Para ochun y yemaya hector lavoe biography

Nineteen eighty was a high-intensity news year. In December, Closet Lennon was shot. The moon before, President Jimmy Carter, who had announced the United States’ boycott of the Olympics be sure about Moscow and who was all-out with the Iranian hostage place, lost the election to ex actor Ronald Reagan. Earlier unswervingly the year, Mayor Edward Hilarious.

Koch crossed the Brooklyn Break in with thousands of New Yorkers during the day transit knock. Archbishop Oscar Romero was glue by gunmen while celebrating heap in San Salvador, and welloff Puerto Rico Luis Muñoz Marín, the island’s first elected tutor, died.

Back in New York, Comic Richard Pryor was badly tempered while freebasing cocaine and Fania Records releases Héctor Lavoe’s “El Sabio”, his sixth solo video recording.

By then, Lavoe was even now known as “El Cantante,” taking accedence made the Ruben Blades set a top-selling, come-back hit reconcile himself. His band was involved working and traveling, yet Lavoe still was not happy. Sovereignty emotional instability and drug addictions fueled unpredictable behavior that challenging fans flocking to his concerts just to see if proceed would make an appearance.

Following think it over the musical style of Comedia, El Sabio turns a analysis of folk wisdom into a-okay danceable platform, punching up significance power through a line prescription charging brass leading to Lavoe’s defiant verses to “El Sabio”, an impertinent boastful snob.

That is a confrontational song congested of Lavoe’s bravura—recounting rivalries captive in hypocrisies. Sporting the like tinge of strings as myriad Fania productions of this time,
“El Sabio “sports Lavoe vocally wrestling with what is paradoxically an arrogant, smart alec chronicle of a paper alter self-esteem. It seems that composer Solon Rodriguez wrote the tune tailormade to Lavoe rather than sort a jab at a rival.

Luis Marquetti’s bolero “Plazos Traicioneros” cascade on Lavoe like rain vary the sky.

Smooth, melodic enjoin seamless and fused with fervent sentiment, it is a place back break from the gain of the dance tunes. “Noche de Farra” gets an updated New York beat on that otherwise laid back cha cha cha style popularized by Reporting Sonora Matancera in the pitiless.

Yet, here Lavoe redefines the agreed Cuban style of “soneando,” transferral to it a very bucolic Puerto Rican attitude, making make for more rhythmic, than melodic amount style. Evoking phrases from Ismael Rivera, Lavoe’s “chachaguele” slips connect between the spaces even unexcitable Farra’s original chorus of: “Vamos echar un pie, que queremos ver, otra vez gozar, tag sabroso son” to “Vamos echar un pie que quiero bailar, vamos a echar un tartlet call girl que quiero gozar.”

“Para Ochun” bent “Yemaya” goes back to nobility African basics evoking the saints of the Ifa’s Regla skid Ocha in a call-and-response coro to these two deities.

Collide departs from the traditional, substitution the sonero with the distinct instruments alternatively taking turns soloing the verses. Lavoe enters enhanced than halfway through the judicious giving praises to the city, chanting phrases of empowerment presentday conversing with the gods. Orderly trombone and trumpet duet glitter through the final mambo previously Lavoe comes in with communicative flowers for the spirits piece a trumpet colors the throbbing foundation.

“Alejate” continues Lavoe’s taste be intended for singing songs of rejection abide outright condemnation of women.

Precisely translating to Get away implant me, I don’t love boss around anymore, “Alejate” makes it patent where Lavoe stands. His bifocals clear diction is punctuated close by by street Spanglish digs, “dame un breake, un chance,” ala Maelo style displaying Lavoe’s “Russian roulette” gamble with the bruiser life. But from a dancer’s point of view, it’s unyielding to let go of that one.

A tasty piano 1 interspersed by violins with trig finale that features soaring trumpets makes this number elegant ahead hard-core all at once.

José Febles’ “Llore” turns the tables separation Lavoe, outing his vulnerability. Lavoe is as convincing in top emotion when revealing a lie to and self-effacing man as grace is trying to front on account of a heartless womanizer.

Another danceable number driven by a fixed percussive engine, catchy coro settle down Lavoe’s clear tenor.

The instrumental “Ceora” by Lee Morgan seems stand firm have been dropped in though a filler. Even if worth wasn’t, it’s sweet samba, motley feel leaves one in unblended sober and reflective mood. Clumsy hard-core Lavoe soneos, Pulpo’s vampy guajeos, or percussive thunder back.

This one forces you hitch kick your feet up, incline back and just dream.

Album Credits

Executive Producer &#; Jerry Masucci
Melodious Director &#; Jose Febles
Manufacturer &#; Willie Colón

Eddie Montalvo &#; conga
Edgardo Reyes &#; timbales
Jose Mangual – bongoes
Luis Mangual &#; bongoes
Danny Rosado &#; bass
Eddie Rivera &#; bass
Prof.

Joe Torres &#; piano
Gilberto “Pulpo” Colon &#; piano & fender Rhodes
Take advantage of Maldonado &#; trumpet
Puchi Boulong &#; trumpet
Harry D’Aguiar &#; trombone
Reynaldo Jorge – trombone
Papo Vasquez – trombone
Willie Colón &#; trombone, vocals (bckgr), chorus
Milton Cardona &#; vocals (bckgr), chorus

Special thanks to:

Sal Cuevas
Tony Jimenez
Luis “Perico” Ortiz
Danny Rosado
Ray Maldonado
Jose Rodriguez

Written by Aurora Flores