Francisco Aguabella (1925-2010)

Legendary Cuban drummer Francisco Aguabella died today after a battle with cancer. Aguabella was born in the Cuban city of Matanzas on October 10, 1925, the youngest of seven children though only one of two to survive a typhus epidemic. Though neither of his parents were musicians, Francisco began playing music while a child and was drawn to the music that surrounded him in Matanzas. He began to play the sacred batá drums at age twelve, taught by another youngster at the time, the legendary Esteban Vega Bacallao, popularly known as Cha-Chá (1925-2007). According to Raul Fernandez' book From Afro-Cuban Rhythms to Latin Jazz, Aguabella apprenticed on the supporting drums for five years (two on okónkolo, three on itótele) before studying the lead drum of this ensemble. He became known as a fierce and powerful drummer in both sacred and secular contexts, becoming, by his own account, the lead soloist for a local comparsa group at age 16, an accomplishment of which he was very proud. At age eighteen Aguabella was initiated into a local Abakuá potencia (an Afro-Cuban male initiation society). During this time he also became friends with drummer Julito Collazo (1925-2004), who would later become, along with Aguabella, an important source of batá drumming in the United States.

In his early twenties Aguabella worked on docks in Havana and Matanzas while continuing to drum during his free time. Eventually he was asked by influential Havana drummers to join their show troupe in Havana. In Havana, Aguabella also played in various sacred, band, and comparsa groups. In 1953 American dancer Katherine Dunham saw Aguabella perform in a nightclub and requested his services for a show scene in a movie (Mambo, starring Shelley Winters and Anthony Quinn)that was being filmed in Havana. Dunham invited Aguabella to join her company, and he soon accompanied her to Italy, the first of many tours. In addition to drumming, Aguabella had small dance and acting roles in the company's productions.

After touring with Dunham, Aguabella came to the United States at a time when Latin music was mixing with popular jazz. While fellow drummer Collazo settled in New york, Aguabella settled in California, living in Los Angeles and San Francisco for the rest of his life. Aguabella had an impressive career, including recordings, performances, and tours with artists such as Dizzy Gillespie, Frank Sinatra, Tito Puente, Mongo Santamaria, Eddie Palmieri, Cachao, Lalo Schifrin, Cal Tjader, Nancy Wilson, Poncho Sanchez, Bebo Valdes, Carlos Santana, Malo, Three Dog Night, Paul Simon, and the Doors. (According to Francisco, Sinatra would introduce him to audiences as "My Italian conga drummer, Francisco Aguabella.") Aguabella also led his own Latin jazz group, playing concerts and issuing recordings for many years. He also composed music for his and other ensembles, mostly works that took advantage of his extensive drumming knowledge. Importantly, Aguabella was a source of authentic sacred Afro-Cuban music in the United States at a time when few knew the secrets of sacred drumming. Aguabella was awarded the National Heritage Fellowship from the National Endowment for the Arts, the Durfee Foundation's Master Musicians' Fellowship, and was recognized by the Los Angeles County Arts Commission. He was the subject of a documentary film by Les Blank titled "Sworn to the Drum." Agubella taught Afro-Cuban music at UCLA from the mid-1990s until 2008.

Aguabella was the strongest, fiercest drummer I have ever seen. I once saw him play a sacred tambor in the 1980s, though by the time I got to study with him a bit in the 1990s, he had mellowed considerably from his earlier days, when he had the reputation of being a tough taskmaster. I last saw him in late 2008, when the photos below were taken.






Information above was based on Aguabella's own biography, Raul Fernandez' From Afro-Cuban Rhythm to Latin jazz, and personal communication.

Tobacco Grower Alejandro Robaina dies at 91

CNN
'Godfather' of Cuban tobacco dead at 91
By Shasta Darlington, CNN

Havana, Cuba -- Alejandro Robaina, considered a legend among Cuban tobacco growers, died Saturday, according to Cuban cigar company Habanos S.A., which produced cigars named for him.

Robaina was 91. He was diagnosed with cancer last year and died on his farm in the western Cuban province of Pinar del Rio, said Habanos spokesman Jose Antonio Candia.

Robaina's tobacco leaves are considered some of the best in the world. In Cuba, he was called "The Godfather." His deeply wrinkled face smiled out from billboards, T-shirts and boxes of Vegas Robaina cigars, among Cuba's finest. A box of premium Vegas Robaina cigars can fetch more than $500 on the international market.

But the man behind the smile was also a simple country farmer who got up at the crack of dawn every day to survey his fields until cancer slowed him down.

"I wouldn't say I've triumphed, but I've done something with my life," he told CNN in 2008. "The first thing is to love the land, take care of the land."

Robaina's family have farmed tobacco continuously since 1845 on the plantation. Under Robaina, business flourished, and the plantation had some of the best yields in the region, producing highly-prized wrapper leaves used for the outer layer of cigars.

Cigar aficionados around the globe called him the dean of Cuba's cigar industry and every year thousands of visitors made the two-hour trek from Havana, hoping to share a stogie and a glass of rum with "the Don."

Robaina kept his lands even when many ranches were nationalized after the 1959 revolution led by Fidel Castro.

"I had a very strong conversation with Fidel 18 or 20 years ago," Robaina said in 2008. "He asked if I would join a big cooperative since I had so many workers, and I told him no.

"For me tobacco growing had to be in the family, done with love. Because in the big cooperatives, everyone's the boss, nobody worries as much as the grower."

Now, almost all of Cuba's tobacco farms are private, according to the Agriculture Ministry. And they generally take their lead from Robaina, planting and harvesting on the same days he did.

"I like to sow during a waxing moon, and harvest in a waning moon," he said.

Robaina said he'd been smoking cigars since he was 10 years old. "When I get really old, I'll stop smoking the strong stuff," he said.

In 1997, Cuba launched the Vegas Robaina brand, named in his honor. They're made from the golden wrapper leaves grown on Robaina's plantation but are rolled in a separate factory.

Like most of Cuba's cigars, they're largely exported. Because of the U.S. trade embargo, however, Cuban cigars are off-limits in America.

Robaina said in 2008 he hoped that policy would end during his lifetime.

"Of course I have hope they'll open up the market," he said. "Cuba's willing to send cigars and they're willing to smoke them. They're going crazy because they can't smoke cigars from here."

Robaina will be buried Sunday, said Candia.

Graciela Peréz-Gutierrez (1915-2010)

NYT has an obituary of the famous Graciela:

April 9, 2010
Graciela Peréz-Gutierrez, Afro-Cuban Singer, Dies at 94
By BEN RATLIFF

Graciela Peréz-Gutierrez, known professionally as Graciela, one of the great voices in Afro-Cuban music, died on Wednesday in Manhattan, where she lived. She was 94.

The cause was renal and pulmonary failure, said Mappy Torres, her friend and assistant.

For 32 years, Graciela sang with a band formed by her foster brother, Machito, whose real name was Frank Grillo.

Many of Graciela’s most famous appearances on records, including “Que Me Falta,” “Vive Como Yo,” “Ay José” and “Si Si No No,” were swoons and flirtations, from coy to outrageous. She was a forthright performer, singing with a clear and powerful alto voice; she could make it soft, then expand it into a clipped vibrato or a ragged shout.

Graciela and Machito, both raised by Graciela’s parents in Havana, were each established professional singers before they teamed up in New York in 1943.

In Cuba, Graciela had been singing with the all-female Orquesta Anacaona and El Trio Garcia and had traveled to New York, South America and Europe. Machito had moved from Havana to New York City in 1937, recorded with the Orchestra Siboney and Xavier Cugat, and ultimately formed the Afro-Cubans with the trumpeter Mario Bauzá, a group that helped galvanize the mambo and Latin-jazz movements.

When Machito was drafted into the United States Army in 1943, Bauzá sent for Graciela, eight years Machito’s junior, to join the Afro-Cubans. She was the band’s lead singer for a year before Machito’s return. From then through the 1950s, with the two lead singers trading off vocal turns and Graciela clicking through the rhythm pattern with her wooden claves, the band established a high standard for the mambo orchestra.

The Afro-Cubans played to integrated audiences at the Palladium, Town Hall, the Apollo, the 52nd Street jazz clubs, the Concord Hotel in the Catskills and the Crescendo nightclub in Hollywood, among other places.

Graciela left the Afro-Cubans in 1975 but rejoined with Bauzá’s own band, first in 1976 on “La Botanica” and then during the 1990s in his career’s 11th-hour revival.

Graciela was never married and had no immediate surviving family members. She died, Ms. Torres said, with her claves in her hands.

Jesús Alfonso Miró, Director of Los Muñequitos de Matanzas, Dies at 60

From Ned Sublette:

At 6:45 a.m. today, June 3 2009, at 60 years of age, Jesús Alfonso Miró,
musical director of Los Muñequitos de Matanzas, exceptional composer and
percussionist, died in his home town of Matanzas, Cuba. The only son of the
Alfonso Miró family, he was the father of 8 children, all dedicated to the
rumba as musicians or dancers. Two of them have been members of the
Muñequitos and at present, Freddy Jesús Alfonso Borges, a practitioner of
his father’s art, plays the quinto of the group and has begun to follow as
well in his path as the composer of heartfelt rumbas.

As a musician of Los Muñequitos Jesús traveled to almost all the continents.
Wherever he went he left friends and disciples. He shone on every stage he
played on, but he never forgot his roots and lived a full life, proud of his
lineage as a rumbero, enjoying the flavor of every corner of his barrio, la
Marina. Beginning at the age of seven, he participated as a musician and
dancer in the Comparsa La Imaliana, founded by his father and by Félix
Vinagera. For a time he was a member of the Orquesta de Música Moderna of
his city and of the Papa Goza group. From 1967 he was musical director and
quinto of Los Muñequitos de Matanzas, a group which he profoundly loved and
to which he dedicated the greatest part of his life.

As a composer he was indispensable to the repertoire of the group, with his
works known worldwide. He was the author of “Congo Yambumba,” “La Llave,”
“Chino Guaguao,” “Lengua de Obbara,” “Saludo a Nueva York,” and many others
that are now classics of Cuban rumba. Prestigious interpreters including
Eddie Palmieri took note of his sabrosura and the popularity of his works,
including them on their records and mentioning him as indispensable to the
music of our continent.

When Jesús Alfonso was still very young, together with another of the great
figures of Los Muñequitos, Ricardo Cané, he went to the mountains of Cuba to
teach literacy to the people of the countryside, graduating later as a young
revolutionary teacher. For his great contributions to music and to his
community, he received the title of Hijo Ilustre (Illustrious Son) of
Matanzas.

Jesús Alfonso, member of the Matanzas society Efí Irondó Itá Ibekó and
respectful observer of the regla de Osha, will be remembered by all his
community and especially by rumberos around the world. His name will never
be forgotten. His strong voice and the sound of his hands on the skins will
remain in the memory of those who knew him and recognize him as one of the
most celebrated musicians of all time, because Jesús was to the rumba as was
Cuní or Chapottín to the son. Jesús gave his entire life to the rumba. His
name is next to Chano, Tata, Papín, and all the greats of Cuban music.

Viewing will be in the place where Los Muñequitos de Matanzas rehearse every
day, at 7906 Matanzas Street, between Contrera and Milanés. After respects
are paid, he will be buried in the early hours tomorrow.

To his wife Dulce María Galup, to his children and other family members, to
Diosdado Ramos and all his compañeros in the rumba who have so much admired
him and are today feeling his loss, we send our heartfelt condolences.


CARY DIEZ

As per Ned's List (Sublette)

Bassist Orlando "Cachaito" Lopez (1933-2009)

AP
Buena Vista Social Club bassist Lopez dead at 76
By ANDREA RODRIGUEZ, Associated Press Writer Andrea Rodriguez, Associated Press Writer 2 hrs 1 min ago

HAVANA – Orlando "Cachaito" Lopez, considered the "heartbeat" of Cuba's legendary Buena Vista Social Club for his internationally acclaimed bass playing, died Monday of complications from prostate surgery, fellow musicians said. He was 76.

Lopez, a founding member of the band brought together in the 1990s by American guitarist and producer Ry Cooder, died in a Havana hospital several days after surgery, said Manuel Galban, a Cuban musician who played with Lopez for decades.

"We have lost a great companion," said Galban.

Born in Havana in 1933, Lopez became an international sensation as part of the Buena Vista Social Club — a group of elderly, sometimes retired, musicians who were living quietly in Cuba before Cooder brought them together and they became worldwide sensations.

"I will remember him as marvelous, both in his music and as a person," Galban, a guitarist, said by telephone. "He was extraordinary, affable, a great bassist."

Lopez died less than a week after turned 76.

"I called him last week because it was his birthday and his voice didn't sound too good," said musician Amadito Valdes, who added that Lopez had undergone prostate surgery several days ago. "He was a person who was always sharing with everyone around him, very noble."

Lopez was held by many to be Buena Vista's heartbeat and had played to international audiences as part of its touring company.

The group, which plays a mix of traditional Cuban rhythms, has lost many of its key members of late. Singer Compay Segundo — who was born Maximo Francisco Repilado Munoz — pianist Ruben Gonzalez, and vocalists Ibrahim Ferrer and Pio Leyva have all died in recent years.

But Lopez was also a star in his own right, independent of Buena Vista. His groundbreaking debut album Cachaito won a BBC Radio 3 Award for Word Music in 2002.

Lopez hailed from a family of at least 30 bass players, including his uncle, legendary bassist Israel "Cachao" Lopez. His nickname translates to "Little Cachao." His father Orestes played piano and cello in addition to the bass and was also a composer.

Lopez originally played the violin, but as he said publicly many times, eventually switched to the bass after his grandfather urged him to take up the family craft.

He was a pioneer of Cuban mambo, and by 17 was part of a noted big band group known as Riverside. He later joined Cuba's national symphony. He also played with a band called "Los Zafiros."

Lopez was at home playing classic as well as popular music but also dabbled in late night jazz and jazz fusion.

However, he only gained international notoriety when Cooder brought him together with such standouts as Compay Segundo, Ibrahim Ferrer, Ruben Gonzalez and Omara Portuondo to form Buena Vista.

Later, Wim Wenders released a documentary titled Buena Vista Social Club, in which he profiled the musicians whose talents had all but been forgotten.

Family members planned to cremate the body but there was no immediate word on funeral services.

Orlando "Puntilla" Rios (1947-2008)

Global Rhythm

Master batá drummer Orlando “Puntilla” Ríos, a seminal figure in the New York Latin music scene, died in a New York City hospital August 12 of complications from heart surgery. He was 60.

Ríos arrived from Cuba in 1980 with the Mariel boatlift and formed an Afro-Cuban folkloric group called Nueva Generación (New Generation) intent on preserving and disseminating both sacred Afro-Cuban music and secular forms such as rumba. He became a pillar of the religious Santería community in New York City as well as an in-demand session musician, recording with such luminaries as the Latin jazz pioneer Chico O’Farill.

Ríos relished his role as mentor and teacher to up and coming percussionists, transmitting what Cubans call “fundamento” (fundamentals) on the sacred, two-headed batá drum used in Santería ceremonies and increasingly in secular music. He was also renowned for his prowess on the conga drums and diverse percussion instruments. Ríos’ polyrhythmic performances and recordings such as 1996’s Spirit Rhythms: Sacred Drumming and Chants From Cuba are credited with exposing a wider audience to Cuban folkloric music. His last project was a tribute album honoring the guaguanco rumba legacy of the late Cuban singer-percussionist Gonzalo Asencio (“Tío Tom”). Released this year by Smithsonian Folkways Recordings, Ríos recorded the album in Havana’s legendary Egrem studios accompanied by El Conjunto Todo Rumbero.



Born in Havana in 1947 (Dec. 26?), Ríos was a teacher of percussion at the National School of Art in Cuba between 1971 and 1978. He went from performing in the city’s most exclusive hotels - storied cabarets such as the ones in Tropicana and the Hotel Riviera, to accompanying great Latin music figures of the stature of Celia Cruz and Tito Puente on the international stage. He is survived by his wife Ileana. - Lissette Corsa

"Cachao" Israel Lopez (1918-2008)

The King of Latin bass is dead. Long live the king:

MIAMI HERALD


Print This Article
Posted on Sat, Mar. 22, 2008
Legendary musician 'Cachao' dies at 89
By ENRIQUE FERNANDEZ
Known to the world simply by his nickname -- Cachao -- bassist, composer and bandleader Israel López died Saturday morning at Coral Gables Hospital of complications resulting from kidney failure. He was 89.

Cachao was one of the most important living figures in Cuban music, on or off the island, and ''arguably the most important bassist in twentieth-century popular music,'' according to Cuban-music historian Ned Sublette. He not only innovated Cuban music but also influenced the now familiar bass lines of American R&B, ''which have become such a part of the environment that we don't even think where they came from,'' Sublette said.

Cachao and his brother Orestes are most widely known for their late-1930s invention of the mambo, a hot coda to the popular but stately danzón that allowed the dancers to break loose at the end of a piece.

It debuted in a chic Havana night club -- and flopped.

''Nothing happened,'' Cachao told The Miami Herald in 1992. ``Here was this 180-degree turn. The whole orchestra was out of work for six months after that because people didn't understand that type of music.''

Typically modest, Cachao always credited bandleader Dámaso Pérez Prado for making the beat world-famous in the 1950s.

''People think there could've been some antagonism,'' Cachao said. But ``if it weren't for him, the mambo wouldn't be known around the world.''

A possibly more important musical moment took place in 1957, when Cachao gathered a group of musicians in the early morning hours, pumped from playing gigs at Havana's popular nightclubs, for an impromptu jam at a recording studio. The resulting descargas, known to music aficionados worldwide as Cuban jam sessions, revolutionized Afro-Cuban popular music. Under Cachao's direction, these masters improvised freely in the manner of jazz, but their vocabulary was Cuba's popular music. This was the model that wold make live performances of Afro-Cuban based genres, from salsa to Latin jazz, so incredibly hot.

This majestic influence came from a man of sweet demeanor and unassailable sense of humor. Fronting his band at a fancy dance in Coral Gables when he was already in his late 80s, he seemed so frail that he had to lean his whole body on the contrabass to keep from falling. But his beatific smile and closed eyes proved that he was in heaven already, embracing his instrument like a lover, like a strong friend.

Yet he no longer owned a bass.

''That's outrageous,'' said jazz legend Charlie Haden when he heard this at the time. ``I'll give him one of mine.''

But a contrabass took up too much room in his small Coral Gables apartment. Besides, what need did he have to rehearse? Cachao carried his bass, his music, inside him.

A marvel of the 20th century, Cachao was born in 1918 in the same Havana house where Cuban poet and patriot José Martí was born. He was the youngest of three children in a family of distinguished musicians, many of them bassists -- around 40 and counting in his extended family.

As an 8-year-old bongo player, he joined a children's septet that included a future famous singer and bandleader, Roberto Faz. A year later, already on bass, he provided music for silent movies in his neighborhood theater, in the company of a pianist who would become a true superstar, the great cabaret performer Ignacio Villa, known as Bola de Nieve (Snowball).

His parents made sure Cachoa was classically trained, first at home and then at a conservatory. When he was 13, he joined his father and brother in the Orquesta Filarmónica de La Habana -- The Havana Philharmonic -- playing contrabass under the baton of guest conductors like Herbert von Karajan, Igor Stravinsky and Heitor Villa-Lobos. He had to stand on a box to reach the strings.

He was equally at home playing in a dance band, changing out of his coattails at the end of a concert to play with Arcano y sus Maravillas. When they weren't playing, Cachao and his brother created some 3,000 danzones.

''One day I was in my own home and I turned on the radio,'' he told The Miami Herald. 'And I heard a danzón that I liked. And I said `Who is that'? -- and at that moment, the announcer says it's mine.''

After a rich musical career in his home country, he left Cuba in 1962. His brother Orestes stayed on the island. As retribution for leaving, Cachao said, the Cuban government removed his name from all of his recordings, leaving only Orestes on the label. That, he said, was a ``big tragedy.''

Cachao eventually landed in Las Vegas because, as he admitted, ``I was a compulsive gambler.''

Though cured later in life, he nearly gambled away every penny until his wife whisked him away.

For a while, he had two distinct musical personae. In the New York salsa scene he was revered as a music god, with homage concerts dedicated to him, and records of his music produced by Cuban-music collector René López. In Miami, he was an ordinary working musician who would play quinceañeras and weddings, or back up dance bands in the notorious Latin nightclubs of the Miami Vice era.

It took a celebrity, Miami's own Andy García, to integrate his musical personality into one: that of a legendary master. In the '90s, García produced the recordings known as Master Sessions, accompanied by big concerts honoring his legacy. Cachao's star rose again.

But he remained a working musician, if at a much higher level of appreciation. Cachao continued to perform and record with all the energy of a much younger artist. Though already frail and distraught at the funeral of his fellow legend, trombonist Generoso Jiménez, in September 2007, he headlined a rollicking concert in Miami a week later.

Earlier this month, just days before he was hospitalized, the multiple Grammy winner was in the Dominican Republic receiving a lifetime achievement award. Cachao was planning an European tour in August with violinist Federico Britos, with whom he frequently collaborated.

The day before his death, Cachao told his friend Britos, ''When am I supposed to record with you again? I have to get out of bed.'' And he was in pre-production for a CD of new compositions.

''It was not only a great musician who died,'' said producer Emilio Estefan, who was at his bedside, ``but a great señor -- a gentleman. Even in his deathbed he would make sure his visitors felt at ease. He belonged to the people.''

Cachao, whose wife of 58 years, Ester Buenaventura López, died in 2004, is survived by their daughter María Elena López, grandson Hector Luis Vega and his nephew Daniel Palacio.


Cuban music icon 'Cachao' dies
Grammy winner pioneered mambo, influenced modern-day rhythms
The Associated Press
updated 6:12 p.m. PT, Sat., March. 22, 2008

MIAMI - Cuban bassist and composer Israel "Cachao" Lopez, who is credited with pioneering the mambo style of music, died Saturday at age 89, a family spokesman said.

Known simply as Cachao, the Grammy-winning musician had fallen ill in the past week and died surrounded by family members at Coral Gables Hospital, spokesman Nelson Albareda said.

Cachao left communist Cuba and came to the United States in the early 1960s. He continued to perform into his late 80s, including a performance after the death of trombonist Generoso Jimenez in September 2007.

Cachao was born in Havana in 1918 to a family of musicians. A classically trained bassist, he began performing with the Havana symphony orchestra as a teenager, working under the baton of visiting guest conductors like Herbert von Karajan, Igor Stravinsky and Heitor Villa-Lobos during his nearly 30-year career with the philharmonic.

He also wrote hundreds of songs in Cuba for bands and orchestras, many based on the classic Cuban music style known as son.

He and his late brother, multi-instrumentalist Orestes Lopez, are known for the creation in the late 1930s of the mambo, which emerged from their improvisational work with the danzon, an elegant musical style that lends itself to slow dancing.

"The origins of 'mambo' happened in 1937," Cachao said in a 2004 interview with The San Francisco Chronicle. "My brother and I were trying to add something new to our music and came up with a section that we called danzon mambo. It made an impact and stirred up people. At that time our music needed that type of enrichment."

Cachao influences
The mambo was embraced early on and Cuban composers and jazz musicians have tweaked it over the years. It also influenced the development of salsa music.

In the 1950s, Cachao and his friends began popularizing the descarga ("discharge" in Spanish), a raucous jam session incorporating elements of jazz and Afro-Cuban musical approaches.

Cachao left Cuba in 1962, relocating first to Spain, and soon afterward came to New York where he was hired to perform at the Palladium nightclub with the leading Latin bands.

In the United States, he collaborated with such Latin music stars such as Tito Puente, Tito Rodrigues, Machito, Chico O'Farrill, Eddie Palmieri and Gloria Estefan.

He worked in Las Vegas for most of the 1970s. He fell into obscurity during the 1980s after he moved to Miami, where he ended up playing in small clubs and at weddings.

Career revival
But his career enjoyed a revival in the 1990s with the help of Cuban-American actor-director Andy Garcia, who made a 1993 documentary about the bassist's career, "Cachao ... Como Su Ritmo No Hay Dos" (Like His Rhythm There Is No Other) and also produced several CDs, including the Grammy-winning album "Ahora Si!" in 2004.

In 2006, Cachao was saluted at two Jazz at Lincoln Center concerts with the Afro-Latin Jazz Orchestra paying tribute to the Latin bass tradition, and he led a mambo all-star band at a JVC Jazz Festival program at Carnegie Hall.

In a statement Saturday, Garcia credited Cachao with being a major influence in Cuban musical history and said his passing marked the end of an era.

"Cachao is our musical father. He is revered by all who have come in contact with him and his music," Garcia said. "Maestro ... you have been my teacher, and you took me in like a son. So I will continue to rejoice with your music and carry our traditions wherever I go, in your honor."

Cuban-born reed player and composer Paquito D'Rivera said Cachao made friends everywhere he went with his affable personality and good sense of humor. D'Rivera said he was working on a piece he had written for the multiple Grammy winner when he heard about the death.

"He was what a great musician should be. He represented what true versatility in music is all about," D'Rivera told The Associated Press in a telephone interview.

A wake is set for Wednesday, and his burial is Thursday, Albareda said.

Tata Guines (1930-2008)

Cubans mourn 'King of the Congas'

By JAVIER GALEANO, Associated Press Writer Tue Feb 5, 8:08 PM ET

Cuban musicians, family and friends remembered the island's most famous conga drummer, Tata Guines, as he was buried outside Havana on Tuesday after a six decade career that helped popularize Afro-Cuban rhythms worldwide.

Known as the "King of the Congas" and "Golden Hands," the 77-year-old Guines died Monday after being hospitalized for hypertension and kidney problems.

"There's no one in Cuba, if not the world, better at making percussion an art," Cuban music critic Jose Luis Estrada wrote Tuesday in the state-run newspaper Juventud Rebelde.

Mourners sang, clapped and swayed at a ceremony in his hometown of Guines — which he took as his stage name at the start of his career.

Born Federico Aristides Soto on June 30, 1930, Guines was best known for playing the conga, a tall, barrel-like drum central to Rumba and Afro-Cuban music and culture.

He took the stage in Havana in the early 1940s with the Partagas Sextet and moved to the United States in 1957, where he performed with jazz greats Josephine Baker, Frank Sinatra, Dizzy Gillespie and Miles Davis.

Though he enjoyed success in the U.S., Guines was upset by the racial segregation he experienced there and returned to Cuba after Fidel Castro's rebels toppled dictator Fulgencio Batista in 1959.

Guines won a Latin Grammy in 2004 for "Lagrimas Negras," or "Black Tears," a collaboration with legendary exiled Cuban jazz pianist Bebo Valdes and Spanish singer Diego La Cigala. He also worked with the Rumba Cubana All-Stars on "La Rumba Soy Yo," or "I Am the Rumba," which won a Latin Grammy in 2001.

He received Cuba's National Music Award in 2006.

Carlos "Patato" Valdés, a Conga King of Jazz, Dies at 81

New York Times
December 6, 2007
Carlos Valdés, a Conga King of Jazz, Dies at 81
By BEN SISARIO

Carlos Valdés, better known as Patato, whose melodic conga playing made him a giant of Latin jazz in Cuba and then for more than half a century in America, died on Tuesday in Cleveland. He was 81 and lived in Manhattan.

The cause was respiratory failure, said his manager, Charles Carlini.

Born in Havana, Patato (a reference from Cuban slang to his diminutive size) played in the 1940s and early ’50s with important groups like Sonora Matancera and Conjunto Casino. He became a star in the early days of Cuban television for his virtuosic playing and for his showmanship; his signature song was “El Baile del Pingüino” (“The Penguin Dance”), which he illustrated with side-to-side, penguinlike movement in perfect time.

He came to the United States in the early 1950s and settled in New York, where he quickly established himself as an indispensable player, performing and recording with some of the top names in jazz and Latin music. In the ’50s and ’60s he worked with Dizzy Gillespie, Tito Puente, Machito, Kenny Dorham, Art Blakey and Elvin Jones; he played with Herbie Mann from 1959 to 1972.

Known for his fluid, improvisatory melodies, Mr. Valdés tuned his drums tightly to produce clear, precise tones, and he popularized the playing of multiple conga drums; when he began his career, conga players, or congueros, typically used only one or two drums, but Mr. Valdés played three, four or more to allow a wider range of tones.

He is also associated with using a key to tune the congas instead of heating the skins with a flame. Latin Percussion, the leading Latin drum company, makes a Patato line of conga drums.

Mr. Valdés had an influential role in expanding the rumba form. His 1968 album “Patato & Totico,” recorded with Eugenio (Totico) Arango, a singer who was a boyhood friend from Havana, was particularly inventive. Instead of sticking to the usual format of drums and vocals, the album added several other instruments played by star musicians like Israel (Cachao) López on bass and Arsenio Rodríguez on tres, a six-string Cuban guitar. It is said to be Mr. Rodríguez’s last recording session, and its innovations had a lasting effect on Latin jazz.

“I had these ideas and wanted to advance them through jazz,” Mr. Valdés said in an interview with Latin Beat magazine in 1997. “I wanted something progressive.”

He was also a flamboyant performer who knew how to work a crowd. One of his performance hallmarks was jumping atop his drums and dancing while keeping the beat. In the 1956 film “And God Created Woman,” he is briefly seen teaching Brigitte Bardot to dance the mambo.

He is survived by his wife, Julia; two daughters, Yvonne and Regla; and two grandchildren, Jose Valdes and Mayra Garcia.

Mr. Valdés never stopped touring, recently working with his group the Conga Kings, which also includes Giovanni Hidalgo and Candido Camero, a fellow octogenarian. While flying back a few weeks ago from concerts in California — including one at the San Francisco Jazz Festival on Nov. 9 — he had trouble breathing, and the plane made an emergency landing for him in Cleveland. He had been hospitalized since then.

Chachá's Obituary in Cuban Newspaper

GRANMA
Murió uno de los fundadores de Los muñequitos de Matanzas

Matanzas, Cuba, 19 julio.— Los tambores tocaron con sentimiento "Cuando se pierde a un amigo" para despedir a uno de sus más emblemáticos cultores, Esteban "Chachá" Vega, quien murió hoy aquí a los 82 años de edad.

Fue uno de los fundadores de la agrupación Los muñequitos de Matanzas, ganadora de un Grammy Latino, y reverenciada por el público y la crítica especializada internacional.

La salud de Vega se resintió a principios de año cuando severos trastornos circulatorios requirieron la amputación de una de sus piernas.

Con su muerte se cierra el capítulo de los ocho músicos que en octubre de 1952, en la humilde barriada La Marina de esta ciudad -100 kilómetros al este de la Habana- dieron vida a la agrupación de ritmos afrocubanos Los Muñequitos.

"Mi paso por Los muñequitos fue uno de los mayores sucesos en mi vida", confesó Vega en una ocasión cuando destacó también: todo lo que aprendí, lo aprendí en mi barrio.

El etnólogo Juan García comentó a Prensa Latina que Chachá fue una importante representación de la cultura popular afrocubana, y por su destreza y limpieza en los toques revolucionó estos ritmos.

No tuvo hijos pero sí muchos descendientes y dejó sembrado sus conocimientos en esos muchachos. Los mejores percusionistas que tiene Matanzas en la actualidad son prueba viviente de ello, señaló.

No fue egoísta y brindó su sabiduría como a él también se la transmitieron antes. Fue consecuente con la tradición de que "un solo palo no hace monte", destacó.

El sepelio del tamborero más viejo de la mayor de las Antillas tendrá lugar en el cementerio San Carlos de la urbe matancera. Entre las ofrendas florales enviadas figuró una a nombre de Abel Prieto, ministro de Cultura de la isla.

Cuban Flutist Richard Egües (1924-2006)

A great obituary from Descarga.com

Richard Egües (1924-2006)

Richard Egües passed away this past September 1st. Richard was, in my opinion, Cuba's greatest charanga flutist of all time. His greatest career accomplishment was his long tenure with Orquesta Aragón from the spring of 1955 through the fall of 1984.

Eduardo Richard Egües was born in the town of Cruces, in the central Cuban province of Las Villas. As a child he also lived in the Las Villas town of Sancti Spiritus and then moved with his parents to the Las Villas Province capital city of Santa Clara (now known as Villa Clara). In Santa Clara Richard learned how to read music and soon became skilled in several musical instruments, such as the piano, clarinet and saxophone. He was also somewhat of a percussionist since versatility was a must in the world of music and the other arts at the time. At Santa Clara he joined his dad as a cymbal player in that city's Municipal Band and later also joined him in Orquesta "Monterrey." These musical experiences and his skills led him to choose the semi-glossy 5 key wooden flute. The flute became his favorite instrument and flute players were in demand at the time, due to the popularity of successful charanga groups such as Arcaño, Melodias del 40 and others.

Around the late 40's Richard Egües was recommended to Orquesta Aragón of Cienfuegos' founder, director and bass player Orestes Aragón Cantero. Aragón needed someone to fill in for the orchestra's co-founder and flute player Efrain Loyola, who was taking some time off for personal reasons. Richard filled in for Professor Loyola with success. In 1949 Orestes Aragón became ill, decided to retire and leave Orquesta Aragón under the direction of its first violinist, Rafael Lay, Sr. About a year later, in 1950, Professor Loyola decided to leave the orchestra to form his own group under the name of Orquesta "Loyola." Rafael Lay sought Richard Egües and offered him the vacant position left by Loyola, but for reasons best known to him, Richard refused. Rafael Lay then offered the vacancy to his longtime friend and childhood buddy Rolando Lozano who was also a greatly skilled flute player. However, five years later Rolando Lozano accepted an offer from Orquesta America's director and chorus singer, Ninon Mondejar, to join America in Mexico City. Lozano left for Mexico accompanied by his brother Clemente who was also a skilled flute player. Rafael Lay then sought Richard Egües to replace Lozano and, this time, Richard accepted and joined Aragón.

The acquisition of Richard Egües proved to be the key to an even greater success by Orquesta Aragón and soon it occupied the number #1 spot in popularity in Cuba. It was a perfect union. Around July of 1955, Lay, by popular demand of audiences in Havana, decided to move Orquesta Aragón from their native Cienfuegos in Las Villas to Havana. And there shortly afterwards Cuba's outstanding radio station Radio Progreso contracted Orquesta Aragón. The orchestra continues to play there to this day. Since both Richard Egües and Rafael Lay were proficient, to say the least, in playing their instruments and both had a natural love for classical music, together they made musical history, creating a unique style in playing Enrique Jorrin's Cha Cha Cha rhythm, earning Aragón the surname, "Estilistas de Cha Cha Cha" or "The Stylists of the Cha Cha Cha." Their unique style included injecting classical music passages into their special arrangements giving Orquesta Aragón a unique seal of identification which greatly pleased not only connoisseurs but the demanding and unforgiving Cuban public in general, elevating Orquesta Aragón to international fame status in a short period of time.

However, Richard Egües still had other sources of income as he fine-tuned pianos as a part time activity and often a then increasingly popular radio announcement could be heard on Radio Progreso as star program host and radio announcer Pimentel Molina said, "Richard Egües fine tunes pianos, please contact Richard at such and such phone number or go directly to his home at Desague St. in Havana and make sure to tell Richard, Pimentel Molina sent you." It was business creating not just more business but also new friendships and connections. Soon Richard was fine tuning virtually every piano in Havana. How he managed to squeeze so much in one day never ceased to amaze. Richard never stopped free-lancing and participated in various All-Star recordings such as Gema's Lp "Los Mejores Musicos de Cuba" which included fellow luminaries like Bebo Valdés, El Negro Vivar, Tojo Jimenez, Tata Guines and many others as well as the famous and successful all star Panart Cuban Jam Sessions.

To fathom the deep influence classical music had on both Egües and Lay, just one example of many I'd like to mention is the clever, matching and timely injection of "Rondo Capriccioso," a classical music piece composed specially for violin solos, authored by French classical music maestro "Saint-Saens" in the musical intermission of Osvaldo Alburquerque's successful bolero-cha cha cha, "No Puedo Vivir." Other similar additions in their extensive recorded and non-recorded repertoire preceded and followed keeping Orquesta Aragón at the top. The late Mongo Santamaria was once quoted as saying that the difference between the two most prominent of Orquesta Aragón's flute players, Rolando Lozano and Richard Egües, was that Lozano was the "street flute player," much like Arcaño and Fajardo to name just a couple and Egües was the "classical flute player." It was a most accurate assessment.

During the fall of 1957, when Orquesta Aragón reigned supreme in Cuba and in most of the world of Latin music, an incident almost cut short or at least greatly hindered Richard Egües' career. A jealous woman nearly succeeded in blinding him by pouring a liquid acid cleanser on his eyes as he was waking up one morning. Every newspaper, tabloid and magazine in Cuba carried the scandalous story. Richard was fortunate that he was immediately taken to the nearby "Hospital de Emergencia," the "Emergency Hospital" in Carlos III Ave. (near my house) and there, thanks to the timely and quick intervention of eye specialists, they were able to save his eyesight. There was still some minimal damage for which his eyeglass prescription had to be changed to a stronger one. In about 2 months he recovered and Richard was back with Orquesta Aragón. This scary experience compelled Richard to compose and record for RCA with Aragón the bolero-cha "Asi Es Mejor" featuring a beautiful solo vocal by Aragón's then lead singer Jose "Chino" Olmo. Unfortunately only its flip side, "Cha Cha Cha El Satelite" has been found and re-issued in recent years, but "Asi Es Mejor" is still shelved in the RCA vaults or has vanished. During his two months absence due to the acid incident, Richard was replaced with Efrain Loyola's son Jose "Loyolita" Loyola, also a highly skilled flute player, who had experience with Aragón as he had previously replaced Richard during the winter of 1956-57, during a brief absence by Richard in which he had oral surgery and then made a trip to visit his family in his native Santa Clara. At the time another RCA recording was scheduled and "Loyolita" can be heard on that recording playing with Aragón in Felix Molina's cha cha cha, "Eso No Lo Aguanto Yo" and on its flip side was the beautiful "Cha Cha Cha Navideño," or "Christmas Cha Cha Cha" also, unfortunately, never released on either LP or CD.

Some of the Richard Egües' compositions he recorded with Orquesta Aragón, were "Desconsiderada," "Picando de Vicio," "El Trago," "La Muela"(inspired by his oral surgery), "Por Que Me Tienes Asi," "Cero Penas," "Sabrosona or Tan Sabrosona" jointly with Rafael Lay, the great danzon-cha "Gladys" and of course his milestone hit and composition "El Bodeguero" recorded by virtually every artist and group in the world, definitely his biggest money making super hit song. It is virtually impossible to keep track of all the awards both national and international won by Richard with "El Bodeguero" (the Grocer) not to mention the royalties, which kept pouring in decades after he composed it and first recorded it with Aragón during the winter of 1955-56. It was astonishing to see at the time in Havana, original 45 rpm RCA Camden, New Jersey, editions of "El Bodeguero" and its flip side "Señor Juez" delivered to record stores everywhere in the morning disappear from the shelves that same day by noon time or at least early afternoon. Record shops clerks would hide a few remaining copies for friends and customers and do exactly the same thing again and again with subsequent editions. Camden just couldn't keep up with the demands, until it finally subsided somewhat about 9-10 months later! I've never seen anything like it in my entire life. "El Bodeguero" was and perhaps still is unprecedented in both national and international popularity.

Richard Egües and the Orquesta Aragón became inseparable like bread and butter, etc. But in life all good things must come to an end. On August of 1982, Rafael Lay, Sr. was killed in an automobile accident on his way to his native Cienfuegos, Las Villas. Richard Egües was named interim director of Orquesta Aragón, until November 1984 when he decided to leave "for health reasons" and was replaced as director by violinist Rafael Lay Bravo, Rafael Lay's son. It must be said that in 1976 Richard stopped playing the five key wooden flute and substituted it for the least stressful "Bohemme" metal flute due to a kidney ailment. The five key wooden flute requires more pressure and stress to play than the metal ones. After he left Orquesta Aragón, Richard founded the "Orquesta Richard Egües" and recorded an LP album for Egrem, however the new group was not very successful and disbanded, an unusual happening for his brilliant career. Richard returned to free-lancing and played and recorded with other groups, some of which were the new and reorganized Orquesta America, also Felix Reyna's then new and re-organized Orquesta Estrellas Cubanas and around 2000 a successful all-star CD for the Lideres label entitled Richard Egües & Friends- Cuban Sessions. It should be also mentioned that the Richard Egües lineage continued in the world of Cuban music as his son Rembert Egües, a superbly talented musician, has directed various musical groups and orchestras in Cuba, starting his musical career with Orquesta Sensacion in which he substituted for its director and founder Rolando Valdés.

Last month I read in Descarga about the death of Richard Egües and I am honored to write this article as a hearfelt memorial to one of Cuba's most brilliant musicians and composers of all time. Cuba and Latin music lovers everywhere will never forget our dearly departed longtime friend Richard Egües.

May God embrace him as he enters his kingdom and may he give him eternal rest and peace.

Luis de Quesada, NYC

Cuban Conga Master Miguel ‘Angá’ Díaz Dies at 45

A tragic early death for a phenomenal musician. Check out "A Love Spreme" on his last album.

Cuban Conga Master Miguel ‘Angá’ Díaz Dies at 45
08/10/2006 09:04PM
Contributed by: WMC_News_Dept.

ObituariesUK - British label World Circuit announced today the death of Miguel ‘Angá’ Díaz. "World Circuit are shocked and saddened to announce the death of the great Cuban conga player Miguel ‘Angá’ Díaz who died unexpectedly at his home in Barcelona on 9th August 2006, he was 45."

With his explosive soloing and inventive five conga patterns, Angá’ was widely regarded as one of the world’s great congueros. He was committed to the development of the conga drum, breaking down traditional percussion barriers to perform traditional Latin rhythms, jazz, jungle and hip-hop, whilst retaining his distinctly Cuban roots.

Angá began playing prodigiously early, performing and recording professionally whilst still at college. He made his name as part of the pioneering Latin jazz group Irakere and it was with them he perfected his five drum technique. Emerging in the mid-nineties as an independent musician Angá was free to diversify and pursue a variety of different projects – from the experimental jazz of Steve Coleman and Roy Hargrove, to hip hop with Orishas, to his tours with Omar Sosa, and numerous side projects with musicians from all over the globe, Angá’s musical journey was a personal quest to explore and create new sounds and rhythmic fusions.

More than just a performer, Angá further demonstrated his commitment to the development of his instrument by teaching master classes at various schools and universities across North America and Europe. Angá produced a tuition video in 2000 which explained many of his techniques and his philosophy behind playing, it won Percussion Video of the Year from Drum Magazine. Angá would continue to teach on a regular basis and built up a network of students from his base outside of Barcelona.

Angá’s first project with World Circuit was the hugely influential Afro Cuban All Stars album, A Toda Cuba Le Gusta, recorded in 1996 which showcased the depth and vitality within Cuban music. Angá became an integral part of World Circuit’s extended Buena Vista Social Club family adding his trademark sound to albums from Rubén González, Ibrahim Ferrer, Omara Portuondo, Guajiro Mirabal, and the second Afro Cuban All Stars record. Angá’s own musical vision would emerge with the release of the album ‘Cachaíto’ an inspired union of Afro-Cuban jazz, reggae, hip hop and funk which he recorded with the Cuban bass legend Cachaíto López.

Building from the foundations laid by Cachaíto’s record, and incorporating elements of his own Santeria religion, Angá would finally fulfil his dream in 2005 with the release of his critically acclaimed album Echu Mingua, an exciting fusion of styles blended together the ‘Cuban way’ and is a fitting testament to the career of one of the great musical innovators.

"Angá was an irrepressible character with a larger than life personality, whose beaming grin and booming laugh were matched by a warmth and humility that touched all of those lucky enough to know him. He will be sorely missed," said a World Circuit press release.

Nueva Trova - Noel Nicola (1946-2005)

Cuban trova musician Noel Nicola dies


Associated Press

HAVANA - Noel Nicola, one of the founders of modern Cuban trova music, has died of cancer, his friends said. He was 58.

The singer died in Havana Sunday and was buried on Monday at services in which many of Cuba's top folk singers sang together.

Silvio Rodriguez joined others in a rendition of one of Nicola's most famous songs - "Es mas, te perdono," or "Furthermore, I Forgive You."

Nicola was born in the Cuban capital Oct. 7, 1946, into a family of musicians. He was composing songs by the time he was 13 years old.

His first onstage performance came in 1968, next to Cuban greats Rodriguez and Pablo Milanes.

The trio and several others founded the modern Cuban trova movement - music has its roots in the troubadour ballads composed during the island's wars of independence. Modern Cuban trovas recall American protest songs of the 1960s and 1970s that focused attention on social problems through musical storytelling.

Nicola performed in more than 30 countries in Europe, Africa, and North and South America. He also spent some of his time composing music for movies and the theater.

Ibrahim Ferrer (1927-2005)

Buena Vista Social Club Singer Ferrer Dies

By Anita Snow
The Associated Press
Sunday, August 7, 2005; 12:46 AM

HAVANA -- Ibrahim Ferrer, a leading voice with the hugely popular Buena Vista Social Club of vintage Cuban performers, died Saturday, his representative in Cuba said. He was 78.

The Montuno production company did not give a cause of death, but Ferrer's colleagues said he suffered from emphysema and was feeling ill earlier in the week.

Known for his trademark cap and graying mustache, Ferrer was a wiry, animated figure who clearly enjoyed performing Cuba's traditional "son" music of the 1940s and 1950s for new generations of fans.

Among a group of older Cuban performers recruited by U.S. musician Ry Cooder, Ferrer performed on the "Buena Vista Social Club album" that won a Grammy in 1999, and was among those appearing in the film of the same name.

"I felt like he was my brother," said fellow Buena Vista performer, the guitarist Manuel Galban. "He was a great musician and a great companion."

Also in 1999, Ferrer was featured in one of a string of albums that followed, "Buena Vista Social Club Presents Ibrahim Ferrer," and won a Latin Grammy for best new artist in 2000.

Two other well-known members of the original Buena Vista group, singer Compay Segundo and pianist Ruben Gonzalez, died in 2003.

Originally from Cuba's eastern city of Santiago, Ferrer was born on Feb. 20, 1927, during a dance at a social club after his mother unexpectedly went into labor.

Ferrer was still a boy when he began singing professional with Santiago groups in 1941. By the late 1950s, he was a well-known singer performing regularly with the late, great bandleader Pacho Alonso.

He also made guest appearances with other legendary names, including Benny More and Orquesta de Chepin.

Alonso's group moved to Havana in 1959, and Ferrer came along, remaining with the group for more than two decades. By the early 1980s, Ferrer had left the musical scene, but came out of retirement to perform with the Buena Vista group.
© 2005 The Associated Press