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CENTRO Journal

Volume7 xv1 Number 2 fall 2004

¡Ecua Jei! , El Sonero Mayor (A Personal Recollection)

AURORA FLORES

ISMAEL RIVERA

Top left, in New York at the Loíza Festival. Middle right, on Venezuelan television, circa mid 1970s.Top and bottom photographs courtesy of Izzy Sanabria. Reprinted, by permission, from Izzy Sanabria. Middle right photograh courtesy of Aurora Flores. Reprinted, by permission, from Aurora Flores.

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blue and always walked around with The feeling among the Island’s blacks those damned drums draped around was one of elation, as if a liberating him.” But fate had been sealed. Rafael explosion had hit the island. Cortijo and Ismael Rivera were about By the late ‘50s, Cortijo y Su Combo con to make music and history together. Ismael Rivera became the first all-black Cortijo encouraged the young crooner, band to be featured regularly on television instilling confidence in him as a performer and radio on El Show de Medio Día and even while he labored on the construction La Taberna India. Their front line and brass sites. He would recommend Maelo to section danced and jibed to the native bands that needed singers and brought Island rhythms infused with brassy, jazzy him along to play bongos with the lines, and commercial instrumentation. conjunto of Moncho Muley and many Cortijo incorporated Afro-Cuban others when the pair began playing montuno lines and vamps on the piano with professionally on the San Juan scene. jazz licks on the brass over the indigenous And it was Cortijo who brought the bomba rhythms of the Island, played on young Maelo to the attention of Lito Cuban tumbadoras rather than the Island’s Peña, at a time when the Maestro was native barriles (drum barrels). Maelo’s looking for a vocalist who could sing the rapid-fire soneos (improvised vocal phrases) native music of the Island’s poor staccatoed over melodies, building layers for his big band, La Panamericana. of rhythms while playing catch with the clave. Improvising street phrases and “Yo soy Maelo de la Calle Calma” singing in unison with the percussion, Cortijo y su Combo—rising to the top. Photograph courtesy of Rafael “Ralph” Méndez. “El Charlatan,” Maelo’s first hit with La tres or cuatro solo, Maelo danced, jumped, Reprinted, by permission, from Rafael “Ralph” Méndez. Panamericana, rocked the Island. “Anoche and played the clave while holding the e walked the path of pain and life that was infectious, a priceless potion en el baile, charlatán, le diste a mi Lola” was audience in the palm of his hand. suffering singing joyful, soulful, of release and cleansing of the soul from heard from every radio, home, social club, “Someone opened the cage and let all the Hrhythmic songs that touched hearts the daily pain of existence. and dance hall throughout . blacks loose,” Doña and inspired minds. A five-foot-ten, caramelo- One day, six-year-old Maelo announced Defending the honor of his girl from an Margo once said. colored, Puerto Rican prophet of Boricua to his mother, Margarita (Doña Margó), abusive charlatan was a theme that Indeed, Cortijo and soul, fondly called “Maelo” by his friends and that he would learn a skill to support his everyone could relate to and one that Maelo’s perform- El Sonero Mayor (the “Master Singer”) by his family. He ran off to play rhythms— catapulted the young singer into Island- ances had a liber- contemporaries, Ismael Rivera was a natural. banging on paint cans while shaking baby wide stardom by the mid ‘50s. With the ating fury that Maelo began to sing once he reached bottles filled with beans. He made good money he earned from this initial hit Maelo crescendoed into an “the age of reason,” and reason made his on his promise. He shined shoes after bought his mother a house on Calle Calma, exhaustive ecstasy. voice fly, dodging in and around the clave school and ran errands before becoming building the facade with his own hands. Their music was an with a facility that could only have been a a skilled bricklayer and master carpenter. Paving the way for Cortijo’s success, electrifying release. gift from God. But reality also told him Rivera explored finger-poppin’ claves composer Rafael Hernández returned Singer/composer he was born in one of the poorest sectors through the snap of his fingers while his to Puerto Rico in 1947 a conquering Bobby Capó wrote of San Juan, one of five surviving siblings hands labored over bricks and mortar; hero at a time when Puerto Rico was hits for them, as did (seven others did not make it). Very early Maelo’s noontime coros resounded hungry for heroes of Afro-Boricua Pedro Flores, Don on, his father told him stories steeped in through the cangrejero ‘hood of Santurce, descent. By the ‘50s and ‘60s Roberto Rafael Cepeda, and roots of slavery; he sang out of love for an where he and boyhood buddy Rafael Clemente and Peruchín Cepeda made Doña Margó. Don island that remained enslaved in her own Cortijo would hustle gigs for the tribal the big leagues, representing Puerto Cepeda, the guardian right. Maelo wrapped this love around areitos that released the soul at sunset. Ricans, particularly black Puerto of Boricua bomba The great duo, Cortijo and Maelo. him for protection during a difficult time, He met his partner, Rafa (Cortijo), Ricans, with honor. While the civil and plena rhythms, Photograph courtesy of Rafael “Ralph” Méndez. Reprinted, by permission, from when he had to fight for respect and when he was eleven years old in elemen- rights movement was still a few years had been singing Rafael “Ralph” Méndez. work for survival from youth into tary school. The family frowned on away from being formally signed by then tunes to the duo for manhood. From deep in the belly of the friendship, quipped Doña Margó, President Johnson in 1964, Puerto Rico years, polishing their native-born poverty sprang a joy and celebration of because “Rafa was so black he looked was already brimming with black power. knowledge of the genres.

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Witinila…uye, uye: entertaining audiences at the highest breaking cultural chains levels of professional musical acumen. During an interview in the summer Cortijo’s replacement of barilles for of 1976, Cortijo once said he took the congas had less to do with authenticity rhythm of Boricua blood, dressed her than with recorded coherence. up in her Sunday best and paraded her Clearly the tauter skin over the narrower around the world for everyone to see. circumference of the conga drum carried He loved her, and you could feel it. the rhythmic patterns farther than the When he was about to record his first wider skin needed to fit the head of the album, Cortijo made a point of recording larger barril. The pandero rhythms were his beloved bombas and first, swapped by the congas as well with the at a time in Puerto Rico when the Afro- requinto-talking pandero played out on Cuban conjunto sound was the big seller. the quinto drum. As far as Cortijo was Bomba and plena were seen as an concerned, it is the skill and precision exclusive, insular rhythmic mystery of the indio and not the choice of arrow steeped in an unmentionable black that hits the target. The bomba was now religious ritual of music and dance, needed for a newer insurrection, a cultural protected by folklorists and academics one inclusive of both black pride and who analyzed the music to the exclusion Boricua identity unifying the lighter- of the pueblo. The older folklorists were skinned jíbaro with his black coastal cousin. Cortijo y su Combo in New York. They hit the bullseye. Photograph courtesy of Rafael “Ralph” Méndez. Reprinted, by permission, from Rafael “Ralph” Méndez. Not only was Cortijo y su book, El entierro de Cortijo, reflected the African Congolese phrases into the Combo a hit from its first unifying power and crossing of cultures, improvised “mambos” (instrumental recording on, their daily classes, races, and places that his sancocho interludes) of the tunes. During these appearances on televison, of music had on the pueblo. Cortijo had meetings, Don Cepeda’s many children radio, festivals, dances, and created a recipe with a taste, un bocaito would gather around Maelo, who always concerts were testament to a for everyone, and isn’t that how we, had his pockets filled with candy and popularity unprecedented at as island people eat, with everything on trinkets for them. that time. Cortijo’s band played the plate instead of separated into neat, bomba, plena, mambo, guracha, American TV dinnerstyle compartments? De Colores cha-cha, oriza, calypso, One of Don Cepeda’s sons, Maelo loved children. He believed mozambique, merengue, samba, Roberto Cepeda, recalls how proud his that all children should feel love and and within a context father was of these initial recordings. joy, no matter where they came from. of Puerto Rican pride and “They brought the music of the poor He recalled a party in his honor at the rhythmic creativity not out of isolation. It went from margin- start of his career at a five-star hotel in Cortijo y su Combo with Arsenio Rodríguez—”El cieguito maravilloso.” duplicated since. Their themes alized ghettos onto radio, television, Puerto Rico. Maelo rented a van and Photograph courtesy of Rafael “Ralph” Méndez. Reprinted, by permission, from Rafael “Ralph” Méndez. went beyond conformist lyrics records and movies,” Roberto comments. gathered all the kids from the block. of living large and embraced The old man would sing bombas to When the promoter of the party saw never satisfied with the genre’s loss of local island perspective with urban them, Cortijo would then transform those scruffy children in the lobby he authenticity decade after decade; they stories and current events that were the various rhythms of bomba—yuba, began to chase them out. Maelo stepped were always critical of the dance and global in scope. “El Satelite” focused cuembe, cocobale, holandes and lero—into in and said, “These are my guests, musical styles of the generation after attention on the US/Russian space race the more fast-paced bomba sica, making and this is my party. I want them treated them. Yet music, like people, evolves and when the Russians launched a sputnik it commercially appealing to a dance just like any other visitor at this hotel.” changes with time, and Cortijo’s vision into the universe. “El Negro Bembon” crowd used to a Cuban conjunto sound. They all sat at Maelo’s table. went beyond banal criticism to tells the tale of a black man killed simply Don Cepeda and Maelo would sing the Maelo was the same with beggars. encompass global acceptance of a form because his lips were large; the song’s coro together while Cortijo quickened It didn’t matter what they wanted the of music inherited through his enslaved repetitive refrain insists, “eso no es the foundation’s rhythmic pace. money for. I watched him take desperate ancestors. The music was capable of razón” (that’s no excuse). Cortijo’s wake, Maelo would start on the verses, people to eat a meal, peel off dollar bills retaining its power of resistance while as described in Edgardo Rodríguez Juliá’s improvising and scatting parts of the to strung-out junkies with outstretched

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hands, and buy groceries for the sick and searching for cultural answers while elderly. I once asked him why he would digging for roots, and Maelo became my throw his money away on someone who mentor and maestro. He lived up to the was just going to get high with it. challenge, digging out old recordings while “If you’re going to give—don’t look at introducing me to key musicians like Don where it’s going—just give it away and Rafa himself. He invited me to sing coro don’t look back. That’s what it’s about.” in his and Cortijo’s band. We’d discuss That’s what Maelo was about. music, myth, history, and Puerto Rico, explaining rituals, defining terms and ceremonies. He and Cortijo would work a lot on the surround- ing islands, alternating with calypso groups. He sang in English back then, and he laughed when he told me that they From left: Cortijo, Ismael, Tony Chiroldes, Martín, Beny Moré and Sammy Ayala. Coro singer Sammy Ayala remembers didn’t like his accent in English. Beny Moré saying that the young Maelo was a “Sonero Mayor” because of his unique way of playing with the clave while singing. Photograph courtesy of Rafael “Ralph” Méndez, Reprinted, by permission, from Rafael “Ralph” Méndez. Maelo would school me on the bands that toured Puerto extemporaneously. It immediately El Sonero Mayor…porque vacilo con Rico, all of them wanting to brought tears to my eyes, and my mind la clave y tengo sabor perform wherever Cortijo was made a mental record that remained with Backtrack to 1955. Maelo and Cortijo playing. The bands included La me throughout the years: “Me duele el were the talk of Latin music. They tore Sonora Matancera who, being corazon destila sangre, y un grito se me up the Palladium, ripped up the carnavales on the same label, performed ahoga en la garganta, de no poder gritar and fired up Colombia and Venezuela. with Maelo’s group around 1958. a cuatro vientos, que quiero libertad para While rehearsing at Roseland for a gig at We w ere going through old me patria” [My aching heart is dripping New York’s Palladium, Beny Moré heard photographs of his when he blood, a scream drowns in my throat, Cortijo y Su Combo. They were to share pulled out an 8x10 black-and- when I cannot shout to the four winds, the stage that night and Beny was about white photograph of a very that I want freedom for my country]. to rehearse with a band that was not his young with Maelo’s I met, talked and hung out with friends, own. Once he heard Cortijo, he asked the arm around her. They both children, and many of the ladies that Maelo Palladium’s promoter to pay the boys looked wery young and were wooed and loved. He was a ladies’ man for because he wanted to be backed up by dressed elegantly, cozying up sure, often comparing women to candy— the Puerto Rican combo. By 1958, Beny to one another. Wide-eyed, all good with different flavors—but I met toured Puerto Rico with Cortijo noting I asked, “Maelo, did you date him in a introspective time in his life when Maelo’s singing, he passed the torch of her?” With a sly look on his face he was able to have platonic friendships. vocal greatness to the young Boricua he answered, “We dated for a Sometimes I felt as if he were confessing proclaiming him “El Sonero Mayor”— little while, but she told me she things to me he could not tell another man The Master Singer—a moniker later used was a serious girl and wanted or a woman he was intimate with for fear as a marketing tool when Maelo went solo. marriage, and you know, that he would be judged by them. But it was Meanwhile, Cortijo y Su Combo had

Ismael and Celia Cruz at Madison Square Garden, circa 1970s. Aurorita, that I’m just a títere.” tough being his chronicler. He would bring broken through the Condado color line, Photographs courtesy of Aurora Flores. Doña Margó was visiting me to the apartments of various women the black barrier in Puerto Rico that Reprinted, by permission, from Aurora Flores. Maelo the summer of 1978 when he knew, and at first, I could feel the cold, allowed only lighter-skinned musicians to I was a music correspondent for I met her in the apartment he kept on penetrating looks of suspicion piercing play. Cortijo increased the pay scale for Billboard Magazine when I met Maelo. 108th Street and Amsterdam Avenue. right through me. Not being a street kid, black musicians, in particular drummers, He was my neighbor, but more impor- She was such a pretty lady with strong many times I was terrified by the unspoken paying them equal to what “schooled” tant, he was my friend. He came into opinions that embraced the passion and hostility, but Maelo would always give them musicians were paid. He also secured the my life at a time of loss and heartache. love she had in her heart for her son, a look that said, “Don’t even think it,” all-black band lodging in the same five-star Maelo’s fatherly warmth toward me had her music, and her flag. A writer and poet introducing me as his student and friend. hotels they played, something unheard of a healing affect. I was a young writer herself, she gave me a poem she recited We ’d all end up having dinner together. at that time. Singer/composer Bobby Capó,

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Maelo, Cortijo, and some of El Negrito de Alabama [They call me the Master Singer because the other band members were Maelo spoke to me about his annual I party with the clave and I have swing] indeed carrying, but Maelo pilgrimage to where he touched in a rat-tat-tat, percussive, word-playing stepped forward and took the and felt the pain of the Black Christ of soneo, drenching audiences with sound rap for everyone, asserting that Portobelo—El Nazareno. like hard rain falling on a hot tin roof. all the drugs were his. He was El Nazareno moved him… inspired The Hernandez standard became for- arrested, handcuffed, and parad- him… helped him stay away from heroin ever his. His band was tight with a sound ed for all the media and the for sixteen years. He recalled the first that now expressed a Puerto Rican/New public to see. Owing to the time that he danced with the devil: in the York reality. This was a more laid-back large quantity of drugs found, arrabales. In the ghetto. It was a common music, with recordings such as “Traigo de he was charged with traf- rite of passage. A dare. A badge that made todo,” “Soy feliz,” and “Dime por qué.” ficking, trying to smuggle you into a man. In New York it got worse. There were also tunes about prison, drugs into the Island. At the Palladium it was a test of musical “Las Tumbas” sprinkled with Spanglish Maelo served some time prowess. “Amacho trap,” he agonized. street phrases that punched through the in San Juan’s notorious Oso “How ‘bad’ could you be under the solid wall of instrumentation like a heavy- First New York tour, rehearsing at the Club Caborrojeño, Blanco jail. After that, things were influence and still perform. That was the weight at a prize fight, venía por la maceta. mid 1950s. Photograph courtesy of Rafael “Ralph” Méndez. never the same. Since it was a federal measure of manhood, of musicianship.” Maelo was clean. He was strong. He was Reprinted, by permission, from Rafael “Ralph” Méndez. offense he was taken to and tried in He knew it was a lie. He felt it deep in El Sonero Mayor. who was light-skinned, would arrange and the States. His lawyer was an American his soul, and his heart ached with despair. In New York, he wrapped himself secure the hotel rooms for Cortijo and his whom he didn’t even understand. Te ars ran down his cheeks as he recalled around the anonymity of the poor, the band members. Once the rooms were Maelo was sentenced and sent to a the torture of self-inflicted drug abuse. lumpen, the forgotten. He formed a family confirmed, there was nothing management penitentiary in Lexington, Kentucky. The Puerto Rico rejection wounded nucleus with Gladys Serrano, his com- could do to ban the “brothers” from resting While in prison, Maelo formed a band him deeply. Maelo returned to New York, panion of 25 years whom he called after their gig. Indeed, Capó played a with other prisoners who were into broken-hearted and self-destructive. Gladiola. They had a child, Carlito, pivotal role in the success of Cortijo y su music. He composed, sang, and played, He recorded Lo último en la avenida with but Maelo also raised her eldest son Combo. It was Capó who had an influential reflecting on his life on the Island while master percussionist . By 1968 he Rodney, whose birth father was another position on radio and television, and it was observing the life of a black man in the formed, Ismael Rivera y Los Cachimbos. great Puerto Rican vocalist, Daniel also Capó who took their demo to the South at the start of the civil rights The trail of hits began once more. Santos. His eldest son, Ismaelito, Jr., Seeco recording label that gave the group movement in America. Most of all, But this time, Maelo hit with a vengeance. from his first wife Virginia (they were their break. A handsome crooner and he missed his friend, Cortijo. Rivera had found El Nazareno. never divorced) would come to stay with composer, he had already felt the of Back on the Island, the Cortijo Combo His career and voice reached its peak. them in New York during summer racial exclusion when Xavier Cugat told floundered. Puerto Rico was outraged He performed at a Tico-Alegre All-Star vacations. In fact, many were the children him he was just one shade too dark to sing at the nerve of these negros, condemning concert in Carnegie Hall with his orchestra. He also had first-hand their bon vivant lifestyle at the height of headlining along with La knowledge of America’s Southern their success. According to Cortijo and Lupe, Yayo El Indio, Vitín hospitality, having toured with Katherine Maelo, pianist bolted first, Avilés, and the Alegre All- Dunham. So it was with great pride that organizing El Gran Combo. Later, former Stars. He sang “Mi negrita Capó chaperoned Cortijo onto stages members of the band went their separate me espera,” a tune in where all-black orchestras had never set ways, starting their own combos. tribute to his mother that foot before. Maelo served about four years in expressed her anxiety prison. He returned to the Island in when he started playing Las Tumbas 1966 to record a comeback album with all-night gigs. He recorded After nine years of hit after musical hit, Cortijo, Bienvenidos, utilizing the Tito Rafael Hernández’ classic Maelo took one of his worst hits at the Puente orchestra as backup with the “Cumbanchero,” where he San Juan airport in 1962. As Sammy Ayala, King of Latin music himself on coro. underscores his musical one of Cortijo’s coro singers and friend But neither Maelo nor the recording mastery with the words of Maelo put it, “it was a coup d’etat.” were welcome; sales were flat. Promoters “A mi me llaman el Sonero Tocayos,Ismael Quintana and Ismael Rivera at a recording session for La Lupe’s Someone informed officials at the airport did not want to hire them. Puerto Rico Mayor, porque vacilo con Stop I’m Free Again album, circa late 1960s. Photograph courtesy of Chico Álvarez. that the band was carrying drugs. would not forgive him. la clave y tengo sabor” Reprinted, by permission, from Chico Álvarez.

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the ocean of people that formed the they all knew about each other and not procession, seeming to walk above the one would even think of making a public heads of the crowd. We stood transfixed scene. At gigs, he was usually in the rain, holding candles that did not accompanied by an entourage of friends go out. A crucifixion was reenacted. from the ‘hood who, he quickly informed Tears streamed down devout faces as the club owners, managers and promoters, pain of Christ washed over us like a wave. would have to be treated with the same After it was over, we found Maelo near the regard afforded other patrons, or else steps of the Church where barbers were he’d leave. And though his circle of shaving and cutting the men’s hair. compadres were mostly people who shared He showed us the bruises on his shoulder the same pain of poverty he had known from the platform, and I asked him why so well, he was able to hobnob with he was cutting his hair and beard. “I grow powerful, celebrated, and influential it all year as part of my promise to El people as well as an inexperienced little Nazareno, and then I leave him my strength kid like me. In an interview with a so that he can continue to help me.” television reporter, he was asked whether Maelo carried the wooden cross he was anxious about winning a Grammy bearing the black face of Christ now that Palmieri had won one, to which everywhere he went. When he was he replied, “Grammy, Hammy, what’s Left, Carrying Cortijo. Photograph courtesy of Luis Ramos. Top, At La Janet’s house (from left, Maelo, Frank Ferrer and recording “Las caras lindas” for Fania important is the music.” He was genuine, Aurora Flores). Bottom, Cleaning up in Portobelo, Panama. Center, Cortijo, Maelo and Maelito in Puerto Rico. Records in 1978 I saw him make the expressing the joy and pain of life on a Photographs courtesy of Aurora Flores. Reprinted, by permission, from Aurora Flores. sign of the cross, take El Nazareno from very real level. who called him “Papa Maelo.” escorted to the hotel in the capital city of around his neck, put it on the music His apartment, was always filled with Colón and treated to sumptuous dinner stand, put the “cans” (headphones) on Piedras en mi camino children. I once watched him counsel parties at the homes of top officials. his head, pick up his clave y pa’encima. Maelo’s voice had dropped several keys a troubled teen who was self-destructing. Maelo was truly loved there. Ruben Blades, Héctor LaVoe, and Yayo by the time he recorded De todas maneras Maelo was emphatic about the boy Despite the fanfare, Maelo was itching El Indio (casi na’) did back-up vocals rosas in 1976. The phrasing was still returning home, finishing school, to get on with the spiritual tradition. watching in awe of the albañil who traded driving, the flirtation with the clave and getting a job. For dramatic affect He went into detail as to how the ritual bricks for words in the construction of was impeccable, but the range was he pulled out an old shoeshine box from would take place as he showed off the songs meant to soothe the souls of the fading. Margarita’s boy didn’t know it the closet and showed him how he used beautiful lilac with gold trim robe he wore forgotten. Maelo quoted from scriptures then, but polyps were beginning to take to shine shoes when he was his age, for the event. “We walk 17 kilometers to and prophets and I thought, if Christ hold of his vocal chords. His 1978 emphasizing humility as nothing to be get to Porto Belo. There are no cement walked the earth today, Maelo would be tribute concert at Madison Square ashamed of. He had decorated the foyer roads and everyone travels into the small one of his disciples. It is not what goes Garden was a musical disappointment. of his apartment with wood paneling coastal town by foot. I wear the robe into a man that defines his character, He began to indulge in vices with a drive and maple banquitos where he and the boy while walking and think about how but what comes out. What came out that on some deeper level numbed the were sitting and talking. Maelo was proud el negrito will help me. I think of his of Maelo was real. reality of his failing voice. of his carpentry skills, and talked of them words of love for everyone and about Maelo’s recordings were punctuated At the end of 1982, Cortijo died of to the young man, telling him how he forgiveness for all the evil in the world. with references to saints and sinners— cancer. The visionary who brought black made his own clave sticks out of wood The people gather at the Church of San San Miguel Arcángel and El Nazareno— musicians into the limelight of stardom he found in the streets. Felipe. They pray, they make promises, and underscored with calls to the deities had passed. Cortijo, the maestro who I traveled with Maelo and Gladiola to they cry, and they sleep there. I join the of African spirits, ¡Ecua Jei!, for marked a new trail of fusion in Puerto Panama in 1978 for the yearly pilgrimage men carrying the platform that supports empowerment. He did not enjoy pretense Rican music; the maestro who incor- to Portobelo on October 21st, where he the [life-size image of] El Nazareno.” or suffer fools gladly; he was strong yet porated the native bombas and plenas carried El Nazareno. At the airport, we I watched with Gladiola as the men sincere about his weaknesses and of Puerto Rico into the Afro-Cuban mix; were met by Panamanian officials who carried the huge statue around the town, compassionate about humanity. He was the same maestro who later, with the treated Maelo as an arriving dignitary: three steps forward and two steps back never sarcastic or arrogant with his early ‘70s recording of Time Machine, he was an ambassador gracing their to the beat of the drums that prefaced public, demanding and getting respect was to fuse elements of rock, jazz, country with his presence. We were the procession. The figure stood above in return. Although he had many women, and nueva trova in a mixture celebrated

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from Cuba to Spain (that remains unrecog- El Incomprendido His tocayo and friend, vocalist Ismael cantando pa’ ti linda musica,” he brings nized today)—Cortijo would no longer be Tw o tumultuous New York years passed, Miranda, sent for him to clean up at his the song back to the block he grew up in. seen at the race tracks or clubs of New York with Maelo literally lost in the streets of ranch and return to the home of his He and Cortijo took the music of the slaves and Puerto Rico. He would no longer be El Barrio. He went barefoot; he was crazed mother, Margarita. of Puerto Rico, slaves who jumped ships seen at his timbales with his bottom bemba and confused. The once mighty warrior of from Haiti, Cuba, and other islands and pouting in concern. Cortijo was gone. Puerto Rican soul was seen picking from Juntos, Otra Vez who played the bomba music with its roots The Island was shocked. Maelo was garbage, looking for quarters in phone Maelo found comfort in the bosom of the in the Congo and made it a commercial devastated. He went to Puerto Rico to booths, and searching for solace in a mother who was his muse. He began throat hit in the New World. He was working mourn his brother and say goodbye. lonely basement. I ran into his timbalero, treatments in 1985 in a heartbreaking and on a final recording (that would be Tears flowed as he spoke to his compadre Rigo during this time. I was a mother by hopeless quest to find his voice. But in his finished by his eldest, Ismaelo Jr.) in what seemed to be a secret language of now, but I still was looking for my heart of hearts, he knew it was futile. “Carabalí y Congolia,” in May 1987 when Spanish, English, and African. He carried mentor. Rigo took me to the basement He would often say, “Cortijo had the key a heart attack struck, jolting him into his his buddy’s coffin as he carried El where Maelo was staying, but as I waited and when he died, he took it with him.” mother’s arms (“Mi negrita me espera”) Nazareno but this time, in pain and outside I had a sinking feeling that I would Doña Margó would say her son sang for on the patio he built for her with the penance through the streets of San Juan not get to see him again. A few slow her, for the artist that she could never be money from his first hit. to the cemetery. Once there, he knelt, minutes went by before Rigo came out to because she was black and a woman. And In New York, I left my five-year-old son made the sign of the cross and prayed tell me that Maelo did not want me to see indeed it was some of her tunes that shook with my mother so I could attend the before the masses at the San José him the way he was. Hot tears ran down the hit parade in Puerto Rico and New York funeral. I had to see Papa Maelo once cemetery in Villas Palmeras. He returned my cheeks, and I went home. in the early years: “Ingratitudes,” “Máquino more. When I reached the community to New York destroyed, his spirit broken. After several dark incidences, Maelo ran landera,” and “Bombón de canela” among center at the housing project of the Llorens He abandoned the words of El Nazareno into a preacher friend who took him to his others. But Maelo sang for everyone, Torres complex, the area was packed with and began to dance with Satan once farm in Connecticut, where Maelo found especially the poor of his barrio. When he fans and mourners. Drummers Giovanni more. His voice was never the same. the words of El Nazareno once more. belts out “Yo soy Maelo de la Calle Calma Hidalgo, Cachete Maldonado, Roberto

Cortijo y su Combo in Puerto Rico. Photograph courtesy of Rafael “Ralph” Méndez. Cortijo, Machito, Sammy Ayala, Maelo and Roi at the Palladium. According to arranger/musician Ray Santos, when Cortijo Reprinted, by permission, from Rafael “Ralph” Méndez. performed at the Palladium they sold out more than when Puerte, Rodríguez or Machito performed there. Photograph courtesy of Rafael “Ralph” Méndez. Reprinted, by permission, from Rafael “Ralph” Méndez.

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Roena, and many others played tribute to El jam with him. Maelo never refused. DISCOGRAPHY Sonero. Inside, the Center was brimming But when the rumba was over, he’d play ON 45 RPM: “Cha Cha in Blue” (1955) with people, family, women and children. a bomba, a plena, and tell them they had [OUTTAKES FROM ORQUESTA PANAMERICANA] “La vieja en camisa” (1955) He always told me not to be afraid when to know their roots first. They had to “Yo no bailo con Juana” (1955) I walked with him and so I walked alone preserve the music that held the life source “Quimbombom” (1955) and made my way through the humid of the people of the earth. They had to LP WITH ORQUESTA PANAMERICANA DE LITO PEÑA: Orquesta Panamericana (Ansonia 1290) heat and crowd. conserve it, maintain it, and never forget it. LPS WITH CORTIJO Y SU COMBO (UP TO 1962): Cortijo Invites you to Dance (Seeco 9106) I approached the coffin, kneeled and I cried as I knelt and prayed over him. Baile con Cortijo y su Combo (Seeco 9130) talked to my teacher and mentor who He had made millions throughout his Cortijo y su combo (Seeco 9160) taught me so much about life. I remem- career, and he gave it all away just as he gave El alma de un pueblo (Seeco 9326) bered walking in Panama through El everything to his public and to his music. Fiesta boricua, Cortijo (Rumba 5519 Chorillo with him. I asked him why the As the casket was closed, I spotted Sammy Cortijo en Nueva York, Cortijo (Rumba 55515) women’s arms had eruptions as if the Ayala. I asked him to let me carry the coffin Bueno ¿y que? (Rumba 55534) skin were bursting through. “Ay bendito with the other men. Being a Nuyorican, Quítate de la vía Perico (Rumba 55548) Aurorita,” he answered. “Those women I was aware that this was a traditional guy Danger Do Not Trespass are prostitutes, and if they don’t make thing and that he might get offended, (con Rolando La Serie) (Rumba 55552) enough money, their pimps cut up their but I didn’t care. I was there for Maelo, Los internacionales (Marvela 92) arms. They never go to hospitals.” but I really didn’t know which side of the LPS WITH CORTIJO (AFTER 1966): Bienvenidos/Welcome Cortijo y Rivera (Tico 1140) He explained that many of those women place I belonged since there were the Con todos los hierros (Tico 1158) had no formal education, and this was the women from Puerto Rico on one side and Juntos otra vez (Coco 113) only way they knew to support their the women from outside of Puerto Rico on LP WITH KAKO: Lo último en la avenida (Tico 1215) children and families. He told me I should the other side. He moved over and gave LPS WITH HIS OWN GROUP (LOSCACHIMBOS): De colores (Tico 1174) never judge the plight of another human me a little space and said, “Seguro Aurorita Controversia (Tico 1196) being. At that point, a dusty old man with si tu eres familia.” We carried him outside Eso fue lo que trajo el barco (Tico 1305) no teeth yelled out, “¡Salsa!”. Maelo and to where the crowd and the hearse waited. Vengo por la maceta (Tico 1311) I stopped. The skinny old Black man We never made it to the hearse. Traigo de todo (Tico 1319) hugged and kissed him. Maelo introduced The throngs of people and pleneros took Soy feliz (Vaya 35) me as his niece. The old man began to him on their shoulders, parading him the Eclipse total (Tico 1400) snap his fingers in clave and to sing a coro. same way he carried El Nazareno. Even the Feliz Navidad (Tico 1404) De todas maneras rosas (Tico 1415) Maelo harmonized with the coro lifting governor of Puerto Rico showed up in a Ésto sí es lo mio (Tico 1428) his voice in full song, finishing the tune guayabera and took his turn carrying Maelo RECORDINGS WITH OTHER GROUPS: with improvised phrases. He told the old to the cemetery. Thousands gathered and I Live, Fania All Stars (Fania 515) man he would use it in his next recording. could barely see the final rites when I spotted [“Cúcala” (duet with Celia Cruz) and “El Nazareno”] I remembered jogging around Central Kako coming through the crowd of colors, Live at Carnegie Hall, Vol. 1 (Tico-Alegre All Park’s reservoir with him. I was young and ages, races, nations, and professions that Stars 1325) [“Sale el sol” and “Dormir contigo”] lazy and he would push me to finish around packed the burial grounds. It was all a blur to Latin Connection, Fania All Stars (Fania 595) the track shaming me into running by me. I just wanted to say my last farewell to [“Bilongo”] saying, “You’re only 26, I’m 49—if I can do a man who treated me with more respect and COMPILATIONS: Ismael Rivera: El Sonero Mayor (Seeco 9320) it so can you.” Then he’d break into song. equality than any corporate president, lawyer, El Sonero Mayor, Vol 2 (Seeco 9353) After the run, we’d go to his Panamanian or “educated” fool. I felt the look of pain Compilations: Eclipse total (Tico 1400) girlfriend’s apartment on West End Avenue. on Kako’s face and opened my arms to him. Ismael Rivera con Cortijo y su Combo La Janet would make us fresh juices from He cried, “Aye, Aurorita,” sobbing something “Sonero #1” (MP 3164) carrots, oranges, and watercress. I remem- inaudible in that cuembe Spanish they spoke, Cortijo y su Combo con Ismael Rivera (Tico 1406) ber the smell of the hot farina he loved to before weeping inconsolably in my arms. Llaves de la tradición (Tico 1419) eat and the many discussions he held in his Rigo also stood next to me, along with Oro (Tico 1433) apartment and in the vest pocket park on , and we all watched and Maelo (Tico 1437) 105th Street and Amsterdam Avenue. wept as he was laid to rest beside his El único (Tico 1442) Somehow, the rumberos would always know longtime friend and brother, Rafa Cortijo. Legend (Música Latina 58) when he was there, and they’d come out to ¡Que descansen en paz, ecua—jei! Maelo: The Fania Legends of Salsa, Vo l . 8, 2 CD Set (Fania 739)

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