Posts Tagged ‘TITO PUENTE’

Arthur Aviles Typical Theatre

Sunday, November 1st, 2009
celebrates 10th Anniversary of creating & presenting dance in the Bronx

YEAR-LONG CELEBRATIONS BEGINS WITH A SERIES OF CONCERTS

AT AARON DAVIS HALL’S E-MOVES SERIES – APRIL 22, 28 & 30, 2006

Aaron Davis Hall, Convent Avenue bet. W. 133 and 135 Sts. NY, NY

As part of ADH’s E-moves series Arthur Aviles Typical Theatre will perform ¡Mi Celia! ¡Mi Puente!, a set of 7 energetic, sexy and fluid contemporary modern dance works set to classic 1950’s music by legends Tito Puente and Celia Cruz. The concert also includes dance clips, personal video testimonials and drag king Elizabeth “Macha” Marrero as Arthur’s father. (Tickets $18; $15 ADH members. Call 212-650-7100 or visit www.ticketmaster.com) Reception to follow April 30 event.

The celebration will continue….

Arthur Aviles Typical Theatre

Sunday, November 1st, 2009

Arthur Aviles Typical Theatre

celebrates 10th Anniversary of creating & presenting dance in the Bronx

YEAR-LONG CELEBRATIONS BEGINS WITH A SERIES OF CONCERTS

AT AARON DAVIS HALL’S E-MOVES SERIES – APRIL 22, 28 & 30, 2006

Aaron Davis Hall, Convent Avenue bet. W. 133 and 135 Sts. NY, NY

As part of ADH’s E-moves series Arthur Aviles Typical Theatre will perform ¡Mi Celia! ¡Mi Puente!, a set of 7 energetic, sexy and fluid contemporary modern dance works set to classic 1950’s music by legends Tito Puente and Celia Cruz. The concert also includes dance clips, personal video testimonials and drag king Elizabeth “Macha” Marrero as Arthur’s father. (Tickets $18; $15 ADH members. Call 212-650-7100 or visit www.ticketmaster.com) Reception to follow April 30 event.

The celebration will continue….


El Taller Boricua and Jimmy Delgado Present

Sunday, November 1st, 2009

Every Wednesday through August 29 • 5:30 PM

Uptown Salsa After Work Party Event

July 4 – Soneros de Oriente
July 11 – Caransalsa
July 18 – Frankie Morales’s Mambo of the Times Orchestra
Juy 25 – Excelencia
August 1 – Orchestra Broadway
August 8 – Jimmy Sabater, Jr. & Los Salseros Del Hudson
August 15 – Sonsublime
August 22 – Rigo Y Su Grupo Ecua-Jei
August 29 – Tipica Novel
Ladies $5 from 5:30-6:30; $10 after 6:30
Gentlemen $10 all night
Julia de Burgos Latino Cultural Center
1680 Lexington Avenue
212.831.4333; www.tallerboricua.org

Every Thursday through August 23 • 6:30-9:00 PM
Summer Nights at El Museo

Target Presents Musical Icons of El Barrio
July 5 – Tito Puente, Jr.
July 19 – Plena Libre
August 2 – Spanish Harlem Orchestra
August 16 – Tribute to Hector LaVoe with Chino Nuñez

Budweiser Select’s Alternative Music Festival
July 12 – Circo
July 26 – Cultura Profética
August 9 – Latin Funk Night with Pacha Massive and Folklore Urbano
August 23 – Los Amigos Invisibles

Free. Limited seating – first come, first served.
Teatro Heckscher
El Museo del Barrio
1230 Fifth Avenue

PRdream mourns the passing of Manny Oquendo

Sunday, November 1st, 2009

MANNY OQUENDO
January 1, 1931 – March 25, 2009

Bandleader, percussionist Manny Oquendo passed away March 25, 2009 of a heart attack. A self-taught musician, Oquendo was a senior statesman of the Latin percussion instruments of timbales and bongos before founding and co-directing the critically acclaimed Latin music band, Conjunto Libre for more than 35 years.

A member of the seminal recording “Grupo Folklorico Experimental Nuevayorquino” Parts I & II, Manny Oquendo was known for his understated yet aggressive solo improvisations on both the timbal and bongos. His was not a race as to who could play the fastest, or who could do the most paradiddles, excessive drum rolls or “contra-clave,” Manny Oquendo’s style was a school in and of itself. “The Timbalero must always keep the beat,” he emphasized in interviews. “Never overplay,” was his most consistent rule.

His style was found in the roots of Cuban bands such as Arcaño’s or Orquesta Aragon, never flashy, never overstated. For influence and inspiration he looked to the drummers of the vintage Cuban bands such as bongocero, Ramón Castro, who played with the Orquesta Casino de la Playa and later with Pérez Prado or Conjunto Casino’s Yeyito Iglesias or Papa Kila (Antolín Suárez) who played with Arsenio Rodríguez or Sonora Matancera’s Manteca (José Rosario Chávez). Manny Oquendo was known by what he said on the timbal, not how many things he could do to it.

For more than 60 years, Manny Oquendo’s said many things through his percussive strength and musical vision. His profound yet understated sounds were part of the Latin New York music scene from the ‘40s until today.

Born José Manuel Oquendo on South Fourth St. Brooklyn, he was called “Manolo” before he became “Manny” in his teens. The family later moved to East Harlem in 1939 where Oquendo was captivated by the sounds of music. “Music was everywhere,” he recalled.

East Barrio’s first Latin music record store “Almacenes Hernandez” (originally located at 1600 Madison Avenue and opened in 1927) was just one flight down from the Oquendo family’s apartment. The swinging big bands of Machito, Jose Fajardo and Orquesta Aragon became the soundtrack of his childhood. “There was music constantly coming out of that store, and that was my education,” he recalled.

His first set of drums were a pair of “tom toms” with the skin on both ends. Played with sticks from a wooden hanger, Manny played along to records from his parents’ victrola. Spanish language radio stations were always on in his home. Later, when Oquendo visited his parent’s roots in Ponce, he discovered the cuatro through his grandfather.

After the “tom toms,” Oquendo got a pair of wooden timbales and began playing with Sexteto Sanabria but not before taking a few drum lessons at a school on 125th Street at 25 cents per lesson. Later on, he studied privately with Sam Ulano, a well-known percussion teacher. Jazz drummer Max Roach also studied with Ulano alongside Manny. Whenever they’d run into each other they’d reminisce on their school days. Oquendo always kept his set of trap drums.

By the 1940s, the Oquendos moved to Kelly Street in the South Bronx unknowingly joining a community of likeminded musicians. Pianist, Noro Morales lived down the street from Manny on Stebbins Ave.; Joe Loco was by Horseshoe Park; Tito Rodríguez was on Rogers Place; Tito Puente on 163rd Street, while Arsenio Rodríguez and Ray Coén both lived on Kelly Street.

Oquendo began playing with New York’s top orchestras. He played with the Carlos Medina Orchestra, the Charlie Valero Band and Xavier Cugat’s former singer Luis del Campo before playing with the legendary Marcelino Guerra Band.

From here Oquendo played with trumpeter Frank Garcia and his vocalist, El Boy, where he met Chano Pozo who performed with Miguelito Valdes at a local show and stayed to play with the fledging timbalero. Chano remained with the small group until he got a better paying job. Oquendo moved on as well, joining pianist Jose Curbelo’s orchestra where he performed on a full array of drums owing to their diverse repertoire that included tangos, sambas and American swing music. “It gave me the feeling of being a complete drummer.” He mentioned in an interview to Frank Figueroa over Latin Beat.

From here, Manny Oquendo joined Pupi Campos’ band playing many venues on Long Island alongside Tito Puente and his Picadilly Boys. Since they were both working in the same area, Tito and Manny would ride together to their respective gigs with Manny playing in Tito’s band as he waited for his own show to begin. When Tito’s regular bongocero Chino Pozo left to tour with Katherine Dunham, Tito asked Manny to take over that chair. When Little Ray Romero took a job with Eartha Kit, it was Manny Oquendo who Tito Rodriguez called to fill his bongo chair.

Manny had his Afro-Antillian chops chiseled under the bands of Tito Puente, Tito Rodriguez, Johnny Pacheco and others. He had hung with the legendary Chano Pozo, taking the Musician’s Union cabaret license test for him enabling Pozo to work in New York clubs during his stay between 1946 –’48.

By the 1960s, everything Cuban was forbidden. Manny listened to the Mozambique sounds of Pello El Afrokan over short wave radio and on pirated records. Back in his apartment on Kelly Street in the Bronx, he’d practice hitting the timbal with the left and playing the rhythm on the right until he nailed the Cuban genre so well he made it his own.

In 1963, Manny Oquendo joined “La Perfecta,” the conjunto organized by pianist Eddie Palmieri. Alongside congüero, Tommy Lopez, Manny crystallized the Mozambique sound creating a powerhouse rhythm section alongside Palmieri’s improvisational infrastructure.

In 1974 Oquendo and bassist Andy Gonzalez left Palmieri to move in their own direction. Leaving the traditional structures behind, the duo incorporated jazz, Afro-Cuban, Afro-Puerto Rican rhythms while exploring alternatives. The goal was to “free” the music from restrictive content and Libre was born. During 1976 to 1981, Oquendo became a musical historian of the tipico sound he’d perfected with Palmieri. Libre’s first albums included classics by composers Ignacio Pineiro, Rafael Hernandez and Nico Saquito, as well as a traditional Puerto Rican plena by Manuel “Canario” Jimenez.

At the same time, the group attracted a creative crop of innovative young artists in Latin music. The Gonzalez brothers, Andy and Jerry Gonzalez are founding members; Alfredo de la Fe is featured on various incendiary violin solos with singer Herman Olivera making his recorded debut over a Libre recording while flautist Nestor Torres was also a featured guest. At various times, Barry Rogers, Jose Rodrigues, Angel “Papo” Vazquez, Jimmy Bosch, Reynaldo Jorge, Dan Reagan and Steve Turre held down the trombone line, while Oscar Hernandez, Joe Mannozzi, and Marc Diamond rocked the piano chair.

Last year, Puerto Rico’s Radio Station, Z93 dedicated its National Salsa Day to Manny Oquendo.

Manny Oquendo is survived by four sons and two sisters.

According to Manny Oquendo’s wishes, there will not be a viewing. We will post any information regarding a memorial in the future.

A video from Salsa Sunday’s Conversations with the Masters has been posted on our website at www.zondelbarrio.com/Press.php

About Aurora Flores:
Twenty-first century Renaissance woman Aurora Flores is the recipient of numerous awards and is included in Who’s Who in Hispanic America. Currently the President of Aurora Communications, she was the first Latina editor of Latin New York Magazine and the first female music correspondent for Billboard Magazine. While attending Columbia’s Journalism School, she broke into mainstream journalism and today has thousands of articles to her name.

A musician by training, Aurora founded her own septet, Zon del Barrio, bringing together modern music genres, Afro-Boricua folklore and Afro-Cuban salsa. She lectures on Latin music, has composed bilingual songs for Nickelodeon’s “Dora the Explorer,” and recently edited and wrote the foreword for ¡Salsa Talks! A Musical Heritage Uncovered. Aurora can be seen in BET’s Pasos Latinos; BRAVO’s “Palladium, When Mambo was King;” the Smithsonian’s “Latin jazz, La Combinación Perfecta;” and in Edward James Olmos’s “Americanos: Latino Life in the U.S.” alongside the late Tito Puente, playing a composition she co-wrote. She is a proud descendent of Puerto Rican visionary, Eugenio Maria de Hostos.

UMEZ AWARDS LANDMARK GRANT TO EL MUSEO DEL BARRIO

Tuesday, July 10th, 2007

UMEZ AWARDS LANDMARK GRANT TO EL MUSEO DEL BARRIO

$2 million grant is largest in museum’s 40 year history

New York, NY – Yesterday, Congressman Charles B. Rangel, joined by Council Member Melissa Mark-Viverito, Luis Miranda, a member of the Board of Directors of the Upper Manhattan Empowerment Zone Development Corp., (UMEZ), and Julián Zugazagoitia, Director of El Museo del Barrio, announced today that the organization has awarded the museum a $2 million grant to implement a strategic plan that will complement renovations to the museum that are currently underway.

The announcement was made during Summer Nights at El Museo Del Barrio’s 2007 concert series at Teatro Heckscher, with Tito Puente, Jr. as the evening’s performer.

El Museo del Barrio was founded in 1969 by artist-educator Raphael Montañez Ortiz in response to the interest of Puerto Rican parents, educators, artists and community activists in East Harlem’s Spanish-speaking El Barrio, the neighborhood that extends from 96th Street to the Harlem River and from Fifth Avenue to the East River on Manhattan’s Upper East Side. The contexts of El Museo’s founding were the national civil rights movement and, in the New York City art world, the campaign that called for major art institutions to decentralize their collections and to represent a variety of non-European cultures in their collections and programs.

El Museo del Barrio is among the leading Latino and Latin American cultural institutions in the nation. The New York Times recently characterized El Museo as “the first stop on Museum Mile,” an institution offering “some of the most beautiful and disquieting art there is.” One of only a handful of Latino museums in the United States with a permanent collection, El Museo maintains the most comprehensive collection in the eastern region and one of the most varied in the country.

The Museum recently embarked on a long-term, multi-million dollar capacity-building program, the “Re-Envisioning of El Museo.” It consists of a five-year strategic plan and institution-wide programmatic expansion, for which El Museo has already raised a substantial amount of leveraged funds. At the same time, the Museum is undergoing a physical transformation through a $20 million capital renovation project.

UMEZ helped El Museo lay the foundation for organizational development and expansion by providing the Museum a technical assistance award of up to $50,000 to complete a strategic plan. The plan addresses the Museum’s programming, educational offerings, community engagement, theater programs, membership program, and governance and board development. Full strategic plan implementation will require $5.5 million in funding. The Museum had already secured over $2 million toward project costs prior to the $2 million, three-year UMEZ investment.

As a result of UMEZ’s three-year investment in strategic plan implementation, the Museum will create ten new jobs, deepen its relationships in its founding community, increase its earned income, and establish its first formal marketing and communications department. A re-invigorated El Museo will serve as a driving force in revitalizing cultural tourism in the East Harlem community and help brand el barrio as ‘the center of Latino culture and a tourist destination.’

Mr. Miranda, who chairs UMEZ’s Cultural Industry Investment Fund (CIIF), said, “The history of El Museo del Barrio is not only inextricably
linked to the history of the East Harlem community, it is also linked to the history of our great City. Through its many outstanding exhibitions and programs, this unique museum has helped to enlighten the world in so many, many ways. That’s why we at UMEZ are pleased and proud to be able to provide financial support to this fine institution.”

“It is an honor for El Museo to accept this $2 million as it represents the largest grant ever received in our 40-year history,” said Mr. Zugazagoitia. “This funding from UMEZ marks an investment in El Museo and El Barrio at this transformative time for both our community and our institution, and will ensure that the museum will continue to excel in providing the best in Latino cultural resources to New York
City.”

Over the past two years, UMEZ has approved investments in East Harlem Business Capital Corporation, Taller Boricua, Art For Change, La Fonda Boricua, PR Dream, and East River Plaza. The East River Plaza investment, which totaled $55 million, is the largest single investment in UMEZ history.

UMEZ believes that investments in East Harlem will have a positive impact throughout upper Manhattan in terms of its economic impact, the creation of jobs and improvements to its infrastructure.

ABOUT THE Upper Manhattan Empowerment Zone DEVELOPMENT CORP.

UMEZ seeks to revitalize distressed communities by using geographically targeted public funds and tax incentives as catalysts for private investment. In Upper Manhattan, the communities that lie within the Empowerment Zone’s borders include Harlem, East Harlem, Washington Heights and Inwood.

ABOUT THE CULTURAL INDUSTRY INVESTMENT FUND

UMEZ’s CIIF celebrates Upper Manhattan’s rich past while creating new legacies. The work of the CIIF is two-fold: community building through a cultural and economic lens; and, a marketing of place that repositions Upper Manhattan as one of New York City’s primary cultural districts. The goals of the CIIF are sustaining the local economy by promoting development, revitalization and tourism; making strategic cultural investments; and, strengthening the cultural ecosystem.

The CIIF provides support to cultural organizations that use the arts as a tool for economic development, job creation and growth of cultural tourism, within the five communities of Upper Manhattan. Primary means of support include funding and provision of technical assistance.

TITO PUENTE was a Latin music great and we honor him here

Thursday, June 1st, 2000