fama no muere, todo lo contrario, CRECE. Su música es famosísima y recordada en las comunidades hispanas de EE.UU., en América Latina (Venezuela, República Dominicana, México, Cuba, Panamá, Colombia,) y sobre todo en su Patria, PUERTO RICO. Hoy cualquier trabajo de HÉCTOR LAVOE es considerado PIEZA DE COLECCIÓN, y posiblemente no le resulte nada barato.
En EL PERÚ es otra cosa, se oye su música, lo honran con murales y estatuas, pero más importante aún para nosotros los BORINCANOS es saber que los hermanos PERUANOS lo quieren.
Un día como HOY, PONCE le regaló a TODA LA NACIÓN un GRAN MOTIVO DE ORGULLO. Lo que le diga cualquier puertorriqueño sobre LAVOE puede interpretarse como un lucimiento NACIONAL, por ser boricuas; así que compartimos el sentir espontáneo de alguien que no lo es.
Hace un tiempo, hablando sobre este tema, nos escribió (medio lucío, jeje) un hermano PERUANO, Diego Torres Pimentel y creo que sus palabras hablan por sí solas ...........
“la primera escultura, estatua o busto que se hizo en honor al GRAN e INIGUALABLE salsero puertorriqueño HÉCTOR LAVOE, no fue en Puerto Rico, ni en Nueva York, FUE AQUÍ EN MI PAÍS, en EL PERÚ, donde es considerado uno de NUESTROS más grandes ídolos. Con respeto y admiración te digo CON HUMILDAD que LAVOE es tan nuestro, como de ustedes, aquí es IDOLATRADO .... DIOS BENDIGA A PUERTO RICO, NUNCA HE IDO PERO AMO A ESA TIERRA COMO MÍA ...”Puerto Rico es Salsa y Swing 🇵🇷🎶 ✌️🇵🇷
@oliverassammy9794
do esto mucho mas antes que johnny pacheco(El Charlatan): Inicios de la salsa en Nueva York
La ciudad de Nueva York, albergaba sobre 750,000 puertorriqueños para la decada de los años 50's. La mayor parte de las orquestas eran de puertorriqueños y allí donde su dueño fuera algún cubano, practicamente la totalidad de los músicos eran boricuas. Ejemplo de ello lo fueron las orquestas de Machito o Arsenio Rodríguez cuyos músicos eran boricuas en su inmensa mayoria. La música cubana estaba no solo recibiendo influencia de los Big Bands y Jazz Americano, sino que tambien de los puertorriqueños y su cultura. Veamos que nos dice el dueño de orquesta y musico José Fajardo:
Es imposible montar una orquesta en Nueva York, sin que sus músicos, sean mayoritariamente puertorriqueños, y no recibír de ellos su influencia boricua José Fajardo (flautista cubano y dueño de orquesta)
Para 1959 se dio la Revolución Cubana y a raíz de ello, muchos músicos cubanos con Visas en Estados Unidos, se tuvieron que regresar. Posteriormente Cuba y Estados Unidos se cierran mutuamente las puertas y la vieja epoca de la música cubana y sus orquestas en Nueva York, serian cosa del pasado. En Cuba incluso se comenzaron a cerrar clubes nocturnos y salones de bailes de manera que la vieja música comercial cubana, vino a ser para ese entonces, música de recuerdo y cosa del pasado.
Caratula del disco Salsa Na' Ma' del año 1962 de Charlie Palmieri, donde ya los boricuas nos referiamos a nuestra música como Salsa.
13 años antes que lo hiciera La Fania
@DeenOne47
Primero. In that Album and previous records the word "Salsa" was equivalent to "Cocinando" or "Sabor" "Flavor" "Ponle Salsa" "Echale Salsa" or to describe that "we our are playing outstanding or playing great" or "Cooking" not to describe a "Genre" Maybe that was the "Origin" ie. "Cocinando" or "Sabor" but it did not mean the same. Salsa as a "Genre" was used more to describe "Sauce" or "Ingredients" Which that's what Salsa is "Cuban" music with a lot of outside ingredients and influence, ie. Jazz, Big, Band, Bomba y Plena, etc; etc. And in that Album, you forgot to mention "EL Dominicano" Pacheco, who you call "El Charlatan", stop hating. Who's been credited with naming the music "Salsa", who's Dominican, not P.R. And put a lot P.R. on the map and who they owe there career to. The word "Salsa" is here to stay. That band was put together by Charlie and Pacheco mutually, but Pacheco said in an interview that it was supposed to be called just "La Duboney" but that Charlie Palmieri put his name on it and he and Charlie Palmieri had a falling out. But, it's interesting that while Charlie and Pacheco separated and were recording at "Alegre Records", Pacheco was the "Number One" selling artist for Alegre Records. And Al Santiago, owner of Alegre Records put Charlie Palmieri over Pacheco as Band Director of "Alegre All-Stars" which never really hit it big. Years later, AL Santiago said in an interview that was the "Worst Career" and "Business Decision" he ever made. Pacheco left Alegre Records and said that "One day I am going to own this company". Alegre went bankrupt. Pacheco went on to form Fania and the All-Stars and the rest is history. Pacheco later bought Alegre Records and Al Santiago ended up working for him. So, I give you credit as a whole that P.R. are the majority and some of the "best salseros ever' but "One Dominicano" "El Charlatan" also known as "El Maestro" put the word "SALSA" that now P.R. use as a "GENRE ON THE MAP" and took it "World Wide"
@oliverassammy9794
CHARLIE CAME OUT IN 1962 "SALSA NA MA" RECORD ALBUM....THIS HAS NOTHING TO DO WITH BEING DOMINICAN...PACHECO WAS RAISED IN THE BRONX ...ALSO YOU FAIL TO MENTION THE FATHER OF SALSA...CORTIJO Y SU COMBO BACK IN THE 50'S. SORRY BUT PACHECO IS A CHARLATAN!!! WHO COPIED CUBAN MUSIC ALL DAY LONG....HE USED BORICUAS FOR MOST OF HIS RECORDINGS TOO...IF IT WASNT FOR FANIA...THERE BE NO PACHECO...EL REY DEL CHARLATAN. DOMINICAN OR NOT...PUERTO RICO ES SALSA!!!!
@oliverassammy9794
La ciudad de Nueva York, albergaba sobre 750,000 puertorriqueños para la decada de los años 50's. La mayor parte de las orquestas eran de puertorriqueños y allí donde su dueño fuera algún cubano, practicamente la totalidad de los músicos eran boricuas. Ejemplo de ello lo fueron las orquestas de Machito o Arsenio Rodríguez cuyos músicos eran boricuas en su inmensa mayoria. La música cubana estaba no solo recibiendo influencia de los Big Bands y Jazz Americano, sino que tambien de los puertorriqueños y su cultura. Veamos que nos dice el dueño de orquesta y musico José Fajardo:
Es imposible montar una orquesta en Nueva York, sin que sus músicos, sean mayoritariamente puertorriqueños, y no recibír de ellos su influencia boricua José Fajardo (flautista cubano y dueño de orquesta)
Para 1959 se dio la Revolución Cubana y a raíz de ello, muchos músicos cubanos con Visas en Estados Unidos, se tuvieron que regresar. Posteriormente Cuba y Estados Unidos se cierran mutuamente las puertas y la vieja epoca de la música cubana y sus orquestas en Nueva York, serian cosa del pasado. En Cuba incluso se comenzaron a cerrar clubes nocturnos y salones de bailes de manera que la vieja música comercial cubana, vino a ser para ese entonces, música de recuerdo y cosa del pasado.
@DeenOne47
Oliveras Sammy . Goes to show how much you really know. Fania Records and All-Stars is a creation of Pacheco with Masucci as a lawyer but the concept and idea was Pacheco. FYI. Ralph Mercado was just a concert promoter, you are right. NOW, Here's the Kicker? .............Wait for it? .............. Ralph Mercado's father was Dominican........You didn't know that? PS.....Look for the interview where your boy "Ismael Miranda" says who named the music "SALSA"....... Guess who?..........It was?.........? Ready.......? " El Charlatan" YOU CAN'T HANDLE THE TRUTH!
@DeenOne47
I just broke down the origins of the word "Salsa" and some back ground to the Charlie and Pacheco Duboney Album. Pacheco was not born in NYC. Cortijo is not the Father of Salsa, maybe the Father of P.R. Music. The word 'SALSA" as genre did not exist back then. Now, I just explained to you that some artists back then might of said Salsa as a connotation that there playing great. But, the word Salsa as a Genre, did not exist.
@PedroRodriguez-oq4gw
La voz de Pete el conde, es unica. Se puede definir como el vino, con sabores acanelados, un ligero aroma a madera, un poco dulce, con pequeños tintes de sabor a cafe ......etc etc. Deliciosa voz....la mejor para mi.
@asdrubaljosemorillomedina127
Pacheco Usted Fue el Más Grande. Con Pacheco no hay quien pueda es el Rey Del Guaguancó.
@henry4495
Esto es mucha música, los reguetoneros no pueden CREAR una obra de arte como esta, escuchen.
@Gene0309
La sensación más hermosa para bailar. ¡Que obra de arte!