1 hese days, when being wary of technology makes you look as though you are slightly stuck in the past, music producers Mario Galeano (Frente Cumbiero, ) andT William Holland (Quantic, UK), decided to return to old techniques in search of the spirit, texture and sound of a time when music perhaps sounded better. With full conviction, these two producers, who are like graduates in a school of researchers who look for what lies hidden in the grooves of old vinyl LPs, give us Ondatrópica, a master-class of craftsmanship shaped into sound.

As a music lover and member of Colombian Public Radio, I consider myself privileged to have witnessed the intense and joyous recording sessions of Ondatrópica in the studios during January 2012. Few things in life are as priceless as seeing with your own eyes—and hearing with your own ears—Pedro ‘Ramayá’ Beltran conjuring up modernity in a rap; colourful Michi Sarmiento behind his sax and singing like he did back in the sixties with the Combo Bravo; Markitos Micolta serenading us on why he wants to live to be a hundred years old; or accordionist Aníbal ‘Sensación’ Velásquez paying the respect he deserves to the great Andrés Landero. And there was nothing more satisfying than to see everyone show how our musical heritage is a vehicle for a cross-over of generations, sound traditions, and infl uences.

I know that listeners worldwide will gladly embrace this piece of Colombia materialized on an LP, and also this timeless gathering of our nation’s musical talent: Guepajé!

Jaime Andrés Monsalve Musical Director, Radio Nacional de Colombia

2 3 AN INTRODUCTION BY & MARIO GALEANO:

fter several years of working in and around Colombian tropical music, we were given the opportunity to create a large-scale project involving an iconic selection of Colombian musicians in a classic and mythical studio Asetting, using completely analogue recording equipment and benefi ting from an inter-generational meeting between the new and the old guard. We were looking to re-confi rm the music of old in a progressive setting, to create a space in which to re-interpret the tropical musical heritage of Colombia with new approaches in composition, arrangement and production. In the infancy of our planning for Ondatrópica, we had fi rst to decide where all this music would be recorded, and Discos Fuentes was our number one choice. Jamaica has Studio One, England has Abbey Road and Colombia has Discos Fuentes. Although steeped in history, we visited Fuentes to fi nd that it was being under- exploited and rarely used for recordings with more than three musicians at a time. This was no fault of Fuentes, just a sad phenomenon that is typical of all studios of this age in Colombia. We agreed that there was something magical within the Fuentes rooms, and although several decades on from its original analogue splendour, we were lured in by the spirits of past recordings made within those very walls. The next stage was to prepare a list of the musicians to invite. A concerted effort was made to invite musicians who we felt had made

4 a particularly important contribution to tropical music history in Colombia. To a regular Colombian, some are not exactly household names, or certainly haven’t been for a long time. However, in their own time and in their own way these musicians were some of the most innovative; they took risks, invented new rhythms and approaches to music and were the architects of a sound that has since become recognised worldwide. For us, this was a very emotional experience: this was an opportunity to meet our idols, learn from them; eating, living and recording in the same creative space for three weeks. As important as it was to invite these master musicians, we wanted also to invite a selection of talented young musicians from the new generation who have immersed themselves in tropical Colombian music today; to create an atmosphere of true musical discussion, learning and exchange.

5 6 7 t was in the early part of January 2012 that the logistics of transplanting a good ton of recording equipment, organizing an extensive original repertoire, and making arrangements for getting thirty-fi ve musicians to Medellín, were fi nally complete. IIt became a pilgrimage of creative energy. On arrival in MedellÍn, we were met by Mario Rincón and his son Luis, long-time engineers at Studio Fuentes and integral to the recording. First we unpacked the crated tape machines and equipment sent ahead from Will’s Sonido del Valle studio. We then had two days to prepare the studio space, plug in the equipment, fi ght with patch-bays and buzzing cables, perform some last minute soldering and collectively scratch our heads. From that day on we entered the roller-coaster schedule of recording, with several musicians entering and exiting Medellín every couple of days. Our initial desire to keep the variety of the record moving along meant that we recorded by day and then composed last-minute material by night. In turn, there were new musicians entering the room each day, entailing new microphone layouts and additional equipment changes. We had intended to record a dozen songs and then return to Bogotá but we actually ended up with three times that amount of material. This whole process resulted in more than we had hoped for, as we had made new friends amid an atmosphere of mutual respect, and by the end of the three weeks everyone left with a sense that something very special had occurred. This kind of common creative spirit was once an everyday occurrence under the roofs of the Discos Fuentes headquarters and the many other recording houses of the day, so it felt immensely fulfi lling to be resurrecting this sense of musical union and prosperity. The recording that you hold in your hands is the sum effort and devotion of forty-two musicians sharing a unique creative journey: a portrait of an exceptional musical encounter that will stay with us forever.

Mario Galeano and Will Holland

8 9 10 ARTISTS

Mario Galeano Will Holland Michi Sarmiento Fruko Anibal Velásquez Pedro Ramayá

Born in Bogotá, Mario has been involved Will is a British multi-instrumentalist and The crowned godfather of Ondatrópica, his Fruko, the brain-child of the Fuentes Studio, The infamous Costeño accordion-playing At eighty-two, Pedro Ramayá was the oldest in Colombian tropical music projects since producer who moved to Colombia in 2006 spirit really came out during our days at the was one of the top progressive minds of don and singer joined us for two days of of our guests and the one who brought all the late nineties. Under the name Frente from the UK. Known for his prolifi c work studio. Unique melodic phrasing and a strong the seventies with projects such as Fruko y recording adventures. Barranquilla-born and the ancestral, indigenous sound of the caña Cumbiero he has collaborated with many of under the Quantic productions umbrella he tone are just a few of his aces. A true musical sus Tesos, Afrosound and Wganda Kenya. one of the most prolifi c musicians of all time de millo. Besides his masterful millo playing, the key fi gures of the transnational cumbia was taught accordion by Anibal Velasquez esoteric, he could feel the vibe of such tunes Fortunately, we got him so interested in our to come out of , he is known we got him to do the fi rst rap of his life. scene. The band is regarded nowadays as amongst others after settling in Cali and now as ‘Iron Man’ (which, of course, he had project that he joined us for much longer for his fast guarachas, unique style and for Pedro was one of the fi rst Atlantic Folkloric one of the most forward thinking new cumbia Bogotá. His Los Miticos del Ritmo, Flowering never heard before), stating: “that melody than originally planned, treating us, between literally hundreds of 78s, LPs and 45s that he musicians to record for Philips Colombia, ensembles ever to come out of Colombia. Inferno and Combo Barbaro projects have has message”. Michi is the son of the late sessions, with fruit salads and papayuela recorded over a fi fty-year career. Fuentes & Felito Records. As a composer, researcher, vinyl collector, all met with recent critical acclaim. Climaco Sarmiento (1960s Discos Fuentes in- desserts prepared with his own hands. university teacher, bassist and guacharaquero house arranger and clarinetist/saxophonist he keeps very busy. in the Orchestras of both Pacho Galan and Lucho Bermudez)

Mario Rincón Markitos Micolta Wilson Viveros Nidia Góngora Freddy Colorado Eblis Álvarez

He is an engineer, producer, vinyl-mastering Known as ‘The fi rst voice of the Pacifi c Wilson has been a key member of the Nidia, from the river village of Timbiquí Freddy is a reveared percusionist born and One of the key fi gures of the experimental engineer, studio-don and also Fruko´s uncle. coast’, he has recorded and performed with Colombian music scene since the sixties. He in Cauca, has been a key collaborator for bred in Cali, Valle del Cauca. His fi rst outing music scene of Bogotá, he has twice won the The super-heavy sound he gave to Discos the pioneering band Peregoyo y su Combo started as a young drummer in his father’s Quantic projects, as well as having her own was with ‘Renacer Antillano’ a nineties salsa Colombian National Award of Composition Fuentes recordings during the seventies Vacana since the sixties. His compositions band in Buenaventura, barely able to marimba-based folkloric group Canalon group produced by Alfredito Linares. Over in contemporary music. A true avant-garde materialized in some of the most iconic and unique vocal timbre have made him reach the drum pedals, and rose to be one de Timbiquí. She comes from a lineage of the last decade he has gained particular electric guitar player and composer, he Colombian tunes of all time. He was the key the pride of the southern Pacifi c Colombia. of the greatest timbaleros in Bogotá in the Pacifi c Afro-Colombian folkloric singers and noteriety for his collaborations with La Tribu currently leads his personal project Meridian that opened up for us the secrets of Fuentes’ Markitos was recently honored at 2011s seventies, performing and recording with is held up as an authentic continuation of the Perdida, Grupo Bahia and Residuo Solido, of Brothers: one of the most original and recording room, giving us tips and advice on “Petronio Álvarez Festival” with a medal Jimmy Salcedo, Joe Madrid, Fruko, Alfredo Pacífi co spirit. She was invited to the project which he is bandleader. unclassifi able bands of the new Colombian recording and using the techniques he had of ‘achievement in folkloric music’ for his Linares, Peregoyo and many others. He is also for her work as a great singer but also as a scene. He also plays guitar and assorted used in past decades. contributions to currulao. a strong advocate for Pacífi co music, playing very creative and original songwriter in her electronics in Frente Cumbiero. currulao regularly. own right.

11 12 13 14 ARTISTS

Anita Tijoux ‘El Profe’ Chongo Esteban Copete Pedro Ojeda Marco Fajardo

French/Chilean rapper and singer Anita Jose Miguel Vega (aka ‘El Profe’) is a fi ery Born in Cartagena into a musical family, he Born in Chocó on the Pacifi c coast and raised As one of the most prolifi c drummers A clarinetist and alto-sax player, Marco is part Tijoux grew up in France with her exiled trombone player who represents the street has pure Colombian groove fl owing through in Cali, Esteban is best known for being the from Bogotá´s new scene, he explores of Frente Cumbiero´s live quartet formation. parents and returned to Chile at age 13. sound coming out of Bogotá. He has his veins. A strong and expressive percussionist grandson of the famous Pacifi c musician & relentlessly the common thread that links His contributions to the avant-garde, She began her musical career with band performed in a variety of ska, jazz, and of the Alegre Drum and Caja Vallenata, he composer ‘Petronio Álvarez’. He is a creative jazz, cumbia, songo, chirimía, afrobeat or and traditional music movements has helped Makiza and today is respected as a leading Colombian music ensembles since the nineties. has also introduced hip-hop beat-boxing and colourful marimba player, saxophonist compas drumming. Having lead ensembles form Bogotá’s reputation as the most cutting and innovative solo artist throughout Latin Currently and for the past 7 years he has into his rhythmic repertoire. Recently he has and percussionist and regularly performs in Havana, Toronto and Bogotá, he currently edge scene in Colombia. Aggressive tone America. Her most recent Albums ‘1977’ and played lead trombone in La-33, one of the featured in the renowned bands Sidestepper Colombian, jazz and with his band lays the grooves in Frente Cumbiero as combined with a deep knowledge of ‘La Bala’ have developed a futurist’s blend of most recognized new salsa bands to emerge and Petrona Martinez. At 25, he is the ‘Ancestros’. well as fronting the bands Los Pirañas and Colombian melody is his signature. jazz, soul and Dilla style Hip-hop with a fi ery from the capital city of Colombia. youngest musician to record in Ondatrópica. Romperayo. lyricism that few can compete with.

Armando Hernández Wilfredo Peña Jorge Gaviria Juancho Vargas Alfredito Linares Fernando ‘Ovejo’ Silva

An accordionist and singer born in Wilfredo is a young and celebrated The fi rst trumpet player of the long-running Pianist, composer and musical director After decades of being the go-to piano- Fernando Silva, nicknamed ‘El Ovejo (The Magangué, Armando is best known for his clarinetist from Jamundí, Valle del Cauca. band (as well as The Latin of the Sonolux record label, he recorded player for salsa, Latin soul and jazz in his Sheep)’ started his career as bass player in interpretation of one of the most classic of Since receiving the award for ‘Best Brothers and the Discos Fuentes studio- some heavily exploratory records in the native Perú, Venezuela, Argentina, the USA Armenia, Quindío before moving to Cali. all cumbia tunes “La Zenaida”. His career is Clarinetist’ at Cali’s Festival Petronio Álvarez bands Afrosound and Wganda Kenya), he sixties and seventies, such as Colombian and Colombia, Alfredito fi nally settled in He is an afi cionado of Andean music, very prolifi c, having performed with iconic he has devoted himself to the musical stands out for the clear tone and the high Brass and Cumbias Espaciales. He came Cali where he developed a style, reputation noted for his subtlety & harmony and bands such as Los Corraleros de Majagual studies of folklore, rising as a virtuoso in the pitch he gets from the instrument. Every straight from the hospital on this day to and the respect of a true maestro. We one of Cali’s go-to bassists for salsa, son and Los Hermanos Zuleta. He recorded styles of chirimía, cumbia & jazz. Colombian can sing out loud his iconic solo record a loungy and atmospheric ‘space were honoured to have him dedicate his & currulao. Having played with Son de backing vocals and hand percusion with on ´s song ‘Rebelión’. cumbia’ with us. talents to the Ondatrópica cause and have Cali, La Misma Gente & La Gran Banda Ondatrópica. him masterfully arrange several numbers Caleña, he is currently a member of the with his unique sound and experience. Departamental Band of Valle del Cauca and teaches his bass wizardry at Cali’s Institute of Popular Culture.

15 16 17 18 19 TECHNICAL NOTE

This album was recorded entirely live with minimal overdubs, using an Ampex 440 four-track machine recording onto ATR magnetic tape. A consideration was made to retain the true sound using the fi nest in microphone technology and positioning: Neumann, Sony, AKG, Royer and RCA microphones. A certain amount of mixing was done live ‘in the moment’, hence this could be regarded as a truly live recording. The four-track tape was then transferred to two-track stereo tape with minimal effects and compression to retain the original atmosphere and dynamics of the recording. The vinyl version of the album was mastered directly to vinyl without passing any digital processing, using a Neumann VMS70 lathe.

“This record was made with the kind co-operation of Estudios Fuentes, Medellín”

20 DISC 1

1. TIENE SABOR, TIENE SAZÓN 4. SUENA 7. SKA FUENTES 11. RAP-MAYA WRITTEN BY Will Holland, Mario Galeano AND Nidia WRITTEN BY Will Holland AND Anita Tijoux WORDS BY WRITTEN AND ARRANGED BY Will Holland WRITTEN AND ARRANGED BY Pedro Ramayá AND Juan Góngora Anita Tijoux TROMBONE: José Miguel Vega ‘el Profe’ TRUMPET: Jorge Gaviria Carlos Puello WORDS BY Nidia Góngora ARRANGED BY Will Holland ARRANGED BY WIll Holland GUITARS: Will Holland, Eblis Álvarez BASS: Mario Galeano DRUMS: RAP, CAÑA DE MILLO: Pedro Beltrán BEAT-BOX: Chongo LEAD VOCALS: Nidia Góngora BACKING VOCALS: Nidia Góngora, LEAD VOCALS: Anita Tijoux DRUMS: WIlson Viveros GUACHARACA: Pedro Ojeda CONGAS: Freddy Colorado GUACHARACA: Mario Rincón Will: On meeting Chongo, it was really a Tanya Makú, Sara María Quintero WURLITZER PIANO: Alfredito Linares Markitos Mikolta WOODBLOCK: Brian Cross ALTO SAX: Esteban revelation: here was someone who could not only GUITARS: Will Holland, Eblis Álvarez BASS: Mario Galeano TIMBALES: Copete BARITONE SAX: Michi Sarmiento BASS CLARINET: Marco Will: Having heard a hint of ska in all the classic play bullerengue on a world-class level, but could Wilson Viveros DRUMS: Pedro Ojeda CONGAS: Freddy Colorado Fajardo ACCORDION: Will Holland BASS: Mario Galeano BACKING Pedro Laza and Sonora Cordabesa records that we beat-box it too. I had met Ramayá in Malambo TRUMPET: Jorge Gaviria TROMBONE: José Miguel Vega ‘el Profe’ VOCALS: Michi Sarmiento, Wilfredo Ayerbe, Marco Fajardo had collected over the years, it seemed the time a few years back and was impressed by his Will: Mario and I met in my studio in Cali prior Will: When we heard our friend Anita Tijoux to record a full-blown ska track at the holy grail progressive attitude and young spirit. This track is to this recording and had a little jam together would be visiting Colombia to perform in Bogotá, of all Latin American recording studios. This was a 2-channel sound-clash between beat-box and a with my small drum machine. This was one of we immediately set about inviting her to our the result. rapping gaitero. the grooves that came to us. Once we were in recording session in Medellín. Anita is a rapper Medellín, I met with Nidia and arranged the horns known for her versatility, fl ow and spontaneity. 8. 3 REYES DE LA TERAPIA 12. DOS LUCECITAS as she wrote the words. It was a real adrenalin The beat was recorded entirely live without edits, WRITTEN BY Will Holland, Mario Galeano AND Juan WRITTEN AND ARRANGED BY Mario Galeano rush to record everything without edits, just tape and the melody line is an ode to the major-key Carlos Puello WURLITZER PIANO: Alfredito Linares LEAD VOCALS: Nidia Góngora punches, cues and some very attentive musicians! sound of sixties-style sabanero cumbias. Ana MARÍMBULA: Mario Galeano ACCORDION: Will Holland BEAT-BOX: BACKING VOCALS: Nidia Góngora, Mario Galeano, Freddy Colorado spent less than an afternoon writing the lyrics and Chongo TROMBONE: José Miguel Vega ‘el Profe’ FLUGELHORN: Jorge Gaviria 2. PUNKERO SONIDERO recorded the whole thing incredibly quickly. It was GUITAR: Eblis Álvarez BASS: Mario Galeano DRUMS: Pedro Ojeda Mario: This was the fi nal recording we made for WRITTEN AND ARRANGED BY Mario Galeano a truly spontaneous process. TIMBALES: Wilson Viveros CONGAS: Freddy Colorado GUACHARACA: the LP, and was recorded on the last night before Mario Rincon TROMBONE: José Miguel Vega ‘el Profe’ ACCORDION: Will Holland 5. LOCOMOTORA BORRACHA packing everything up. The recording was made GUITAR: Eblis Álvarez BASS: Mario Galeano DRUMS: Pedro Ojeda in a trio of marimbula, accordion and beat-box, Mario: This is a song for my two little daughters, WRITTEN AND ARRANGED BY Mario Galeano CONGAS: Freddy Colorado GUACHARACA: Mario Rincón a format that has never been tried before in one of whom was still in the womb at the time. TROMBONE: José Miguel Vega ‘el Profe’ TRUMPET: Jorge Gaviria Mario: A raw, instrumental tune, this was one of Colombian music. Nidia’s vocal was recorded at the same time WURLITZER PIANO: Alfredito Linares ACCORDION: Will Holland GUITAR: the fi rst we recorded in the Fuentes studio. Its as the rest of the band, which made for a really Eblis Álvarez BASS: Mario Galeano DRUMS: Pedro Ojeda TIMBAL: analog synth bass and four-to-the-fl oor feel is our 9. LIBYA special atmosphere. I especially like the harmonic Wilson Viveros CONGA: Freddy Colorado salute to the cumbia diaspora worldwide. WRITTEN AND ARRANGED BY Will Holland interplay between electric guitar and Wurlitzer piano. Having been focused on instrumental Mario: This porro unexpectedly turned out to ACCORDION: Will Holland CAÑA DE MILLO: Pedro Ramayá (solo) ALTO 3. I RON MAN have a type of locomotive atmosphere, made even music for some time, it was nice to write a song SAX: Michi Sarmiento CLARINETS: Marco Fajardo, Wilfredo Ayerbe with words. WRITTEN BY Osbourne, Iommi, Ward, Butler weirder by the fact that Colombia hasn´t had a Peña TRUMPETS: Ramón Paniagua, Fran Londoño DOUBLE BASS: commercial train service in decades. We would ARRANGED BY Mario Galeano, Will Holland Hernando Isaza TAMBOR ALEGRE: Chongo TIMBALES: Rafa Benitez 13. CUMBIA ESPACIAL like to think that old locomotives rusting away get GUACHARACA: Mario Galeano CYMBALS: Mario Rincón BACKING VOCALS: Martín Giraldo, Brian Cross, Juan Diego Ahogado, drunk and dream of their past days of glory on the WRITTEN AND ARRANGED BY Juancho Vargas Evelio Ramírez, Michi Sarmiento, Wilfredo Ayerbe, Marco Fajardo, Will: This piece was written around the time that lines. PIANO: Juancho Vargas BASS: Fruko TAMBOR ALEGRE: Chongo Will Holland, Mario Galeano ALTO SAX: Michi Sarmiento BASS Libya was entering into confl ict and eventual LLAMADOR: Chino CYMBAL: Mario Rincón GUACHARACA: Mario CLARINET: Marco Fajardo CLARINET: Wilfredo Ayerbe Peña TRUMPETS: 6. REMANDO revolution. The piece was recorded with a Galeano Ramón Paniagua, Fran Londoño DOUBLE BASS: Hernando Isaza confi guration of fourteen musicians, one of the WRITTEN AND ARRANGED BY Mario Galeano TIMBALES: Rafa Benitez TAMBOR ALEGRE: Chongo GUACHARACA: largest ensembles we’d had in the studio. The Mario: The fact that Juancho Vargas was that Mario Galeano CYMBALS: Mario Rincón PIANO: Alfredito Linares BABY BASS: Fernando Silva ‘Ovejo’ DRUMS: piece interplays middle-eastern melodies with morning in hospital and the same afternoon in the Wilson Viveros TIMBALES: Fruko BONGOS: Freddy Colorado Colombian phrasing and rhythm. studio recording with us made for a very emotional Mario: This is a drunken version (the refrain CONGA: Rafael Benitez GUACHARACA: Mario Galeano VIBRASLAP: session. This track has a kind of introspective and “el ron se acabo” in Spanish means “the rum is Mario Rincón ALTO SAX: Michi Sarmiento (solo) TRUMPET: Luis Bravo 10. GAITA TRÓPICA solemn feel and we all felt very privileged to be in fi nished) of Black Sabbath’s classic tune, wherein TROMBONE: Jose Miguel Vega ‘el Profe’ WRITTEN AND ARRANGED BY Mario Galeano the studio accompanying what he had to say on Colombia and the UK drink a toast of rum (ron) the piano that day. and whisky to celebrate the world’s common Mario: This was originally composed prior to TIMBALES: Rafa Benitez GUACHARACA: Mario Galeano TAMBOR interest in inebriation. the formation of Ondatrópica. It was my take on ALEGRE: Chongo LLAMADOR: Juan Diego Ahogado CYMBALS: 14. SWING DE GILLIAN the 1970s style of Afrosound and Fruko and the Mario Rincón ACCORDION: Will Holland DOUBLE BASS: Hernando musical experimentation that was going on in Isaza CAÑA DE MILLO: Pedro Ramayá ALTO SAX: Michi Sarmiento WRITTEN AND ARRANGED BY Will Holland that decade. It was very satisfying to actually LEAD CLARINET: Marco Fajardo 2ND CLARINET: Wilfredo Peña LEAD ALTO SAX: Michi Sarmiento BASS CLARINET: Marco Fajardo CLARINET: have in the studio, interpreting this song, Alfredito TRUMPET: Ramón Paniagu 2ND TRUMPET: Fran Londoño SYNTH: Mario Wilfredo Ayerbe Peña BARITONE SAX: Michi Sarmiento DRUMS: Linares, Fruko and Wilson Viveros, who were some Galeano Wilson Viveros of the most prolifi c artists of the seventies. Mario: This track is loosely based on an orchestral Will: After two weeks or so in the studio and away gaita style where there is an intense and repetitive from our homes, I think we all began to miss our melodic riff, upon which we can hear colourful and families. This was a song I wrote thinking of my extrovert performances from each soloist. This mother, Gillian, after speaking to her on the phone combination makes for an intense and psychedelic in England on her birthday. It was composed on journey to Saturn and back. accordion and adapted to woodwind quartet.

21 DISC 2

1. BOMBA TRÓPICA 4. EL CAIMÁN Y EL GALLINAZO 7. DESCARGA TRÓPICA 11. LA TRANCA WRITTEN BY Will Holland WRITTEN BY Climaco Sarmiento WRITTEN AND ARRANGED BY Alfredito Linares WRITTEN AND ARRANGED BY Will Holland ARRANGED BY Will Holland AND Alfredito Linares LEAD VOCALS: Michi Sarmiento BACKING VOCALS: Mario Galeano, PIANO: Alfredo Linares TIMBALES: Julio Estrada ‘Fruko’ CONGAS: LEAD VOCALS: Michi Sarmiento BACKING VOCALS: Mario Galeano, BACKING VOCALS: Wilson Viveros, Alfredito Linares, Michi Sarmiento, Chongo Puello CONGA AND TAMBOR ALEGRE: Chongo GUACHARACA: Freddy Colorado BONGO: Wilson Viveros GUIRO: Mario Galeano Chongo Puello CONGA AND TAMBOR ALEGRE: Chongo GUACHARACA: Freddy Colorado, Mario Galeano BASS: Fernando Silva ‘Obejo’ Mario Rincón CYMBALS: Mario Galeano ALTO SAX: Michi Sarmiento GUITAR: William Holland BABY BASS: Fernando SIlva TRUMPET: Luis Mario Rincón CYMBALS: Mario Galeano ALTO SAX: Michi Sarmiento PIANO: Alfredito Linares TIMBALES: Wilson Viveros TRIANGLE: Wilson CLARINETS: Marco Fajardo, Wilfredo Ayerbe Peña TRUMPETS: Jorge Bravo ALTO SAX: Michi Sarmiento TROMBONE: Jose Miguel Vega ‘el CLARINETS: Marco Fajardo, Wilfredo Ayerbe Peña TRUMPETS: Jorge VIveros CONGAS: Freddy Colorado TROMBONE: Jose Miguel Vega ‘el Gaviria, Fran Londoño DOUBLE BASS: Hernando Isaza TAMBOR Profe’ Gaviria, Fran Londoño DOUBLE BASS: Hernando Isaza TIMBALES: ALEGRE: Chongo TIMBALES: Rafa Benitez Rafa Benitez Profe’ ALTO SAX: Michi Sarmiento TRUMPET: Luis Bravo Mario: A real gathering of ‘All Stars’, these Will: Within this recording we knew that we Will: After a particularly satisfying meal at heavyweight salseros take turns in showing us Will: This is a song written in the style of the old must do some tracks for the salseros. This song Mondongos, one of our favourite Medellín how it’s done. You can bet that this is the fi rst time 78s of the sabanas. Unlike cumbia, the porro has incorporates The Latin Brothers sound of the weekend eateries, we all emerged feeling rather you will have heard Michi, Fruko, Wilson Viveros, yet to populate the world’s airways, something seventies with the tougher tumbao of ’s full and content with ourselves. Michi, striding Alfredito Linares, Freddy Colorado, Luis Bravo that we think we can change. This song is a pelegrino rhythm. and wearing a smile, began to sing ‘El Caimán y and El Profe on the same recording. De Colombia, homage to the good spirit and companionship Gallenazo’ as we walked down the street (a song para el mundo!! (From Colombia, for the world!!) found throughout our time living and recording in 2. LINDA MAÑANA written by his father Climaco). On hearing it, we Medellín. knew we must record it! 8. PAPI SHINGALING WRITTEN AND ARRANGED BY Michi Sarmiento WRITTEN AND ARRANGED BY Will Holland 12. CIEN AÑOS LEAD VOCALS: Michi Sarmiento BACKING VOCALS: Mario Galeano, 5. MI NEGRA PIANO: Alfredito Linares DRUMS: Wilson Viveros CONGAS: Freddy WRITTEN BY Markitos Micolta ARRANGED BY Alfredito Chongo Puello, Michi Sarmiento PIANO: Luis Fernando Meza Written by: Michi Sarmiento, Anibal Velásquez Linares ‘Tomate’ DOUBLE BASS: Hernando Isaza BASS: Chongo Puello Colorado TIMBALES: Julio Estrada GUIRO: Mario Galeano GUITAR: CONGAS: Rafael Benitez GUCHARACA: Mario Galeano WOODBLOCK: ACCORDION: Aníbal Velázquez BABY BASS: Julio Estrada ‘Fruko’ ALTO William Holland BASS: Fernando Silva TRUMPET: Luis Bravo ALTO SAX: LEAD VOCALS: Markitos Micolta BACKING VOCALS: Mario Galeano, Mario Rincón BARITONE SAX: Michi Sarmiento BASS CLARINET: Marco SAX: Michi Sarmiento GAITA CORTA: Pedro ‘Ramayá’ Beltran CONGA: Michi Sarmiento TROMBONE: José Miguel Vega ‘el Profe’ BACKING Esteban Copete, Wilson Viveros, Michi Sarmiento TIMABLES: Wilson Fajardo SOPRANINO SAX: Wilfredo Ayerbe Peña Rafa Benitez GUACHARACA: Rosemberg Peinado CAJA: Juan Carlos VOCALS: Wilson Viveros, Markitos Mikolta, Mario Galeano, Esteban Viveros CONGAS: Freddy Colorado Guiro: Markitos Mikolta PIANO: LEAD TRUMPET: Ramón Paniagua 2ND TRUMPET: Fran Londoño Puelle ‘Chongo’ WOODBLOCK: Mario RIncón LEAD VOICE: Aníbal Copete Alfedito Linares BASS: Fernando SIlva ALTO SAX: Michi Sarmiento Velázquez 2ND VOICE: Armando Hernández TROMBONE: Jose Miguel Vega TRUMPET: Luis Bravo Will: This was a song that Michi Sarmiento Will: This is a shingaling for the ladies, a dapper originally recorded on the Barranquilla-based Mario: This was one of the tunes structured right beat with the soul and stride of a well-dressed Mario: Markitos goes straight to the core with Sonofi esta label in the sixties. When looking in the studio prior to recording. Anibal and Michi gentleman, for all to enjoy. this one: “I don’t want to die, I want to live for for material, I played this song to Michi and made the song work, coming up with lyrics and a hundred years”. The joyful cry is a strong suggested re-recording it. Michi is one of the melodic riffs on the spot. 9. MAMBO LOCO ESPECIAL reminder that one should better wait for death heaviest sax players Colombia has ever produced WRITTEN BY Aníbal Velásquez dancing than laying down. 6. CURRO FUENTES and he also has a fantastic singing voice. By the LEAD VOICE AND ACCORDION: Aníbal Velásquez BACKING VOICE AND end of recording this LP, he had really become WRITTEN AND ARRANGED BY Will Holland CAMPANA: Armando Hernández GUACHARACA: Rosemberg Peinado the godfather of the whole project, someone very TIMBALES: Julio Estrada ‘Fruko’ PIANO: Alfredito Linares BABY BASS: BONGO: Juan Carlos Puello ‘Chongo’ LLAMADOR: Chino BASS: Mario important to us. Fernando Silva ‘Ovejo’ GUIRO: Wilson Viveros TIMBALES: Fruko Galeano BONGOS: Freddy Colorado CONGAS: Rafael Benitez CYMBALS: Mario Mario: After one hazy session trying to fi gure 3. TRAIGAN LA BATEA Galeano GUACHARACA: Mario Rincón ALTO SAX: Michi Sarmiento out where we would take the next track, mighty WRITTEN BY Nidia Góngora AND Will Holland (solo) TRUMPET: Luis Bravo TROMBONE: Jose Miguel Vega ‘el Profe’ Chongo ignited the light in Anibal´s head and a WORDS: Nidia Góngora ARRANGED BY Will Holland LEAD VOCALS: Michi Sarmiento BACKING VOCALS: Michi Sarmiento, Markitos Mikolta, Mario Galeano, Esteban Copete fi ery, crazy tune was born. Don’t be misled by the LEAD VOCALS: Nidia Góngora BACKING VOCALS: Nidia Góngora, ‘Mambo Loco’ tag, this goes way beyond it!! Tanya Makú, Sara María Quintero, Wilson Viveros, Mario Galeano, Will: Curro Fuentes, the founder of Discos Freddy Colorado WURLITZER PIANO: Alfredito Linares TROMBONE: Curro and one-time house producer for Phillips 10. DONDE SUENA EL BOMBO José Miguel Vega ‘el Profe’ TRUMPET: Jorge Gaviria GUITAR: Will Colombia, was the younger brother of Antonio WRITTEN AND ARRANGED BY Markitos Mikolta Holland BASS: Mario Galeano DRUMS: Wilson Viveros TIMBALES: Fuentes (founder of Discos Fuentes). Whilst LEAD VOCALS: BACKING VOCALS: Pedro Ojeda CONGAS: Freddy Colorado Antonio and his Fuentes label concentrated on Markitos Mikolta Michi Sarmiento, marketing music to inland Colombia, Curro’s Esteban Copete, Yeiler Quintero MARIMBA: Esteban Copete BASS: Will: Nidia has a unique voice and writing style, focus remained on the coast, pioneering his Mario Galeano YAZPALO: Jefferson Hurtado CYMBALS: Ciro Florez combining the dual heritage of her native, rural trademark, powerful candelazo sound. This song BOMBO: Marvin Borja CONGAS: Wilson Viveros ALTO SAX: Michi Timbiquí and the soul and edge of the urban city is a dedication to Curro Fuentes who passed away Sarmiento BASS CLARINET: Marco Fajardo CLARINET: Wilfredo Ayerbe of Cali. This song talks about all the aspects of in 2009. Peña mining in the Pacifi c, something that is slowly changing the face of the region, for better or worse, Will: This one belongs to Markitos Micolta, one of mostly for worse. In this composition, cowbells the most legendary voices of Colombia, the voice imitate pickaxes and shovels; the horns allude to of a generation and the godfather of the music industrious hands working at the soil and the bass of the Colombian Pacifi c coast. He was the fi rst fl oods the speakers like water rising in a ditch. singer to arrive at Discos Fuentes and record with Peregoyo y su Combo Vacana in the 1960s. This was a gallant return for Markitos and I think we all felt proud to witness it. An essential inclusion of musicianship was the talented marimba playing of Esteban Copete, grandson of Petronio Álvarez and understudy of Markitos and the Pacifi c sound.

22 Recorded at Discos Fuentes, Medellín, Colombia

BETWEEN 9TH AND 27TH JANUARY 2012

PRODUCED AND DIRECTED BY Will Holland AND Mario Galeano

MIXED AT Sonido del Valle BY Will Holland AND Mario Galeano

CHIEF RECORDING AND MIXING ENGINEER: Will Holland

RECORDING ENGINEER: Luis Rincón

CREATIVE CONSULTANT: Mario Rincón

PHOTOGRAPHY: B+ (mochilla.com)

MASTERED BY Frank Merritt AND Simon Little @ The Carvery (carverycuts.com)

COVER ILLUSTRATION BY Lewis Heriz (lewisheriz.com)

DESIGN BY Meurig Rees (reesource.co.uk)

GENERAL COORDINATOR: Martín Giraldo - La Ceguera

ON-SITE COORDINATION: Juan Diego Ahogado

ON-SITE ASSISTANCE: Evelio Ramírez

THANKS: Catalina, Luciana y Martina, The Hollands, Ariana, British Council Colombia, Robert Ness, Paula Silva, Marta Rincón, Mario Rincón, Mateo Rivano, Luis Rincón, Martín Giraldo, Ana Abad, Tony Peñaredonda, Gilberto Ramírez. Miles Cleret, Charles Kirby-Welch, Luke Selby, Joss Yerbury, Matt Wheeler, Brian Cross, Juan Diego Ahogado, Evelio Ramírez. Casa RAM. Viejotecas de Medallo, Frank Merritt, Simon Little, Bill Bragin, Andy Wood, Steve Nickolls, Eric Benoit, Jimmy Johnson, Sylvain Morton, Annika Brandenburg, Till Andersen, Norio Shimizu, Esther Tewkesbury, Ben Rimmer, Nicolas Bouchard, Erik Gilbert at Essential USA, Pedro Ojeda, Eblis Álvarez. Gracias a los vinilos de Colombia!

THIS PROJECT WAS MADE POSSIBLE BY THE SUPPORT OF THE BRITISH COUNCIL

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