A DAY WITH 58 59 SAMMY FIGUEROAARTICLE ARTICLE In August I had the good fortune of spending an afternoon with the outstanding percussionist . Sammy has had a remarkable career as a first-rate recording percussionist with his magical touch being featured on countless in an array of genres with artists such as , , , , , Aretha Franklin, Ruben Blades, , Mariah Carey, , , , Chet Baker, Stanley Clarke, Grover Washington Jr, Al Jarreau, Lena Horne, Joe Williams, Mark Murphy, Mike Mainieri, Nestor Torres, Chico O’Farrill, , By Alex Pertout , , Paquito D’Rivera, Eddie Palmieri, I wanted to start by asking you about your So you spent your young years in New York, every day and they would teach me stuff. So Then I heard a guy named Bill Fitch and he background, I understand that you were then I believe you went back to live in Puerto I grew up in that salsa kind of a world, but I changed my life. It wasn’t about his chops, Bobby Valentin, , James Taylor, Dr. John, Mick born in New York of Puerto Rican descent Rico… wasn’t interested in that (laughs), I was more it was how beautifully he played. And I said, Jagger, Celine Dion, , Hall & Oates, Joe Cocker, and your father was the bolero singer Charlie I was about 12-years old when my grandmother, interested in . When I was a child, on the “Who is this guy? Who can play so gorgeous, Figueroa. Charlie’s mother, travelled to New York to pick radio we had a station in , WIAC, with a cool tumbao and on top of that a Rickie Lee Jones, Annie Lennox, , Whitney Yes, that’s correct Charlie was around in me up. She said, “Look we would love our that would play with Berklee College of Music graduate?” This guy the 1950s. I never got to meet him though, grandson with us …” and my mother didn’t and Mongo Santamaria. When I heard that I was a percussionist and a composer, so he Houston, Anita Baker, Grace Jones, James Ingram, Roberta Flack, because when he died, I was just barely hesitate. At the time you know, Alex, New York said, “That’s it for me, that’s what I want to became my hero. When I heard him, I said, three-years old. I hear stories about him from was rough. This was pre-rap, there were just be.” And you know, I was singing then, but “Now I know what I want to do: I want to be Chic, , David Sanborn and the to my aunt who is still alive and other people gangs. My mother was really scared for me, so I didn’t want to be a singer. I guess I didn’t Bill Fitch.” name a few. who give me little fragments about his life she told my grandparents, “Please take him want to do that because I remember how my So he inspired you to immerse yourself in all- and career: that he lived in New York, that he back to Puerto Rico, and I will meet you there father’s life went. I was a salsa singer, but round music studies? He has also developed a career as a co-producer working was a real joker, that type of guy. Everybody soon, at least he will get an education and he you know what happened, Alex? I think the Yes, I then studied music and studied always had a name; he would give names to will be safe.” So I went to Puerto Rico, and memory of my dad kind of freaked me out; I orchestral percussion, piano and arranging, alongside award-winning world music producer Rachel Faro and everybody. He was on the brink of becoming my grandmother put me in elementary school. still had that psychological insecurity. I kept playing was a side thing next to the her Ashé Records label and as a solo artist with two Grammy® huge, but the alcoholism and all that, being Where exactly did you live in Puerto Rico? on thinking that I didn’t want to end up like whole world of music I was immersed in. with the wrong people, saw him self-destruct I lived in my favourite place, Loíza, which is that. I changed my mind, and so I became How did your rhythmic percussion develop? nominations to his name. He has also been the recipient of two at thirty-years old. So sadly, I never really the real African neighbourhood in Puerto Rico. a percussionist. I guess that percussion was Listening to all those Cal Tjader records with knew the man. Loíza; the centre of Afro-Puerto Rican so different from what he did, that it kind of Willie Bobo, like the one where he takes that NARAS Awards for Percussionist of the Year, two Drummie Awards So where did Charlie develop his artistic culture… separated me, but of course now that I am famous solo on ‘Cuban Fantasy’. When I career? Yes, that’s where the largest community of older I really appreciate what he did, and I do heard Willie’s solo I thought, “Oh, my God!” for Best Hand Percussionist and the Jazz Journalists Association He worked in Puerto Rico and in New York. Africans settled in Puerto Rico. That’s where forget all that. It was amazing. Then Mongo Santamaria Award for Best Percussionist. When he went to New York is when his career all the great salsa bands were like Cortijo Y What instrument did you start with? formed this fabulous band with , seemed like it was going to take off, but there Su Combo and Ismael Rivera. I lived next to Trumpet. I started studying trumpet in school Pat Patrick, Marty Sheller, Rodgers Grant and Here to follow is the result of our encounter… it just went astray, that’s what I know. Cortijo’s house, so I would see those guys in Puerto Rico and did that for three years. Victor Venegas: it really inspired me.

Issue 49 DRUMscene 59 to turn me on to some Brazilian jazz.” And I for Miles immediately, we won awards and whole thing up. His stance was that I was the Sadly, that doesn’t exist anymore. said, “I got something for you, this is a we were looked after by John McLaughlin’s only one with professional experience in New You also made use of an array of percussion killer.” And I gave him this record. He came manager. It was a blessing, but the guys took York, the only one doing all the stuff: they instruments on these recordings… back a week later and said, “Unreal! You got it for granted, and many problems developed didn’t have it. And he also thought they were Yes, I got into all sorts of styles in order to learn more?” I said, “Sure!” And he walked out with within the group members. The band was acting like little kids and he wasn’t prepared about the instruments. I used to go to gospel twenty records. One day he walks in, tells me unique at the time, inspired by Airto’s sound. to support them anymore. And he said to me, church services because I wanted to learn he has been on tour, then asks, “Do you play We heard Airto and it blew us away, his “I wouldn’t worry if I were you, because I am to play the gospel tambourine style. Then I anything?” I said, “Yes, I play , I am a album ‘Fingers’ and all that, and I said, “I going to hook you up with David Sanborn, got into berimbau, then I started studying percussionist.” He says, “Really? I am playing want to do that.” So we did something similar, with everybody, you are going to play with Australian indigenous culture: Dreamtime, tonight at Fat Tuesday - I want you to come, but with a little more . everybody.” and started playing didgeridoo. I have about bring your stuff and just sit in.” I went to my So how long did Raices last? And you did! 25 didgeridoos, I collect them. I have always room, a pimp helped me with my congas, we Look Alex, no more then two years. At the Yes! You know he said, “You are going to play been a collector of sorts. I also collect science got on the subway and got off at West 4th and time it was incredible: the company looked on Sanborn’s first album and then you are books, collect records… you know what then walked to the club. I get there, set up my after us, they had money for development, going to go on tour with John McLaughlin happened, Alex? I created a life for myself, ARTICLE stuff at the front and Herbie says, “You know they gave us a house for us to live in and his Mahavishnu Orchestra.” And I was something that would keep my consciousness Patato Valdez? I want you to play that style.” Woodstock to rehearse and be creative. Those like, “Are you serious?” And so I rehearsed always in good disposition and always in the The drummer in the band was Steve Gadd. were the days when there was a lot of with John, we did the tour, and Alex, it never process of learning: that is not just about And did you get a chance to see the great in New York. I am gonna pay for weeks, Herbie tells the audience, “Tonight we have a money, that doesn’t exist anymore. We were stopped! My career just took off. music, it’s about general knowledge. Mongo Santamaria live? then it’s on you.” So she put me in a real bad special treat, we have a young man who will in heaven, I felt blessed, but the guys in the So that was also the start of your career as a During the recording session era did you Yes, I think I was 14-years old and my hotel on 34th and 6th Avenue, it was a dump: be sitting in with us.” It was a great night: I band didn’t really care, and it was all starting first-rate session percussionist? get a chance at all to work with fellow grandmother walked me to this theatre where prostitutes, pimps and my room had a rat the had never experienced something like that in to get to their heads, they were behaving Yes, I got to work with so many artists and percussionists like Ralph MacDonald and Mongo Santamaria was playing. It was in a size of a Buick! So I don’t know if it was my my life. After the gig Steve came up to me and erratically. One day the drummer comes up I loved it so much. I didn’t have a liking for Jimmy Maelen? safe area, she gave me ten dollars and said, mother’s blessings or her prayers, but I lived said, “Kid, you are wonderful!” And the rest to me and says, “Sammy we had a meeting one genre of music, I loved it all, I wanted to Yes, Jimmy was my dear friend and a great “Buy a ticket and go knock yourself out.” And in that place for two years and nothing bad of the band was really congratulatory as well, with the band, we don’t want you in the band experience everything. It was hard as well, player; we did lots of recording sessions I went in there and I didn’t know what expect. ever happened to me. As a matter of fact, and Herbie says to me, “We are going on tour anymore.” Alex, just like that! I said, “What growing up in the recording world, you had together. And Ralph was my hero because, I was there with a friend of mine, sitting there the pimps would take care of me. They saw next month and you are going with me.” I was did I do wrong?” And he says, “We can’t to learn things in the moment that it came you know, he came before me and influenced like children, and suddenly Mongo shows up the way I was, they took a liking to me: I worried about my job and where to live, and explain it to you.” I called the band manager, in, you had to be able to do it right there me a lot, the beautiful way he played. I went with timbalero Carmelo Garcia. I remember didn’t drink, I didn’t smoke, didn’t do drugs he says, “When we come back from tour you told him what had transpired and he was and then. At that time there were so many up to him one day and said, “Ralph you know they did a tune called ‘Together’: Carmelo was and they liked that. They would feed me and are going live with me. I live on Park Avenue, I shocked. He called the band and broke the sessions, it just didn’t stop, it was crazy! how much I love your playing?” He gave me set up at the front, like a showman, and along I would walk around and I was safe. So I have a big penthouse with five bedrooms, one such a hug, and from that day we became so with Mongo would do everything at the same went around the area and got a job, 8 blocks is yours. When you get it together, you get your tight. He was like my father, he would call me time. It was a written arrangement. The horn down in Rockefeller Centre, at Sam Goody’s own place. I am in no rush.” and say, “I want another percussionist, I want players were freaking out, they knew the break, the famous record store. I went to the store So joining Herbie Mann was the start of your you to play with me on this session.” And it because Hubert Laws wrote it out for them, so well dressed, asked for the manager and said, remarkable professional career… was great, we did lots of sessions together. I they would do it vocally and everybody in the “My name is Sammy Figueroa and I am an Yes, Herbie took me to Europe, took me to also did one album session with Paulinho Da band did it. Man, I said, “There is no question expert in jazz.” And the manager said, “Oh, Japan, we did a 3-month tour. I lived with him, Costa, he was a sweetheart. that this is what I am gonna do.” So I became so you know about jazz?” He took me to his I had a beautiful room, the whole deal - and One of my favourite recordings featuring a musician and worked around the place. I office and asked me to name various artists we did some more touring. Then because of percussion in a pop song is the fabulous was also in a band that played parties and via photographs, and I was like, “That’s Art Herbie, Sonny Rollins saw me and recruited playing you did on David Bowie’s ‘Let’s stuff like that and one day some rich guy saw Tatum, that’s , that’s Joe me. Dance’. What are your recollections from that us playing in San Juan and said, “Man, you Henderson…” I knew them all. So I got the That connection opened many doors… recording? guys sound amazing! You are not just a cover job. That connection was incredible: we did the Alex, I know it by memory. It was producer band - would you like to play in my club in And when and how did your jazz knowledge Montreux Festival in 1976 and Sonny came Nile Rodgers that called me, I was already New York?” And I asked, “Where is it?” He develop? up and said, “I want you to play with working with him on all the Chic stuff. So he said, “Scarsdale, upstate New York. I want When I was living in Puerto Rico, I had no me.” I was honoured, so I asked Herbie for said, “Sammy we are going to do David Bowie you guys to play for two months in my club - I girlfriend, I had nothing, my life revolved permission, and Herbie said, “Take that job as next month, you ready?” I was ready, and will give you a place to live and a salary every around reading album liner notes. I made I am going to be on a break for a few months.” when I went to the studio he had one of my week.” I thought, “Sounds like fun!” And so we that my hobby and I collected records. I had So I worked with Sonny for quite a while, and favourite engineers, Bob Clearmountain, one went, played and lived there for two months. hundreds of records and I would memorise then we did the Montreux Jazz Festival again, of the greatest engineers in the world. When Did any of the other band members develop all the liner notes from those. I had Dizzy, and then the Average White Band recruited we were doing the track I asked David, “Is into known players? Miles and everything in between and I knew me on that gig and I stayed with them for the there any particular thing you want to hear?” No, none of them, not one! This is what is everything about those records, that’s why I next four years. And he said in his English accent, “Sammy, really interesting about how life is. I was told the store manager that I knew about jazz. Herbie Mann was a great mentor for you. whatever the hell you want. I am going to thinking at the time that I didn’t want to go I wasn’t sure how much I knew, but I knew He was my Godfather. have lunch now, do what you want, I’ll listen back to Puerto Rico. I was a young guy, and more then the majority of the people. And I did I also remember the band Raices, which I to it when I get back.” So Bob played the so I wanted to stay. I had met a girl who kind that for two years, Alex: I was selling records believe took place around the time when you track and I played a kind of a samba/funk of liked me and who said, “You can stay with to a lot of people. They would say, “Hey, there were with Herbie Mann? rhythm, and Bob said, “That’s it, done!” So me, I will take care of you.” After the two is a kid there, his name is Sammy, he knows Raices was a group from Puerto Rico David comes back a few hours later, I stayed months the band packed up, ready to go back all about jazz, he is the guy to see.” So I developed by a group of friends. This outside the studio booth, I didn’t want to sit and they were saying, “Sammy, you can’t stay had this public following, hundreds of people developed in between touring with Herbie. there, just in case he didn’t like it. David here, your mother is going to go crazy! They would only come to see me at the store and We signed with , which came out, sat right next to me, gave me a kiss are going to say we didn’t take care of you!” I ask me personally for diverse styles they were was amazing. We made an album, but what and said, “Thank you for your magic.” And I said, “I will tell my mother, don’t worry.” So I looking for. And then one day Herbie Mann transpired was that the band fame came too said, “Did you like it?” He said, “I am in love stayed. The girl, a month later dumped me! I walked in with his wife. I said, “Mr Mann, I quickly. For me it wasn’t shocking, because I with it! I am going to mix that with that break didn’t have any money and I was wondering, am big fan.” And he says, “Hey kid, I heard already had experience, but for these guys, it in, so that in that section you are featured “Where am I going to live?” I was scared. She a lot about you, the word is around in the was too much too soon. We became so big, right in there.” And I said to myself, “He is said to me, “I am going to put you in a hotel city, so you are an expert in jazz. I want you in less than six months: we were opening not going to do that? Why would he want to

60 DRUMscene Issue 49 I’d love to discuss Rachel Faro, your 62 association with her and the remarkable work she has produced over the decades. Rachel has done so much for music, and her label Ashé Records it’s very important, revolutionary in a way. That label has had some of the most interesting artists I’ve ever seen in my life - from Cuba, Puerto Rico from Mexico. I met Rachel in the early 1980s in New York. I was putting a real Big Band together for a benefit concert with Michael and Randy Brecker, and I met her there because who was a great friend of mine, was also great friends with Rachel. From there we never separated, we were always working together on different projects. We travelled to Cuba and produced a group called Cuarto Espacio, we discovered the a cappella group ‘Vocal Sampling’, then we did Los Van Van. And Lazaro Ros! Yes! Lazaro Ros, she recorded him, one of the only ones to do that. So through her I got to meet Lazaro, be with him, spent a lot of time with Lazaro in Matanzas, you know where he was from. Rachel has helped me so much on my solo career, I just spoke to her and she is currently in a music convention in Nashville. I have a great relationship with Rachel, she has geared my life into the right direction, she is very special to me, I am very blessed. How has your career has been developing over the last few years? Over the years I have been producing my own records, I just recorded some new music with Joey DeFrancesco. Alex, I also think that it takes time to reinvent yourself. I have been looking at a new direction away from the Latin-jazz genre. I have produced five albums and had two Grammy nominations and I think do that?” But he did. And after that I went Camilo’s song ‘And Sammy Walked In’? it’s enough. I would like to do something jazz on tour with him, that was so much fun. He Well, Michel and I were in a band called harmonically, with some Brazilian and other treated me so nicely, Alex, he was so decent. French Toast, a well known New York band Latin influences along with R&B. It’s like He looked after me so well and made me feel with , Dave Weckl, Anthony Jackson putting together a nice recipe of ingredients so wanted. - a killer band - we played together for years and getting a new flavour, so I am working Can you discuss your recollections from your and recorded an album. Out of that Michel on that. I also became a radio guy in Miami. work with Miles Davis? created his own band, so I started playing They said, “You have a good speaking voice, That’s an interesting time. I got a call at two with him. Michel and I became really good why don’t you try it?” I tried it and have been in the morning from Miles Davis - and come friends, I started hanging out at his house doing a regular once-a-week radio show for on, Alex, I never thought in my dreams that I and I would bring all these records he had the last fifteen years. I was also offered one was going to play with Miles Davis. And I hear never heard of, remember I used to work in in New York, so now I have WBNA in Miami this voice go, “Hey man, what’s happening, the record store, right? And it was a constant every Monday, and WBAI in New York every hey Sammy…” and I thought it was a friend thing and we became really close. I hadn’t Tuesday - you can stream it. The New York of mine joking with me, so I hung up on seen him for some time and one day I was in show is called ‘Social Music’, a name I got him. The phone rings again, same voice, a recording studio playing on a jingle, and as through Miles when I was playing with him. and I say, “Come on stop, this is not Miles I am going downstairs I see Michel, and it’s It’s a show about every kind of music you Davis…” Then producer grabs the like, “Man what are you doing here?” And he could ever imagine in your brain. It can go phone and he goes, “Sammy you hung up on says, “Sammy what are you doing now? Why from electronica, to Brazilian, to jazz, to Miles! Teo here,” and I went, “Oh, my God!” don’t you do my new record?” So I walked Indonesian, to African music, it’s so broad, But, you know, who is going to believe that into another studio in the same building and it’s really cool. It’s unique in New York and Miles was calling me? Teo said, “Can you get ended up recording for his album, ‘On The in less then six months it has become like the dressed right now and come to the studio?” It Other Hand.’ Later Michel said, “Remember number one show, it’s awesome, it makes me was three in the morning and I walked in the that tune we did? It’s called ‘And Sammy so happy. All of that keeps me so busy - I am studio, I was shaking like a leaf - that was the Walked In’. I hadn’t seen you in five years truly blessed, it just doesn’t stop. session for the ‘Man With the Horn’ album. and all of a sudden you walked in and played Can you tell me the background to Michel on the record.” www.sammyfigueroa.com

Minerva Access is the Institutional Repository of The University of Melbourne

Author/s: Pertout, A

Title: A Day with Sammy Figueroa

Date: 2018

Citation: Pertout, A. (2018). A Day with Sammy Figueroa. [Print]. pp.60-64. Musictek Australia.

Persistent Link: http://hdl.handle.net/11343/239059

File Description: Published version