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

Mi Negra Mariana
Pete "El Conde" Rodriguez Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Toda la mañana
mañana me encontrarás
cocina en la tarde
así en la tarde me verás
pero en la noche no me busques negra
(No me encontrarás...).

Todos los martes en la casa tu me verás

luego en el Jueves en un curso yo voy a estar
pero en el Viernes, Sábado y Domingo
(En el resto de la ciudad...).

Todas las mañanas
me levanta mi Mariana con la boca colora'...
y me dice negro mira no te pongas fresco
que te voy a destrozar... así es mi negra Mariana.

(Así es mi negra Mariana).

(Así es mi negra Mariana)
(Así es mi negra Mariana)
Tiene genio de pantera esa mujer si es brava.

(Así es mi negra Mariana)
Ay! no te metas con ella que te rompe la cara.
(Así es mi negra Mariana)
Todo el mundo la respeta ella no aguanta jaladas.

(Así es mi negra Mariana)
Ella me cela de noche y por la mañana.
(Así es mi negra Mariana)
Ay! no me importa lo que digan yo quiero mi Mariana.

¡Cuida'o que hay viene Mariana
Chamo hay viene la negra Mariana!

(Así es mi negra Mariana)
Eh!. como te quiero Mariana.
(Así es mi negra Mariana)

(Así es mi negra Mariana)
Tu no sabes cosa rica como te quiero.
(Así es mi negra Mariana)
Si me tiro pa' la calle me ve ella por la ventana.

(Así es mi negra Mariana)
Si me pongo a pelear ella me la arma.
(Así es mi negra Mariana)
Que voy hacer sin ti te lo digo Mariana.

(Así es mi negra Mariana)
Ay!. hay Mariana...

Esa negra se sabe defender.
Hay si me tiro pa' afuera me sale a buscar.

Hay Mariana no se puede engañar.
Hay no me pierde ni pie, ni pisa.

La tengo que llevar a guarachar.

Esa negra conmigo va acabar.

Overall Meaning

The lyrics to "Mi Negra Mariana" by Pete "El Conde" Rodríguez tell the story of a passionate and strong woman named Mariana. Throughout the song, the singer describes Mariana's daily routine, as well as her fierce and protective nature. In the morning, Mariana wakes him up with her "colored mouth" and warns him not to act out of line. But in the evening, the singer warns not to look for her because she won't be around.

The song also highlights Mariana's strength and independence. The singer describes her as having the spirit of a panther and warns others not to mess with her, as she will "break your face." Despite her tough exterior, the singer expresses his love and devotion to Mariana, saying that he doesn't care what others say about her.

Overall, "Mi Negra Mariana" celebrates the power and passion of a strong woman, while also expressing the deep love and admiration that the singer has for her.

Line by Line Meaning

Toda la mañana
You'll find me at home all morning

Mañana me encontrarás
You'll find me at home all morning

Cocina en la tarde
In the afternoon, I'll be in the kitchen

Así en la tarde me verás
In the afternoon, I'll be in the kitchen

Pero en la noche no me busques negra
But at night, don't look for me

(No me encontrarás...).
You won't find me at night

Todos los martes en la casa tu me verás
You'll see me at home every Tuesday

Luego en el Jueves en un curso yo voy a estar
Then on Thursday, I'll be in a class

Pero en el Viernes, Sábado y Domingo
But on Friday, Saturday, and Sunday

(En el resto de la ciudad...).
I'll be out and about in the rest of the city

Todas las mañanas
Every morning

Me levanta mi Mariana con la boca colora'...
My Mariana wakes me up with her lipstick on...

Y me dice negro mira no te pongas fresco
And she tells me, "Hey black man, don't act up"

Que te voy a destrozar... así es mi negra Mariana.
Or else I'll tear you apart...that's how my Mariana is.

(Así es mi negra Mariana).
That's how my Mariana is