The French Touch

Lets take a step back 30 or so years to analyse its homonymous during the 60’s / 70’s. The French sound is indisputably characteristic and it distinguishes itself musically in its Cinematic Sound as well as Library or simply on a Pop Jazz level in such that the French have always liked to experiment with electronic equipment along with acoustic instruments for realising very creative and innovative sounds. As we have already discussed in precedent issues the end of the sixties was a very fertile period for that regarding this kind of sound and it is just that on which I will be focusing by once again telling you about all that which I feel to be essential. Let’s start then with a few illustrious names… Vincent Geminiani was a French composer and sculpture who loved percussion, not intended as we intend it, but as a ‘sculpture instrument’, experimental and orchestral like, for example, ‘Le Brontè’, a kind of singular vibraphone created by him and used on many occasions, also requested by other composers. At the beginning of the seventies he created “Musique Pour Un Voyage Extraordinaire” that was nothing less that a musical comment abstract enough for a Shakespeare piece… a bit like Axelrod for William Blake.

In 1972 MPI (Musique Pour L’image), a transalpine label that specialised in post-scoring for the tv and radio, published some of his compositions amongst which a piece called “Orphis Le Serpentaire” that fully represented that which was the French sound of that period where everything was allowed and where culture, sound and style research seeped through. This song was contained on a piece of vinyl that included all of the pop experimentations of Gemiani from that period entitled ‘Modern Pop Percussion De Paris’ in which scat vocals mixed together with true bass ‘trips’, drums and ‘orchestral noises’, blossoming into beautiful pop pieces with very groovy and catchy rhythms. Another big name was Nino Nardini, a French composer of Italian origin who started his musical experience at a very early age because, just like Geminiani, he came from a family of musicians. Many of his best compositions tied to the sound in question are ‘available’ on Chappell (a French label that specialised in post-scoring music) and one of his pieces of work (re-pressed just as few years ago) that I would recommend is “Rotonde Musique” that was realised with the Pop Riviera Orchestra where the sound is very similar to that of the Mohawks but with a softer touch.. a ‘French Touch’ to be more precise.



In a previous Article I mentioned his masterpiece “Jungle Obsession”, an album to have at any cost because it represents and essential piece of musical history, I will talk again about it though for the motive I have just mentioned and also because it introduces another maestro who collaborated often with Nardini. They called themselves Roger Roger (Georges Teperino) and many of their works were helped along by Nardini for the Chappell label (the “Mood Music” volumes are proof of such…). Roger Roger were specialised in electronic amalgamated with knowledge giving, naturally, a French Touch to the orchestral parts as well as the grooves. Another pseudonym was Cecil Leuter with which was signed the masterpiece entitled “Pop Electronique”, a very rare piece of vinyl, already reviewed in ‘The Soul Beat’, that united pure electronic with pure groove! To finish off this focus on the ‘60’s French Touch’ I will cite a composer of Balkan origins who is also one of my favourites… this much sought after musician (musically of course) is Andy Lore (or Daniel White, Janko Nilovic), one of the maestro’s of Parisian library music. “Pop Impressions”, “Psich Impressions”, “Vocal Impressions”, “Pop Revolution”, “Ambience Et Rhymes” and many others are his pieces of work realised during the 60’s on labels such as Telemusic, Montparnasse 2000 and many others.
The sound of Nilovic was very unmistakable and had a certain baroque touch to it where scat vocals and orchestral parts (often abstract) were united to contemporary rhythms (60’s) and a pop jazz sound. For space reasons I have only told you about the most famous exponents of that which I define as the ‘60’s French Touch’ but many other composers and musicians have contributed to it also: names that often signed to soundtracks or post-scoring were Vladimir Cosma, Jack Arel, Dave Sucky, R. Guiot, Guy Pedersen, Francis Lay, Roland Vincent, Romauld and others. I will stop here… now its your turn to try and figure out the true origins of the ‘French Touch’. Aurevoire and.. peace now!

Interview to Terry Callier

After meet him in Milan and get back to him at Jazz Cafe in London , Mr Terry Callier pleased me with this interview that confirm Callier as a Great musician and a Great man.
Thanks Terry .







Wich were your favoutrites musicians in the beginning , who influenced more your taste and style ?


In the very beginning I was influences by doo-wah (sometimes referred to as 'doo-wop' ) groups like Sonny Til and the Orioles, the Spaniels,  the Ravens, the Diamonds, The 4 Seasons and gospel artists like the Soul Stirers with Sam Cooke, Sister Rosetta Thorpe and Rev. James Cleveland.  After I started listnening to jazz, my favorites were John Coltrane, Miles, the Modern Jazz Quartet, Oscar Peterson, Billie Holiday, Sarah Vaughn, Dinah Washington, Ray Charles and many, many others.


When you met Charles Stepney from Chess records Terry Callier thing started , how did you met him ? and how it was important for the starting of your career .
 
I first met Charles Stepney at a recording session for Chess records.  He was the arranger for a group of singles that included "Look At Me Now".   The producer was Esmond Edwards and the musicians included Paul Serrano on trumpet and Phil Upchurch on guitar.  It was my first recording session and more or less set the tone for the rest of my career.
Then with Prestige Records your first album "New Folk Sound of Terry Callier "....
I was playing at a club in Chicago called 'Mother Blues' and the owner of the spot introduced me to a producer from Prestige Records names Sam Charters.  He asked me if I was ready to do an album and naturally I said I was.  He told me the budget would be small but I could use two other musicians.  I had been listening to a lot of early Coltrane on record where he had experimented with two bass players and I told Sam that was what I wanted to do.  So the instrumentation on "New Folk Sound" was acoustic guitar, vocals and two acoustic bass players.


In 1973 Occasional Rain started a kind of Folk-Jazz thing , how this blend did born ?
 
Again, this was influenced by Coltrane.  He had passed away by this time and I was listening to a lot of Miles Davis, so he was also influential in terms allowing musicians to play what they felt and approaching the music as a group project.


"Orinary Joe" and "Look at me now " are 2 songs that are very" Callier ", please can you tell me some things happened during the writing , recording of these 2 great songs ?
I mean the feeling , the vibe ...
 
"Look At Me Now" was among the first songs that I recordsd for Chess records.  I had been writing songs since I was 13 years old and this was one that the Chess brothers liked.  I was trying to convince my mother that a career in music wouldn't be so bad and I was more or less talking directily to her . . . "Well my mama thinks that I just fake it -- 'Cause I do things she don't understand ..."  Eventually she did
accept the fact that I wasn't going to be a doctor or lawyer.

 "Ordinary Joe" took me the longest time to write of any other song that ever happened to me.  I was carrying the main riff around for three or four years before I had a clue as to what it was going to be about o what it was going to say.  Then one day it just fell on me line by line.  I didn't know what the title was until the last verse had written itself.  I never like to say I wrote this or that because that's not the way it goes down.  Songs just seem to happen to me or more accurately are presented to me from the Creative Source.  I wish I could say more about it but I truly can't . . .

In 1975's I Just Can't Help Myself was le last record with Cadet , than you passed with Electra under the head of Don Mizell .
Wich were the differences of Callier sound betwen this two labels ?

 
The first ablum recorded for Elektra ("Fire on Ice") was a continuation of what I had done with Charles Stepney at Chess.  The second album ("Turn You To Love") had a disco influence and one track "Sign of the Times" made the Billboard charts and was used as a them by Frankie Crocker, a well-respected and popular DJ who was broadcasting from New York.


After Electra experience you desapear untill somebody , in 1991 called you to ask the permission to reissue "I Don't Want to See Myself (Without You)" (1983 ).
Acid Jazz movement were born and your new career too .
What can you tell me about this thing , were you surprised ?


I stopped performing in 1983 in order to take care of my daughter.  She called me from California and told me she wanted to live with me in Chicago.  There was no way I could refuse and I knew that music wouldn't provide the kind of things I wanted her to have.  I attended a computer training school (Control Data Institute in Chicago) and eventually was hired as a temporary employee at the University of Chicago.  They made me a staff employee in '85 with paid vacations, healthe insurance and most of the things a single parent needed.
 
I was at my desk a few years later and received a call from Eddie Piller of Acid Jazz Records in London.  He tolld me that "I Don't Want to See Myself Without You" was being played around the UK and asked if we could re-issue the disk.  It took a while for him to convince me it was a genuine offer and we worked out an agreement to put the song out in the UK.  To my suprise, it proved to be quite popular and led to concerts and glub gigs in the UK and Eurpoe.
Then you started touring , recording and collaborations with lots of musicians and DJ 's ...
The first artist I worked with was Beth Orton.  Then there was 4Hero, Zero Seven, Koop, Ian Poole, Paul Weller - - - I'm forgetting some important names here and I apologize for that.


What you think about this rebirth of 60's and 70's Jazzy music started in late 80's ?


Remixes of jazz recordings from the 60's and 70's exposed that music to a new generation and did the music and the people a lot of good.  There's almost always a method of updating good sounds so they can be appreciated by new listeners.

Whats your plan for the future ?

The future is difficult to see.  I'd like a chance to release new forms of music with new ideas including Jazz, R&B, trip-hop and hip-hop influences.  Hopefully, this will take place soon.  Thank you for the interest . . .

LATIN LATIN LATIN !

This time, as cold as it is, we cannot do anything less that warm ourselves up with the heat of the JAZZMOTEL… and what could be a Sound that is capable of heating us all? The JAZZMOTEL Latin Explosion! In 1970 Fania Records decided to make a film about Caribbean music, it recorded at the Yankee Stadium live exhibitions from the Fania All Stars, Tipica 70, Gran Combo and Mongo Santamaria… Practically a nuclear bomb went off when the people, who were in many and also very excited, seeing such ‘congheros’ playing together of the calibre of Mongo Santamaria and Ray Baretto in the opening piece “Conga Bongo”, invaded the stage and forced the police to intervene and shut it down there and then! In the end the film was realised by mixing this explosive start with other pieces of film taken earlier in Puerto Rico regarding the Fania All Stars and other artists from the label: there was also released the ‘Salsa soundtrack’ of 1970! Jerry Masucci, the mythical Fania producer, produced it all and, as far as the legend goes, it appears that the term Salsa was born there and then by taking point that these bands mixed Caribbean and Afro-Cuban rhythms along with a New York style culture! Nowadays Latin music has invaded the world, there are Salsa schools everywhere and we can also see a great response from the public to this music, if however we had to do a Latin party by using our Soul Beat records which would be the right ones for the floor and, above all, would Jerry Masucci, Ray Barretto, Eddie Cano and company still be capable of driving the crowd wild? In my opinion yes! Well, let us try and enter into our archive to scribe out a list of Latin Explosives on vinyl! We shall start with Fania itself with that “Acid” by Ray Barretto that was already mentioned in the Soul Beat number entitled ‘Boogaloo Baby’, even if in this case we won’t examine the Boogaloo pieces but just those much more Salsa like “El Nuevo Barretto” and “Espiritu Libre”. Another album that should not be missing in a fiery party would be “El Exigente” by Orchestra Harlow in which there stands out pieces such as “Bee Free”, “Groovin’ The Afro Twist” and “That Groovy Shingaling” without forgetting “Our Latin Thing” by the Fania All Stars that is another monumental soundtrack to a documentary about Spanish Harlem from the 70’s which features “Ponte Duro”, “Estrellas De Fania” and “Descarga Fania”. We could say that all of the albums by the Fania All Stars, starting from “Delicate And Jumpy”, “Latin Soul Rock”, “Live At Cheetah” (Vol. 1 and Vol. 2) right up to the mythical “Salsa” from 1970 (the soundtrack to that cinematic event that I mentioned at the beginning) have all signalled the birth and fuelled the fame of Salsa music! Apart from the vinyl already mentioned I cannot miss out some by Joe Bataan (“Mr. New York & The East Side Kids”, “Riot”, “Subway Joe” and “Gipsy Woman”) that I would definitely include amongst the big floor songs, other authors also, singers and orchestras to point out are surely Justo Betancourt, Willie Colon, George Guzman, Latinaires, Monguito Santamaria, Mongo Santamaria, Johnny Pacheco, Ralfi Pagan and many more! The labels that, apart from Fania, have taken part in the Latin Explosion and that have published songs that are very handy for an explosive Latin party are Speed, Prestige, Palladium, Tico, Time, Capitol / Liberty, Contique and lots of others. In parallel to the Italian Salsa scene, we you mainly hear CD’s of contemporary Salsa music, there are a few DJ’s, especially in England and Japan, who create ‘authentic’ situations with original pieces of vinyl and typically New York 70’s Latin sounds: one of these is Snowboy, already noted for being one of the most requested percussionists in London as well as an excellent Latin DJ! For some time now we have also seen record companies, like Universal Sounds or Vampi Soul, who are, in a high quality way, re-pressing impossible to find vinyl as well as frighteningly good Compilations like “Newyorika” and others. It is now time to say farewell and to remind you that it is now your turn to go into the record shops, or markets, to search for those pieces of vinyl that will help you with your ‘Latin explosion party’, maybe taking some advice from the above mentioned articles by yours truly and JAZZMOTEL! Peace all over the land!

Interview to Marcos Valle

Like a dream come true i went in contact with one of my great Idols , my favourite Brasilian composer , Mr Marcos Valle.
I discover a great man , humble and cool , a man with an open mind , an artist always ready to experiment and create new sounds always with his great and unmistakable sound and touch ...heres a chat with Marcos Valle




I read you studyed classical music , wich one is your favourite classical
composer , theres someone who inspired your musical taste and style?


M: Ravel and Debussy were the pricipal ones.


Listening to some of your records like " Garra " or " Marcos Valle " from
1970 i heard that in songs like " Des Leis " i can feel some kind of 60's
European or American infuence , wich bands were an ispiration for you?



M: Steely Dan,Chicago, Earth,Wind And Fire, Beatles, Harold Melvin And The
Blue Notes, War, Blood,Sweat And Tears, were some of them.



My Marcos Valle favourite tunes are " Ele e Ela "," Viagem " and "Pigmaiao
" also because i love that kind of waltz tempo , can you tell me something
more about " Ele e Ela " and waltz tempo in Bossanova?



M: Jobim,Menescal and I have written some waltz tempo songs.. I think it
blends well with the the softness and sensuality of the Bossanova mood.
I have written at least 6 of them,and "Ele e Ela" is also one of my
favorites,because of the chords changes and the smooth melody.




Most of your songs are about love how love influenced your musical life .



M: I can´t understand the world without love,so my songs talk about it.Not
only love between 2 persons,but also love for your people,for all the
races,for the ones who need care.



What you think about mixing Bossanova with other styles like Funk or
Psychedelic sounds in the 70's or electronics today..




M:I love these experiments and mixings.They inspire and excite me.



How important were the traveling in North America for being in time with the
music , like you are already now.



M:Well,besides having my songs recorded there,my personal contacts were very
interesting.
I had good times touring with Sergio Mendes in the Sixties.
The success of my song "Summer Samba "in 67 took me to some of the most
important musical American TV shows;I had the chance to record then 2
albuns:one for Warner,named "Braziliance-The Music Of Marcos Valle" and one
for Verve:"Samba 68".I had a chance to meet important artists as Henry
Mancini,Quincy Jones,Johnny Mandel,Ron Carter and others.And from 75 until
80,when I stayed 5 years there,I met Sarah Vaughan,with whom I
recorded,besides having my songs recorded by her;the group Chicago also did
it;I had a chance to write many songs with Leon Ware,partner of Marvin Gaye
(Leon recorded many of our songs);I collaborate with Airto Moreira writing
the arrangements for his album "Touching You,Touching Me",and also had songs
recorded by my friend Deodato.



You wrote the Azymuth song that inspired Azymuth band , can you tell me
something about that soundtrack , i mean "O fabuloso Fittipaldi".


M: I had written the song "Azymuth",with my partner Novelli,in the 60s,for
the opening of a TV film,about racing driving.And recorded in the accoustic
piano myself. Then,years later 2 important movie makers,Roberto Farias and
Babenko decided to Make a film about the 2 times World Formula One Champion
Brazilian Racing Driver Fittipaldi,and they asked me to write the score; and
as they loved the song "Azimuth",they asked me if I could write a new
arrangement of that song for the opening of the film,which I agreed.To
record the soundtrack with me,the producer of the album decided to call 3
talented musicians: Jose Bertrami(Keyboards),Alex Malheiros(bass) and
Mamao(drums),and I playing the accoustic piano.
Bertrami and I wrote the arrangements together.We wrote a new arrangement
for "the song "Azymuth",but basically,my piano solo was the same,and I wrote
new songs for the rest of the film.
I could not put my name in the record as a performer,once I had a contract
with EMI,and this was being recorded in Phillips(Universal today).So,we had
to find a name for the performers.The producer thought about "Conjunto
Azymuth" ("Azymuth Band"),because of the opening song.I agreed.
After the record,those 3 musicians decided to stay together,and asked me if
they could use the name "Azymuth" for the band.I agreed,and I became the
"Godfather" of the group.And I really think they are probably the best
Brazilian instrumental band .



You collaborate with a lot of Brasilian musicians , wich collaboration were
the most important for you .



M: Joao Donato , Milton Nascimento , Edu Lobo , Menescal , Lulu Santos ,
Carlos Lyra , BossaCucaNova , Cidade Negra , are just some of them.




Its very difficult to find Marcos Valle original vinyls , the vinyls you
find are very expensive . what you think about this ?



M: I wished they were less expensive , so people who enjoy my music were
able to buy them.



Can you describe me the felling of Rio de Janeiro in the 60's .




M: It was very stimulating.I had my first song,entitled "Sonho de Maria",
recorded in 1963,by Tamba Trio.And a little bit after that,Os Cariocas
recorded 2 songs of mine,"Amor De Nada" and "Vamos Amar".And in 64,I signed
a contract to record to EMI for 5 years.
What was fantastic is that all the composers,musicians and singers use to
get together almost every week,in someone,s house,and I always wanted to get
there with a new song to show Jobim,Carlos Lyra,Menescal,and all the
others.So,I had to look for quality.I did not think in what would be
comercial,never.We just wished to write good songs.And that was the same for
film producers,plays,books,all kinds of art.The sixties were very creative.
Even when we had the military government,we were very productive.We had
problems with the censors,but did not give up.The lyrics started to change
to social and protest subjects.The meetings now were not only musical,but
also political,to discuss what we could do against the government.They
included all kind of art people.



When i listen to your 60's and 70's records i feel a kind of energy and
positive thinking about that period , it's Brasil changed today ?




M: As I say,I was very stimulated to do things and write a lot.
Today we have democracy,thanks God.Elections are free,we choose who we
want.But we still have the social problems.The population is much bigger,the
poverty also.We must fight that to find peace in our country.
We do not have anymore those weekly meetings,but I love to get together with
other composers of other generations,other music styles,and write songs with
them.That moves me.




What are you doing now , i know you are playing a lot in this period , can
you tell me something about your future projects?




M:I just came back from a great European tour,with my band,including 17
shows in different countries.
I Have recorded a new CD,all instrumental,with new and old
songs,produced,arranged and performed by me,playing the Rhodes,Accoustic
Piano,Guitar,Mellodica and keyboards,with my band,and have achieved the Tim
Award (the most important music award in Brasil) as the best instrumental CD
of the year.The CD was released in Europe,Japan and USA by Universal.
I will be perfoming 5 shows in Australia next January,in Sydney and
Melbourne Festivals,and in May I will start a new European tour.
And in Brasil,I will be perfoming a lot, also with my band .
And I will be recording a new record in 2007,I still do not know were.Let´s
see.

Marcos Valle

Our Latin Thing featuring Fania all Stars film review

A few kids playing on a rooftop in Spanish Harem and one of them, to the sound of the Wah Wah Rhodes of “Cucinando” by Ray Barretto, leaves the group and begins to run. Through side streets, avenues, right up to a wall where you can read names written in a 70’s style Street Graffiti, names like Ray Barretto, Larry Harlow, Willie Colon, Ismael Miranda, Jerry Masucci and Ricardo Ray as well as the title “Our Latin Thing”. As many of you have already understood this month I want to talk to you about a documentary by Leon Gast of which the theme was the Hispanic music phenomenon in the ghettos of Harlem at the beginning of the 70’s. Thanks to Vampisoul, a Spanish label, it is back onto the market (in a DVD version) called “Our Latin Thing, Nuestra Cosa” and offers all of us lovers the possibility of seeing and tasting the ‘authentic’ story of Latin music, something with contaminations from Africa, Cuba, Puerto Rico, Jazz… well, ‘hybrid music’. Vampisoul is, and always has been, one of the more attentive labels in its selection as well as specialising in the distribution of lost tracks from musical styles such as Latin, soul, funk, r’n’b and groove from the 60’s and 70’s because it sources out and represses excellent taste pieces of vinyl of the highest quality. To note also that this label has brought back onto the market, after 20 years, one of the symbols of Latin Soul, ‘The Ordinary Guy, Mr. New York’ Joe Bataan with his newest incredible album entitled “Call My Name”. Getting back to New York though… The principal protagonists of this documentary-film are the Fania All-Stars come along with those people who at this period in time were and integral part and daily ‘animation’ for Spanish Harlem in New York. Jerry Masucci, boss of Fania (a leading label for Latin Music) and Larry Harlow (‘El Judio Meravilloso, The Wonderful Jew’, one of the musicians, better still, the musician that brought Salsa to the whole world) wanted this film to realise a project that had been going ahead for some time: to spread the Latin culture throughout the world. As I said before, to realise this film, filmed in New York in 1972, they called on Leon Gast who was probably the only person capable of collecting together the whole essence of everyday life and transforming it with a touch of cinematic sense. The film starts off with a rehearsal inside a ballroom where the Fania All-Stars are trying out there songs on a few spectators, amongst which two very cool dancers. Between some improvised interviews with Ray Barretto and a cut to some kids who were banging tin cans as though they were conga drums, you could already make out the documentary taste of Gast. The street scenes are also very present: a slightly beat young man with another slightly drunk walk alone in the streets improvising a ‘few moves’ with a passing young lady; the percussionist Ray Barretto as a make believe ice cream man breaking up ice to make ice pops for the kids; the people are gathering in the streets to hear the Harlow Orchestra with the singer Ismael Miranda playing their latest song Proto Salsa directed by Larry Harlow and his electric piano. To note that the Harlow Orchestra played on the steps of one of those classic households in Harlem between rubbish bins and people who were shouting out. After filming a clandestine cock fight in a kind of basement as well as a kind of African or Voodoo rite beneath an underpass, Gast goes back to the ballroom where the Fania are ready for the announced concert with its very eager Hispanic-American audience. “Estrelle De Fania” and all of their pieces of the moment are played including trumpet solos, conga drums solos, Latin choruses and couples dancing or others on their own making moves that would make any modern day Salsa maestro jealous. Trumpets and trombones together, as the rules of the Harlow Orchestra or Johnny Pacheco state, looking after the orchestration of the band (an orchestration that was taken as an example by all Salsa groups in the future). All this as Larry Harlow made me understand initially cost 5000 dollars, almost a years work leaving very little pay for the artists, it was however very important in other ways: it sent Salsa as well as all of the Fania artists into stratosphere making the Hispanic community famous and respected throughout the world.
Thanks to Vampisoul for gave me the Video .

Interview to Larry Harlow

Larry Harlow is a master legend of Latin music we now call Salsa. He began studying music at the age of 5, following his father's footsteps. He studied at the most prestigious music schools. During mid 50’s, he was so fascinated by Latin rhythms that he travelled and lived in Cuba to study the real Afro-Cuban sound that became known as "Salsa". As an expert "Salsa" artist, he returned to New York to develop his own style and orchestra and later to help create the internationally famous "Fania All Stars" group. While a member and producer of the Fania All Stars for fifteen years, Larry Harlow was not only a recording star with 30 solo albums and 15 with the All Stars, but also a producer of over 160 recordings for other artists.


You grew up in Spanish Harlem. Is this the reason you got involved in Latin Music?
I grew up in Brooklyn, went to high school in Harlem and was first exposed to Musica Latina there.

How important was the decision to go to Cuba in the late 50’s to learn all the principles of Afro Cuban Music right up to the Popular Dances, and how did it influence the formation of your own Latin Style and Salsa too.
Went to Cuba on a Christmas vacation in 1956 for the first time with Mambonicks Kids who were into Latin dancing and music.

Then you formed your first band?
Started Orquestra Harlow in 1964 after several trips to Cuba and years of playing as a sideman with various
bands in NYC area.

What were your first musical influences?
Joe Loce, Noro Morales, Early TP Piccadilly boys and later the big band, Machito and all the Jazz greats.

How did it come about that a not-Latino, became the most important man in Latin Music?
I got very good at what I do. Created new, fresh ideas and developed young artists for recordings. I also studied audio engineering and became a prolific producer of Latin recordings.

Everybody knows you for your six golden records and your four Billboard awards: Pianist of the Year, Latin Producer of the Year, Concert of the Year and Arranger of the year. You are also well known for being the first Latin Music artist to use psychedelic lights at your concerts, adding a completely different element to the scene. I really like this thing. Can you tell me something about that?
When it was in to be psychedelic, I made a light tower that was portable and taught a young guy how to operate them. Wrote a song about them and it kept us working for about 2 years. I also was into the whole ear as well as clothing and drugs.

What are your memories of your experience of the Fania period?
Everything!

You play a lot of instruments like Oboe, Bass, Flute, Vibraphone and of course the Piano, was this important to the Latin Sound change that you introduced, trombones playing together with trumpets, a sound that everybody copied later on?
NO, I just wanted to have a different sound. No one had utilized the trumpet/trombone sound before in a salsa format. Today it is standard.

You were one of the creators of the Fania All Stars and together with this band you released 15 LP’s. How did the creation of the band come about?
Well I did not put the band together, Pacheco did that along with Masucci. The idea of an all-star band and a movie to promote them was mine. The formula was simple: Bandleader / singer / sideman from each of the main Fania orchestras.

Can you tell me something that no one knows about the “Our Latin Thing” film project? Some out-takes or some little known moments.
There are hundreds, we worked for one year, Leon and myself, razor blade cutting by hand, the first Fania film, no one made any money but we had a lot of fun and all became stars because of this film.

What does it feel like to play in front of 80,000 people who know "Lucumi" music, what is the archetype of Mambo / Salsa music?
Unfortunatly the public in Zaire were not into the "Lucumi music scene". The tourists were there for the fight and we were there to entertain them. The experience was awesome and seeing Africa for the first time was wonderful especially performing and mixing with all those great musicians and entertainers for 10 days.

Tell me your impressions of the 3 day concert in Africa, about James Brown, the Jazz Crusaders and Mohammed Alì, what were your feelings?
It was the experience of a lifetime. Not only the music but to hang with all those great stars and get to know them. Even with Ali and Foreman, who knew that Bundidi Brown was a great stride piano player, we spent hours together and to visit the Presidential Palace and museums were wonderful.

What do you think about the younger generation now looking for your 60’s and 70’s albums and 45’s to play them, not in Salsa and Soul clubs, but in R’n’B clubs?
I think it is great that another generation is using the genre for something.

What do you think about the fusion between Funk and Latin music in the 70’s? Did you ever experiment with Latin Funk?
Had a band called Ambergris in 69-70 signed to Paramount records that combined Latin and Funk. Was a passing fad.

What do you think about today’s electronic music using samples of 60’s and 70’s Latin music to create a new evolution of Latin Sounds?
I hope they don’t forget to send a royalty check… Not my cup of tea.

Do you have any plans for the immediate future? Albums, tours, films, works?
I will do Hommy opera again in Puerto Rico with different singers and some new music. Playing some Latin Jazz lately, producing some new artists and experimenting with video conferencing music programs to universities around the globe.

Interview to Harvey Averne

I wanted to have a chat with one of the most refined arranger , composer and musician of the Latin music scene from the 50's till today in New York and the rest of the world .
Harvey Averne create the mix of Latin music together with Soul , Funk and Rock now called Latin Crossover .
His track are researched , collected , compiled and spinned by the most Groovy DJ's from the today 60's scene .
He never liked to be on front so theres no so many information about him , thats why i wanted to know more .
I discovered a great artis and a great man and friend!




You are known as the musician that combined Soul and Rock with Latin music, maintaining, in the process, subtle and refined arrangements. How did you obtain such results?

Growing up and living in New York city, which is also known as the great melting pot, I was exposed to latin music at 8 years of age,along with pop and soul, rock came later. Mixing all the elements I love together while keeping the feeling natural & logical was the chalange. Marty Sheller used to play trumpet in my salsa band ( Arvito band) which played pure salsa only, I never wrote an original song or recorded with the Arvito band. We would copy arrangements from records IE: Tito Puente, who was my biggest influence, Cuban recordings etc. Larry Harlow, Eddie Palmieri, Louie Ramierez and many great and talented musicians all played in the Arvito orch. So I guess I had a good eye for talent from the very beginning. The Arvito Band Played dances and clubs including the world famous "Paladium" with all the great latin bands of the day( 1953 thru 1965 . I played vibes & was the band leader. Arvito ( spanish sounding for little Harvey, originally " Harvito" but the" H" was dropped because "Arvito" sounded more spanish. In the late 60s when I started recording for Fania I wanted to combine the all elements to appeal to all audiences and the Harvey Averne Dozen was born. the majority of the arrangements and ideas were in the very capable hands of Marty Sheller, I gave him some ideas, but he understood whatever concept I was cooking up at the time and needed very little guidence, he made it very easy for me. He was my go to guy for all the different" Harvey Averne bands".

You music is often described as Latin Crossover. What do you think?

Yes thats what i was trying to do.

Many of the tracks on your first albums are Pop and Soul covers from that period. What were your musical tastes?

All of the above, salsa, soul, rock, but especially the Beatles, & Sly and the Family Stone,
That is why I always did instrumental versions of thier songs on all my albums but in a very different, highly stylized way, ala the "Harvey Averne Dozen" style which was very original and like no other recording of their great material.

I know that you play the vibraphone and the piano as well as having a fantastic voice. How much has the fact that you
are a musician influenced your career even though you are a producer?

I was never very comfortable performing on stage which is why in 1972 I stopped making the " Harvey Averne" recordings altogether. I was the leader of the " chakachas " in 1972 ( Jungle Fever) which sold over 2 million, we played the Apollo theatre 4 times in 1972 and I was offered to be the head of United Artists Latino lable, I sold my instruments and retired from the stage. I guess I loved Composing, Producing, Mixing ( my love ) promoting, discovering and developing new talent, much more than performing. So to answer your question ( I bet you thought I forgot ) It taught me how to communicate and get the best out of everyone who comes into the studio to work with me.I demand more from talent than they have ever experienced,or gone inside themselves to give before, while I give tremendous freedom and want them to take chances. Remember I fired myself from performing and recording, so YOU better come to workout for me or you know what will happen ( It's not so easy to explain to yourself, when you look in the mirror in the morning, why you got fired by your own self. I love my recordings, but I think the least important element in their success was my playing\performing which did not make me so happy, but in a way limited me. As a producer I work with every facet of the recording, I find this much more important and satisfying.

Marty Sheller, already having arranged for Mongo, worked on a few of your albums. How did the arrangements come about? Was it a two way collaboration or did you occupy yourself with the writing and he with the arrangement?

As I said above the arrangements were the genius of Marty Sheller. We would talk about what was the idea for a song, and Marty would go and make it a much better idea.

You have produced a few of the most sought after albums of Latin Soul - Latin Funk and Boogaloo such as "Camel Walk" by Latinares"or "Cortijo and his Time Machine", right up to
exceptional works by Eddie Palmieri such as "Un Dia Bonito" or "Puerto Rico" and many more. Tell me about your work as a producer.
My best work (for me) has been as a Producer ( which is exactly the same function as a Movie Director, which title was used long before the record business started calling us Producers). A Producer in the movies handles the financing which in the recording industry is the domain of the record company who has the Artist I was hired to Produce under a long term contract usually. My work includes the following, album concept, casting and hiring everyone on the project, directing all performances, which is pretty easy work, because I only work with the very, very, best and get them to suprise themselves and me, because they give me more than their talent, they give me their heart and soul, which you cannot buy for money ever. And after I and everyone is totally happy with their performance. I go into the studio, always alone, to mix, fix, polish,and make love to this beautiful work of art and after hundreds of hours of creating this little masterpiece, I apoligize to the goddess of music for fogiveness, because I have done the best I am capable of doing, and then and only then is the product offered to the public.
I'm very curious about the term "NewYorican Sound". What
does it mean? Do you feel a part of it? " Nuyourican" is a term used to discribe a Puertorican born in New York, not on Puerto Rican soil. To me the New York Salsa is totally different from the mas tipica salsa from the islands of Puerto Rico or Cuba. I have worked with some of the best from Cuba IE: Jose Fajardo, Celia Cruz, Orquesta Broadway, La Lupe, etc. From Puerto Rico IE: Cortijo, Ismael Rivera, Lalo Rodriguez, Danny Rivera and many more. And from New York : Eddie Palmieri, Ray Barretto, Larry Harlow, Hector Lavoe, Willy Colon, Ismael Miranda, Machito, Tito Puente, and many, many more. The sound from Cuba and the sound from Puerto Rico is very different from the New York salsa sound, which is a harder, stronger, swing, if you listen closely, you can hear the taxis & the car horns blasting, and the busy pace, and the tall buidings & the cement streets etc. as in Eddie Palmieri's music. Or life in glorious Havana, back in the day, when you hear Celia Cruz con La Sonora Matancera, or Jose Fajardo, or Orquesta Aaragon, or from Puerto Rico: El Gran Combo, Cortijo con Ismael Rivera, Lalo Rodriguez, Danny Rivera, Frankie Ruiz and many, many,many more. You can hear the palm trees swaying, and you feel the island breeze, and as soon as you get off the plane,you notice that the music is in the air. You ask me if I feel a part of it??? My friend Alessio, all Latin music has and is my life, my heart, my soul, mi sangre, without it my life would not have had any meaning at all.

You have recorded for labels, well-known and not so well-known, such as Atlantic, Fania or Heavy Duty. Each album is quite different but always maintaining the typical Harvery Averne Sound.
Which label has given you most space for experimentation?

I have been very lucky and from the first Atlantic recording which was originally recorded for Fania, I have always had complete creative control and freedom, and for that I thank Jerry Masucci from fania, Jerry Wexler and Arif Mardin from Atlantic, Mike stewart and Mike Lipton from United Artists, Morris Levy from Roullete and Tico, etc. But my best work was for my own company "COCO RECORDS " because it was my money on the line I could follow the production with a specialized promotion to the media, radio, clubs, public etc . the participation from the signing of the Artist to the release of the album and everything in between was amazing & the results were awesome.

Personally, I discovered you after the release of "Heavy Duty" on Acid Jazz records in 1994, after which I began to look out
for you. What do you think of the rediscovery of bands and sounds by new labels and the consequent rebirth of the sound of the 60's and 70's?
Acid Jazz has never given me a royalty or any money since the mid 90s, I like the exposure, but one of these days I will sue their ass off!!! I still own heavy Duty Records and the "harvey Averne Barrio Band" album and the "Toro" album and they are still available for license in some countries, including Italy, England, France, Japan, and others.

Your vinyl records are sold at auction and are quite rare. What was the distribution in the 70's like? Was there much call for that type of music?

Not as good as now. France, French speaking Africa, Spain, were the most important in Europe. on a lesser level Italy, England, Holland etc. Of course South America, Carribean, and USA were the strongest.

What are you doing now? Productions? arrangements? What are your plans for the future?

I am the President\Ceo of a new Reggaeton company, with two partners, Alex Masucci and a wonderful young talented producer of hip hop & reggaeton Willy LA Fama. We are finishing a tribute reggaeton record inspired by my dear friend Ray Barretto's monster hit of the 60s "El Watusi".

Just recently Ray Barretto passed away. You knew him, whatmemory do you have of him?
I Produced his 1st. album for Fania Records "Acid" a monster classic. he was a great artist, congero, composer, person,. He did more for JAZZ groups using conga than anyone who ever lived and his SALSA recordings are his legacy. He will be missed and never replaced or forgotten, one of the most important artists in salsa history.

interview to Joe Bataan

Joe Bataan begins his musical journey in the 50's, he forms his first band in 1965 and in 1967 he begins to record for Jerry Masucci's Fania Records label, the most important Latin Music label. Later he co-forms the Mericana/Salsoul which brings us up to his last record in 1979 "Rap-o Clap-o" which forestall the Rap movement. Raised in Spanish Harlem he frequents Porto Rican gangs and he refines his Soul with Afro-Cuban, R'n'B, and Afro-Rican influences.In the 60's, during the Boogaloo explosion, he creates Latin Soul which later became Latin Funk and later, in the late 70's , Latin Disco .The characteristics of his Street Latin Soul remains that of always wanting to tell the stories of the streets. "Ordinary Guy", "Gypsy Woman", "What Good is a Castle", "Under the Street Lamp" and "La Botella" ( latin version of the great Gil Scott Heron's "The Bottle"), are some of his hits!And now, after 20 years, Bataan returns with "Call My Name", an album, once again recorded in New York for the Vampisoul label, in which we seem to have been transported back to the 60's.


What do you remember about the Porto Rican gangs experience in the New York's Spanish Harlem?

The Gangs of New York were The Victory's, the Cahaplains, Red Wings and the Dragons of which I was a member and much later the leader in Spanish Harlem. Each gang dressed differently and lived in separate areas of New York. There was a code of honour where no one told another gang member his business and gang members had control of their neighbourhoods.

How did you start thinking about the way to put together Latin and Soul Music?

After listening to Show Musicals, Rock and Roll and RnB I got the idea to fuse Latin with English lyrics as an experiment. I listened to Joe Cuba, Hector Rivera and Pete Rodriguez and was inspired to do the same. Only difference was that my style had stories of life in the streets and much of my life was involved in my songs. This is why I became a street singer.

What were your favourite bands you used to listen to?

My favourite bands were Eddie Palmieri, Joe Cuba, Tito Rodriquez and Tower of Power.

Jerry Masucci was very important for you, tell us about the Fania period.

Jerry Masucci was very young and was not afraid to take a chance with my ideas. Eventually I outgrew his label and I’m still trying to collect money this company owes me.

How was the relationship with other Fania musicians like Barretto, Larry Harlow?

I got along with these musicians but you must remember my style of playing and my music took me in different directions internationally and spread my name worldwide. I was an artist that brought a unique style of music to the world that is very different than the rest of these musicians of Fania Records.

Tell us about the Mericana and SalSoul period.

Mericana and Salsoul Records were my creation, I sold the interests of Salsoul very foolishly after I created the name Sal for Salsa and Sol for Soul. I was very successful with these labels and was the first artist to build this dream of a company. This company also did not live up to their agreement and I am in position to collect much money they owe me with the help of God. However this was an exciting period for me because of Rapo Clapo and the international success I got.

What do you think about this Salsoul music rebirth?

The Soulsoul rebirth is good for everyone including me, finally I will get a chance to be heard around the world and the public has a chance to hear my full collection of music of over forty years.

Tell us about the way you came back to all your fans with the new album "Call my name"

God has a plan for Joe Bataan and it is to spread his name and my music, will reflex my sound and the chance I am getting to do some good with my music. Of course this is an exciting thing that’s happening to me. Not many people get a second chance in their lives, I already had over twenty. Now it is time for me to pay up for my blessings.

What do you think about today’s electronic music which makes use of samples of Latin / Brazilian music?

All music is good and we should always find avenues to experiment. This is what makes music an exciting art form. I love Brazilian music.

What are your future plans, will there be a tour, new projects, are you coming to Italy?

I believe they are arranging a tour in Italy and Europe. I have another album to be completed in the summer called "The Message" and I’m looking for a record deal with Vampisoul or anyone that may be interested in Joe Bataan.

Interview to Azymuth

After long time i realize another of my dream , seen Azymuth play'n live.
As always i went there and i ask them " eu preciso de falar com vocè " they sayd " tudo bom !" and we had a chat ....
They were very kind to me more than the club owner ...
Heres what we talked that night ....


How have Azymuth changed from the times of "Samba Doido", "Crazy Samba", nightclub Caneçao, Youngsters, Milton Nascimento, Jorge Ben, Deodato, the music from the soundtrack "O Fabuloso Fittipaldi " in 1973 until now?

Now we have more maturity, we can make it different, our heart is open to the young generations and the new music... At the end the difference is the age and the head addiction! It's like a wine…

Your sound is always contemporary and authentic, what are your inspirations... We know that Bertrami worked with Flora Purim and Robertinho Silva: was this an inspiration for Azymuth?

In the beginning when we were young we were listening to a lot of Jazz Big Bands like Glenn Miller, Duke Ellington etc... Orchestras, a lot of Samba too: we put all this together, it was fantastic.

How important was the label Milestone for your success in America and Europe?
Milestone opened the Doors for the world, for the success, it was very important for Azymuth. We did many LPs with Milestones.

Which work of yours do you consider as your best one: Melo da Cuica, Light as a Feather, Azymuth, Partido novo or Telecomunication?
For me (Ivan Conti) our best work is Telecomunication, its a moment, you know, this album is a memorial time in the studio, very clear, we had the open heads, we talked, a lot of communication. We played everything perfect! This is our favourite one!

How important is the label Far Out for your modern sound?
Far Out brought the Band on the road again. This label is important because it gives us another kind of sound. Some years ago we were stopped for a few and we said "let’s get something new started" and Far Out brought the old Azymuth forward again.

What do you think about remixes producers like Jazzanova, Global Communications, Mark Pritchard, Kenny Dope and 4Hero?
Now I like it very much, in the beginning when I heard these remixes I was very excited but it was strange, we were not so ready to hear this kind of changes, we didn’t understand that at that time. Now we understandthat it’s is a new kind of idea and a new sound and we like it.

You have never stopped making music since 1972, always being up to date yet preserving your typical sound. What’s your secret?
The secret is the respect, the patience for each other, some time we fight, of course, but we always get the other way to create another sound... What’s important is the union and the respect for eachother’s opinions and ideas.

What do you think about the new Brazilian music explosion, DJ’s and producers like Marky, Patife, etc.?
There’s a lot of good music now and a lot of bad too!

One of my favourite tune is Manha from 1975, tell us something about that song.
Manha is good times! Everything fresh in our head, we were young, now we have to run like Forest Gump! Manha is a special time song, I like it too!