• The great Spanish poet Pedro Calderón de la Barca wrote:
• ¿Qué es la vida? Un frenesi, - What is life? A frenzy.
• ¿ Qué es la vida? Una ilusión, - What is life? An illusion,
• una sombra, una ficción, - a shadow, a story.
• y el mayor bien es pequeño - And the greatest good is little enough:
• que toda la vida es sueño, -  for all life is a dream,
• y los sueños, sueños son. -  And dreams themselves are only dreams.

The year 2009 and six months of 2010 have come and gone. Those days used up their life span and now they are history. The inexorable passage of time took with them those humans whose dream on this earth was completed. However, just like history never dies, those who passed away in that year and a half shall be remembered every time we think or dream of them.

The following is a listing of artists and other persons associated with Latin show business who are no longer physically with us, but who will always live in our memory.

Mario Previdi. It is very significant to me that the first name on the list belongs to a dear friend of mine. He welcomed me into commercial broadcasting when we worked together in station WLIB in New York in 1948. After some time, Mario returned to Puerto Rico where he founded TeVe Guía, the first magazine dedicated to the television industry in Puerto Rico. Previdi was also a talented actor leaving his mark in movies, television series and radio productions. His long and successful career came to an end on January 9, 2010, when he succumbed to cancer at the age of almost 97 years.

The man called by Life Magazine and Tito Puente as “the greatest mambo dancer ever” died on January 13, 2009 from heart failure in Miami, Florida. Pedro “Cuban Pete” Aguilar has been credited with inventing dozens of mambo movements and won many prestigious dance awards during a career that spanned more than 60 years. In addition to his nickname “Cuban Pete” he was also known as “King of the Latin Beat,” “Mr. Mambo” and “Prince of the Palladium.”

Radio and television producer Tommy Muñiz, died on January 15, 2009, in his native Puerto Rico. His father Tomás Muñiz Souffront was the owner of various radio stations and was a radio producer. Tommy was introduced into a show business career by his father and uncle and godfather Félix Muñiz who ran an advertising agency and produced radio programs. The younger Muñiz eventually became the owner of radio station WLUZ and television channels Teleluz and part owner of TeleOnce. Tommy was also active as comedian, dramatic actor an producer of shows. Muñiz is consi-dered one of the pioneers of the television business in Puerto Rico.

In New York City, on January 21, 2009, the bassist Leo Fleming passed away. He was born in Puerto Rico, where he learned to play the bass and tres guitar. Later on in his career he moved to New York and performed with some of the best Latin bands in the area including Johnny Pacheco’s Orchestra.

Orlando “Cachaíto” López, a member of a distinguished family of Cuban bassists died on February 9, 2009. He was nicknamed “Cachaíto” (Little Cachao) after his uncle the famous Israel “Cachao: López. The younger bassist had won international fame as a member of the Buena Vista Social Club Group.

Gilberto Miguel Calderón was born in Manhattan’s “Spanish Harlem” to Puerto Rican parents. He grew up playing “stick ball” in the neighborhood streets. When he broke a leg he turned to playing the congas with sidewalk drummers. Eventually, he organized his own band and changed his name to Joe Cuba following the suggestion of his manager the legendary Federico Pagani. In addition to the traditional Afro-Cuban percussion instruments, Cuba’s group featured a vibraphone lead. Among the group’s most popular recordings are: Bang Bang and Sock It to Me Baby. Joe Cuba died on February 9, 2009 from complications of a persistent bacterial infection at Mount Sinai Medical Center.

Ricardo Montalbán, the Mexican movie and television star died in Hollywood, California on January 14, 2009. He had a long and successful career in Mexican films before moving to Hollywood. His good looks and charming manner helped him become a heart throb in American movies. However, he earned most fame playing the character of Mr. Roarke in the television series Fantasy Island.

Puerto Rican vocalist Victor Luis Miranda, whose recording of the bolero Olvídame is a classic of that island’s music, died on February 20, 2009. He sang with several local bands, but achieved the most popularity as a member of the Rafael Muñoz Orchestra.

The much-admired timbalero and bandleader Manny Oquendo died in New York City on March 25, 2009. He was born José Manuel “Manolo” Oquendo of Puerto Rican parents in Brooklyn. New York. When the family moved to “El Barrio” in Manhattan, he began playing drums with local Latin bands. After studying music formally and gaining experience, Manny rose rapidly among the ranks of professional imbaleros in New York. He performed with the top musical groups including Tito Puente, Tito Rodríguez, Noro Morales, Eddie Palmieri and the Cachao Orchestra, Eventually, he organized his own group which he called “Manny Oquendo’s Libre.” He recorded extensively with this ensemble. The drummer shall be remembered for his tipico style of playing the timbales, a sound he learned from listening to such Cuban percussionists as Ulpiano Díaz from the Arcaño Band and Orestes Varona from the Orquesta Aragón.

On June 15, 2009, one of Puerto Rico’s favorite stage actors, José Luis Marrero “Chavito” died. He had a long career appearing on stage, television and mo-vies. I had the good fortune of being his classmate at the Hawthorne School and University High Schools in Río Piedras, Puerto Rico.

Also on June 15th, Puerto Rico lost another artistic treasure with the death of Luis Morales “El Montañero”” a prominent member of the Morales family of Puerto Rican jibaro music. In addition to his legacy as a talented interpreter of country music, he introduced many innovations to that music’s genres. He created the aguinaldos bayamonés and patrullero as well as various styles of the seis among which are: the seis cagueño, gaucho and habanero. The Morales clan included thirteen children. Three of them: Florencio Morales Ramos “Ramito,” Juan María Morales “Moralito” and Luisito constitute what many experts consider the three best exponents of Puerto Rican country music. “El Montañero” left us the most extensive discography of jibaro music that exists up to now.

On June 3, 2009, in his native city of Matanzas, Cuba, the famed percussionist and group leader Jesús Alfonso Miró passed away at the age of 60 years. We shall always remember him as the organizer, leader and quinto player of the “Muñequitos de Matanzas.” He founded that rumba group in 1967 and led them until his death. Alfonso was the father to a family of eight children several of whom followed his steps unto the music field. He traveled all over the world with “Los Muñequitos” introducing authentic Cuban runba music to diverse audiences. Freddy Jesús Alfonso Borges has replaced his father as quinto player with “Los Muñequitos de Matanzas.”

Paquito Cordero, a Puerto Rican comedian and television producer passed away on June 30. 2009. He was a highly respected pioneer of Puerto Rican television. Cordero was influenced by his aunt the famous actress Mapy Cortés. She had become a big star in Mexican movies. In 1954, Mapy, and her husband Fernando returned to Puerto Rico and together with Cordero presented an idea for a comedy show to be shown on the soon to be inaugurated television channel 2 WKAQ-TV. The show “Mapy y Papi” with Mapy and Fernando Cortés, María Judith Franco and Paquito Cordero was one of the first shows to go on the air. Paquito Cordero went on to become a successful actor and television producer.

Mercedes Sosa, one of Argentina’s most beloved performers, died on October 4, 2009 in Buenos Aires, Argentina. Even though she sang songs in different genres, she is best known as a folk singer. Sosa recorded extensively, but Gracias a la vida became her signature song. Mercedes was an activist and championed the cause of the poor and destitute. As a result, she was given the title “The Voice of the Voiceless.” Upon her death, Argentine President Kirchner ordered three days of national mourning. Much has been written in praise of Mercedes Sosa, here are two examples: “Her undisputed talent, her honesty and her profound convictions leave a great legacy to future generations.” “She fought South American dictators with her voice and became a giant of contemporary Latin American music.”

Roberto Sánches better known by his stage name of Sandro de America (“Sandro of America”) passed away on January 4, 2010.. His Hungary Rom ancestry earned him the nickname of “Gitano” (Gypsy) the name given by Argentines to members of that ethnic group. Sandro started his career as an Elvis Presley imitator copying even the pelvic movements. Later he developed his own style that made him extremely popular especially among women. He produced a long list of record hits, made several movies and performed in several television series. In 1993, he began a series of appearances at the Rex Theater in Buenos Aires that culminated with 18 attendance -record-breaking consecutive concerts. On November 20, 2009, Sandro received a double transplant (heart and lungs). Even though the operation was considered successful, 45 days later Sandro died after many complications including septic shock, mesenteric ischemia and disseminated intravascular coagulation. After learning of his death, hundreds of his followers, mostly women, gathered around the hospital door grieving for their idol.

The voice that for many years identified the Puerto Rican Trío Vegabajeño, Fernandito Alvarez, passed away on February 5, 2010. The singer was also the founder of that trio. He held the group together for more than 50 years. recording many of Puerto Rico’s favorite songs. Among them are: Lo nuestro terminó, En mi viejo San Juan and Luz del alma mía.

Graciela Pérez the First Lady of Afro-Cuban Jazz died on April 7, 2010, in New York City. She had gained world recognition through her performances with the Machito and Mario Bauzá’s Orchestras in nightclubs and recordings. Graciela started her singing career appearing with the Orquesta Anacaona in her native Cuba and in Europe. In1943, her brother-in-law, Mario Bauzá asked her to join the Machito Orche tra in New York. She recorded a long list of hits with Machto among which is Si, sí, no, no, a tune that became her signature song. Her last recording Cándido and Graciela, Inolvidable, and her appearance in the documentary Cándido Manos de Fuego brought to a close her brilliant career.

One of Puerto Rico’s most important radio personalities, Mariano Artau, died on April 13, 2010. He passed away at the age of 89, after a week in intensive care at a local hospital due to a cerebral hemorrhage. Mariano enjoyed a long career in radio broadcasting over some of the island’s top radio stations. For some time, he became the host for the César Concepción Orchestra in the band’s radio, television and in-person performances. He dedicated the last years of his life to a daily radio program he called “Caravana de Recuerdos” (Caravan of Memories) in which he played hit tunes of the past.

Cuban percussionist Francisco Aguabella passed away on May 7, 2010. During his career he performed with Peggy Lee, Dizzy Gillespie, Frank Sinatra and Paul Simon. Aguabella succumbed after a long battle with cancer. The drummer arrived in the United States in the 1950s and soon performed with dancer Katherine Dunham in the movie Mambo. In the last years of his life, Aguabella played different genres such as rock with groups like Santana and The Doors.

“MAYOR”: A LEVEL OF ACHIEVEMENT IN LATIN MUSIC
by
Frank M. Figueroa

Left to right: Rafael: Cortijo, Ismael Rivera Tony Chiroldes, Martín Qui?bones, Beny Moré and Sammy Ayala.  The photo was taken at the WKAQ-TV studios during Moré’s visit to Puerto Rico in 1956. (Photo courtesy of Jaime Jaramillo)
 

In Cuba and other Latin American countriesvn countries, musicians and composers use the term “mayor” to express: “first,” “main,” “outstanding,” “leading,” “foremost” and “premiere.” In Spanish it could mean “principal,” “primero,” “importante,” “superior” and “mejor.” In military bands the term has always been used as “drum major” (tambormayor) and “first sargeant” (sargento mayor). The adjective “mayor” when attached to nouns such as “sonero,” “rumbero,” “timbero,” and “danzonero” as well as to the name of musical instruments, serves to recognize the achievement of a certain level of proficiency. When an individual is given the title of “mayor” he or she is placed in a category with others who have attained the same degree of mastery in their field. The title, therefore, is not held in exclusivity by any one person. In some cases, a geographical designation is attached to the title, for example “El Sonero Mayor de Cuba” (Cuba’s Sonero Mayor) or El Sonero Mayor de Colombia (Colombia’s “Sonero Mayor”.)

The title can be conferred by anybody, but usually it is done by individuals of some prominence such as writers, radio personalities, other artists and at times by self appointment. Therefore, it is very difficult to keep track of the recipients of this honor and the legitimacy of their claim to it. 

One of the earliest Cuban musicians to be called “mayor” was the famous rumbero Malanga (José Rosario Oviedo). Learning with the other great rumberos of his time,  Malanga became a good percussionist specializing in the timba drum, which is another name for the tumbadora or conga drum. The rumbero and timbero died mysteriously in 1923 and was mourned by all his fans. Arsenio Rodríguez immortalized Malanga with his song Llora timbero in which he calls him Timbero mayor. 

Other rumberos like Malanga have also been honored with the name “Rumbero Mayor.” Rumberos are singers, dancers and percussionists who play, sing and dance to the rhythm of congas or cajones (wooden boxes). One of the most important is Chano Pozo others are Manana, Mulence, Andrea Baró, Goyito and Saldiguera.

The term “mayor” can also be heard in songs of the early 1930s such as the conga Una dos y tres.The lyrics of which begins with: Al tambor mayor de alante no hay quien lo pueda igualar. (The premiere, leading drum cannot be equaled.) Some songs refer to the quinto mayor and to players of other instruments. The list would include: Isaac Oviedo as “El Tresero Mayor,” Chucho Valdés “El Pianista Mayor,” Tito Puente “El Timbalero Mayor” a title also given to Manny Oquendo, Israel López Cachao “El Bajista Mayor” and Richard Egües “El Flautista Mayor.” Several percussionists have earned the title of “Conguero Mayor” among them are: Ray Barretto, Poncho Sánchez, Carlos “Patato” Valdés, Tata Güines, Gregorio Díaz Alfonso and Miguel “Angá” Díaz. In Puerto Rico, David Ortiz “La Mole” is known as “El Quinto Mayor.”

The designation has also been extended to artists who have excelled in different musical genres. Cuban singer Barbarito Diez was known as “El Danzonero Mayor.” Flutist and band leader Antonio Arcaño was also given the same title. Dancer Ricardo Benedit Varela “Angoa” shared the title with the other two. In recent years, Cuban singer Danny Lozada has been identified as “El Charanguero Mayor.” New York pianist Eddie Palmieri has also been advertised as “El Montunero Mayor.”

Some bands have added “Mayor” to their name. In Venezuela, Oscar D’León called his group “Salsa Mayor.” In Havana, Cuba, there is a timba group also using the name “Salsa Mayor.” In Colombia there is a very popular band called “Quinto Mayor” led by Diego Gale and in New York City a rumba group organized by conga player Gene Golden that also calls itself “Quinto Mayor.” Los Angeles, California, boasts its “Son Mayor.” Perhaps as further proof that there is no limit to the use of the adjective “mayor,” in Colombia there is a “Cocinero Mayor” (A Premiere Cook) featured in a tune by Fruko y sus Tesos.

In recent years a controversy has arisen over the title “Sonero Mayor.” In the following pages we shall try to shed some light on that dilemma. First, we have established above, the meaning and usage of the term “mayor.” It should also be clear that nobody has exclusive claim to the title. It can be freely conferred by any one on whomever is considered worthy of it. Second, there should be no doubt that as far as can be established, the designation in question was first given to Cuban singer Beny Moré. By the time he returned to Cuba in 1950 from his residency in Mexico, he was already known as “El Sonero Mayor.” The title was bestowed upon him by his fans and echoed by radio personalities and newspaper writers. He is identified as such in several album covers. In turn, Beny conferred the title on other singers. He was a very generous man and freely gave recognition to other vocalists. In 1950, when singer Abelardo Barroso had met with some financial difficulties, Beny called him “El Sonero Mayor de Cuba” to help him get back on his feet. Moré also gave the title to Miguelito Cuní when he left Beny’s Orquesta Gigante in 1956, after singing with the band for a short time. Cuní’s name later appeared accompanied by that title on several album covers.

Moré’s bighearted gesture has been misunderstood when he called Puerto Rican singer Ismael Rivera “El Sonero Mayor.” That happened when Beny Moré visited Puerto Rico on a personal appearance tour. The Cuban singer was brought to the island by promoter Tony Chiroldes for a series of performances that were held from April to July of 1956. In an interview with researcher Rafael Figueroa Hernández, Ismael Rivera gave some details of his meeting and developing friendship with Moré. 

Beny came to Puerto Rico and worked with us in the ”The Taberna India” television program. Cortijo accompanied Beny just as he had other artists such as: Rolando Laserie. Olga Guillot and Xiomara Alfaro. Beny and I became good friends. He came here to the Calle Calma. Later I took him to the Llorens Torres Housing Project, and let me tell you that I was an admirer of his before I became a professional singer. It was a great honor for me to be baptized as the “Sonero Mayor”  by him. 

Further documentation of Beny conferring the title on Ismael is furnished by Puerto Rican radio and television personality Gilbert Mamery. He said as follows:  

On July 4, 1956, in the last live performance I was able to stage, I had the opportunity to present “El Bárbaro del Ritmo”, Beny Moré. You can imagine, Beny with Cortijo and Ismael Rivera as well.

Then the Cortijo Combo began to play an instrumental number. I’m standing next to Ismael and Beny Moré and I said: “Ismael, “El charlatan.’ That’s what you have to sing. That is your current hit.” He said to me: “No, no, before this monster of music I don’t dare sing.” Then Beny said to him: “Look my black friend, I’m going to tell you something. I have named you “El Sonero Mayor de Puerto Rico” and you cannot make your promoter and me look bad. So get on with it” and with that he pushed him on stage.

It is very important to note that Beny called him “El Sonero Mayor de Puerto Rico” differentiating him from other “Soneros Mayores” natives of other countries. This should clarify once and for all what Beny Moré meant when he gave Ismael a very specific title. Beny Moré was “El Sonero Mayor de Cuba” a distinction given to him by his fans that he could not renounce or transfer to somebody else. As we have stated before, that title has been used by others such as: in Colombia (Saulo Sánchez), in Venezuela (Oscar D’León), in California (Félix “Fito” Reinoso) and in Cuba (Raul Planas, considered the last “Sonero Mayor.” It may be a bit premature to name the last member of this classification because as long as there are singers improvising to Afro- Caribbean rhythms, there is the possibility of more “Soneros Mayores” emerging.

We hope that the facts included here help to answer the concerns about the meaning and use of the title “Mayor,” expressed by some fans and students of Latin American music. Specifically, we feel that we have clarified the matter of Beny Moré’s naming Ismael Rivera “El Sonero Mayor de Puerto Rico.” The quote from such a credible source as Gilbert Mamery should put an end to any argument on that subject. However, we feel that aside from the evidence presented, merely applying common sense one would arrive at a reasonable account of what happened.

If the question is whether Beny was the first to call Ismael Rivera “Sonero Mayor” or not, that is next to impossible to determine. Nevertheless, that fact doesn’t seem to be of great significance in the careers of Beny Moré and Ismael Rivera. Suffice is to say that a great artist who had been given that title earlier, decided in 1956, to share it with another deserving artist. 

If the matter of concern is what Beny specifically meant when he bestowed the title on Ismael, once again employing some common sense would help. It is ridiculous to think that Moré intended the title given to Ismael to be exclusive. We know he had previously given it to Abelardo Barroso and Miguelito Cuní and perhaps others. Given  this act, it makes a lot of sense to think that Moré , as stated above, called Ismael “El Sonero Mayor de Puerto Rico,” being fully aware that he had named others to the same title.

In closing, Beny Moré was justified in calling Ismael Rivera “sonero” in 1956, when at that time Ismael had not recorded anything but four tunes with the Orquesta Panamericana which were: the plenas El charlatán, La vieja en camisa, La sazón de la Abuela and Cha Cha in Blue. None of them can be considered sones. However, Ismael had been singing guarachas, sones, mambos and guaguancós throughout his career starting briefly at first with the Conjunto Monterrey led by Moncho Muley, continuing with Lito Peña’s Orquesta Panamericana and eventually with Cortijo and his Combo. We should also note that while singing bombas and plenas with Cortijo he was displaying all the qualities of a good sonero which included: thorough command of the clave, good phrasing and imaginative improvisation. Therefore, Beny Moré, who had heard Ismael Rivera sing on radio and television as well as in clubs such as The Black Magic in Miramar, Puerto Rico, was well qualified to call Rivera “Sonero Mayor.” There was no one better than the man who wore the title himself, to welcome Ismael Rivera into the fraternity of “Soneros Mayores.”

With your permission, I would like to include the following paragraph taken from an article I wrote about Ismael Rivera a few years ago. 

Why was Ismael Rivera deserving of the title “El Sonero Mayor”?  Simply because he was the epitome of a sonero. He had charisma,  originality, an authentic barrio sound, great inventiveness, an irreverence towards the rigid conventions of antiphonal singing,  a complete mastery of the clave beat, and an exhaustive knowledge  of the customs and expressions of the barrio people. Maelo broke all  the rules of the montuno of the old Cuban son with its traditional  four measures. He liked to jump into the coro’s space and start his  machine gun-type inspirations without even taking a breath. In other  occasions he would reduce the four lines to two lines or extended them  to eight or ten lines. In addition, he always invented his own melodies  over the montuno. Yes, the Sonero Mayor sang to his own clave beat  in spite of Tite Curet’s advise: “Ismael no pises el coro” (Ismael don’t  step on the coro’s lines.”).