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Home , Dusty Fingers, Fania Records, Gimme Some Love, Harvey Averne, Ismael Quintana, Joe Bataan

Two Living Legends Give a History Lesson (Part 1)

Learn History Here

Priceless!! A chance to be present at this seminar with two of this musical genre’s most experienced and important individuals was, priceless.

On May 25th 2014, living legends John “Dandy” Rodriguez and Jose Madera, (combined knowledge and experience of over 100 years) gave a seminar at the Los Angeles Salsa Congress, talking about the scene and development of the music during the 50″s, 60’s and 70’s.

Now Salsa Legends And Masters Academy takes you there with this exclusive footage, not available anywhere else. Thanks to, Albert Torres for making it happen.

By Pete Nater

A very interesting interview I enjoyed listening to. I think you will too.

Learn Salsa Music History Here

In 2010, Earl “El Caobo“ of Radio Salsa Clásica/El Tornado Tropical, interviewed Dr. Frances Aparicio, an author, scholar and professor. Her credentials are very impressive and I found her to be very credible yet objective.

Here is a link to her interview, one that I think is important: Dr. Frances Aparicio Interview. Here is a link to the forum that is referred to in the interview: Salsa Forum Thread.

Very briefly, I’d like to say, I don’t care if you are green, pink, how you dance, where you were born or how you happened to be exposed to Salsa, I welcome you and encourage to stay, listen, dance and support Salsa. As a musician who loves the music and has played it for many years, It doesn’t matter what you look like, how you dance or where you’re from. I’m glad you’re here and I hope you’ll stay and bring your friends along, as they are welcome too.

By Pete Nater

Harvey Averne, Producer, Musician and Living Legend is an American , and the founder of CoCo Records, as well as its many subsidiaries. Established in 1972, CoCo was a label specializing in Afro-Cuban and Latin American Popular music, with special emphasis on the “ Sound”, commonly referred to as “Salsa”. Averne’s gift for identifying and bringing together new and established musical talent, along with the careful management of his artists’ public image, initially made CoCo Records a major label nationally, and subsequently an international success. Over the next decade, he signed internationally known artists and was instrumental in bringing Latin American music into the American cultural mainstream.

Averne personally ran the label from 1972 until 1979. His only rival was , the leading label at the time and for whom Averne had previously been employed. He incorporated his new company (in partnership with Sam Goff, previously of Scepter/Wand Records) and quickly became one of the leading record producers in the Latin music field.

In 1972 Averne signed the iconic artist to his label, producing and mixing two of Palmieri’s groundbreaking albums; “Sentido” and “Sun Of Latin Music”. These recordings were considered radical departures from the type of dance- oriented music that had prevailed during the previous two decades. The latter album earned Palmieri, Averne and CoCo the first Grammy ever awarded to an artist in the newly created “Latin Music” category (1975)

The following year (1976), Averne produced and mixed a third Eddie Palmieri album (“Unfinished Masterpiece”), which also won the coveted Grammy award. In addition, he achieved major successes in 1977 with two Grammy nominations for his productions of the and Eydie Gorme hit “Para Decir Adios” (from the album “Muy Amigos”) and The Orchestra with Lalo Rodriguez (“Fireworks”). Both albums were included among the final five nominees.

In subsequent years, various artists who were signed to the CoCo family of labels also won numerous awards and nominations. The list includes such notables as Lissette Alvarez, Wilkins, Mario Bauza and ,

During the company’s zenith, Averne acquired vast experience in the music industry and went on to become a top level marketing and sales director, with expertise in all facets of the recording industry (i.e. production, publishing, distribution, promotion, foreign licensing, contract negotiations and artist

LIFE AND WORK

Harvey Averne was the son of Harry Avrutsky, a Russian immigrant from Soviet Georgia. The elder Averne worked as a sewing machine operator in New York’s famed garment center and later Americanized his name to Averne. His mother, Sylvia Rothman Averne was born in the of Polish-

THE PERFORMER

By the time Averne was fourteen he was a professional musician. During the mid 1950’s through the 1970’s he appeared in hundreds of reviews and shows, at such popular New York venues as the Boulevard Night Club (Queens), The Palladium Ballroom, Lincoln Center, The , Jules Podell’s , Roseland Ballroom, Harlem’s Apollo Theatre, The Cotton Club, , Basin Street East, The Cheetah and The New York Academy Of Music, as well as ’s Aragon Ballroom, Coliseo Roberto Clemente in and the famed Hollywood Palladium. He found steady work and much inspiration during these years, appearing with such notables as , Tom Jones, , , , , The O’Jays, , The Main Ingredient, Grover Washington Jr., and , among others. In addition to the New York cabaret and club circuit, he performed with his own band “Arvito & His Latin Rhythms” in the Catskill Mountain Resort Area (also known as the , or the Jewish Alps), a popular vacation spot for New Yorkers since the1920s. He worked there from 1950 through1963, as well as in ’s Lido Beach and Long Beach, a strip which was known for its private beach clubs and hotels. He brought his fiery dance rhythms into the Malibu Beach Club, Colony Beach Club, The Coral Reef, The Monaco, The Sands and The Shelbourne. These venues drew thousands of day- tripper/members who arrived early to enjoy their cabanas, beaches, pools and tennis courts.

The aforementioned clubs offered such big-name performers as and Eydie Gorme, , Mal Z. Lawrence, Al Martino, , Hines, Hines and Dad; as well as the popular Latin bands of , Machito, Tito Rodriguez, Eddie Palmieri, , , La Playa Sextet and of course Arvito & His Latin Rhythms. All of these stars performed regularly at both the beach clubs and the Catskill resort hotels. Curiously, it was amidst all of this showbiz glitz that Harvey’s love for Latin American music and culture further manifested itself.

THE ENTREPRENEUR

In 1963 Averne established Coastal Home Improvement Corporation, recruiting and training a sales force of twenty three. He supervised and sub-contracted all residential construction and dealt directly with the Federal Housing Administration, Manufacturers Hanover Trust Co., Chase Manhattan Bank, Citibank, and Prudential Savings and Loan. Coastal was one of the largest and most successful home remodeling companies in , New York. He retired from that business in 1967, in order to dedicate himself entirely to his first love, Latin music. In 1967 the newly formed Fania hired Averne to run the company. Subsequently, he was signed as a recording artist and producer, working closely with the company’s owner Jerry Masucci, who was still occupied with his very successful law firm. He assisted in the label’s formation and growth from a small independent to the most prominent label in the Latin music business. During this initial period he continued to perform, while working closely with the label’s roster of artists.

RECORDING ARTIST and WRITER OF HITS

A prolific in his own right (over fifty of his songs have been recorded), Averne wrote most of the material for his newly formed group “The Harvey Averne Dozen”. Their album “Viva Soul”, for included the top selling hit “My Dream” as well as the often recorded and sampled “You’re No Good”, both of which are Averne-Sheller compositions. A second album for the Fania label, the self- titled “Harvey Averne Dozen” included Averne compositions “Accept Me”, “Can You Dig It” and the international dance hit “Never Learned to Dance”. It also included the movie theme “Lullaby from Rosemary’s Baby” (Harvey’s recording was subsequently sampled by on his track “Rest In Peace”).

He changed the name of the group to “The Harvey Averne Band” for the Fania release “Brotherhood” (1970). This album included various Latin crossover hits such as “Lovers”, “Come Back Baby”, “Come On And Do Me” and the pop hit “Central Park”. Around this time he began reinvesting his songwriting success into producing, and after years of hard work he was able to finally bring his ideas to full fruition.

THE PRODUCER

In addition to his involvement with the Fania label, Averne had other equally important projects that were also well received. In 1969 he produced, directed and mixed “The Queen Does Her Own Thing” for the extremely popular Cuban artist . The album was released on Roulette/Tico Records and included the hit single “Se Acabo” (Once We Loved). In addition, he produced and mixed the “The Harvey Averne Barrio Band” and “Toro” albums, for Heavy Duty/Fania Records.

During his tenure at Fania he either produced or supervised recordings by , Willie Colon, Orquesta Harlow, Hector Lavoe, , Bobby Valentin, Mongo Santamaria, , , , , The Latineers and George Guzman, among others.

While maintaining a managerial position as Vice President, Averne was still signed to the label as a recording artist and producer (a rarity back then), and freelanced on various productions for Scepter/Wand, Heavy Duty, Uptite and Atlantic Records as well. He was later named Executive Vice President of Fania’s new subsidiary Vaya Records. At Vaya he worked closely with such artists as , , Ricardo Ray and , Bobby Rodriguez y La Compañia and Markolino Diamond (which featured Angel Canales’s singing debut). Averne ran the Vaya label through 1971, and was responsible for all administrative functions and production.

In 1971 an obscure studio band known as The Chakachas recorded the hit single “Jungle Fever”, of which Averne was the band leader. This recording sold more than two million copies and won the ASCAP Award as one of the most performed songs of the year in their catalogue. Averne also produced the crossover hit gold record “I Want To Make It With You” for the artist Ralfi Pagan (Scepter/Wand/Fania) and was appointed General Manager and Executive Vice President of ’ Latin Music Division (UA Latino). There, he not only signed artists but established new distribution outlets and brought promotional techniques to the label that were innovative. These were the label’s most profitable years, with such international latin stars as Raphael, Tito Rodriguez, Nelson Ned, , Morris Albert (“Feelings”), , Martinha, Mocedades, Astor Piazzola and Jose Trellis all forming part of its huge roster. “The Harvey Averne Group” also recorded “Let’s Get It Together You and Me” for .

Harvey Averne remained active as Vice President and General Manager of UA Latino until 1972, when he decided to create his own label, CoCo Records. By 1977 his company had gained international prominence, due to a license agreement with Spain’s Zafiro Records. CoCo acquired Zafiro’s catalogue for distribution in the U.S.A., which also included some Latin American territories. The roster of stars on the Zafiro label included Juan Carlos Calderon, Basilio, Juan Bau, Mocedades (“Eres Tu”), Astor Piazzola and Joan Manuel Serrat, among others. In exchange, CoCo was distributed exclusively in Spain by Zafiro.

In 1979 Averne partnered with Lenny Fitchelberg and Sam Goff, forming Prism Records. The Prism label specialized in dance music (a genre that peaked in popularity during the late 1970s), releasing such top ten hits as the Erotic Drum Band’s “Plug Me To Death” and “Not Too Young” by Alfonso “The Tap Dance Kid” Ribeiro. In addition, he produced and re-mixed Regine’s International Hit “Je Survivrai” (I Will Survive) and a disco version of ’s “Cocaine” by Chi-Chi Favelas.

Although CoCo continued to produce major hits throughout the 1970s, there were numerous financial problems and by the advent of 1980s the record company was no longer the major force it had previously been. Averne had already relocated to and Belgium in 1979 to work on Euro-Disco productions for Aquarius-Unidans Records, working with Jean Claude Pellerin & Jean Van Loo in production of tracks for various artists, including , whose hit “Born To Be Alive” sold more than six million copies worldwide.

While in , Averne negotiated a license agreement between Aquarius/Unidans and CBS/Atomic Records for U.S.A. distribution. He also discovered and presented her to Aquarius/Unidans Records. The fledgling singer was hired as back-up dancer for Patrick Hernandez for his live shows and tours and was subsequently signed to her first recording contract with Aquarius/Unidans.

After1979, Averne divested his interests from his various labels and retired from the music and record business. When gambling was legalized in Atlantic City he went into the real estate and time share business there, later branching out into the state of . During this time he continued to reside in New York’s Upper East Side, where he lived from 1963 to 2004.

In 1993 the pioneer rapper Big Daddy Kane sampled Averne’s “Lullaby from Rosemary’s Baby” for the track “Rest In Peace” and released it in the Cold Chillin/Warner Bros/Reprise album “Looks Like a Job For….”. Although Harvey had been in semi- retirement since 1979, he did not entirely distance himself from the music business, and in fact had been keeping up with current musical trends. In doing so, he noticed that his music had been kept alive, not only on multi-artist compilations but by a completely new generation of artists and fans who had never been exposed to the original versions and were now sampling his records.

In addition, there were numerous artists who were either re- recording Harvey’s songs or “re-hashing” his original recordings (a term commonly used to refer to a “remix” of a song by another artist without any real change to the song itself). Usually, the original song can be easily identified within the new version by the similar, or exact-sounding lead, bass, or drum lines, while other versions only maintain the vocal or lyrical content. Certain deejays and artists often remix a song using the same lyrics and lines as the original, but with a new rhythm track, or they keep the original rhythm track, adding new beats, breaks, and a new feel to the song, and that is what makes the new version a legitimate remix.

In 1967, American minimalist composer Terry Riley got his hands on the song “You’re No Good”, a latin-soul- type number that had been previously released by Averne that same year. Upon hearing Averne’s original track, Riley went into the studio, sampled it and created what soon became one of his all time classic tracks (Riley’s version is a great tune in its own right and is credited as “the world’s first re-mix”). While Averne’s catchy song was chock full of raw “Dancing in the Streets” style hooks, Riley’s use of pedal-driven tape- loops and the Moog synthesizer took the infectious “You’re No Good” to mesmerizing lengths. Its original chorus was looped over and under itself, and sometimes the left and right channels were playing different parts of the song simultaneously, all of which made it more accessible. Here was “disco” in the making. Both the original Averne version and Riley’s re-mix version were feel-good fun tunes that were equally at home on the airwaves as they were in the hip discotheques across Europe and America. (Harvey’s original version can be found on the Harvey Averne Dozen album “Viva Soul” for Atlantic and on the compilation “Dusty Fingers Vol. 2”).

About Group’s 2010 re-versioning of “You’re No Good” takes the same approach as Riley’s but in real-time. The result is an eleven minute space jam that combines Riley’s re-mix with the street-level funkiness of the original Averne recording.

By the tail end of the 60’s, Averne’s music had transcended demographically and stylistically, and it was soon to become mainstream, only under a new name. Although many of these facts were never well documented (at least not at the time), decades later they prompted Averne to consider making a possible comeback, if not as a performer then at least as a producer. After much procrastination and soul searching, he finally returned to the recording studio in 1995, producing a hit album “Naci Para Cantar” by Lalo Rodriguez (which he also conceived, directed and mixed for EMI Latino Records). The album included the hits “Aunque Lo Dudes” and “Acusado Falsamente”, marking the return of the Puerto Rican vocalist to the mainstream of Latin music. The album was released to rave reviews, sold extremely well and garnered both Averne and Rodriguez a Platinum Record. Averne was also awarded the 3M Visionary Award.

The spark had been re-lit and Harvey was ready to start all over again. In 2004 he moved to the Daytona Beach area, where he continues to have a residence, while currently maintaining an office-residence in Woodhaven, New York.

In 2009 Dean Rudland (UK) produced the “Never Learned To Dance – Harvey Averne Anthology 1967-71” album and in late 2011 vocalist and bandleader Chico Alvarez brought Harvey in as project consultant and to collaborate on the mixing with Kamilo Kratc and Chico Alvarez for the artist’s big band recording “Country Roots/Urban Masters”. RECORDING CAREER HIGHLIGHTS

1975: Grammy Award Winner, Eddie Palmieri “The Sun Of Latin Music”, featuring vocalist Lalo Rodriguez (1st Grammy awarded in the Latin Music category). Produced & Mixed by Harvey Averne for CoCo Records.

Salsa Album of the Year – Billboard & Record World Salsa Producer of the Year – Billboard & Record World Album of the Year – Stereo Review Magazine Best Latin Recording – Cash Box Album of the Year – Latin New York Magazine Producer of the Year – Latin New York Magazine Voted in Top10 Salsa albums of all time

Left to right: Bobby Paunetto, Elliot Sachs, Harvey Averne, Larry Harlow, Jose Flores, Nancy Rodriguez, Jerry Massucci, Alex Massucci, Eddie Palmieri, Mongo Santamaria, Johnny Pacheco and Ray Barretto at the 1975 NARAS Grammy Awards after ceremony celebration.

1976: Grammy Award Winner, Eddie Palmieri recording “Unfinished Masterpiece”, featuring vocalist Lalo Rodriguez (second Grammy awarded in the Latin Music category). Produced, Directed and Mixed by Harvey Averne for CoCo Records.

Salsa Album of the Year – Billboard & Record World Best Latin Recording – Billboard Salsa Producer of the Year – Billboard & Record World Album of the Year – Latin New York Producer of the Year – Latin New York Magazine and World International Latin Music Award

1977: Grammy Nomination, Machito Orchestra recording “Fireworks” featuring vocalist Lalo Rodriguez (finalist in the Latin Music Category). Produced, Directed and Mixed by Harvey Averne for CoCo Records.

1977: Grammy Nomination, Danny Rivera & Eydie Gorme “Muy Amigos” hit “Para Decir Adios” (finalist in the Latin Music Category). Arranged and Conducted by Don Costa • Produced, Directed and Mixed by Harvey Averne for Gala/CoCo Records.

Platinum Record International Duo of the Year- Billboard & Record World International Producer of the Year – Record World

1995: Lalo Rodriguez • “Naci Para Cantar”. Included the hits “Aunque Lo Dudes” and “Acusado Falsamente”. Produced, Directed, Conceived and Mixed by Harvey Averne for EMI Latino Records

Platinum Record 3M Visionary Award

1976: Orquesta Broadway • “Pasaporte”. Included the #1 hit single “Isla Del Encanto”. Produced by . Executive Producer, Harvey Averne for CoCo Records

Gold Record

1971: Ralfi Pagan • “I Want To Make It With You”, a mega crossover hit. Produced and Mixed by Harvey Averne for Scepter/Wand/Fania Records.

Gold Record (RIAA Certification) Top 10 R&B Soul Single Charts – Billboard, Cash Box & Record World

1976: Rafael Cortijo • “Cortijo & His Time Machine – Cortijo Y Su Maquina Del Tiempo”. Included the hit “Carnaval”. Produced by Harvey Averne and Pepe Castillo. Mixed by Harvey Averne for CoCo Records.

Voted in Top 10 Salsa Albums of all time

1968: Ray Barretto • “Acid”. A groundbreaking, historic album. Crossover hits included “Acid” and “Soul Drummers”. Produced and Mixed by Harvey Averne for Fania Records. Gold Record

1969: La Lupe • “Se Acabo” (Once We Loved), a #1 hit from the album “The Queen Does Her Own Thing”. Produced, Directed & Mixed by Harvey Averne for Roulette/Tico Records

1968: Larry Harlow • “El Exigente” featuring Ismael Miranda. Included the crossover hit “Groovin To The Afro Twist”. Written, produced and mixed by Harvey Averne for Fania Records.

1977: Wilkins • “Amarse Un Poco”. Includes the #1 hits “Te Amo” and “Amantes”. Produced by Wilkins. Mixed by Harvey Averne for CoCo Records.

1979: Regine • “Je Survrive” (I Will Survive), International Disco Hit. Re-Mixed by Harvey Averne for Prism/Carrere Records.

1976: Danny Rivera • “Alborada”. Included hits “Alegoria” and “Tu Vives En Mi Pensamiento”. Produced and Mixed by Harvey Averne for Graffiti/CoCo Records.

Gold Record

1973: Eddie Palmieri • “Sentido”. Included #1 hits “Puerto Rico” and “Adoracion” feauturing vocalist Ismael Quintana. Produced by Harvey Averne and Eddie Palmieri. Mixed by Harvey Averne for CoCo Records

1974: Cortijo y Su Combo Original con • “Juntos Otra Vez”. An historic “live” concert and recording with the original Cortijo Combo including Rafael Ithier, Roberto Roena, Roy Rosario, Sammy Ayala, Eddie Perez, Martin Quiñones, Kito Velez, Mario Cora, Miguel Cruz, Hector Santos and Andy Montañez. Presented, Produced, Directed and Mixed by Harvey Averne for CoCo Records.

1975: Orquesta Broadway • “Salvaje”. Included the hits “La Reina”, “Sin Clave Y Bongo” and “El Termometro”. Produced and Mixed by Harvey Averne for CoCo Records.

1977: Jose Fajardo • “Seleciones Clasicas”. Included the hits “Ritmo De Pollo” “Kikiriki” and “Sayonara”. Produced by Harvey Averne and Ray Barretto. Mixed by Harvey Averne for CoCo Records

1978: Jose Fajardo • “El Talento Total”. Included the hits “Tremendo Traqueteo” and “ Linda”. Produced and Mixed by Harvey Averne for CoCo Records.

1971: The Chakachas • “Jungle Fever” (a #1 mega hit for Polydor Records). Group leader and manager: Harvey Averne.

Double Platinum Pop Hit ASCAP Award – Most Performed Song of the Year Top 10 – Hot 100 Pop Charts – Billboard, Record World & Cash Box

1975: • “Cierra Los Ojos y Juntos Recordemos” from the album “Floreciendo”, a #1 hit. Produced by Enrique Mendez. Executive Producer: Harvey Averne for CoCo Records.

Gold Record Female Vocalist of the Year – Record World & World International Latin Music Awar

1970: “Let’s Get It Together This Christmas”, a social message song that Averne wrote and recorded in the early 70’s, with the theme being how much nicer people are at this particular time of the year.

1977: Lissette Alvarez • “Copacabana”, from the album “Sola”. Produced by Frank Fiore. Executive Producer: Harvey Averne for CoCo Records.

1976: Eydie Gorme • “La Gorme”. Produced, Arranged and Conducted by Don Costa. Mixed by Humberto Gatica • Executive Producer: Harvey Averne for Gala/CoCo Records. 1977: Trini Lopez • “Trini Lopez y Su Alma Latina”. Produced, Arranged and Conducted by Don Costa. Mixed by Humberto Gatica. Executive Producer: Harvey Averne for Gala/CoCo Records.

1977: Steve Lawrence • “Tu Seras Mi Musica”. Produced, Arranged and Conducted by Don Costa. Mixed by Humberto Gatica. Executive Produce: Harvey Averne for Gala/CoCo Records.

1967: The Harvey Averne Dozen • “Viva Soul” . Included hits “My Dream” and “You’re No Good”. Featured original compositions by Harvey Averne and Marty Sheller. Vocals by Kenny Seymour and Renaldo Gamble. Produced by Harvey Averne. Mixed by Arif Mardin and Harvey Averne for Atlantic Records.

1969: “The Harvey Averne Dozen” (self titled). Included the #1 hits “Accept Me”, “Can You Dig It” and the international dance hit “Never Learned to Dance”. Vocals by Kenny Seymour. Produced and Mixed by Harvey Averne for Fania Records.

1970: The Harvey Averne Band • “Brotherhood”, featured the hits “Come Back Baby”, “Lovers” and “Central Park”. Vocals by Kenny Seymour. Produced and Mixed by Harvey Averne for Fania Records.

1971: The Harvey Averne Barrio Band • “Rock ‘N Latin”. International hits “CuCaRaCaMaCaRa” and “Girl From The Mountain”, featuring Spanish vocals by Hector Lavoe, Ismael Miranda, Willie Colon and Ismael Quintana. English Vocals Ellie Greenwich, Ron Dante, Toni Wine, and Carl Hall. Produced and Mixed by Harvey Averne for Heavy Duty/Fania/CoCo Records.

1972: Toro (Self-Titled) • Included the hits “Ramona” and “Going to Borinquen”. Vocals: Andy Sanchez, Felix “Pito” Tollinchi and Harold Logan. Produced, Directed and Mixed by Harvey Averne for Heavy Duty/CoCo/Fania Records.

1993: Big Daddy Kane “Looks Like A Job For….” • “Rest In Peace”. Big Daddy sampled “Lullaby from Rosemary’s Baby” (the movie theme song that was originally performed by The Harvey Averne Dozen for Fania/Codigo Records), released on Cold Chillin/ Warner Bros/.

1967: Terry Riley, credited with “The World’s First Remix”, in 1967 sampled Harvey Averne’s “You’re No Good” from the album “Viva Soul” by The Harvey Averne Dozen, Atlantic Records, originally released in 1967 on SMS Open Reel #3. Re-Released in 2000 on Cortical Foundation.

2010: The Harvey Averne Anthology 1967-71 ”Never Learned To Dance” Compilation • Produced in the UK by Dean Rudland (2009), Released by Fania/Emusica/Codigo Records.

2011: About Group • “Start & Complete” on Domino Records. For their first single (an 11:00 minute tribute to Terry Riley’s 1967 Historic “The World’s First Remix”) About Group sampled Harvey Averne’s original recording “You’re No Good” (originally released in 1967) from “The Harvey Averne Dozen “Viva Soul” album on Atlantic Records.

2012: Chico Alvarez (El Montunero) & The Palmonte Afro-Cuban Big Band • “Country Roots/Urban Masters”. Produced By Chico Alvarez and Jerry Lacay. Album Project Consultant: Harvey Averne. Mixed by Harvey Averne, Chico Alvarez and Kamilo Kratc.

2012: Currently in the studio with Spanglish Fly, a well known New York Boogaloo band. “Brooklyn Boogaloo” and “ My Shingaling Boy”, both produced and mixed by Harvey Averne; released in September, 2012.

Credits:

Orquesta Broadway, Paraiso Category: Dance Traditions => Various Artists, Dance The Latin… Soul ! Category: Latin Soul/Boogaloo => Latin Soul, Classic 60s Or 70s

Various Artists, El Barrio: The Ultimate Collection Of Latin Boogaloo, Disco, Funk & Soul, 4-CD Box Set Category: Latin Soul/Boogaloo => Latin Soul, Classic 60s Or 70s CD1: LATIN FUNK: NUYORICAN FUNK 1968–76 1. Together – Ray Barretto 2. You Need Help – Monguito Santamaria 3. I’m Satisfied – Joe Bataan 4. Identify Yourself – Cafe 5. Everybody’s Got Soul – Flash & The Dynamics 6. Hot Pants – Gilberto Cruz 7. Black Dice – Mongo Santamaria 8. Dynamite – Harvey Averne 9. Im Gonna Get To You Yet – TNT Boys 10. There You Go – Fania All Stars 11. La Vida – Ralfi Pagan 12. Tengo Sentimiento – Chollo Rivera & The Latin Soul Drives 13. Funky Felix – Seguida 14. Kool It Here Comes The Fuzz – 15. Guajira Bacan – Azuquita Y Su Orquesta Melao 16. Stablishment – Harvey Averne

CD2: LATIN DISCO: DANCEFLOOR GROOVES WITH A LATIN TOUCH 1. Back to my Roots – Fania All Stars 2. Amor Verdadero – Willie Colon 3. Dance, Dance, Dance – Orquesta Novel 4. On Our Way To Tomorrow – Seguida 5. Waterbed (Vocal) – LTC Exchange 6. Smoke – Fania All Stars 7. Bad Luck – 8. Wata Wasuri – Tito Puente 9. Johnnys No Good – W.R.L.C 10. Es Un Demonio Ella – Fausto Rey/Larry Harlow 11. Call Me – Joe Bataan 12. Afro Hustle – Lou Perez 13. Mambo Rock (Theme From “Salsa”) – Seguida 14. Joe Cubas Latin Hustle – Joe Cuba 15. Salsa – Louie Ramirez

CD3: BAD BOOGALOO: NUYORICAN SOUNDS 1966–1970 1. Fever – La Lupe 2. Gimme Some Love – Joe Cuba Sextet 3. Morris Park – Lenni Sesar 4. Come And Get It – Ralph Robles 5. Bad Breath – Bobby Valentin 6. Mercy Mercy Baby – Ray Barretto 7. Ay Que Rico Eddie Palmieri 8. King Of Latin Soul – Joey Pastrana 9. Happy Soul Eith A Hook – Dave Cortez With The Moon People 10. Mamas Girl – Kind Nando 11. Marilu –George Guzman 12. Baby Boo Boogaloo – Vladimir & His Orchestra 13. Camel Walk – The Latinnaires 14. Jumpim With Symphony Sid – Ray Rodriguez & His Orchestra 15. What You Mean – Johnny Colon 16. Guajira Con Soul – Johnny Ventura

CD4: EL BARRIO: GANGSTERS, LATIN SOUL & THE BIRTH OF SALSA 1967–75 1. Do You Feel It (Tu Lo Sientes) – Joe Cuba Sextet 2. Big T – Tito Ramos 3. New York soul – Ray Barretto 4. Lady Marmalade – Mongo Santamaria 5. Si Dame Tu Amor – Cafe 6. Calle Luna Calle Sol – Willie Colon 7. Que Se Sepa – Roberto Roena 8. Puerto Rican Soul – Pete Bonet 9. Red Garder Strut – Fania All Stars 10. O Elefante – Ray Barreto 11. Safari – Tito Puente 12. Revolucionando – The New Swing Sextet 13. Chocolate Ice Cream – Eddie Palmieri 14. Evil Ways – Pete Rodriguez / Louie Ramirez 15. Musica Del Alma – TNT Band 16. Crystal Blue Persuasion – Joe Bataan

Various Artists, The Sweeter Side Of Latin Soul, Volume II Category: Latin Soul/Boogaloo => Latin Soul, Classic 60s Or 70s

Various Artists, El Barrio Latin Funk – Nu Yorican Funk 1968-76 Category: Latin Soul/Boogaloo => Latin Soul, Classic 60s Or 70s

Various Artists, New York Latin Hustle! – The Sound Of New York, 2-CD Set Category: Latin Soul/Boogaloo => Latin Soul, Classic 60s Or 70s

Various Artists, Hidden Treasure (Very Limited Quantities!) Category: Latin Soul/Boogaloo => Latin Soul, Classic 60s Or 70s

The Corso, Tony Raimone’s Home of Latin Music in NYC. The first time I played at The Corso in NYC (86th street, between 2nd & 3rd Aves), was in October of 1974. It was my first gig with Larry Harlow, I was 15, going on 16 ( my birthday is in November ). I remember it, like it was yesterda y. Henry, the muscle- bound bouncer, laughed at me when I told him I was there to play with Orchestra Harlow. His response to me was, “get out of here kid, before I throw you down the stairs”. (I’ll quickly mention that Henry and I became very good friends once he accepted me, which took a while). I remember saying to him, “please find Larry Harlow so he can tell you it’s true”. I remember standing at the top of the stairs reading the schedule of the band that would be playing over the next 5 nights. At that time, the Corso was open 4 or 5 nights per week and there had at least two bands per night and as many as 4 or 5 bands on your average Sunday night, the night they opened earlier and Tito Puente was usually one of the featured bands on Sundays. I honest don’t remember the bands list for that particular week, but regulars in those days were Barretto, LaVoe, Pacheco, Puente and many many more. Looking back at it now, I think, damn, all those bands, on a regular basis, compared to today, makes me realize how blessed I was to be on the scene at that time.

The Corso, legendary NYC night club, became my home base (I know it was the same for many other bands/musicians from that era) as I played there with Harlow at least once or twice a week, sometimes more from 1974-1980. It was a school for me. At the time, Harlow’s band was one of the hottest and “working-est” Salsa bands in the business, not to mention all the traveling we did. “La Cartera “was HUGE in 1974 and we had many hits after that. One of the perks of being there at that time was, once in a while, I’d be asked to cover for late arriving trumpet players of the other bands. That is how I got to play with Hector LaVoe once or twice, even though I was never a member of his band. That I could recall at the moment, I also got to play with bands such as Barretto , Pacheco, Pete “el Conde”, Louie Ramirez, Luis, “Perico”Ortiz, and many more, on a tune or two, until the regular guy got there. (I did play with most of those bands many times after that over the years ) as a sub, because I was there to cover for their regular trumpet players who arrived late. Some time in 1980, I joined Hector Casanova’s band “Casanova Y Montuno”, a conjunto, who at the time was probably the busiest band in NYC. I remember doing 28 days straight, with at least 1 gig, but we also did, doubles, triples and even quadruples in those days. God is my witness. Do you remember how it was back then?

From 1983-85, I joined Grupo Fascinacion ( a kick-ass band comprised of top young players on the scene at that time) and again, The Corso was home base. A quick bit of trivia, for the history books, Grupo Fascinacion won the Corso’s “Battle of the Bands”, against such bands as, Louie Ramirez, Conjunto Clasico, Luis “Perico” Ortiz, Jose Alberto and several others, who I can’t remember at the moment. I have the trophy plaque to prove it.

“Live”, more so that on recordings, Fascinacion kicked ass. Ask any veteran musician on the scene at the time. Whenever Willie Rosario was in NY, he would stand in front of the band and watch, with a big smile on his face. That I know of, he’s not a man of many words, and I was told by members of his band that, he was not in the habit of standing in front of bands to watch, as he did with us. It meant tons to us members of Fascinacion.

Back to The Corso; There were so many places to play in NYC at that time, but the Corso was my 2nd home, as it was the place I played the most from 1974- 1985, when it eventually closed. I know it was the case for many other musicians from that era. I know it was the case for many dancers and Salseros too, who maybe didn’t dance that much, but just enjoyed being around the music.

Some of the things that made The Corso so special, and I believe most musicians who played there regularly during that era would agree is, because of the many bands that played over the course of the week, it developed into a place, unlike any other, where camaraderie amongst musicians developed, during set breaks, before/after gigs, and repeatedly for years. I can say that I made many friends with my fellow musicians over the years, not to mention all the non-musicians who went religiously, once in a while and now and then. To this day, I have many many friendships that originated at the Corso.

Another special thing was, although we were friends with the musicians from the other bands, there was always the unspoken competitive mentality that existed, amongst the bands playing on any given night, something that rarely happens these days, as sadly, two or more bands at a club or dance is a rare occurrence.

Some day, when I write a book about my experiences throughout my career, which already spans 5 decades, I’ll go into more detail about memories, recollections and experiences at The Corso and other places.

Did you ever go to The Corso? Once? Once in a while? Many times? Religiously? As a dancer? Musician? Salsa lover? Share your story(ies). Don’t be shy. Salsa Legends And Masters Academy is about keeping Salsa alive. Speaking, reminiscing and sharing your memories and experiences will only breathe life into the lovers, fans and followers, hopefully including the younger generation, who are vital in keeping it healthy and vibrant. So do your part, share with the Salseros of the world. English, Spanish or any other language you feel comfortable sharing in. You can either leave a comment below or share on our Facebook group or our Facebook page.

Don’t forget to share this post with your Salsero friends and younger Salseros, so that may be reminded and or educated, to hopefully appreciate how it used to be and how Salsa needs their help to stay vital. Thanks

By Pete Nater A dream, realized, By Pete Nater

You may have seen my cartoon on Facebook (see below) about it but seriously, In the 40+ years that I have been playing trumpet, I never dreamed that I would have this opportunity, as I’ve been listening to this living legend since I was in my early teens. To me, his music was the ultimate, in so many ways. Creative, tight, but loose, swinging, and unique, ultra exciting and magical, as no one else sounded like him. No one.

Yes, I have played with and recorded with so many of the “top” Salsa artists in my career, and I have played with Eddie Palmieri’s band “live” on multiple occasions. But now, for the 1st time, I’ve been asked to record with him, on his up-coming big band project!!!

As a member of Spanish Harlem Orchestra, I was part of a Grammy winning recording, which was truly awesome. But living legend, Eddie Palmieri has won 10 Grammys!!! In the genre of Salsa, he’s in a league of his own. For me, this is HUGE!!! In a way, it’s like being a part of a very very special club, with the likes of Barry Rogers, Jose Rodriguez, Victor Paz, Chocolate Armenteros, Ismael Quintana, Lalo Rodriguez, just to name a few in this exclusive club. From my perspective, I’m thrilled. It’s a dream come true. Our first session is this week.

I just wanted to share that with you all because it’s so special for me. Thanks for listening. There are other amazing things on the horizon for me, thank God. i will share in future posts. I’m always grateful and I will always say so.

Please help keep this very special music alive by going to the clubs/events where there is “live” music and by buying legal versions of our recordings, so that the musicians can thrive in these hard times. Thanks!

By Pete Nater