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Television
Interview w/ Producer Lefty Perez of "La Katimba"
Dancer,
N.B.C. Network Executive John Rivera, Barbara Craddock,
Director Josué Joseph, Dancer, dancer-Ricardo Uzcategui
Click below
for interviews with Nuevotec Productions
Earl Rush, Josue Joseph and Alfonso "El Panameno"
Josue Joseph @ Orlando Hispanic Film Festival - 09-17-09
Article by Angelina Puente, Victoria Tarova and Yolanda R Carranza
Meet the man behind, what is
considered by many, to be the most educational docu-film about Mambo and Salsa - Josué
Joseph, director and executive producer of "La Epoca - The
Palladium Era."
A son of Mambo Legend
"Alfonso-el Panameño" Joseph, he was raised in a musical atmosphere
of other mambo legends such as Tito Puente, Celia Cruz, Israel "Cachao"
Lopez, Candido Camero and the likes because of his father's career
as a bassist for the Palladium-era's top orchestras including Machito,
Rafael Cortijo with Ismael Rivera in addition to those
mentioned above.
"Growing up the way Josué did," shared Freddy Pagan of Buena Vista Social Club, "with
Cachao calling his house to ask his father to substitute
for him for a gig because he was double-booked or else Josué growing up
with legends like Tito Puente,Xiomara Alfaro, and
Machito hugging and admiring his father and making sure the boy knew
his father was a legend; growing up like this, how could any one else but Josué do this movie? He's the only one that could do this
movie."
Joseph, who speaks English and Spanish,
and is studying Polish, Italian and Russian, is an improvisational
classical-influenced pianist, but earns a living producing music and
video for an international clientele. In addition, he is often hired as
a master instructor of Traditional Mambo and Cha-Cha-Cha dances with
musicality, and also
often hired as a guest speaker for engagements that cater to historians,
dancers, musicians and students.
Joseph, in what prompted him to
produce this film that has been seen by an international audience, said
that he sees so many dancers that argue about "on 1" and "on 2," and
about "mambo" and "salsa." He shared that he hears musicians playing live
music but playing only the general "salsa rhythm from song-to song." He
said, "It doesn't move me. One or two songs with the same static bass
line is necessary, in present day, because most dancers want the static
stuff that's on the radio; they're not exposed to the traditional music
that has saxophones, multiple trumpets and trombones and especially, a
walking bass - you know, an acoustic bass that drives the music.
But, when I hear live music from an orchestra that plays more than 'one
or two' rhythms, like a mambo, son-montuno, guajira, guajira-son or even
a bolero, I then have a choice as to what I dance that night. It's a
moving, internal feeling each time."
For his film, he pulled together
some of old-school mambo's most distinguished musicians and dancers,
such as the late Israel "Cachao" Lopez - a
pioneer of the mambo rhythm, and his father, "Alfonso-el Panameño."
He also pulled together musicians from Johnny Pacheco's and
Pete "El Conde" Rodriguez's orchestras such as Charlie Rodriguez, Chiripa,
Santiago Ceron, and the late Leo Fleming; and dancers such as the late "Cuban Pete," who pioneered in
the mambo, Freddy Rios and Mike Ramos from the Palladium Mambo Legends. All
remained close friends of his father throughout the years since the
1950's and 60's.
He said, "I'm not into
salsa-bashing. There are definitely tracks from Fania Records and
Pacheco that I love so much, like "El Faisan," and Hector Lavoe's "Que
Lio," and music from salsa-romantica like Eddie Santiago and
Tito Rojas.
No, I'm not into salsa-bashing. But, so many people I've met in my
travels around the world have been gracious unto me and have shared with
me how much they appreciate learning about the history of mambo and
salsa that I've presented for them. It's not salsa-bashing, it's just
exposing salsa for its true value from the musicians and dancers who know
first-hand what the music before salsa and after salsa has been like.
That's all."
Isaac Rosenbaum, who danced at the
Palladium Ballroom during the late 1950's, said that the days of
Joseph's father were the good 'ole days before the divide between
loyalists-of-tradition and the loyalists-of-money broke out.
"It was a time when Jews,
Italians, Blacks and the rich and poor left their problems at the door
and came in to dance and to watch the greatest dancers in the world,
like 'Cuban Pete' and Millie Donay,The Mambo Aces and others. It wasn't
like it is today, where dancers only dance forward-and-backward steps
with a hundred turn-patterns or where start-up bands make a living
without knowing how to play even the basic rhythms that were played
during our time back then," Rosenbaum said in a phone interview.
Rosenbaum explained that in the
late 1960's, Johnny Pacheco and Fania Records, in their ever-living
battle with traditionalists who favor rhythms such as mambo, son-montuno
and guaguancó, opened an umbrella under which they threw all the rich
rhythms of Afro-Cuban music. He said they did it to commercialize the
music for money - to make it more user-friendly, but that in doing so,
the roots of the music and rhythms became of no importance and the
result is that in today's society, dancers are limited only to the same
watered-down copies of the origins. "There's no more appreciation for
tradition," he said.
He added, "Most orchestras, now,
fill their repertoires with music by Willie Colón, Hector Lavoe or any
one else from the salsa era. But, salsa came after the mambo era, during
which many of the masterpieces were composed. But, what they don't
realize is that the majority of the songs in so-called salsa, are only
re-arrangements of what the legends of the previous era wrote, like
Arsenio Rodriguez and Cachao. So, what you have is Johnny Pacheco and
his clan borrowed the ideas of the mambo legends - the ones who have an
appreciation for tradition, they re-recorded the originals but they left
out anything that was 'afro' or anything that had to do with Black, like
the basic rhythm instruments. They took it out."
He said that prior to the Civil
Rights Movement, to have a dark-skin musician in an orchestra meant the
difference between getting the gig or not. He said that orchestras made
it a practice to replace the dark-skin musicians with musicians of
light-skin color. During the mambo craze in New York in the 50's and
60's, he noted that orchestras did everything and anything to get the
big jobs; even cutting out key musicians because of the color of their
skin. He said that from his interactions with Pacheco and others,
this was widely practiced.
Rosenbaum continued, "And now, the kids and
the orchestras think that these re-recordings are the originals. That is
exactly what happened. The originals come from the era before salsa."
Nestor Torres, who played piano
with Tito Puente's orchestra for three years at the Palladium Ballroom,
agreed.
He said, in a personal interview, "The struggle between mamberos and salseros started in 1965,
at a club in the Bronx, between Arsenio Rodriguez and Pacheco. I
remember it. I was there, Tito Puente was there, Mangual was there and
Kako, too. Pacheco
made a comment to the bassist and the conga player that they were
playing too many notes. Arsenio heard it and said something that no one
understood except him and the the conga player. That was the end of that
discussion. But, I didn't find out until Christmas 1968 that Arsenio and
his brother Quique, wrote a song about that incident called 'Kiko
Medina.' They wrote it about Pacheco. Arsenio was known for inserting
hidden messages in his lyrics. That's where the struggle began. Pacheco
thought the music should be played differently than how Arsenio was
playing it. So, that's what he did; he created salsa by removing what he
didn't like from the traditional format and replaced that with his own
standards; even though Arsenio was the one who invented those key
rhythms and composed those very songs."
Joseph, however, noted, "What
Pacheco and Willie Colón contributed to Latin music is of great
importance and of great value. It can't be discounted simply because
they may not value traditions. Whether they do or not is something only
one can interpret on one's own. Hector Lavoe was certainly inspirational
in some of his lyrics. Look, they created an entirely new era, which
still exists today. That word 'salsa' has brought together cultures and
has done so much good. They are very talented; they're masters at what
they do. That can't be discounted. Pacheco is a master-musician."
Rosenbaum agreed but added, "We
have tradition on one side and shortcuts on the other. If the starting
point for young men these days is with shortcuts, then what you get is
exactly what we have now: salsa. But, if the starting point is
tradition, then its products are esteemed and talented men with ripe
taste buds."
Joseph, in a sit-down interview on
Saturday night (January 31, 2009), in Arlington, Virginia:
Question: How did you
produce the movie without taking sides but instead, giving the facts
from both sides - mambo versus salsa?
Joseph answered with a smirk, "To
be honest with you, it boils down to humility and some scripture. To
avoid disorder, I need to make sure that I'm not harboring selfish
ambitions. I think that because I grew up with my father sticking his
finger in my face and telling me that what I listen to isn't really
'salsa' but rather one particular rhythm or another, that this formed a
structure in me that is so firm that it allowed me to have an
appreciation for tradition simply because I can justify the music and
the dance. My father recorded with the man who composed so much of the
music they play today, so I have an appreciation knowing what the
original songs sound like and knowing what the pixilated carbon-copies
of the songs sound like. I'm a traditionalist, but in order to reach
over to the other side of the fence, I have to give them what they know
and what they want but immediately followed by the origins. The
reactions that I get make what I do worth it."
Joseph currently is in
pre-production for the second part of this two-part series titled, "La Epoca - The Lost Rhythms in Salsa," which based on the talk by many in
the Washington DC area, is expected to be another hit.
__________________________________________
In
fondest memory of our humble friend,
Mambo Pioneer Israel "Cachao" Lopez
Cachao, who died the
morning of March 22 in a Florida hospital, was a Cuban bassist and
composer, who was instrumental in turning Arsenio Rodriguez's "mambo"
rhythm of the "danzon" into the extended mambo rhythm of present day.
During the Palladium-era, there
were only 2 bassists that shared the most in-demand style of many
orchestras in the New York music scene: Cachao and Alfonso "El Panameno"
Joseph - both whom have worked with Tito Puente, Celia Cruz, Machito and
many others. In fact, during the early 1960's, while Cachao was
performing with Machito's orchestra, Alfonso "El Panameno"
was
performing and recording with Candido Camero - and when Alfonso left
Candido's band to join Johnny Pacheco, Cachao took his place as
Candido's bassist.
"Cachao's name was mentioned very
often in my family and he'll be missed," says Executive Producer Josue
Joseph of La Epoca, "Cachao was scheduled to be interviewed for
the film on the afternoon of April 16, '08 - hearing the news of his
death makes me even more sad, not only because he was a man that I've
respected, but also because I've lost an opportunity to document his
legacy and share it with the world. It is a great loss for all of us."
WATCH VIDEO BELOW
OF SOME OF THE LAST MOMENTS ON FILM OF "MAMBO PIONEER "CUBAN PETE"
In
fondest memory of our dear friend
Mambo Dance Pioneer
"Cuban Pete"
"Cuban Pete," born Pedro
Aguilar, by far was
considered the most acclaimed Mambo dancer of the Palladium-era. Pete,
whose last major appearance in a major film was in "La Epoca - The Palladium Era," died on Tuesday morning at 8am, January 13, 2009. Pete's health was kept
from the public for the last several months.
"Cuban Pete," an
inspiration to many dancers across the globe, rose to great popularity
in New York City during the 1950's and was one of the few to have his
dance performances recorded on film, which is featured in "La Epoca - The Palladium Era."
He was a dance performer who was taught by Miguelito Valdez, Tito Puente, Machito and Mario Bauza, that "Latin
music was written to be interpreted and danced a particular way. Dancing
inside the rhythm of the music, according to the bass instrument in
sync with the clave beat, is how they taught me to dance," Aguilar
shared in interviews with producers. He also shared, "dancing mambo was
having a relationship with the music - with the instruments - it was
about making music with my body."
Executive Producer Josue Joseph, in a
written statement released just hours after Pete's death, shared "I'm
grateful to have shared so much with a man whose knowledge of Latin
music and dance was of the same depth and caliber as my knowledge taught
to me by my father, Mambo Legend Alfonso "El Panameno."
The statement continues, "Pete's career and fame, as a dancer, made a
few other dancers from his era attempt to achieve the same status but
have grown seriously disgruntled because they just couldn't. Some of
them still compare themselves to Pete and have often attempted to
deliver on their own agendas. It happened just recently at a showing of
the film in New York. That's how influential Pete has been in the art of
Latin dance - particularly Mambo. It was the dancers who had the
capacity to demonstrate humility and are passionate about sharing their
own contributions to this era, that were among those featured in the
film " Joseph stated.
"His
health declined in his last months and many of us thought about this day
coming, but none of us wanted to talk about it. Now, we're forced to,"
Joseph shared.
Pete was
scheduled to be a guest at the New York City showing of "La Epoca"
at Club Cache on Oct 02, 2008, but his health prevented him from
attending.
Joseph ended, "I
think for a lot of us, following the death of our dear friend, Israel "Cachao"
Lopez, last year, that Pete's health crossed our minds but in order to
avoid the feelings, we spent more time with him to get in as much time
as we could."
From all the
producers of "La Epoca - The Palladium Era," our thoughts
and prayers are with Pete's family and with his dance partner - our dear
friend, Mambo Influence Barbara Craddock.
Pete, who shared that he was often
saddened by the disinterest by some "salseros in the origins and roots
of Latin music and dancing," spent the last years dancing with Craddock
as his dance partner.
Agustin Caraballoso,
high-profile trumpeter for THE TOP Mambo and Salsa orchestras of
ALL-time, has died. He was born in Cuba in 1928. He died on the morning
of February 23, 2009 in New York due to major heart attack.
Agustin was a member of Arsenio
Rodriguez's orchestra in Cuba AND in New York. He was with Arsenio
Rodriguez during the times that Rodriguez created the mambo rhythm, in
Cuba.
He also partnered with Cuban
legendary vocalist Beny More, immediately upon More's glorious
return to Cuba from Mexico after working with Perez Prado.
Together, Caraballoso and More formed "Orquesta Intermezzo" featuring
other prominent Cuban musicians.
Caraballoso also worked with
Machito, Mario Bauza and with Celia Cruz in Cuba.
In New York, he worked with
Salsa Legend Johnny Pacheco and with Mambo Legend Tito Puente,
Mambo Pioneer Israel "Cachao" Lopez, as well as Moncho Leña,
Mongo Santamaria, and Marcelino Guerra.
He recorded on Arsenio
Rodriguez's last two albums, including "Arsenio Dice," with mambo
legends "Alfonso-el Panameño," Chocolate Armenteros, Rene Hernandez
and other prominent musicians of the Palladium-era.
In a written statement, released
just hours after Caraballoso's death, Director and Executive Producer
Josue Joseph said, "We were planning on visiting Agustin at the end
of March. I'm so saddened by this! I wanted to see him just one last
time because I knew he was ill last week. My friends are dying!! Our
friends are leaving us. All these legends are dying ... all around the
same time. It hurts so much! Even though I'm very proud that they were
so gracious as to allow me the honor of having me in their homes ... and
to be so humble about their careers ... I captured their legacies! I'm
so proud of that! It makes what I do so valuable and important!!"
Caraballoso's last appearance in a major film was in "La Epoca - The Palladium Era,"
in which he plays a major role in sharing how he the mambo rhythm was
created by Arsenio Rodriguez in Cuba. Caraballoso's role in the
film was absolutely essential to making sure history was documented
correctly.
Funeral arrangements are being
made. Joseph and his father, "Alfonso-el Panameño" will be
attending as well as other legendary musicians.
WATCH VIDEO BELOW
OF SOME OF THE LAST MOMENTS ON FILM OF MAMBO LEGEND LEO FLEMING
In
fondest memory of our dear friend
Mambo Legend Leo
Fleming, Sr
(1914-2009)
Leo Fleming, Sr, bassist
of some of the TOP orchestras of the Palladium-era (Tito Puente, Tito
Rodriguez) and of the Salsa-era (Johnny Pacheco) died January 21, 2009,
at a hospital in the Bronx, NY. He was 94 years old.
Fleming's last appearance in a major film was in "La Epoca - The Palladium Era,"
in which he has a short part but shares information that supports the
legacies born at the Palladium Ballroom, and also about how he began his
career and learned to play bass - that took him to heights in his
career.
Fleming, born in the Republic of
Panama in Central America, "was truly a man of great humility," shares
Executive Producer Josue Joseph in a written statement. "He had me in
his home with his wife and we spent hours looking at photos of Hector
Rivera, Tito Puente, Johnny Pacheco and my father - it was wonderful. He
shared so many stories about Tito Puente, Machito and some very funny
stories about what my father was like at my age. We were in contact with
his daughter, Carmen, in recent days as were planning on visiting him on
Feb 22 ... oh ... this is tough. Two legends dead a week from each other
- one a great dancer (Cuban Pete) and one a great bassist (Fleming).
Four legends, who we interviewed for the movie, have now died - all
within a year of each other. It makes me realize how valuable it was for
us to document their legacies and to value those who are still with us."
Andy Jerrick, whose very
last appearance on film was in "La Epoca - The Palladium Era,",
hasdied, due to increasing medical complications. He died Oct
23, 2008. He will be missed by members of the mambo dance culture.
Jerrick, who shared with our
producers, that his "religious beliefs and mambo dancing kept him alive
after a near-fatal accident," broke thru racial barriers prior to the
Civil Rights Movement in American history as one of the key "dark-skin"
Mambo dancers at the Palladium Ballroom in New York City.
Jerrick spoke on film and shared
his legacy with producers of "La Epoca - The Palladium Era," only
months before his passing. Producers and event coordinators are planning
an Atlanta showing to pay tribute to his legacy, the city in which he
resided.
"I feel terribly
guilty," shares Executive Producer Josue Joseph in a television
interview for Univision on Monday, Nov 17, "since August, Andy called me
week-after-week saying that he was desperate to see the movie. After a
cancelled Charlotte showing and after 2 other showings that he couldn't
attend, we had a showing planned for Nov 20 with several of the
high-profile mambo instructors from the Charlotte/Greensboro area where
Andy was going to make an appearance. He sounded so excited about
it! But, now, it's too late. He invited me down to his place for
a showing in Atlanta but I cancelled on him several times due to my
schedule with the showings for the movie. I feel so guilty. I
should have gone. I should have taken the time to go and see him. He
just wanted some recognition. And I did that, for him, in this film - I
gave him that recognition world-wide with this film but he never
got to see it."
Julian Llanos,
born in Puerto Rico and moved to New York in 1954 and began recording
with Hector Rivera and Arsenio Rodriguez, died on April 25. He was a
Palladium-era vocalist.
Llanos was interviewed for
"La Epoca" in the summer of 2007, referred to producers by Palladium-era bongocero Luis Mangual, who also appears in the feature film production,
playing in nightclubs beginning September '08.
Llanos's contribution to
"La Epoca"
is quite valuable, as he was a member of the conjunto of Arsenio
Rodriguez with Alfonso "El Panameno" Joseph on bass,
Rene Hernandez on
piano, Gene Jefferson on sax, and with Marcelino Guerra and
Santiago Ceron as vocalists during the mid and late 1960's.
Remembering Julian Llanos - we
shall keep his family in or prayers.
Producers are
currently in planning for Pre-Production on "La
Epoca International" - "The Forgotten Rhythms in Salsa"
"La Epoca
International" is the "to-be-continued" movie of "La Epoca - The
Palladium Era."
Producers
will be traveling the globe and other parts of the United States filming
dancers of:
Mambo (NY
On2 and "In Clave"), Salsa (On 1), Rumbero Cha-Cha-Cha, Bogaloo, and
Pachanga
Producers
are expected to travel to Cali, Colombia - Veracruz/Mexico City, Mexico
- San Juan, Puerto Rico
We need your help!
Currently, producers are in preparation for "part II" of "La Epoca,"
which is titled "La Epoca - The Forgotten Rhythms in Salsa."
While the sponsors of "part I" have been dearly appreciated, we are now
in need of sponsors for "part II." Sponsorship can be in the form of
cash donations, gift cards for dining/food, publicity and travel/car
rentals.
Anything
that you can donate to help us begin filming "part II" will be so much
appreciated and of course, we are happy to provide for you several
choices of valuable trades for your donations - let's talk about them.
Click here!
"La
Epoca" produced, mastered and distributed by
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"La
Epoca" Soundtrack distributed by
FURYAN RECORDS
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