Ricardo "Richie" Ray (born February 15, 1945) is a virtuoso pianist, singer… Read Full Bio ↴Ricardo "Richie" Ray (born February 15, 1945) is a virtuoso pianist, singer, music arranger, composer and religious minister. He is known as "El Embajador del Piano" (The Piano Ambassador).
Early life
Ray (born "Ricardo Maldonado") was born in Brooklyn, New York City of Puerto Rican parents. They lived in Hoyt Street. Ray's father, Pacifico Maldonado, was an accomplished guitarist in his native Bayamón, and as such was the Maldonado family's early musical influence.
Ray's parents had him take lessons and he started to play the piano when he was only seven years old. His life-long partnership with Bobby Cruz started five years later in 1957 when Ray played bass in a group led by Cruz. This combination was the beginning of one the greatest salsa duos in the salsa music industry.
He attended the Brooklyn Conservatory of Music, the famed High School of Performing Arts, and the Juilliard School of Music. This experience served to further develop and refine his musical training. In addition, he became well versed in various Latin music genres which were popular at that time the Guajira, the Cha-cha-cha, the Bolero and others.
[edit] Musical career
Ray left Juilliard in 1963, after just one year. He made this choice so that he could get organized and dedicate himself to his own band. This was a year after Cruz joined in as the lead vocalist. In 1964, he signed with Fonseca Records and released his debut album, Ricardo Ray Arrives-Comején. The album included the outstanding hit songs "Mambo Jazz", "Comején", "Viva Richie Ray", "El Mulato", "Suavito", "Pa' Chismoso Tú" and the bolero-cha "Si Te Contaran". The famous pair recorded some of their finest work during the period that they were with the Fonseca label.
In 1966 The group switched to the Alegre label, coinciding with the arrival of the boogaloo, Ray recorded nine albums with Alegre. He was a part of Tico/Alegre Records until 1970, and during that time he produce such hits as "Richies Jala Jala", "Mr. Trumpet Man", "Señor Embajador", "Aguzate" (Gold Record Award winner), "Amparo Arrebato", "Traigo De Todo", and the Spanish version of Frank Sinatra's "My Way", called "A Mi Manera". This song went on to be the most radio played Spanish version of "My Way" during 1970; the song also won the duo a Gold Record Award.
While with Alegre, Ray also recorded two albums for UA Latino. These included "Viva Ricardo" and "El Diferente" (Gold Record Award winner). The band scored a number one hit with the song "Colorín Colorado", while "El Diferente", "Feria En Manizales" and "Ay, Compay!", became number one hits in Latin America.
In 1968, Ray and Cruz had been together professionally for five years, had written most of their songs together, and for the first time in the album Los Durísimos, they shared equal billing in an album cover. This album had such hits as "Agallú", "Pancho Cristal", "Adasa", and "Yo Soy (Babalú)". Since then the band became officially known as Richie Ray and Bobby Cruz.
[edit] The 1970s
In 1970, Ray and Cruz left New York and moved to San Juan, Puerto Rico, for professional and personal reasons. They opened a nightclub, but managing it required too much of their time. Shortly after, they decided to sell the establishment to focus on their artistic commitments. That same year, Ray and Cruz signed with the new Vaya Records label, a subsidiary of Fania Records.
In 1971, they released "El Bestial Sonido de Ricardo Ray y Bobby Cruz", the first ever release on Vaya Records, and was one of their better albums on that label. The album went gold, and it took them to the top of the charts once again. It included hits such as Juan Manuel Serrat's "Señora", the bolero version of the Gardel/Lepera tango "Volver", and the Rubén Blades composition "Guaguancó Triste", as well as the salsa version of James Taylor's "Fire And Rain". This album also included his most impressive and well-known hit called "Sonido Bestial", which has a Latin-flavoured arrangement of Chopin's Etude 10/12, and is considered a classic masterpiece of salsa music.
In 1974 The Dynamic Duo won the title "The Kings Of Salsa" at the "Coliseo Roberto Clemente" in San Juan, Puerto Rico. For a period of 12 hours, 24 bands had competed for the coveted title, and Ray and Cruz emerged triumphant. Contracts started to pour in, requests for interviews and TV appearances, and even movie offers.
[edit] Born-again Christian
All of these things spoke of success, but Ray suffered strong emotional problems during this time. The despair he felt led him into alcohol and drug abuse. He felt tormented by his addictions, however, and wanted to change his life.
In August of that year, he surprised many when he announced that he had become a born-again evangelical Christian. The professed experience radically changed his career and life. At first, Cruz refused to accept Ray's change, but within four months Cruz himself became a convert.
In spite of these dramatic changes, Ray & Cruz fans continued to support the duo. The 1976 release of Reconstrucción went "Gold" (their ninth). The album included their smash hit single "Juan En La Ciudad". They followed with Viven in 1977, De Nuevo 'Los Durísimos' Again (1980), and their final release on Vaya Records, Inconfundibles (1987) in which Ray and Cruz announced their retirement from Salsa music. All of these were successful releases.
Richie Ray and Bobby Cruz lost most of their fans and found opposition among the members of their own faith when they suggested the idea of Christian Salsa. They stood their ground, however, and little by little, they started to regain the confidence of their fans and fellow Christians. They abandoned secular salsa and recorded salsa with a Christian message, reworking many of their worldly hits into religious themes. Some of these include "El Sonido La Bestia", "Más Que Vencedores", and "Aguzate". They also created some new ones, like "Los Fariseos", "Timoteo", and "Sipriano"
The sincerity of their Christian beliefs was not just conveyed in their music. Both Ray and Cruz are pastors, and they have founded more than 20 churches throughout Puerto Rico and the United States. In addition, Ray founded the Salvation Records label as an outlet for Christian music. Then, he continued his music career although his long-time friend, Cruz, had retired. During "retirement", however, both Cruz and Ray released albums with previously recorded numbers and with other bands or singers. Richie Ray is now a pastor in Cape Coral under the CLM fellowship.
In 1991, Ray and Cruz reunited for successful concert appearances in San Juan and again in New York. They reunited again in 1999 for the "Sonido Bestial" concert in the Rubén Rodríguez Coliseum located in Bayamón, they sang some of their early hits together with some of their religious songs and the concert was recorded live. The outcome was so impressive that they were offered a contract by Universal Records, the recording was selected as one of the best recordings of 1999 and helped bring the pair back into the limelight of the Puerto Rican music scene. The pair has continued active in the music scene since.
[edit] Later years
In 2000, Ray and Cruz held a series of concerts that were completely sold out at the Antonio Paoli Hall of the Luis A. Ferre Center of Beautiful Arts in San Juan. They were also honored with a National Day of Salsa in Bayamón. In 2002, Richie Ray and Bobby Cruz were inducted into the International Latin Music Hall of Fame.
In 2003, Ray recorded "Al Ritmo del Piano" for Warner Music Latina. Ray and Cruz continue to make appearances in places such as the Copacabana Club in New York. In December 2005 Ray & Cruz release a totally *new* album under the label Tropisounds the album was recorded in Colombia under the musical direction of its producer by Diego Galé, Que Vuelva La Música has 14 new tracks "El gallo y la vaca", "La bailarina", "Quim Bon Bori", "Vive contento", "Soy boricua" y "Va a llover" are just a few of the titles. The Album was an instant hit in Colombia and Latin America. "El gallo y la vaca" (25th Nov) and "Salsa La Celebracion" (7th two weeks in April) appeared in the top 100 salsa songs charts in North America through 2006. In 2006 Richie Ray and Bobby Cruz won a Latin-Grammy Award for "Lifetime Achievement", this year they also recorded a CD and DVD titled "A lifetime of hits" (live at Centro de Bellas Artes, San Juan, Puerto Rico) which was nominated for a Latin Grammy in the "Best Contemporary Tropical Album" category.
Ray currently lives in Florida with his wife Angie Ray and besides being musically active, he is also busy attending the churches which he and Cruz found in the United States, Caribbean and Latin-America. Ricardo "Richie" Ray is still considered along with Eddie Palmieri and Papo Lucca one of the best and more influential pianists of all times in Salsa music. On August 16, 2008, Richie Ray & Bobby Cruz celebrated 45 years in the musical business, with a concert at José Miguel Agrelot Coliseum.[1] Prior to the presentation, the duo noted that the concert would last at least three hours.[2] The duo has expressed that this might be their last "big scale concert".[3]
Early life
Ray (born "Ricardo Maldonado") was born in Brooklyn, New York City of Puerto Rican parents. They lived in Hoyt Street. Ray's father, Pacifico Maldonado, was an accomplished guitarist in his native Bayamón, and as such was the Maldonado family's early musical influence.
Ray's parents had him take lessons and he started to play the piano when he was only seven years old. His life-long partnership with Bobby Cruz started five years later in 1957 when Ray played bass in a group led by Cruz. This combination was the beginning of one the greatest salsa duos in the salsa music industry.
He attended the Brooklyn Conservatory of Music, the famed High School of Performing Arts, and the Juilliard School of Music. This experience served to further develop and refine his musical training. In addition, he became well versed in various Latin music genres which were popular at that time the Guajira, the Cha-cha-cha, the Bolero and others.
[edit] Musical career
Ray left Juilliard in 1963, after just one year. He made this choice so that he could get organized and dedicate himself to his own band. This was a year after Cruz joined in as the lead vocalist. In 1964, he signed with Fonseca Records and released his debut album, Ricardo Ray Arrives-Comején. The album included the outstanding hit songs "Mambo Jazz", "Comején", "Viva Richie Ray", "El Mulato", "Suavito", "Pa' Chismoso Tú" and the bolero-cha "Si Te Contaran". The famous pair recorded some of their finest work during the period that they were with the Fonseca label.
In 1966 The group switched to the Alegre label, coinciding with the arrival of the boogaloo, Ray recorded nine albums with Alegre. He was a part of Tico/Alegre Records until 1970, and during that time he produce such hits as "Richies Jala Jala", "Mr. Trumpet Man", "Señor Embajador", "Aguzate" (Gold Record Award winner), "Amparo Arrebato", "Traigo De Todo", and the Spanish version of Frank Sinatra's "My Way", called "A Mi Manera". This song went on to be the most radio played Spanish version of "My Way" during 1970; the song also won the duo a Gold Record Award.
While with Alegre, Ray also recorded two albums for UA Latino. These included "Viva Ricardo" and "El Diferente" (Gold Record Award winner). The band scored a number one hit with the song "Colorín Colorado", while "El Diferente", "Feria En Manizales" and "Ay, Compay!", became number one hits in Latin America.
In 1968, Ray and Cruz had been together professionally for five years, had written most of their songs together, and for the first time in the album Los Durísimos, they shared equal billing in an album cover. This album had such hits as "Agallú", "Pancho Cristal", "Adasa", and "Yo Soy (Babalú)". Since then the band became officially known as Richie Ray and Bobby Cruz.
[edit] The 1970s
In 1970, Ray and Cruz left New York and moved to San Juan, Puerto Rico, for professional and personal reasons. They opened a nightclub, but managing it required too much of their time. Shortly after, they decided to sell the establishment to focus on their artistic commitments. That same year, Ray and Cruz signed with the new Vaya Records label, a subsidiary of Fania Records.
In 1971, they released "El Bestial Sonido de Ricardo Ray y Bobby Cruz", the first ever release on Vaya Records, and was one of their better albums on that label. The album went gold, and it took them to the top of the charts once again. It included hits such as Juan Manuel Serrat's "Señora", the bolero version of the Gardel/Lepera tango "Volver", and the Rubén Blades composition "Guaguancó Triste", as well as the salsa version of James Taylor's "Fire And Rain". This album also included his most impressive and well-known hit called "Sonido Bestial", which has a Latin-flavoured arrangement of Chopin's Etude 10/12, and is considered a classic masterpiece of salsa music.
In 1974 The Dynamic Duo won the title "The Kings Of Salsa" at the "Coliseo Roberto Clemente" in San Juan, Puerto Rico. For a period of 12 hours, 24 bands had competed for the coveted title, and Ray and Cruz emerged triumphant. Contracts started to pour in, requests for interviews and TV appearances, and even movie offers.
[edit] Born-again Christian
All of these things spoke of success, but Ray suffered strong emotional problems during this time. The despair he felt led him into alcohol and drug abuse. He felt tormented by his addictions, however, and wanted to change his life.
In August of that year, he surprised many when he announced that he had become a born-again evangelical Christian. The professed experience radically changed his career and life. At first, Cruz refused to accept Ray's change, but within four months Cruz himself became a convert.
In spite of these dramatic changes, Ray & Cruz fans continued to support the duo. The 1976 release of Reconstrucción went "Gold" (their ninth). The album included their smash hit single "Juan En La Ciudad". They followed with Viven in 1977, De Nuevo 'Los Durísimos' Again (1980), and their final release on Vaya Records, Inconfundibles (1987) in which Ray and Cruz announced their retirement from Salsa music. All of these were successful releases.
Richie Ray and Bobby Cruz lost most of their fans and found opposition among the members of their own faith when they suggested the idea of Christian Salsa. They stood their ground, however, and little by little, they started to regain the confidence of their fans and fellow Christians. They abandoned secular salsa and recorded salsa with a Christian message, reworking many of their worldly hits into religious themes. Some of these include "El Sonido La Bestia", "Más Que Vencedores", and "Aguzate". They also created some new ones, like "Los Fariseos", "Timoteo", and "Sipriano"
The sincerity of their Christian beliefs was not just conveyed in their music. Both Ray and Cruz are pastors, and they have founded more than 20 churches throughout Puerto Rico and the United States. In addition, Ray founded the Salvation Records label as an outlet for Christian music. Then, he continued his music career although his long-time friend, Cruz, had retired. During "retirement", however, both Cruz and Ray released albums with previously recorded numbers and with other bands or singers. Richie Ray is now a pastor in Cape Coral under the CLM fellowship.
In 1991, Ray and Cruz reunited for successful concert appearances in San Juan and again in New York. They reunited again in 1999 for the "Sonido Bestial" concert in the Rubén Rodríguez Coliseum located in Bayamón, they sang some of their early hits together with some of their religious songs and the concert was recorded live. The outcome was so impressive that they were offered a contract by Universal Records, the recording was selected as one of the best recordings of 1999 and helped bring the pair back into the limelight of the Puerto Rican music scene. The pair has continued active in the music scene since.
[edit] Later years
In 2000, Ray and Cruz held a series of concerts that were completely sold out at the Antonio Paoli Hall of the Luis A. Ferre Center of Beautiful Arts in San Juan. They were also honored with a National Day of Salsa in Bayamón. In 2002, Richie Ray and Bobby Cruz were inducted into the International Latin Music Hall of Fame.
In 2003, Ray recorded "Al Ritmo del Piano" for Warner Music Latina. Ray and Cruz continue to make appearances in places such as the Copacabana Club in New York. In December 2005 Ray & Cruz release a totally *new* album under the label Tropisounds the album was recorded in Colombia under the musical direction of its producer by Diego Galé, Que Vuelva La Música has 14 new tracks "El gallo y la vaca", "La bailarina", "Quim Bon Bori", "Vive contento", "Soy boricua" y "Va a llover" are just a few of the titles. The Album was an instant hit in Colombia and Latin America. "El gallo y la vaca" (25th Nov) and "Salsa La Celebracion" (7th two weeks in April) appeared in the top 100 salsa songs charts in North America through 2006. In 2006 Richie Ray and Bobby Cruz won a Latin-Grammy Award for "Lifetime Achievement", this year they also recorded a CD and DVD titled "A lifetime of hits" (live at Centro de Bellas Artes, San Juan, Puerto Rico) which was nominated for a Latin Grammy in the "Best Contemporary Tropical Album" category.
Ray currently lives in Florida with his wife Angie Ray and besides being musically active, he is also busy attending the churches which he and Cruz found in the United States, Caribbean and Latin-America. Ricardo "Richie" Ray is still considered along with Eddie Palmieri and Papo Lucca one of the best and more influential pianists of all times in Salsa music. On August 16, 2008, Richie Ray & Bobby Cruz celebrated 45 years in the musical business, with a concert at José Miguel Agrelot Coliseum.[1] Prior to the presentation, the duo noted that the concert would last at least three hours.[2] The duo has expressed that this might be their last "big scale concert".[3]
Mírame
Ricardo Ray Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Espero que algún día, deje de decirte amiga
Sabes me arrepiento de lo que no hice por ti
Hoy sé que ya es muy tarde, siento que me estoy muriendo
Tú sigues a su lado y yo sigo aquí sufriendo
Mírame, que no ves que yo te quiero
Sólo mírame, sabes ya no tengo miedo
Mírame a los ojos por favor, necesito tu amor.
A pesar que siempre estuviste cerca
Ahora lo comprendo, como te pude perder
El tiempo nunca dijo, si algún día serás mía
Tu ausencia me atormenta, te necesito en mi vida
Mírame, que no ves que yo te quiero
Sólo mírame, sabes ya no tengo miedo
Mírame a los ojos por favor, mírame a los ojos por favor.
Cómo será la vida sin ti, no lo puedo imaginar
Para aprender a vivir, hay que tropezar
Mírame, que no ves que yo te quiero
Sólo mírame, sabes ya no tengo miedo
Mírame a los ojos por favor
Mírame, que no ves que yo te amo
Sólo mírame, sabes ya no tengo miedo
Mírame a los ojos por favor, mírame a los ojos por favor
Necesito tu amor.
Sabes me arrepiento de lo que no hice por ti
Hoy sé que ya es muy tarde, siento que me estoy muriendo
Tú sigues a su lado y yo sigo aquí sufriendo
Mírame, que no ves que yo te quiero
Sólo mírame, sabes ya no tengo miedo
Mírame a los ojos por favor, necesito tu amor.
A pesar que siempre estuviste cerca
El tiempo nunca dijo, si algún día serás mía
Tu ausencia me atormenta, te necesito en mi vida
Mírame, que no ves que yo te quiero
Sólo mírame, sabes ya no tengo miedo
Mírame a los ojos por favor, mírame a los ojos por favor.
Cómo será la vida sin ti, no lo puedo imaginar
Para aprender a vivir, hay que tropezar
Mírame, que no ves que yo te quiero
Sólo mírame, sabes ya no tengo miedo
Mírame a los ojos por favor
Mírame, que no ves que yo te amo
Sólo mírame, sabes ya no tengo miedo
Mírame a los ojos por favor, mírame a los ojos por favor
Necesito tu amor.
The lyrics of Ricardo Ray's song "Mírame" tell the story of a man who regrets not taking the chance to tell the woman he loves how he truly feels about her. He is now in the position where it is too late to confess his love as she is with someone else. The pain of watching her with another man is unbearable, and he begs her to look at him and see the love he has for her. He is tormented by her absence and needs her love in his life.
The lyrics are raw with emotions of love and loss. The man is vulnerable and regrets not taking the chance to tell the woman how he feels. The lyrics showcase the struggle of what could have been versus what is and the hope that he might still have a chance to be with the woman he loves. The overall message of the song is the importance of taking a chance and expressing your feelings before it's too late.
Line by Line Meaning
Espero que algún día, deje de decirte amiga
I hope that someday you'll stop calling you a friend
Sabes me arrepiento de lo que no hice por ti
You know I regret what I didn't do for you
Hoy sé que ya es muy tarde, siento que me estoy muriendo
Today I know it's too late, I feel like I'm dying
Tú sigues a su lado y yo sigo aquí sufriendo
You're still by their side and I'm still here suffering
Mírame, que no ves que yo te quiero
Look at me, can't you see I love you?
Sólo mírame, sabes ya no tengo miedo
Just look at me, you know I'm not afraid anymore
Mírame a los ojos por favor, necesito tu amor.
Look me in the eyes please, I need your love
A pesar que siempre estuviste cerca
Even though you were always close
Ahora lo comprendo, como te pude perder
Now I understand, how could I have lost you
El tiempo nunca dijo, si algún día serás mía
Time never said if someday you'll be mine
Tu ausencia me atormenta, te necesito en mi vida
Your absence torments me, I need you in my life
Cómo será la vida sin ti, no lo puedo imaginar
What will life be like without you, I can't imagine
Para aprender a vivir, hay que tropezar
To learn to live, you have to stumble
Mírame, que no ves que yo te quiero
Look at me, can't you see I love you?
Sólo mírame, sabes ya no tengo miedo
Just look at me, you know I'm not afraid anymore
Mírame a los ojos por favor
Look me in the eyes please
Mírame, que no ves que yo te amo
Look at me, can't you see I love you?
Sólo mírame, sabes ya no tengo miedo
Just look at me, you know I'm not afraid anymore
Mírame a los ojos por favor, mírame a los ojos por favor
Look me in the eyes please, look me in the eyes please
Necesito tu amor.
I need your love.
Writer(s): Ricardo Ray, Russell Seymour Farnsworth
Contributed by Bailey F. Suggest a correction in the comments below.
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@cflorez75
Un saludo cordial. Respecto a si hay una pequeña dedicatoria de Ricardo Ray a Mark Dimond en el tema, personalmente opino lo siguiente:
- Las palabras que dice Chivirico Dávila antes de entrar la sesión de piano, no es la palabra "Markolino" (no pronuncia nunca el fonéma 'erre", ni tampoco termina la palabra en cuestión con el fonéma "o" (sugiero reproducir el tema a baja velocidad y con la fuente de audio original, ya que la fuente proveniente del vídeo tiene ruido de cuantización). De hecho parece que hace referencia a un adjetivo de género femenino.
Recuerden que el cerebro hace malas pasadas, tratando de ajustar la información acústica proveniente del exterior con la almacenada en el cerebro: Nuestra máquina mental trata de hallar correlaciones, y por eso suele pasar que las personas (esto es normal) asocien a fonémas palabras preestablecidas, como por ejemplo Mancolini, Mancolino con Markolino. Es fácil hallar ejemplos de este tipo en la vida cotidiana.
- Mark Dimond contaba con 16 años aproximadamente a inicios del año 1966, y aunque ya se estaba sumergiendo en el mundo de la música latina en la ciudad de New York, sólo empieza a ser reconocido en el ambiente musical a través de grabaciones en el año de 1968 aproximadamente. En el año de 1966 apenas estaba uniéndose a la banda de Andy Harlow, e iniciando su historia musical, gracias a su gran amigo Ismael Miranda que se empeñó en presentar a tan brillante adolescente a Harlow.
- El sonéo de Chivirico suele manejar palabras y frases inventadas, de su propia autoría, y sin dominio alguno por parte del director de la orquesta, hacen parte de la técnica vocal de Rafael Dávila. Esto es claro en la gran cantidad de temas donde canta Rafael Dávila
Las evidencias presentadas por algunos comentaristas, aunque bastantes interesantes, sólo son hipótesis que requieren de más fuerza para validarlas; quizás sea importante verificar el ambiente musical donde el joven Ricardo Ray se desenvolvía y la historia de Dimond, para hallar paralelos claros y puntos de encuentro entre ambos músicos o con Rafael Dávila.
Mientras tanto, estoy de acuerdo, estamos ante dos pianistas excelentes, que aportaron bastante a la música de finales de los 60's y de todos los 70's que se escuchaba en la comunidad latina de New York.
Seguiré revisando el tema, y apenas halle información interesante procederé a publicarla.
Un feliz día.
@777kinGTaNa11
Ese piano quedó inmortalizado para la posteridad gracias a ese gran documental de don Orozco Duarte el embalsamador. Excelente canción.
@Toughguysdontdance12
Sí, sí ya lo sabemos.
@maldito_seiza
@@Toughguysdontdance12 no todos lo saben pedazo de idiota, solo esta informando
@andresfabiandiazpedreros6924
Mark Dimond
@mae-salo
Soy nueva, y traigo 📍 alfiler.
@jesusjimenez9733
@@andresfabiandiazpedreros6924 Dimond ???
Nunca alcanzó el nivel de Ricardo Ray !
@radio508
Alguien esta aqui por el Documental OROZCO THE EMBALMER／OROZCO EL EMBALSAMADOR. La verdad esta salsa es terrorifica enserio jajajaa.
@jufemoar
Creo que para nada combina un muerto con esto, esto es para salseros puros y de verdad
@diegomunozpolo9079
De hecho, muchos boleros son así, para una muestra esta 'el ratón de cheo feliciano'... aunque en la película también suena 'a la memoria del muerto' aunque claro está, esa última es menos pausada y más eufórica
@juvenaljhersonsotomamani6785
@@diegomunozpolo9079 si elegantes temas otros temas q tengas