26-Nov-2008

Prisionero de El Malo

Amigo del blog “Salseando” es menester poner en su justa perspectiva la extraordinaria contribución de Willie Colón a la música popular con el lanzamiento de la producción “El Malo Vol 2: Prisioneros del Mambo”.

Transcurrida una década de su más reciente trabajo, “Demasiado corazón”, Willie se despide (sí, esto sabe a despedida) con su mejor entrega como solista, sin restarle méritos a las propuestas de “Solo”, “Criollo” y “Honra y cultura”.

Muchos dirán que no es un cantante de recursos, pero yo afirmo que desde que en 1975 se lanzó al ruedo cantando el corte “Guaracha” en la secuencia de “The Good, The Bad & The Ugly” identifiqué en su estilo influencias de Héctor Lavoe en la manera de atacar el montuno y en la proyección del sentimiento callejero.

Y los que conocen la historia del binomio más dramático de la salsa recordarán que no pocas veces Willie y su bongosero José Mangual Jr. tuvieron que sacar la cara por Héctor interpretando sus éxitos cuando se ausentaba o llegaba tarde a los bailes que amenizaba la orquesta.

No debe cantar tan mal un artista que siempre que entona “Juancito”, “Oh qué será”, “Gitana”, “Noche criolla”, “El gran varón” y “No” el soberano las tararea con él en escenarios internacionales repletos a cabalidad, como el de El Zócalo, donde fue mucho más aplaudido y ovacionado que otros cantantes en cartelera.

Si bien el Willie Colón que grabó las letras de “Prisioneros del Mambo” es un cantante entradito en libras y que, según trascendió, ha superado varios quebrantos de salud, su “performance” vocal es más que aceptable.

Los méritos de “Prisioneros del Mambo” descansan en su oportuno contenido de letras y en los ingeniosos arreglos y poderosas orquestaciones de maestros como Marty Sheller e Isidro Infante, que en ocasiones nos trasladan a los días en que los trombones y las demoledoras moñas de José Rodríguez, Papo Vázquez y Lewis Khan acompañaban a Héctor Lavoe, Mon Rivera, Celia Cruz y Rubén Blades.

Y sin olvidar la cadencia de su ritmo “wac”, por el que no ha recibido el reconocimiento merecido, Willie demuestra con ingenio que se puede destilar salsa auténtica con la fusión de los patrones afrocaribeños y brasileños que ha caracterizado su trabajo al margen del son de Cuba porque la bomba y la plena ofrecen tantas (y cuidado si más) posibilidades creativas como la rumba y el son montuno.

El disco “Prisioneros del Mambo” inicia con una introducción del locutor Polito Vega (¿recuerdan el primer “Asalto navideño”?) ambientada en el inicio de la función de un espectáculo circense, en que expone en breves palabras la aportación de Willie antes de presentar a los músicos de su banda Extranjero Legal (Legal Alien) reforzada para la ocasión por el pianista Ricky González, los percusionistas Bobby Allende y Luisito Quintero, el cuatrista Edgardo Miranda y José Mangual y Milton Cardona en algunos coros, entre otros reconocidos músicos.

De inmediato arranca la contagiosa plena “El brujo”, en que acudiendo a un dialecto africano en el coro, que evoca el éxito “Cheché colé”, pasa a desarrollar con un gran sentido del humor y picardía la historia de una consulta, tipo Madame Kakalú, a un espiritista para que le prepare un conjuro a un “mala paga”.

Con la sensible sabia narrativa del licenciado y cantautor venezolano Amílcar Boscán, pluma de los éxitos “Caer en gracia” y “Talento de televisión”, Willie aborda una vez el tema del trasiego de drogas en la espeluznante crónica de “El narcomula”: un chico engreído que, al morir su padre, se dedica a los negocios ilícitos para mantener su estatus y tragando un sobre de heroína muere desangrado en un aeropuerto.

“No hubo tiempo pa’ arrepentimiento/muere por mula en el mismo aeropuerto”.

En sus primeros compases “Corazón partido”, tema de la telenovela homónima, es una balada que desemboca en un contagioso reguetón orquestado con el ritmo wac (lo pueden apreciar en cortes como “Barrunto”, “Ah ah, oh-no”, “María Lionza” y “Dime”) .

Mucho cuidado. El medley dedicado a Lavoe, de poco más de 13 minutos de duración, puede ocasionar arrestos cardiacos en los fans de la salsa monga. Yo lo hubiera titulado “Contrabando II”, para ser consecuentes con el concepto del álbum y con el medley que aparece en “Especial no. 5″. Esta vez Willie recuerda a Lavoe con “La banda”, “Periódico de ayer”, “El Todopoderoso” y “El cantante”.

“Amor de Internet”, otro texto de actualidad de Amílcar Boscán en cuyo arreglo Héctor Garrido combina salsa y reguetón, examina y recrea con humor la sociología de las comunicaciones en la red cibernética, contando la historia de dos solitarios que se conocen (ella en la China, él en América) y se aman en el universo digital, con el entrelíneas de la incapacidad para forjar relaciones válidas con las personas de su cotidianidad inmediata.

“Pesadilla en el Club Riviera”, un paso de comedia en el que la música es sólo un pretexto, recuerda las garatas de sus días con Héctor en barras de mala muerte en que los bailes desembocaban en jaranas que degeneraban a su vez en trifulcas callejeras.

“Mucha leña pa’l fuego” es una bomba puertorriqueña de una temática romántico y erótica, manejada con la sencillez del lenguaje popular.

La “Suite Magia Blanca”, arreglada por Willie, es la obra cumbre del proyecto. Varios movimientos rítmicos, con solos de piano y una avasalladora descarga de trombones, sirven de plataforma para la denuncia de los estragos que causa la cocaína en la juventud de todos los niveles socioeconómicos. Es una denuncia valiente, dramática, real y contundente que, en la secuencia del reguetón, estremece por su crudeza. Escuchar a Willie entonar rap y reguetón no es nuevo pues, como recordarán, en 1992-93 lo hizo en “Scandal” del cd “Honra y cultura” y si analizan bien dos décadas antes en “Calle Luna, Calle Sol”, cuya introducción (”mete la mano en el bolsillo, saca y abre tu cuchillo y ten cuidao/cómo se ha oído en otros barrios muchos guapos han matao“) es puro rap.

Willie continúa con “Cuando me muera”, una guaracha en la que denuncia la hipocresía de aquellos que en vida no aman y en la muerte mienten al expresar sus condolencias al difunto por otros intereses. Willie se la dedicó a los “tiburones” que literalmente devoraron a Héctor Lavoe y a la explotación comercial de su imagen y legado en filmes sensacionalistas como “El cantante” y en obras como “¿Quién mató a Héctor Lavoe?”. En uno de los soneos curiosamente pregona que a su velorio (el suyo) asistieron Ralph Mercado, Santa Rosa, Blades, Van Lester y Marc Anthony a ver si era cierto el cuento de su fallecimiento…

En otra elocuente contribución de Boscán a la producción, en “La mala situación” Willie acude a la jocosidad para denunciar a los que viven como reyes de la corrupción mientras la gente honesta la pasa dura… Narrativa salsera que retrata parte de las repercusión social de la actual recesión de la economía a nivel mundial.

“Bongó” es su reconocimiento a los baluartes afroboricuas de la cultura, la educación, las letras y el deporte puertorriqueño así como la contribución de comunidades mulatas como Medianía Alta, San Antón, Villa Palmeras y Dulces Labios a la riqueza del folclor nacional.

Estoy seguro que los melómanos que conocen la trayectoria de Willie Colón se deleitarán escuchando y reescuchando “El Malo Vol. II: Prisioneros del Mambo”, álbum que coprodujo el trombonista Ozzie Meléndez y que Willie dedica a su esposa Julia Craig.

Es de esos discos que, por el humor, la actualidad de su contenido y la musicalidad comercial de cortes como “El brujo”, “El narcomula” y “La mala situación” es digno de la difusión radial continental que en sus días recibieron “Sin poderte hablar”, “Oh que será”, “Amor verdadero” y “El gran varón”.

willie colón

It was a long wait for Willie Colón whose last visit to Toronto was 17 years ago. The publicity said: Show starts at 7:00. Doors opened at 7:30. Dance troupe Rhythmic Energy showed off their moves at 9:30. An indeterminate interval followed with good recorded music to move to — an Afro-Latin-Caribbean mix that included reggaeton, salsa, bachata, merengue and cumbia. Then the talented Dominican-Canadian Carlos Cruz and his band exploded onto the stage with a stirring mix of merengue, bachata and salsa — but something didn’t quite jive. Carlos had the voice and the moves, the sound was good, but… the ears heard bongos, the eyes saw bongos lying on the stage. Hmmm…

Another interval and the crowd grew impatient, erupting with increasing frequency into chants of “Wil-lie, Wil-lie”. The stage lit up — no Willie yet. Latin Energy’s Oscar Naranjo and Vanesa Stay appeared to murmurs of “now what?” But the impatient quickly fell silent as the elegant and energetic dance duo’s choreography captivated even their attention.

Midnight. Another brief wait before the dissolution of all but musical time upon the entrance of the five foot six giant of salsa, Willie Colón. El rey de la salsa would rule the hearts, minds, ears, eyes, feet, the entire being of the audience for the ensuing hour and half — two hours? Who was counting?

The unity of all Latinos is a cherished idea for Willie Colón. Fittingly, his music draws on his own Puerto Rican roots and a mix of styles from many countries. He is huge in Mexico where he was also a soap opera star, he draws crowds of thousands in Panama, Columbia, Venezuela — the list goes on. Judging from the response of the audience to Colón’s questions, this Toronto audience was also mixed — Columbians, Ecuadorians, Salvadorians, Mexicans, Venezuelans and others.

Colón and his 8-piece band hooked the Toronto crowd immediately with the rhythm and the classic trombone herald of “Che Che Colé” — “come on everyone and dance African style, you like bomba, you like baquiné now let’s celebrate bembé — they dance it in Venezuela, they dance it in Panama, the rhythm is African” Que bueno es! I cannot imagine a more joyous start to a show. The Afro in Afro-Latin became more pronounced with the deeply moving Afro-Cuban “Ingrato Corazon” sung over a rich matrix of percussion. The much-loved songs — “Te Conozco Bacalao”, “Idilio”, “Gitana”, “El Cantante” — kept on hitting the sweet spot, for the most part flowing seamlessly from one to another. The audience knew them all and many sang along. The feeling of being at the concert of a musical giant co-mingled with the feeling of being at a community centre, the latter atmosphere coming to the fore when Cocolatino Productions’ Sylvia Rodríguez presented Willie Colón with a glass sculpture of himself in profile playing trombone.

During the exuberant encore of “La Murga de Panamá” complete with a detour through “Mandinga”, even some of the bartenders were seen full-out dancing behind the counter.

It was a memorable night and some were reluctant to leave. I will always remember filing out after the show and catching the eye of a man leaning on the barrier and gazing at the empty stage singing “El gran varon”. Sated but lingering. Everything must come to an end sometime. But let’s hope Willie Colón’s absence from the stage is temporary. In the meantime, I will dance to the songs planted in my head and wait for the book.

Pictures courtesy of: Mr. Izzy Sanabria from the Latin NY Magazine archives.
http://www.salsamagazine.com

“Yo Soy el Cantante, Muy Popular Dondequiera, Pero Cuando el Show Termina, Soy Un Humano Cualquiera” - from El Cantante.

Born Hector Juan Perez, on September 30th, 1946 in the town of Ponce, Puerto Rico. “El Cantante De Los Cantantes” how he is affectionately known, came to New York at age 17 with the dream of making it big . With no formal singing training this skinny kid from Barrio San Antonio in Ponce, caught the ears of Johnny Pacheco. Pacheco was amazed at the raw talent this young kid had. Because Pacheco already had a singer (Pete “El Conde” Rodriguez) and during those times you only needed one singer. Lavoe only sang sparingly on weekend gigs. Later Pacheco, who at this time began to recruit musicians and singers for his new Fania label, brought on board the combination of Lavoe and a young talented trombonist by the name of Willie Colon whom already knew Hector from La Casa Alegre record store and The American Legion on prospect and 162nd. Colon was in the process of a new recording with Al Santiago’s Alegre label when Pacheco saw the potential of Colon and included him on his roster. And as they say “the rest is history”. Lavoe and Colon collaborated for eight years and for more than 10 albums. Willie Colon and Lavoe combined Salsa, originally Afro-Cuban music, with Puerto Rican Bombas, Plenas, Orisa, Baquine y Aguinaldos, Cumbia, Merengue, and other Latin American music, (as well as Jazz). Hector Lavoe sang every aspect of our culture and religions from Catholicism to Santeria. Many hits like “Che Che Cole” to “Rompe Saraguey” to “El Todo Poderoso” to “Mi Gente” . During Hector’s solo career, Willie helped produce hits like “El Cantante”, “Periodico De Ayer”, and “Plato De Segunda Mesa”; proof that Hector and Willie continued their relationship after they had stopped performing together. Although he had fame, Hector also had to face many tragedies that followed him throughout his life. His mother died when he was only four years old. Later on in life, he suffered the death of his brother in a car wreck, the accidental death of his son who was only 17 years old, the murder of his mother-in-law, followed by the death of his father. The weight of these tragedies plus the alcohol and drugs addictions appeared to have taken its toll. The death of his son was the biggest blow that would finally break his heart. Hector must have been emotionally drained, for in 1988, Hector jumped off the ninth floor of a hotel room in El Condado. Some thought that it was an attempted suicide. Others thought the drugs and booze were finally affecting him. Some close to him though, say that Hector had seen a vision of his son appear outside the window, asking him to come. It was another tragedy added to his life. Hector was never the same again. He later appeared in clubs to sing a few songs, but his health continued to deteriorate until he died on June 29, 1993.

Willie Colón on top 100 Hispanics list

Bronx-born Willie Colón eclipses presidents, archbishops and CEOs on a new list of the world’s top Hispanics.

J. Lo appears on the cover of People en Español, in which she’s featured as one of the “100 Most Influential Hispanics” in the issue out Friday.

Willie  and J. Lo weren’t the only New Yorkers to make the cut in People. Mets’ general manager Omar Minaya scored a spot, along with musician Johnny Pacheco and  former state health commissioner Antonia Novello, MTV president Christina Norman, and Jose Fernandez, president of the Bodega Owners Association.

Other celebrities named by the magazine include Antonio Banderas, Carlos Santana, Eva Longoria, Gloria Estefan, Shakira, Ricky Martin and Julio Iglesias.

And world leaders like Venezuelan president Hugo Chavez and archbishop of San Antonio Jose Gomez appear alongside boxer Oscar de la Hoya and race car driver Juan Pablo Montoya.

But the biggest surprise may be ailing Cuban leader Fidel Castro, who was deemed influential even though he transferred responsibilities to his younger brother, Raul, last July in order to undergo surgery.

10 de abril de 2006

NUEVA YORK (EFE).— Los cantantes Juanes y Juan Luis Guerra recibieron en Nueva York los máximos galardones a la música latina que otorga anualmente la casa editora BMI, una organización dedicada a proteger los derechos de autor en Estados Unidos.

El colombiano Juanes fue nombrado la noche del viernes Compositor del Año, mientras el dominicano Juan Luis Guerra fue declarado Icono por ser un “compositor legendario”.

Juanes se destacó entre los compositores después de que tres de sus temas, La camisa negra, Volverte a ver y Nada valgo sin ti, estuvieran entre los 50 más escuchados en la radio entre el 2004 y 2005.

El famoso colombiano no pudo asistir al evento de la organización Broadcasting Music Incorporated (BMI), pero en un vídeo presentado durante la ceremonia, celebrada en el Metropolitan Pavillion en Manhattan, agradeció el reconocimiento y el apoyo que el público ha dado a su carrera.

“Es increíble, aprecio muchísimo el apoyo el apoyo a mis canciones. Estoy muy honrado, muy feliz de todo corazón”, dijo en su mensaje.

Como canción del año fue galardonada Sin miedo del compositor mexicano Fato.

Entre la lista de compositores premiados porque sus temas estuvieron entre los 50 más sonados figuraron el puertorriqueño Willie Colón por Sin poderte hablar, el mexicano Marco Antonio Solís por Antes de que te vayas, Obie Bermúdez por Todo el año, Cruz Martínez por Soy tu mujer, y el dominicano Ramón Orlando por Meneando la cola.

Por su parte, Juan Luis Guerra recibió otros dos galardones por sus temas Por ti y Las avispas.

Copyright 2006 EFE

Mayor Bloomberg, The Latin Academy of Recording Arts & Sciences, Inc. President Gabriel Abaroa, Willie Colón, Univision news anchor Barbara Bermudo and NYC Big Events President Maureen J. Reidy announce that the 7th Annual Latin GRAMMY® Awards will be broadcast live on Thursday, November 2, 2006, from Madison Square Garden, marking the first time New York will host the international showcase of Latin music. The City’s Economic Development Corporation projects that the Latin GRAMMY Awards will have an estimated economic impact in excess of $30 million. April 11, 2006

(Photo Credit: Edward Reed)

WILLIE COLÓN RECEIVES CEMI AWARD FROM NATIONAL PUERTO RICAN COALITION & ASPIRA

Tivoli Theater - Washington DC

In recognition of your untiring efforts and contributions to advance the social and economic well being of  Hispanic Americans and for your support of the missions of NPRC & ASPIRA

Dedicated fans with cell phone cameras were out in force at H2O Friday night for salsa legend Willie Colon’s farewell tour appearance. This Bronx-born musician, businessman and community activist is only 55, but after 40 years of performing he has decided he’s had enough of the road. Let us hope he breaks his promise. The onetime bad boy now has a paunch and has gone gray, but he and his eight-piece band served up his catalogue with power and passion for 90 minutes.

Colon is best known for his pioneering recordings as a trombonist, songwriter, bandleader and producer in the 1970s with the likes of Ruben Blades, Celia Cruz and Hector Lavoe. Although he has experimented over the years with jazz and rock touches, onstage he largely stuck to the fast-tempoed Afro-Latino approach that he filled dance floors with in his prime. On selections including “Idilio” and “La Banda,” a red-cheeked Colon feverishly blew his horn and then sang, accompanied by two other trombonists, a sax player and musicians on piano, acoustic bass, timbales, bongos and congas. Crowded together on a small stage, Colon and company created a multi-layered joyous racket of call-and-response vocals, booming brass and intricate beats without their sound’s ever descending into chaos.

Colon has long been as interested in melody as the clave beat, and he uses bright vocal choruses adapted from rural Puerto Rican standards. This do-it-all artist showed that he is not bad as a vocalist on the countryish “Ares de Navidad” and lush “Periodico de Ayer.” The rap-influenced genre of reggaeton is the Spanish-language sound of the moment, but the vibrant salsa of Colon’s ensemble remains anything but passe.

– Steve Kiviat

So what does it matter if all the Democratic leaders of the city (Senators Hillary Clinton and Charles Schumer) and of the nation (Al Gore, John Kerry, Howard Dean) have supported Ferrer, if Bloomberg sings salsa! In Spanish!  And has Colón, who photographs himself alongside Daddy Yankee, who’s going to record with him, who sings salsa and who shows us that Bloomberg is “cooler” and maybe even more Puerto Rican than Freddy Ferrer.

Monday, October 17, 2005
 
By Félix Jiménez, University Professor
 
Willie Colón greets callers to the Bloomberg campaign headquarters in New York.  He’s not there in the flesh, but through his music, you feel his presence.  The salsa star taped a message that callers hear while on hold, and it is music to the ears—literally.  After ten seconds any Puerto Rican would forget that he’s calling the office of the man running against Puerto Rican Fernando Ferrer to lead the most important city in the world.
 
Will we ever see the day when a Puerto Rican succeeds in leading New York?  Why is it possible in a place like Hartford, Connecticut, and not in New York?  It’s a question that has politicians and analysts alike scratching their heads.  Earlier this year Antonio Villaraigosa succeeded in consolidating the Mexican vote in Los Angeles, and celebrated victory with the motto “I’ll be EVERYONE’S mayor.”  But in New York, recent polls show that Bloomberg is 14 points ahead of Ferrer, and that only 57 percent of those who consider themselves Hispanics would vote for the Puerto Rican Ferrer.  And although Ferrer has sought to run a campaign of inclusion under the motto “Make New York work for everyone,” the salsero Willie Colón is not included in that “everyone.”
 
Since 2001 Colón has been a strong supporter of Bloomberg, at parties for the Museo del Barrio which celebrated the achievements of kids from the Bronx.  Of Bloomberg’s seven campaign directors, two are Puerto Rican: Colón and Herman Badillo, who had spoken out against Bloomberg in 2001.  Bloomberito—as Colón calls him—is predicted to win the November 8 elections, with the strong support of the Puerto Rican vote. 
 
Salsa is more than just background music in this game of political identity.  The commercial that Colón will be taping along with Daddy Yankee (when, no one knows), along with pictures of the two of them that Colón distributed throughout New York and posted on his website, also mark campaign history.  It is the first-ever use of an astute strategy:  unifying salsa and rap, the old and the new in order to achieve the almost-unfathomable—votes of young Puerto Ricans for the Republican party.   So what does it matter if all the Democratic leaders of the city (Senators Hillary Clinton and Charles Schumer) and of the nation (Al Gore, John Kerry, Howard Dean) have supported Ferrer, if Bloomberg sings salsa! In Spanish!  And has Colón, who photographs himself alongside Daddy Yankee, who’s going to record with him, who sings salsa and who shows us that Bloomberg is “cooler” and maybe even more Puerto Rican than Freddy Ferrer.
 
While Willie Colón goes after votes in the Bronx, the rest of Bloomberg’s team concentrates on other parts of New York (Corona, Jackson Heights, Washington Heights, Ozone Park) where the populations are majority Dominican, Columbian, Honduran and from other Central and South American countries.  The strategists have quietly succeeded in eroding Ferrer support in these neighborhoods.  Washington Heights, for example, has Dominicans for Ferrer, but it also has Dominicans for Bloomberg, made up of influential businessmen with the power to deliver votes.  A veteran Dominican political commentator from Washington Heights has said that music is only the “frosting on the cake” in this election.  “If the elder Herman Badillo is now with Bloomberg’s camp, that has to say something about Ferrer,” he said. 
 
If the power of music really does serve as a catalyst in this election, it will also serve as a tool to divide and conquer New York’s Puerto Rican vote during a key moment for achieving Puerto Rican political empowerment.  Colón’s song has already been criticized; it’s been labeled an act of treason by Puerto Rican leaders and intellectuals.  But “anything goes” in a musical-political battle, as the rap group Residente Calle 13 from Puerto Rico says.  And if Fernando Ferrer’s calm, calculated and circumspect strategy for New York does not result in a repeat of Villaraigosa’s triumph in Los Angeles, maybe it’s because the candidate forgot the key secret weapon of the body in motion —the weapon of emotion.  Salsa, avenges itself in mysterious ways in New York City,

Many Youngsters See No Doctor For A Year, Study Finds

“We didn’t go to the doctor — we went to the emergency room,” Willie Colón

Washington Post Staff Writer
Wednesday, August 3, 2005; Page B03

“We see many artists since they are children, Too many politicians pop up out of nowhere when they want to get elected..
Photo Cortesey of Instituto Zacatecano de Cultura

Zacatecas, Zac., March 20th.

Willie Colon opened last Saturday the outdoors activities in this city - designated to the Patrimony of Humanity by UNESCO - the 19th Cultural Festival Zacatecas 2005. The native New Yorker from the Bronx had breakfast at the Emporio hotel, in the evening he went to sound check,  he then slept a few hours before getting on stage of the Main Plaza and said that the cold weather  “can be better resisted with the aid of the people and a couple of whiskies”.

 Moments before, Governor Amalia Garcia, inaugurating the festival, expressed: “This is an effort of my government for the people of Zacatecas”. The five thousand attendees to Willie’s concert affirmed it (the entrance was free). State Executive, Prof. David Eduardo Rivera, director of the Instituto Zacatecano de Cultura, said that most of the activities are free to the public. “The important thing is to give to our people the opportunity to have contact with the diverse artistic manifestations.”

 Time was 8:40 pm and the Main Plaza was full. Fireworks roared in the heavens and hundreds of bats fled terrified. Between applause, Willie appeared. From the Bronx to the Main Plaza of Zacatecas, an historic site since the revolution. “Pancho Villa walked through here”, announced some of the vendors and traveling photographers.

 Willie’s orchestra began playing “Te Conozco Bacalao… aunque vengas disfrazao”. It is pure rhythm what is played by this group of salsa stars. Most only watch the concert, listen to it. He continues with “Ten cuidao”. Ricardo Pons on the sax plays notes that make that hypnotize the throngs. He finishes to thunderous applause.

 For Willie, Mexico is “the Hollywood of Latin America. It is the platform of Hispanic talent”. From here all types of artists are launched and it is the most important country as far as media is concerned. “For me it is important to come here ” said the 11 times Grammy nominee.

 Some people could not resist and just be there, warming up in their seats; they got up to dance to “Gitana”. At the piano Juan Manuel Granados is an exponent of virtuosity. “Gitana, Gitana, Gitana…” People don’t know about Salsa danced Chayánne style and they dance freely, just as one dances cumbia, others just hopping.

 Willie is still cold. He rubs his hands and takes his trombone. “I don’t know if I am doing singing better or if I just think I am” (referring to the whiskies), he expressed provoking laughter. What followed was worthy of the Gods: Idilio. He ended with “Demasiado Corazon”. Dozens already danced Willie’s Salsa, famous in the world over since the sixties of last century, when he partnered with Héctor Lavoe. “He and I came from the poor part of the Bronx”. We traveled through Latin America and realized on how our music works. About Hector (Lavoe), who passed away 10 years ago, I have many great memories. Here, in Mexico, I remained four years with my family. We learned to love and to understand the Mexican people.

 ”I am an executive for the City of New York under Mayor Michael Bloomberg and what I learned here I apply now there, in addition to your culture.

In a concert like this in Zacatecas one does not know what is going to happen. But little by little by the end of the night you can tell. It is a communication and one realizes if we are being understood. Music is truly a universal language.”

 That “communication” occurred when he sang “Periodico de Ayer”, one of the greatest Lavoe’s greatest hits, his brother. In case it you weren’t totally satisfied, he began playing “El Gran Varon” (the Great Man) and “El Todopoderoso” (The Almighty), just in time for Easter. He left the stage between applause and the Main Plaza looked like the dance floor of any other Salsa club, like the thousands that there are all over the world.

 He returned to the stage for an encore, to close with “La Murga de Panama”, a song that has the strongest beginning in all the history of Salsa.

 The notes of “La murga de Panama” stayed in the ears of the revelers.

 Many walked away dancing and singing those notes. Soon after, Willie offered a press conference in which he expressed that “Bush got a great amount of Latin votes; that was a surprise for us. In New York there is not as much violence against Latinos and Mexicans like in California. That is because the proximity with the border. In New York it is very difficult for immigration to deport them, because of the distance and the expensive. There is also more tolerance. New York is a more tolerant city than Los Angeles.

 ”For many Americans Latinos are a threat. Latinos do not assimilate so easily. The Greeks already almost don’t speak Greek, but Latinos don’t give up on their language and their culture. We maintain a separated base. In almost all the country it is necessary to conduct business in Spanish. We are the greatest minority in the country. We still have much work ahead, but perhaps in 10 years we will have U.S. Senators and perhaps a Presidential candidate…

 ”Americans complain much about Latinos, but the country would grind to a halt without our work, because we are in all the services. We do most of the work.” He added that his plan to take the Grammy ceremony to New York has been delayed because “whenever we do an offer the price goes up. The problem in New York is that everything is more expensive. We offer four million, but the four mayors of Miami unite, and they offer another four million. They get to keep more of it in Miami, so for that reason it happens in Miami. But New York is New York!”

 From the beginning, he added, many of his songs had a socio-polítical touch. I went to the schools and I gave speeches. “That’s how I began my political career, in 1994 I ran for Congress and later to be Public Advocate. It is important to emphasize that there is a nexus between being an artist and being politician. We see many artists since they are children, we literally watch them grownup. And we see you, the people. Most politicians pop up out of nowhere when they want to get elected. Latinos must learn to participate in the electoral process or in the end they will get nothing”, Willie concluded. He returned to New York on Sunday. “I do not have any plans to return to Mexico for the rest of the year”.

Translation: Ernesto Hernández 

April13,200

GIULIANI, KOCH, BADILLO, COLÓN, FLAKE, MOLINARI, AND PROVENZANO TO SERVE AS BLOOMBERG CAMPAIGN CHAIR

Campaign also unveils broad new Latino outreach team

Rudy Giuliani, Ed Koch, Herman Badillo, Willie Colón, Floyd Flake, Guy Molinari and Madeline Provenzano will serve as Campaign Chairs of Mayor Mike Bloomberg’s re-election campaign, the Bloomberg for Mayor campaign announced today. The campaign also unveiled its new outreach team to Hispanic New Yorkers, which will be headed by Fernando Mateo and will include Ninfa Segarra, Olga Mendez, Shirley Rodriguez Remeneski, and Dr. Ramon Tallaj.

“New Yorkers from all parts of the City are reaping the benefits of the choices we made over the last three years: a stronger economy, record-low crime rates, and better schools in all five boroughs,” Mayor Bloomberg said. “That’s why I am grateful that so many New Yorkers from across the City are coming together today to help lead my re-election campaign. I am proud that we will have the right team in place to ask each and every New Yorker for their vote.”

“I was a very big supporter of Mayor Bloomberg when he ran in 2001, and I am strongly supporting him again this time. Mike has done a great job fighting crime, cutting government waste and rebuilding our economy. For my entire life, I’ve always wanted what is best for New Yorkers. This year the choice is clear – Mike Bloomberg,” said Rudolph W. Giuliani, the 107th Mayor of New York.

“When you have a first-rate Mayor as Mike Bloomberg has proven to be, you keep him. I’m proud to be Co-Chair of his campaign, and will do everything I can to re-elect him,” said Edward I. Koch, the Mayor of New York from 1978 to 1994.

“I have followed Mike Bloomberg’s mayoralty since he was elected in 2001. I think he’s done an outstanding job in reducing crime, easing tensions in this city, and most especially in meeting the problems in the educational system head on. Mike Bloomberg ensured that we have standards and discipline in the schools – without them education cannot be attained. For that reason, I believe that he will be re-elected by a substantial margin, and I support his re-election,” said Herman Badillo, who was the first Puerto Rican to serve as Bronx Borough President, Congressman, and Deputy Mayor before becoming Chairman of the Board of Trustees of The City University.

“There is no one more qualified than Mike Bloomberg to be Mayor,” said Grammy Award Recording Artist, political activist, and Bronx native Willie Colón.

“Mike Bloomberg is the kind of leader who respects all people and sets the tone for cooperative engagement to move the City forward. It’s not an accident that there has been a higher degree of racial harmony in this City during his tenure. His focus on all the people of New York is why we have seen a tremendous change in the emphasis on education and economic empowerment. We need four more years of Mayor Bloomberg to get the job done,” said Reverend Floyd H. Flake, Pastor of the Allen A. M. E. Church and the Greater Allen Cathedral. Flake also represented Queens’ 6th Congressional District in Washington from 1987 to 1997.

“With Mike Bloomberg’s historic gains against crime and for our children’s education, I am excited and honored to be appointed to this leadership post by him and to be included in a group with such notables in New York City history as Rudy Giuliani, Ed Koch and Herman Badillo,” said Guy V. Molinari, who represented Staten Island as a Republican in the New York State Assembly from 1975 to 1980 and in the US Congress from 1981 to 1990, and served as Staten Island Borough President from 1990 to 2001.

“Mayor Bloomberg turned the Department of Education around. While it took us many decades to get into this mess, we are finally on the right track out of it. He has done a wonderful job over the last three years in education and in so many other areas, like creating the 311 system. We need another four years from him,” said Democratic Councilwoman Madeline T. Provenzano, who represents the communities of Pelham Parkway North and South, Pelham Bay, Country Club, City Island, Throggs Neck, Allerton, Morris Park in the Bronx.

Badillo and Colón also detailed the new outreach team for Hispanic voters today, which will be headed by Fernando A. Mateo and assisted by Maxy Sosa.

“Some candidates for Mayor this year are going to take the Hispanic vote for granted. Others are going to write off the Hispanic vote completely. Not Mike Bloomberg. We are going to run the most aggressive campaign to ask for Hispanic New Yorkers’ votes ever seen in New York City, and we’re proud of the incredibly broad and diverse team we’ve put together to do it,” said Bloomberg Campaign Manager Kevin Sheekey.

Mateo, a self-made entrepreneur, created the “Toys for Guns” program, which has helped remove thousands of guns from the streets of New York City. In 1994, The New York Times cited Mr. Mateo, Jimmy Johnson - coach of the Dallas Cowboys, Madonna, President Clinton, and Pat Riley - coach of the New York Knicks, as the five people cited most often as influencing business decisions in the last year. Hew was profiled twice on Oprah twice and was caused one of the most “Amazing Americans” by People magazine for his role in training convicts for jobs in the construction trades. As President of the New York State Federation of Taxi Drivers, Mr. Mateo has sought to improve passenger and driver safety through the use of cameras, partitions and global positioning systems, as well as by encouraging safety training courses of Federation members and non-members alike. Mr. Mateo has also lobbied successfully to secure changes in law on behalf of the livery cab population. As a result, New York State increased punishments of criminals who perpetrate attacks upon taxi drivers from three to five years above current sentence limits.

In addition to working on Fernando Mateo’s team, Maxy Sosa will also represent the campaign as a spokeswoman. Ms. Sosa is currently a producer for Noticias Uno, Time Warner’s Spanish-language news network and sister station of NY1. Before going to Noticias Uno, Maxy covered New York City politics and government as the City Hall reporter for Hoy newspaper. Prior to that, she worked for News AM 1380, which was then a 24/7 Spanish-language news radio station in New York.

“It is an honor for me to work with Mike Bloomberg, who is a person who has taken New Yorkers’ problems seriously. I hope to work with him to further improve life for Hispanics and all New Yorkers,” said Ms. Sosa.

Ninfa A. Segarra is joining the campaign as a consultant. Ms. Segarra served as Deputy Mayor of the City of New York under Mayor Giuliani. She previously served as President of the New York City Board of Education, and was initially appointed to that body by the then-Bronx Borough President. A native of the Lower East Side who now lives in Battery Park City, she served on the transition committees for Mayors Giuliani and Bloomberg, and on Governor Pataki’s commission on school reform.

Former State Senator Olga A. Mendez is joining the campaign as an advisor. s. Mendez became the first Puerto Rican female elected in the Continental United States when she won her seat in 1978, and held her East Harlem / El Barrio seat until 2004. Ms. Mendez was born in Mayaguez, Puerto Rico and received her B.S. degree from the University of Puerto Rico. She received her Master Degree in Psychology from the Teacher’s College at Columbia University in 1960 and her Ph.D. in Educational Psychology from Yeshiva University in 1975.

Shirley Rodriguez Remeneski, the Founder and President of 100 Hispanic Women, is also joining the campaign as a consultant. Since its inception in 1995, 100 Hispanic Women has grown to nearly 1,000 members and become one of the leading nonprofit organizations serving Hispanic women in the state of New York. Ms. Remeneski began her career in 1966, when she established and directed the first Social Services Unit in the Bronx Borough President’s Office. She serves as a board member of many organizations, including the Multicultural Advisory Committee of the Metropolitan Museum of Art; Bronx Lebanon Hospital, which she chairs; and the 21st Century Women’s Leadership Center, of which she is the co-founder and co-chair.

Dr. Ramon Tallaj, an internist who serves as Chairman of the Hispanic Development Foundation, is also joining the campaign as an advisor. Dr. Tallaj revived the Northern Manhattan Republican Club, and helped establish the Republican State Committee office on Dyckman Street and serves as president of the Dominican Independent Physicians Association and of the Dominican Medical and Dental Society.

Bloomberg for Mayor also announced that Joe Wiscovitch, the President of Wiscovitch Associates Ltd, a 15 year-old, corporate business public relations and marketing firm in New York, will serve as a media advisor. Prior to serving as a member of the message team for Bloomberg 2001, Joe did English and Spanish-language message and advertising work for President Clinton’s 1996 re-election campaign and Mayor Giuliani’s 1997 re-election campaign.

The Mayor’s campaign also announced that Elevación-Elevation, a Spanish language media company with offices in New York City and Washington, will produce the Spanish-language television, radio, and print advertisements. A member of the Mayor’s successful 2001 campaign team, Elevación-Elevation has also worked for the Alzheimer’s Association and the Service Employees International Union (SEIU).

BY J. FABIAN ARELLANO MERINO

The rain had stopped, the clock struck 10:15, and fatigue was beginning to show on the faces of some of the faithful salsa fans who had been assembled at the Zocalo since the early hours of the evening and displayed their best dance steps on the periphery of the capital city’s main square.

Following Van Van and Gilberto Santa Rosa’s performances, Willie Colón took the stage in the heart of Mexico City—it was worth the wait.
The U.S. singer opened his performance with “Barruco” and “Te conozco Bacalao” (You Can’t Fool Me), which were the grand finale of “A High Quality Tropical Evening” organized by the Mexico City government and “La Sabrosita 100.9 FM.”

“Thank you very much, good evening. I have come from New York. I see a lot of people gathered together here. I can assure Andres Manuel that he can count on the votes of the 120 thousand salsa lovers here tonight,” said the singer-composer who lived in Mexico for four years.
What followed had never before been seen in the entire history of salsa music in Mexico and the rest of the world. “This will be the first time for me to sing this piece, so you will be the judges.”

Willie Colón sang “Juanito Alimana” (Johnny Bugs), one of the biggest hits of Héctor Lavoe, “The Voice,” who “The Magician” remembered as the lead vocalist in his first group, and to whom he paid homage with a medley of his greatest songs. “Periódico de ayer” (Yesterday’s Newspaper), “El todopoderoso” (The All-Mighty), and “El cantante” (The Singer) were part of the tropical banquet of memories in honor of the man originally named Héctor Manuel Pérez Martínez, who was also the lead vocalist for the Fania All-Stars.

The crowd of 120 thousand fell under the spell of the “Magician from the Bronx,” who lived up to his fans’ expectations. They left the Plaza of the Constitution dancing the rumba, with the moral from the lyrics of “El Gran Barón” (The Great Man) on their lips: “If life gives you lemons, learn to make lemonade.”

Carlos Carrasco Araizaga

 ”I want to dedicate this concert to all those who will vote this year, whether in the United States or in Mexico. There are 120 thousand of you here, so (Andrés Manuel) López Obrador must have at least 120 thousand people on his side. Right?  I bring greetings from Mayor Bloomberg and New York’s entire Latin community.” So began the performance of Willie Colón, who said that he almost jumped out of his plane to be there Saturday night in front of approximately 120 thousand spectators gathered in the Mexico City Zocalo, according to the organizers.

With the song “Juanito alimaña” (Johnny Bugs), Colón reaffirmed his role as a public-opinion leader. Besides encouraging the audience to vote, he recounted the features of some of the “vermin” who come into power and who are “friends” of Rubén Blades’ “Pedro Navajas,” the pimp who abused prostitutes and charged them for protection.

The audience at the Zocalo requested more of the songs Colón composed with the former singer from his band that broke up at the beginning of the 70s. Hector Lavoe and Willie Colón composed many songs together, which are still remembered by their fans and were heard once again Saturday night. “El Todopoderoso” (The All-Mighty) inspired the most singing and dancing. Some even shed a few tears, which blended in with the light rain that bathed and refreshed the Plaza of the Constitution for more than two hours. The aroma lingering after the rain mingled with the smell of cigars smoked by the fans who spoke with a Caribbean accent. Many boasted of their Cuban and Dominican ancestry.

At that moment, numerous couples started to dance, stripping off the jackets or raincoats they had brought with them to avoid getting wet. Little by little, the area set aside for the concert’s press coverage cleared, opening up a dance floor opposite the other end of the stage, where the disabled and elderly had their own space. Those in wheelchairs kept an eye on the crutches and white canes entrusted to them.

But it was not just a night of nostalgia in the Zocalo. Colón also performed his most recent hits. In fact, the trumpeter, born in the Bronx but raised according to his parents’ Puerto Rican customs, delighted the audience with a selection of songs that would rarely be heard, even at a private party.

“Talento de televisión” (Television Talent), “Idilio” (Idyll), “Asia,” and “Gitana” (Gypsy) were performed in one stretch, and more than three couples caught the beat and sang at the top of their lungs while moving to the salsa rhythm.

“El gran varón” (The Big Man) was one of the songs that concluded the concert organized by the Mexico City government. The line-up also included Van Van and Gilberto Santa Rosa, who inspired the fans to non-stop dancing to the Caribbean rhythms of the three bands.

Santa Rosa, who also appeared in Salón 21 the same night, played for more than an hour, during which he sang both old and new songs. “Que alguien me diga” (Somebody Tell Me), “Sombra loca” (Crazy Shadow), and “Qué manera de quererte” (What a Way to Love You) were performed to much emotion, both because the fans were so pleased to hear them, and because they had the opportunity to see their idol up close and feel that “he is singing just for your ears,” as one over-50 female fan commented after bursting into tears when hearing “Mentira” (Lie), the theme song for the TV soap opera “Mirada de mujer. El regreso” ( Woman’s Glance. The Return).

And although no one had heard of them to start with, the Cuban group Van Van succeeded in captivating the Zocalo audience, which by 8:00 numbered around 70 thousand, and at its peak, reached 120 thousand, a record turnout.

The concert, which started at 6:00 p.m., did not end until five hours later when, at the stroke of midnight, Colón thanked the fans for their attendance

Willie Colón brings the Fiesta at El Zocalo to an all-time record high before a crowd of 120 thousand

ARTURO CRUZ BARCENAS

“”Congratulations to (the newspaper) La Jornada, which tomorrow—yesterday, Sunday— will celebrate it’s 20 anniversary!,”  the Puerto Rican shouted, Willie Colon as he arrived at Mexico’s grandest afternoon-evening music fest, where the composer of Gitana (Gypsy) shared the stage with Gilberto Santa Rosa and Juan Formell and Los Van Van.

“There are 120 thousand of you, so (Andrés Manuel) López Obrador must have at least 120 thousand people on his side. right?,” he continued to shout. The response to Willie’s words was applause, exclamations of support, some, a few, of indifference, although others typically rude, like “Hey, Willie, don’t be a politician!”

He added: “I bring you greetings from the Mayor of New York, Michael Bloomerberg,  where I am from, the Bronx. I want to tell you that for the first time in history, the Empire State was dressed in green, white, and red, the colors of your flag—last September 15.” The shouts of “bravo!” were a logical extension of the patriotic feeling expressed this month by nationals residing at different latitudes.

Colón brought many good tidings. Most of the people in the front rows had arrived seven hours earlier to reserve their seats (some much earlier). It was 10:15 at night. He opened with La ruta de mi corazón (The Way to my Heart), Te Conozco, Bacalao (You Can’t Fool Me), and No trates de persuadirme (Don’t Try to Persuade Me). He said that much of what they would hear originated in 1966, when he knew Hector Juan Perez Martinez, better known as Hector Lavoe, his friend, his brother, whom he recognized for his musical talent and guidance in creating salsa. “Clearly, in 1966, many of you were in two places at the same time.”

When he appeared before the record crowd gathered at El Zocalo, Mexico City’s grabdest plaza, dozens of people shouted the songs they wanted to hear. “I bring you greetings from the Latin Community of New York, where we we have the most diverse Latino Community in the world!” He continued with Juanito Alimaña (Juanito the Bug), which he played for the first time live, assisted by the written lyrics.

Then he played and sang one of his most popular pieces: Talento de televisión (Television Talent), in which he performed one of the most characteristic sounds in the history of salsa. (Although it is not well known, Willie wrote this hit inspired by Thalia, who is now the wife of Tommy Mottola, the Sony Music magnate. “She doesn’t have any talent, but she’s a good maid.” So it goes.)

He pleased the audience with Idilio (My ideal) and Asia. He dedicated a medley to Hector Lavoe: Llegó la banda (The Band Arrived), Periódico De Ayer (Yesterday’s Newspaper), Todopoderoso (All-Mighty), and El Cantante (The Singer). So much music in such a short time. “Singing for you is an honor and a privilege for me.” In front of the National Palace, they danced on the sidewalk, hugging, intimately, without time or space. The patrols passes and the agents left. It was better not to bother them. Everything can just stay the way it is.

The couples multiplied and the night seemed to have no end. Nobody wanted to leave. While the crowd, primarily teenagers, demonstrated that Willie is more popular than ever, several older couples danced like they used to, with respect close to adoration. They danced in slow motion, at a slow pace, but danced to the beat. The salsa, which had been played hours earlier by Gilberto Santa Rosa, is lively, but cool but not crazy. You drag the tip of your shoe, smoothly, making a figure. With Willie, who was born in the Bronx, of Puerto Rican descent, you can do it too.

The clock approached midnight. It was almost Sunday, and Willie said good-bye. A few classics were missing. The shouts were getting louder. He returned to remember La Jornada’s anniversary, its first 20 years of life. He wished the Mexican Olympic athletes good luck in Greece. He covered everything.

Again it was like it was all over, but then the great baron returned, full of wisdom, focused on humanity and its limitations. “Nature cannot be corrected; the tree that’s born crooked, can never be straighten.” This isn’t fatalism, but common sense. The audience danced together and the Zocalo was a large Tíbiri, a macro-plaza in Monterrey, an Oceanía Sports Center, a Neza for the Sonideros.

Willie left. He returned. What would come next? He had already played them all. One was left: La Murga de Panamá (The Panamanian Carnaval Song), a long composition, with give-and-take in the melody. Many left. As they drove away down 5 de Mayo, Tacuba, 20 de Noviembre, and other streets that flowed from the Zocalo, they could hear the last cords of La murga…, echoing thru the streets until it was scarcely discernible.