Despite the success achieved with his friend, Pete had other intentions the chives and Pacheco 1974

Of all the salsa expression, one of the voices that came closest was the Cuban soneo baritone Count Pete Rodriguez . What has never ceased to be an irony because Pedro Juan was-in this order-Ponce, Puerto Rican and then by things in life, Nuyorican.
Pedro Juan Rodríguez, assuming his role Grande Salsa Due to the death of his father in 1946, her mother was left with severe financial difficulties and so, with just 12 years, Jim had to move to New York home an aunt. As a teenager, in his first musical forays was linked to several orchestras in Cuba and it was there where he began to demonstrate his natural talent for singing, and which was nurtured to polish the chives his style, which was much closer to the phrasing of most West Indies that starting to sound very strongly in the city. That's right: never study singing. In the 50 Integrated Novel Typical Orchestra and Broadway, which was removed the chives in the early 60 disagreements and egos. In May 1962 I was contacted by Johnny Pacheco, who was looking for a vocalist to replace the absence of Rudy Calzado and coupling was great. Recorded with Pacheco since then three more records of bands, was molded even better the new Tumbao Johnny launched in 1964 along with his newly founded record label Fania and both-although separated by two years due to a resentment that Rodriguez had with Ramón Quián, monguito - ended up forming a duo deeply rooted in the nascent phenomenon of the sauce, which produced memorable albums until 73.
Despite the success achieved with his friend, Pete had other intentions the chives and Pacheco 1974 informs the chives his desire to mount separate tent. Since launching a solo album, The Count, which is well received by the Latino community but not to drink water sloshing in the New York salsa sound. The proposed Rodríguez sound was much more typical that Pacheco-which is saying-: to achieve this, formed an orchestra that was a carbon copy of the typical format of the set, hosted by Arsenio Rodríguez in the 40s, then jibe well with his voice and your style, traditional but without sounding outdated. Yes, the essential salsa trombones were absent here. For the second album, This black itself is tasty, which had a sizeable hit, Pete included Julio Castro on congas, bongos Victor Cruz and bell, José Febles, Tony Cofresi, Junior Vega and the huge Victor Paz in the trumpets, Harry Viggiano in three Oscar Hernández on piano and Eddie Rivera bus on bass. The Count, who was also a drummer, would be responsible for guiro-which rang similarly to a metal-absent timbales and maracas. The production would be provided by Louie Ramirez and arrangements will be paid by Febles, Louie Cruz, Ray Barretto, pianist and Pappo Luca, of Sonora Ponceña. In two words: pure fire. This album was short on the shelves because it contained one of those essential items for any collection of the best of the decade: Catalina O (listen to it in this video, with Pacheco in command of the orchestra). The lyrics are not much-eight the chives verses to describe a tamborera black and bailotera-but the chorus is very catchy and the beat is great: a son in the making and montuno where Pete stands with his soneo and Viggiano with strings. It had all the ingredients to be radiated the chives to ring insistently and in all countries of the Caribbean basin, as indeed happened. However, more interesting is this theme, Abolition, written by Tite Curet Alonso in Guaracha complaining of unfair treatment to be dispensed to blacks at the time: if the abolition came, the black not glad; says the choir and says it all. Rodriguez was always very attentive to these contrasts it came from Puerto Rico (quite racist and classist society) and suffered the rigors of American apartheid of the 40s, 50s and 60s. Pete has had the same experiences when he was in the Korean War (separate bathrooms and drinking fountains, mistreatment of blacks by the military) and the difficulties experienced in the U.S. territory. Back to excel one of Viggiano, very strong rhythmically, and trumpets Gingham is intertwined with the hides. the chives Then there is one of Armando Manzanero bolero, Madrigal, this album titled When I'm with you, with a long arrangement that is delightful. For sale are a heart cry is a tribute to the Cuban sound which Viggiano again seize buildings montuno and sound of trumpets was then interspersed with the chorus, while Victor Paz beeps stand amid the crowds of sounds . On Feeling, the typical structure are