Johnny Pacheco

"Agua De Clavelito" With Hector Casanova, Karen Joseph (Flute), Charlie Rodriguez (Tres) Santiago Ceron (Vocal/Coro) Unedited Selection taped at La Lupe's Final appearance. Tony Ortiz Topproductions-East Coast Recording and Video Productions. Part 1 ends with Tito Puente beginning his set with Frankie Figueroa performing "Que Bueno Baila Usted" Part 2 picks up the songs continuation. Juan Azarías Pacheco Kiniping (Santiago, República Dominicana, 25 de marzo de 1935), conocido popularmente como Johnny Pacheco, es un músico, compositor, arreglista, director y productor dominicano de música cubana 1 y salsa. Es de ascendencia estadounidense y considerado una de las figuras más influyentes por ser uno de los grandes cofundadores del sello disquero Fania. Presented by: Luis Chaluisan WEPAwebTV - New Edge Theater WEPAwebTV Roughrican Productions Rocker Roller Rican vlɒɡ Salsamagazine.com 2014 Recognition Awards Maria Hernandez Federico Chaluisan L.f. Chaluisan Batlle Editors WEPAwebTV - New Edge Theater El Extreme Luis Chaluisan https://www.facebook.com/groups/salsamagazine/

• published: 22 Aug 2015
• views: 375

El pasado 26 de agosto se celebraron 40 años del legendario concierto de la Fania All Star en el club Cheetah, en la ciudad de Nueva York. Un evento que marcaría uno de los primeros episodios de la salsa en el mundo entero. De aquel concierto, salió un doble LP titulado “Live At The Cheetah” y la histórica película “Our Latin Thing”, también denominada “Nuestra cosa latina”. Este filme desencadenó el movimiento salsero en la década de los setenta y aún, cuatro décadas después, mantiene su vigencia. Estrellas de la talla de Cheo Feliciano, Héctor Lavoe, Adalberto Santiago, Bobby Valentín, Larry Harlow, Johnny Pacheco, Ismael Miranda, entre otros, demostraron todo su talento aquella noche. La filmación estuvo bajo la dirección de León Gast, quien documentó lo ocurrido en el Cheetah con el añadido de imágenes de los músicos en el estudio de grabación y escenas del Spanish Harlem neoyorquino. Para hablar sobre esta importante fecha, conversamos con Eduardo Livia del blog El Salsero y Omar Córdova, organizador de la Descarga en el Barrio. Ellos nos contaron algunos pormenores de ese mítico concierto y el por qué de su importancia para la música y la cultura latinoamericana.

• published: 27 Aug 2011
• views: 704

Record producer Al Santiago used Salsa as part of the Alegre Record Marketing lexicon as early as 1962. The ubiquitous “Uncle Alegre”. He’s Uncle Al to all of us who buy his Alegre records and seek him out at the original Casalegre Music Shop. That heavyset 24K Manic Depressive in the classic sense uncle every family has whose so restless he recreates the Sistine Chapel ceiling in his living room out of chalk pastel because his wife tells him to touch up the room. It doesn’t matter where this type of fella is – he’ll always create something to entertain himself. Overworks, overeats, over drinks TYPE A+ Personality, that’s our Al Our Man in the Bronx.” In the 1930's Puerto Rican record producer Gabriel Oller makes a living selling acetates of hot Latin bands to labels like RCA Victor. During that time while the Hispanic community was sprouting in Spanish Harlem, Gabriel Oller, proprietor of Tatay’s Spanish Music Center on the corner of 110th Street and 5th Avenue remembers shouts of “échale pique, caliéntalo, menealo que se empelota…” used to describe the thrilling Afro-Cuban dance rhythms of rumbas and guarachas. Salsa remained dormant until 1962. In the late fifties/early sixties, Al Santiago creates a company that handles the product from top to bottom. I meet him at various east/west village rehearsals and recording studios. Salsa was already part of Santiago's Alegre Records Lingo by 1962. Eddie Palmieri and Ismael Quintana use the term during 4 opening choruses in the song "RITMO CALIENTE" to describe the style of music La Perfecta is playing on Palmieri's first Alegre release in 1962 Produced by Al Santiago. In 1963 Alegre Records released Charlie Palmieri’s charanga LP Salsa Na Ma. In the Henny Alvarez tune Salsa Na Ma, the chorus of Victor Velasquez and Willie Torres suggest that when they dance with their partners it is Salsa na ma…Que cosa rica (a joy).” Al Santiago’s liner notes described the music as salsa when he wrote “La Duboney (Charlie Palmieri’s band) is a musical aggregation that functions as an individual unit and possesses that all important ‘sauce’ necessary for satisfying the most demanding of musical tastes. It is for this reason that this LP album offering is titled Salsa Na Ma. Espiritu Salsa Radio Show Interview 1978 WAMH FM How did you become a producer? “I wanted to play top of the line saxophone so I studied real hard. At 16, I went to see a movie … The Benny Goodman Story and the next night at a church dance one of Goodman's sax players is in the orchestra playing for ten bucks that gig. I decided right there that there had to be a better position in the business and I found that as a producer." This is the man who creates the prototype for today's mainstream salsa industry with his Bronx based Alegre label in the '60's. (Fania Records under Johnny Pacheco -- an Alegre Alumnus - Fania owner Jerry Massucci and alleged Tico Record mobster/record distributor-producer-kingpin Morris Levy take this formula to the next level. More on the Mob connections to the spread of Salsa later.) Al packages the soundtrack for "spic chic" in the early sixties on Alegre Records while enlisting future Latin NY publisher Izzy Sanabria as the creative director for album covers. Beautiful paintings grace some of the l.p.'s; others have faux Hollywood poses; and campy illustrated characters populate a series of l.p. covers for Alegre Recordings that feature the label's All stars. There is a story line tying these album cover comic strips and even a lost L.P. (think of today's craze for finding lost television episodes.) Al realizes the power of hip Latino marketing by creating the product and, get this, all based in the Bronx U.S.A.. Vaya Al, you did good. Alegre musician's humor is caught on tape and included on the recordings. Through it all, Al is the skipper of this Mad Magazine type crew that confronts popular culture and says "include me." In the meantime he's developing entertainers to cross over into the American Industry. He sees that there is a bigger market for these rhythms other than the "cuchufrito" (chitlin) circuit. The Alegre recordings of the early sixties anticipate new wave production of the early eighties and extend sonically into today's CD's. In the current era when DAT recordings are becoming increasingly favored by cutting edge musicians, Al masters two track live recording in the late fifties and sixties that have an extra sonic sparkle when replayed off CD disc. His production genius launches the first disco song nominated for a Grammy - Sunny by Yambu (1975). A triumph for what is essentially a Salsa band. He recognizes a market with a unique Urban Latin style as early as 1956 and delivers the goods 20 years later with Sunny. The song is developed at the Third Street Music School. Late Disco bastardized the New York Latin Beat driving Sunny. Excerpt Newricane (c) 2001 Luis Chaluisan Gathering of The Tribes Fly By Night Press

• published: 17 Aug 2015
• views: 129