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OCTOBER 2010 ISSUE

FROM THE EDITOR We dedicate this issue to the memory of Max Salazar, who passed away on September 19, 2010. Max was a mentor, a friend and an inspiration to all of us here at Latin Beat Magazine. Please go to the Features section for a tribute to Max we will keep updating all month.

In this Volume 20, Number 8, October 2010 issue of Latin Beat Magazine Online, we feature Chilean salsa band the Santiago All Stars who are getting ready to release their debut CD production Joya y Rareza. We also take you to Tulum, Mexico, for a look at this beautiful little piece of heaven on earth and to enjoy the Riviera Maya Latin Jazz Festival. The annual Barranquijazz: Joya Musical del Caribe festival in Barranquilla, Colombia is also featured in this issue. As always, we keep you informed of the most current Latin music news and information available, CD reviews, national and international salsa hit parades, our calendar of events and our unique regional music columns (Los Angeles, New York, Puerto Rico, and international). Check out our video corner and streaming music tracks. Welcome! ¡Bienvenidos! To the world of Latin Beat Nayibe Magazine Online (lbmo.com and latinbeatmagazine.com) Rudy & Yvette Mangual Borinquen Windows Media Latin Beat Magazine is number one in the world of authentic Latin music. For advertising Quicktime opportunities in lbmo.com, call (310) 516-6767 or request advertising information at [email protected]. Luis González Spain Back issues are still in print and available! The back issues page has been reformatted for easier access and purchase. Enjoy 19 years of documented Latin music history and evolution in the

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Rolando Sanchez Vamonos De Fiesta Windows Media Quicktime The Santiago All Stars: Salsa from South of the Equator Steve Pouchie Watch Ur Wallet By Rudy Mangual Windows Media Quicktime

3D Ritmo de Vida Que Siga La Rumba Windows Media Quicktime

Somos Son Bilongo Windows Media Quicktime

The Estrada Brothers Mr. Ray Windows Media Quicktime

Manny Silvera Bassed in America Windows Media Quicktime Ads by Google Bobby Matos Cuchy Frito Man Originally established in May of 2002 in Santiago, Chile, by percussionist Jorge Hasbún Hasbún, Download Google Windows Media the Santiago All-Stars is a band modeled after the pioneering salsa groups of the 1970s (such as Chrome Quicktime the Fania All-Stars). This Chilean band is committed to play hard-core "salsa dura" (old-school salsa), as it was performed in the early years of this musical movement. Searching is fast and easy with Google's web browser. Chembo Corniel The following is an interview with the executive producer, percussionist, and bandleader of the Buena Gente Santiago All-Stars.... www.google.com/chrome Windows Media

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Quicktime Rudy Mangual: Jorge, what is your role in the Santiago All Stars? Maña Tranquilito Jorge Hasbún Hasbún: I'm the executive producer of the band, Windows Media which means that I do just about everything necessary to keep Quicktime the group together, from the musical direction of our repertoire to booking gigs to promoting the band, and I also play the congas. Santiago Ceron Besos de Hada RM: Are you the musical director? Windows Media JHH: No, every member of the band is a musical director. We Quicktime are a collective when it comes to making our music and arrangements. I simply try to have the first word and/or try to Johnny Polanco y Su suggest a style or particular rhythm, but in the end, everything is Conjunto Amistad open and free to suggestions from all band members. I do handle El Gusto de Mi Salsa all the organizational duties; therefore, I'm called the bandleader. Windows Media Quicktime RM: Can you tell the readers how salsa evolved in Chile? JHH: As I understand it, there were two main Siempre Salsa All Stars currents responsible for the initial introduction of Salsa Para Siempre salsa in Chile. First, the Valparaiso seaport by Windows Media which numerous ships and sailors from all other Quicktime the world came into contact with our country and culture, bringing in vinyl recordings and magazines from the Caribbean and North America; and secondly, the result of the international exodus of many Chileans after the military takeover of 1973. When many of these exiles returned to Chile around the late-1980s, they brought with them the joy of salsa dancing and rhythms, and soon thereafter, the first salsotecas (salsa-discotheques) started sprouting in Santiago and other areas of Chile. I must clarify the fact that tropical music was always present in Chile, the newcomer was the salsa made in New York City and Puerto Rico. RM: What's the main national music of Chile? JHH: It is called cueca, the folkloric music and dance of Chile.

RM: What's the main instrument of the cueca? JHH: It's the tormento, similar to the cajón (box drum) but you do not sit on top of it. It's played on top of a table.

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RM: What's the most popular dance in the country? JHH: That would be the cumbia, especially played by national orchestras. While adapted from the Colombian cumbia, the Chilean cumbia has its own identity.

RM: Getting back to salsa, who would you say is a Chilean salsa pioneer? JHH: That would have to be the orchestra of Manuel Ramírez & Los Durísimos de Chile, established in 1990. Ramírez is a Peruvian bandleader who initially brought the band to Santiago from Colombia and Germany. I played several years with them before forming the Santiago All Stars. On the other hand, the Santiago All-Stars, in less than eight years, have established themselves as the first-call salsa band in Santiago to back up any visiting salsa artist touring the country, as well as the first-choice band for local festivals and salsa dance parties. Currently, there are about 10 active salsa bands in Santiago, and I believe that the Santiago All-Stars were the catalyst that inspired most of them to play this wonderful dance music. RM: How was the Santiago All-Stars band formed? JHH: All the current members of the Santiago All-Stars are professionally trained musicians, including many members of the Viña del Mar Orchestra (of international fame via its annual music festival), members of Chile's national television and radio stations orchestras, and active musicians in the local popular music scene. They all have a passion and love for playing salsa, the Santiago All-Stars is the vehicle to do just that. In other words, they all

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make a living as musicians playing popular music every day, but the Santiago All-Stars is their fun band, where they let their creativity flow and their improvisation loose.

RM: How often does the band perform? JHH: Normally, once or twice per month. The local salsa scene in Santiago is still small and growing, with about a handful of venues only featuring salsa. As I previously mentioned, with about 10 salsa bands in the scene and three to four weekly venues, everyone plays about once or twice per month. RM: Do you get many visits from touring international salsa acts? JHH: In recent years, yes. Oscar D'León started the whole thing with his visit in 2007; the Santiago All-Stars was the opening act for the event, which gathered about 8,000 people. Since then, we have been graced with visits from Lalo Rodríguez, Willy Chirino and Marc Anthony on numerous occasions. More recently we had performances by Tito Rojas, El Gran Combo, Grupo Niche, Grupo Galé, Victor Manuelle, and Gilberto Santa Rosa. We are scheduled to open for Willie Colón on October 16th, and will be playing with Jimmy Bosch on October 21st, who will be in Santiago performing with Rubén Blades on October 22nd.

RM: Let's talk about your upcoming recording debut. What is the title of the CD? JHH: Joya y Rareza (A Rare Gem). The title came about because of a write-up the band received in one of Santiago's main newspapers — "El Diario Mercurio". When reporting that Santiago All-Stars was getting ready to release its debut full-length recording, the author of the article called the production Joya y Rareza, because he found the recording to be a musical gem that featured the participation of some of the top local players from Santiago; and also because it is rare in the sense that it was produced by a Chilean salsa band, but aimed at international distribution; and finally, because the recording also features two popular Chilean singers who had never performed salsa. RM: Who are the two Chilean guest vocalists in the recording? JHH: Cecilia Pantoja and Buddy Richard, both new wave icons of Chile's popular music scene during the last few decades. They are featured on two tracks with amazing arrangements by the talented pianist and producer Ricky González. Two other guest in the recording are Jimmy Sabater (featured on lead vocals on the selection Bochinchosa) and Frankie Vásquez

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(featured on lead vocalist on the selection Oye La Noticia). Fabián Rosales Araos is the band's regular lead singer (featured on six of the tracks). The reason we decided to include Cecilia and Buddy in the project was to appeal to the national radio stations in Chile to consider us for airplay, since, unfortunately, they do not program salsa music . RM: Will the CD have distribution outside of Chile? JHH: The truth is that I'm waiting for the CDs and DVDs (which will also be a part of the package) to be ready before I start looking for any type of distribution.

RM: You mentioned a DVD? JHH: Yes, it's a DVD of the making of the recording at Estudio Tarkus in Santiago.

The recording was mixed and mastered by Jon Fausty in Morrisound Recording Studio in Tampa, Florida.

RM: Who is credited for the arrangement of this recording? JHH: Ricky González (of Ray Barretto, Los Soneros del Barrio and Marc Anthony fame) arranged eight tracks, served as the musical director of the entire recording, and played the piano on the selection Bochinchosa. He spent eight days in Santiago, making magic with us in

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the studio. It was a very special eight days of recording in a family setting that included even a chef, who cooked all our meals throughout the entire session. We are very pleased and grateful to Ricky González for all his hard work. Angel Fernández (trumpeter/producer and musical director of the Marc Anthony orchestra) also contributed two arrangements for the selections Sabroso Guaguanóo, and Oye La Noticia, partly recorded in his studio in New York City. Ricky also did several tracks in his studio in New York City to complete the production. RM: Who are the rest of the members of the Santiago All-Stars? JHH: Heading the trombone section are Héctor Briceño Olivares, Jaime Fredes Serrano, José Antonio Pino Pino and Raúl Silvestre Olivares. The percussion section includes Francisco del Canto Pérez (timbal), Martín Zegarra Loyola (bongó), and myself on congas. Completing the rhythm section are Lautaro Quevedo Daroch (piano) and Jorge Rodríguez Pérez (bass).

RM: How would you describe the sound and style of the Santiago All-Stars? JHH: By chance, because it was not planned, our sound is very urban, and our style extremely high octane, perhaps because we are inspired by such salsa groups as Conjunto Libre, Ray Barretto, and Willie Colón. We are faithful to the salsa of the 1970s from New York City and Puerto Rico, to the "salsa dura" (hard-core salsa). RM: I heard you backed up José Alberto "El Canario" in Chile? JHH: We did accompany "El Canario," but it was not in Chile, it was on a tour throughout Argentina two years ago. It was an excellent experience and lots of fun for all of us.

RM: Good luck with the new recording and thank you for spreading the joy and magic of salsa in the South American continent and very soon throughout the entire world. ¡Que viva la salsa!

Tulum, Mexico — The One Stop Destination!

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From the moment the plane touched down in Cancún International Airport, Quintana Roo, (Yucatan peninsula) Mexico, the tropical aromas attacked our senses, and so did the heat. If you've been to any tropical island, then you understand the humidity that the locals don't seem to feel and joyously

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ignore. Leave your sweaters and wraps at home and the men should only take long pants for evening restaurants, the weather is always perfect, and during the evenings just a little cooler and breezy.

The excitement continued during the hour-plus long ride from the airport to five-star Bahia Principe Tulum, (Akumal, one of the 3 five-star complexes in the resort) otherwise known as "Heaven on Earth" in this writer's opinion. We saw jungle from the air and on the ground, but you know instantly when you arrive to the resort. The hotel was designed by the renowned Mexican architect Fernando Quirarte, and is run like a luxurious cruise ship. The staff is attentive, responsive, and friendly. The food is amazing, the grounds incredible, with a pool that winds around the complex like a river. Lots of quiet places to hang out in or if you want music, plenty of clubs and fun atmosphere. We noticed families, couples in love and people on business on their way to play golf — could it get any better? Anything you ever dreamed of doing is available here: swimming in clear, warm beaches, snorkeling, diving, cave exploring, rapelling, zip-lining, hiking, exploring Mayan ruins, dancing, shopping, meeting people, eating and more eating!!! Mayan Ruins on the Beach!

Perhaps the most exciting and historically important day trip we made was to the archaeological ruins of Tulum, an unforgettable experience with an unforgettable guide. Hidden Worlds

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Want to take risks, face your fears or just plain have a thrill? We did all of that on a day trip to Hidden Worlds, the ultimate adventure. Lots of laughs, a hair-raising ride in a topless truck and awesome guides who truly know their stuff. Completely safe for the whole family, an unforgettable experience! (www.rivieramaya.com) Tulum — Mexico's Riviera Maya Latin Jazz Festival By Rudy Mangual

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(Pictured: Members of the international press enjoying thrilling adventures at Hidden Worlds/www.hiddenworlds.com) Held on Saturday, September 4, 2010, under the beautiful Mayan sky of the colorful seaside village of Tulum, the First Tulum Jazz Festival graced the central public plaza of this small piece of paradise in México's Yucatan Peninsula.

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Hosted by the Riviera Maya Destination's Marketing Office, this special event offered an evening of Latin jazz and salsa, featuring the enduring talents of salsa diva India and her orchestra; Eddie Palmieri ("The Sun of Latin Music") and his sextet; and the Araya-Orta Latin Jazz Quartet.

Escorted by several members of the Riviera Maya Destination Marketing Office, including Jeannette Rigter, and two members of the Turner Public Relations firm, Brie Ann Fast and Charlotte Hurley; about 25 journalists from Mexico and the USA (representing television, radio, and print media) were brought to the heart of Tulum to witness the unveiling of the Festival. A state of the art stage was erected in the town's central public plaza, enhanced by an amazing sound and light system. To the right of the stage, an area was reserved for Tulum's governing officers and town's elite, while to the left of the stage was the area designated for the press with limited access to the front of the stage.

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The Miami-based Araya-Orta Latin Jazz Quartet opened the evening's festivities with its unique fusion of Latin American rhythms and jazz forms and modalities. This quartet is comprised of two pairs of brothers — Mike Orta (piano) and Nicky Orta (bass), plus Ramses Araya (percussion) and Carlomagno Araya (drums). Their set featured a mixed repertoire of original scores and classic standards, opening with the popular Pedro Flores composition Obsesión, performed by the quartet in a uniquely stylish arrangement.

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Nine-time Grammy winner Eddie Palmieri took the stage to thundering applause and praises from an enthusiastic Tulum audience, which seemed to be familiarized with the work of this legendary Latin jazz and salsa icon, accompanied on this occasion by some of his core band members, including José Claussell (commanding the rhythm section from his timbal), Brian Lynch (trumpeter extraordinaire), and Little Johnny Rivero (congas), along with new young players, who paraded on stage, ready to rock the house.

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Palmieri opened the set with his classic Latin jazz score Chocolate Ice Cream, immediately setting the mood for jazzier things to come. However, the Tulum crowd had something else on their minds

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— salsa! The screams for Palmieri salsa classics such as Vámonos Pa'l Monte, Justicia, Puerto Rico, and La Malanga, echoed through the thousands in the plaza. Before continuing with the set, Palmieri made the announcement to the public that he was on stage with his Latin jazz sextet booked to perform Latin jazz, therefore he did not bring a vocalist, which he would need to perform his salsa repertoire.

However, this small detail did not compute with many of the salsa fans at hand, which continued their pleas for salsa selections throughout most of Palmieri's set. Instead, Palmieri opted by performing many of his dance-friendlier Latin jazz compositions and allowing numerous solos to his excellent musicians. In the end, everything worked out fine. The people danced, grooved and got a great performance from one of the last-standing Mambo Kings, Mr. Eddie Palmieri.

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Closing the festival was India ("The Princess of Salsa"), who started her performance with a tribute medley of Celia Cruz classics, which erupted in a dance craze throughout most of the Tulum plaza with the decibels sky high. Under the musical direction of pianist Isidro Infante and top-notch salsa players from Puerto Rico and New York City, India delivered a powerful set of salsa favorites, showcasing many of her notable career hits from Mi Primera Rumba to Volver, and beyond. However, the highlight of her performance came when Mexican superstar singer/composer Juan Gabriel climbed on stage and surprised India while she was performing one of his songs. It felt like the entire seaside town of Tulum came alive in joy and in song.

All three acts performed majestically, making this festival a total musical success. Kudos to all the organizers, to our host the Riviera Maya Destination Marketing Office, Turner Public Relations, the Gran Bahía Príncipe Tulum Hotel, and all its staff for making this a very special experience in the beautiful and mystical land of the Mayan.

Many thanks to TurnerPR and to the Riviera Maya Destination Marketing Office.

BARRANQUIJAZZ: JOYA MUSICAL DEL CARIBE Por Elmer González

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Barranquilla, puerto de río y mar en la costa caribeña de Colombia. Una ciudad que día a día se transforma con la construcción de edificios modernos y centros comerciales que dan fe de una economía estable, impulsada por el auge de sistemas modernos de transportación pública.

Paralelo a este crecimiento, se percibe un interés en aumento por el jazz y las actividades

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relacionadas con este género de carácter universal. En los pasados cuatro años he visitado la ciudad para disfrutar de su Baranquijazz, festival de cinco días (Septiembre 8-12) que en el 2010 celebró su décimocuarto aniversario.

Desde sus inicios, Barranquijazz ha ofrecido una propuesta ecléctica en cada una de sus ediciones. Es una fiesta internacional que reúne en una tarima al jazz con otras formas musicales para brindarle al Caribe una oportunidad de apreciar la convivencia armoniosa y las capacidades simbióticas de las músicas de latitudes diferentes con el género nacido en Nueva Orleans.

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Hoy los organizadores originales del evento reciben la satisfacción de haber logrado una actividad pública que ya es patrimonio de una ciudad que delira por la música y por su famoso carnaval. Samuel Minski, Antonio Caballero y Mingo de la Cruz son en gran parte responsables del crecimiento musical de la sociedad barranquillera.

Nos llama la atención ver durante el festival tantos jóvenes atentos a los conciertos gratuitos que se celebran en las tardes como parte del concepto "Barranquijazz a la calle" en los espacios

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aledaños al Teatro Amira de la Rosa, sede principal del evento.

Este año, bajo un cielo azul despejado y una constante brisa tibia, cientos de personas aplaudieron con entusiasmo las ofertas musicales de artistas tales como el Ialsax Quartet de Italia, el C4 Trío con sus cuatros venezolanos y el trio del carismático pianista cubano Ramón Valle, quien presentó uno de los momentos estelares del Festival.

Además, no pueden faltar agrupaciones colombianas que combinan los sonidos locales con el jazz. Agrupaciones que se han organizado motivadas por la oportunidad de ser seleccionadas para formar parte del programa del Barranquijazz. Este año, el turno fue para la Dave Pacheco Band y la Baruk Jazz Band (ambas de Barranquilla), además de la excelente agrupación Siguarajazz, oriunda de Medellín.

Las noches se llenaron de una constelación de estrellas del son cubano, el rock español, la salsa neoyorquina, el jazz afrocubano, el bossa nova y el jazz estadounidense.

El renovado septeto cubano Sierra Maestra revalidó el sabor y la importante presencia del son cubano en la cultura caribeña. La cantante española Rosario Flores cautivó a muchos con su "salero" y su dominio escénico mediante una muestra del rock ibérico. Igualmente de España, el quinteto de Jaume Vilaseca fusionó magistralmente el sonido de la cítara hindú con el tecnojazz europeo.

El pianista cubano Chucho Valdés se presentó con su nuevo octeto. Una combinación explosiva que puede definirse igual como su cuarteto agrandado o como un Irakere disminuido. Pero siempre con un nivel de calidad que raya en el virtuosismo dentro del marco de la fusión y el misticismo de los orishas. El trío del pianista Mario Canonge dio la tónica del Caribe Francés con una propuesta llena de energía.

Otra presentación destacada fue la del trío dirigido por la afamada cantante y compositora brasileña Joyce Moreno. Muchos logramos revivir gratos recuerdos con un puñado de distinguidos temas de la era del bossa nova. Y como para resaltar el romance local con la salsa, se presentó la "orquesta del barrio" de ese sector neoyorquino que representa a las Antillas en tierra firme estadounidense: El Harlem Latino. Allí sonó fuerte y con un sonido cerca de la perfección la Spanish Harlem Orchestra que dirige el pianista Oscar Hernández.

Por otro lado, el pianista norteamericano Mark Levine presentó una serie de talleres a decenas de jóvenes que intentan conocer el lenguaje del jazz para integrarlo a sus sonidos regionales. Una meritoria iniciativa educativa que apunta al crecimiento del jazz latino en la región. Levine se presentó en concierto con dos jazzistas cubanos el juvenil bajista Gastón Joya y el veterano baterista Enrique Plá (antiguo miembro del grupo Irakere).

¿Salsa neoyorquina, son cubano y rock español en un festival de jazz? Esa es precisamente la clave para la expansión de este evento. Al atraer seguidores de estas formas populares, el jazz se expone a públicos nuevos y de ese modo se logra aumentar el interés por el jazz. Interés que

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se suma, se ve y se siente con cada edición del Barranquijazz.

Tribute to Max Salazar Max Salazar: No Sabía Música, Pero Sabía De La Música El pasado 19 de septiembre falleció en Nueva York Max Salazar. Había nacido allí en 1932, hijo de dos humildes emigrantes puertorriqueños que habían llegado años antes, el padre trabajó por mucho tiempo como marino mercante, y su madre, como camarera. Max no tenía reparos en contar sus orígenes humildes, ni sus años de 1968 a 1975, trabajando como director de un servicio de asistencia comercial para pequeños comerciantes, y después hasta su retiro, como operador de computadoras en un hospital, ni de sus cuatro años como paracaidista en el ejército cuando la guerra de Corea. Lo importante es que desde niño su verdadera pasión fue la música, su primer amor en ella el jazz, pero como estaba matriculado desde niño en esa portentosa universidad musical que se llama El Barrio de Nueva York, pronto las infuencias latinas, sobre todo puertorriqueñas y cubanas se le van infiltrando; son sus profesores el radio, los discos, el teatro, la calle misma, y las pocas noticias que sobre la música latina popular, traen diarios y revistas.

Pero su curiosidad no tiene límites, y forzando su timidez, empieza a conocer músicos y cantantes, y cuando le llega la edad del retiro, a los 68 años, vuelca todo ese contenido que ha ido acumulando en programas radiales y artículos sobre música, resultado de sus innumerables entrevistas radiales en el importante programa The Latin Music Show, de su profundo sentido de observación, de su certero análisis del acontecer musical, de su capacidad de discernir y clasificar. Serán más de dos centenares sus artículos publicados en Billboard, Clave, Latin New York, Latin Times, Melody Maker, Mira, Musician y Village Voice; fue editor de Impacto y el redactor principal de Latin Beat, culminando en su libro, "Mambo Kingdom: Latin Music in New York" (Schirmer Trade Books, 2002). Era procurado por las universidades más importantes como UCLA, o el Smithsonian, como conferencista o consultor: conoció, trató, fue amigo y muchas veces consejero, de cuanto músico latino importante trabajó en Nueva York en las décadas de 1950 al 1980; tuve el honor de ser su amigo y colega, compartimos en varios congresos sobre música latina, y siempre admiré su humildad, su franqueza, su honradez y objetividad al juzgar el hecho musical. Nadie ha sabido más del acontecer musical latino en Nueva York que Max Salazar, y sobre todo, nadie fue más generoso con su conocimiento, divulgándolo, que este hombre, que no sabía música, pero sabía mucho de la música y los músicos latinos.

Dr. Cristóbal Díaz Ayala, San Juan, Puerto Rico Author, lecturer, archivist, music historian of recorded sound research and publishing ------To: Max Salazar

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Long before scholars bothered to consider Latino popular music a worthy subject of study, Max Salazar was writing about it, taping interviews with distinguished Latino musicians, interviewing them on the air, photographing musicians and their orchestras, and broadcasting dance music: mambo, chachachá, pachanga, Latin Jazz, Latin bugalú, salsa.

Max chronicled the history of Latin music in New York from the mid-forties forward. He wrote about in New York Latin magazine and later in Latin Beat. Max took the time to put on paper the musical biographies of countless major figures of the Latin dance music genre: Miguelito Valdés, Alberto Socarrás, La Lupe, Tito Puente, Tito Rodríguez, Joe Cuba, Cheo Feliciano, Charlie Palmieri, Arsenio, Cachao, and many more.

Max's writings on the history of Afro-Cuban or Latin jazz are invaluable. He provided us with biographies of all the greats: Chano, Dizzy, Mario, Graciela, Machito, Tjader, Shearing, Kenton and others.

He made several significant contributions in the history of Latin jazz. Before Max, jazz writers customarily pointed to the collaboration between Chano Pozo and Dizzy Gillespie as the crucial moment, the beginning so to say, of Afro-Cuban jazz with their tune Manteca as emblematic of that birth. Max demonstrated in a detailed and careful manner, in his research articles and liner notes for recordings that, before Pozo and Gillespie, Mario Bauzá with Machito and the Afro-Cubans were consciously developing a similar fusion of jazz with Latin rhythms and produced tunes - Tanga being the most successful effort - in this new musical style. Following Max, historians of the genre are now agreed that it was the sound of Machito and the Afro-Cubans that provided the inspiration for Gillespie and later Kenton.

Max also brought to everyone's attention how Bebo Valdés was the first to record an unrehearsed Afro-Cuban jazz jam session. The date was 1952; the jam was named Con Poco Coco. Max Salazar also worked between 1998 and 2002 as a Consultant for the Smithsonian Institution Exhibit Latin Jazz: The Perfect Combination, to which he generously contributed many ideas, numerous objects including photographs and posters, as well as his encyclopedic knowledge of the subject.

What we know today about Latin music, including Latin jazz in the United States, is due in great measure to the indefatigable work of Max Salazar. Over the years I joined Max in several panels and presentations on Latin jazz, in New York, Washington, D.C. and Denver. Every time he had something new and fresh to say. Every time I learned much from Max.

Thank you Max, for everything I learned from you. Thank you Max, for teaching us so much about our musical history.

Dr. Raul A. Fernandez, Irvine, California Author, music historian, producer Professor School of Social Sciences, UC Irvine [email protected]

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OBITUARIES Max Salazar 1932-2010 By Vicki Solá Broadcaster, writer, lecturer, historian, keeper of the flame, cultural warrior — these words come to mind when we think of Max Salazar, who passed away on Sunday, September 19th, 2010.

Generous, kind, knowledgeable, meticulous, concerned, inspiring, eager to help, delighted to expose new talent, excited by swinging music-these words and phrases apply as well. As for his enthusiasm, I remember him smiling often, exclaiming about a CD, "That really swings!" And I can still see the gleam in his eyes as he listened to Orquesta Broadway, or the flute artistry of Connie Grossman and Andrea Brachfeld. I remember how he loved Dave Santiago & Latin Affair's "La Peluca"-indeed, Max's stamp of approval put Dave's band on the map. Those airing new productions always prayed that Max would be impressed. Max opened doors for many. I've spoken with countless musicians who credit him with making their careers.

More than a few of my listeners recall contacting Max to find out where to obtain a particular, often obscure recording. Not only would he happily provide them with what they were looking for, along with historical background-he wouldn't accept a dime for materials or mailing.

Friend is another word that pops into my head. I was fortunate to call Max Salazar my friend since 1982, when he first appeared as guest on my program-then a jazz show, where I regularly injected Latin jazz, and then, more brazenly,

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salsa, into the format.

During my nearly three decades on the air, he presented many memorable specials on my radio program ("Qué Viva La Música") paying tribute to giants such as Ray Barretto and José "Chombo" Silva. It was a treat to listen to his insightful interviews and rare recordings, and a privilege to air them.

Like so many others, I owe much to Max. Throughout the years, he'd tell people in the business about me, and write about me-he'd slip my name into his articles, at every opportunity. He encouraged me when I felt like quitting, advised me when I encountered sticky situations, grieved with me and offered comfort when I suffered losses, and rejoiced with me during good times.

I always knew that he was a phone call away, and I relished (as did he, judging from the satisfied look on his face) the times he'd take a group of us out for dinner — his sister Tina, my son Frank (who called him "Uncle Max"), my mom, and other family and friends who might have been around. We'd talk about everything from politics to personal business to, yes, music. And when we hugged him at the end of the meal and thanked him, we'd look forward to the next time. We knew he did.

Max Salazar's passing is a profound loss. I extend my deepest condolences to his family and many friends.

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