Listen to the most intimate, one on one, interview of Tito by Marysol Cerdeira and hear Transición in its entirety! They discuss the ins and outs of producing this cd and the way the recording industry is heading.
Tito discusses his relationship with Gilberto Santa Rosa, finding the extraordinary trumpet player Luis Dowdswell, working Producer Pablo Chino Nunez and his vocalist of over 23 years Sammy Gonzalez, Jr. He goes back memory lane to discuss his previous releases Curious? and Eclipse.
Por Jaime Torres Torres
Para Fundación Nacional para la Cultura Popular
A punto de acogerse al retiro, después de 30 años como editor en la cadena CBS, el timbalero Tito Rodríguez Jr. se dedicará a tiempo completo a la música y su primer paso en su nueva etapa será el lanzamiento del cedé “Transición”.
Así lo informó, en entrevista exclusiva con la Fundación Nacional para la Cultura Popular, Tito Jr., hijo del inmortal Rey del Mambo y quien ya lanzó el sencillo “No vale la pena” y se dispone en las próximas semanas a estrenar el corte “Ándate nena” de Thania Sanz.
“Estoy regresando con una producción del arreglista Pablo ‘Chino’ Núñez. Son temas originales para el bailador y empezamos a grabar en junio pasado y terminamos las primeras dos canciones en noviembre pasado. Hemos lanzado el primer sencillo y el público nos está apoyando bien fuerte”, dijo desde Nueva York Tito Jr., quien seleccionó como título “Transición” porque sus proyecciones son grabar anualmente y producir a otros talentos.
“Transición”, su primer disco desde “The Big 3 Palladium Orchestra”, grabado en vivo el 6 de marzo de 2004 en el club Blue Note de Nueva York con Tito Puente Jr. y Machito Jr., es una proyecto desarrollado casi en su totalidad con la tecnología ‘protools’.
“Esta es la primera grabación que hago a través de Internet con los sistemas ‘protools’. Cada músico tiene su equipo. Grabamos y ellos enviaron los ‘files’ o archivos a nosotros y mezclamos.Fue muy interesante para mí grabar la producción así”.
Es inevitable la pesadez orquestal y la solidez rítmica que caracterizó la banda grande de su padre Tito Rodríguez. Tito Jr., quien está al frente del timbal, es fiel a la tradición con una combinación de trompetas, saxofones y trombones.
“Tengo 13 músicos, entre ellos un trompetista de Londres, que se llama Louis Dowdeswell, de 23 años, que es fenomenal y lo descubrí en Youtube mirando vídeos. Me puse en contacto con él para ver si le interesaba grabar conmigo y le pregunté por Facebook y me dijo que sí”.
Tito Rodríguez Jr. grabó el timbal y la voz del cantante Sammy González Jr. en el estudio del productor Pablo ‘Chino’ Núñez en West Palm Beach. Sammy es el mismo cantante del disco “Eclipse” que Tito Jr. grabó en 1994.
“También viene un tema con Celeste Polanco. Ella canta excelente e hizo un disco producido por Pablo. Todos los temas serán movidos para el bailador. Siempre hay que tener el mismo caché de mi padre. No hay otro remedio”, detalló Tito Jr., a quien le une una amistad sincera a Gilberto Santa Rosa, quien conserva y custodia parte del legado del inolvidable Tito.
“Envié las dos primeras canciones a Gilberto y me respondió: ‘¡Bravo, bravo!’ Me sentí muy contento. Gilbertito es mi hermano. Ha respetado mucho el legado de mi padre”.
El recuerdo de Tito Rodríguez sigue vivo. Su herencia es valorada mundialmente. “Mi padre fue muy adelantado a su época en términos de la música que grabó. Sigue vendiendo su música en el mundo entero. Cuando una canción suena bien nunca muere”.
Mientras, la experiencia con Tito Puente Jr. y Mario Grillo (Machito Jr.) en el concepto “The Big 3 Palladium Orchestra” fue muy gratificante. Gracias a la visión de los productores Ina Dittke & Brian Theobald, de B.P.R. Productions, los hijos de los Reyes del Mambo recorrieron el mundo.
“Empezamos la idea de hacer la orquesta. Me reuní con ellos, pero pensé que una banda tan grande de 21 músicos era difícil para viajar por el mundo entero. Bajamos a 16 músicos y tuve mis dudas porque aun era muy grande. Pero eso duró 11 años de giras en los festivales de jazz más grandes del mundo. Desde Alemania y Londres hasta España y Turquía. Fue algo increíble. El primer disco fue grabado en vivo en Blue Note. No continuamos porque Machito Jr., Puente Jr. y yo queríamos grabar nuestra propia música”.
En los planes de Tito Rodríguez Jr. está visitar Puerto Rico para promover el cedé “Transición”, que espera lanzar antes del verano.
“Lo quiero lanzar antes de julio y voy a viajar a hacer promoción porque Puerto Rico es fundamental. Todo el mundo puede grabar ahora independiente. No es necesario tener un sello disquero. Las disqueras siempre lo controlaban todo y ahora los músicos tienen la oportunidad de grabar lo que deseen. Esto es para el público bailador”.
Por lo pronto, su nuevo sencillo “No vale la pena” está disponible en Cdbaby.com y próximamente por Amazon e Itunes.
“Tengo mi orquesta en Nueva York. Ahora con el cedé quizás voy a tener más oportunidades para la orquesta y cuando me retire tendré más tiempo para grabar y hacer guisos. Hace poco toqué en el Congreso de la Salsa en Houston y viajé a Los Ángeles con el grupo. Voy a seguir adelante”, concluyó.
Source: Fundación Nacional para la Cultura Popular
Hear the premier interview of Tito by the legendary Radio Host, Vicki Sola. Together with Jose, Marysol and Sammy Gonzalez, Jr, they discuss his newest album Transición on the Que Viva la Musica Vicki Podcast.
Learn about some of the obstacles artists experience today and what Tito did to make the album happen. Tito talks about his goals to record annually, produce a single for his daughter Pilar, who has an amazing voice, as well as other artists and what he is doing in his father memory.
Tito Rodriguez Jr. is the son of the legendary Latin orchestra leader and singer Tito Rodriguez Sr., from New York City who was also a timbales player (known as timbalero in Spanish). Tito Rodriguez Sr. was one of the Big 3 Palladium Orchestra, during the Latin mambo and cha cha cha craze that took this nation by storm during the 1950’s; the other two being Machito and his Orchestra and Tito Puente and his Orchestra.
The Mambo dance craze of the 1950s, brought together all individuals in the USA, whites, blacks, Latinos, and Jews, united for the first time to go out and dance and learn these new dance steps after a hard day’s work.
Tito Rodriguez Jr. has maintained his father’s legacy, as a Latin orchestra leader, called Tito Rodriguez Jr. and his Orchestra. Tito Rodriguez Jr. is also a timbalero like his father, with a different, more modern tipica sound and style. The music of Tito Rodriguez Sr. was played at my home as a child and greatly influenced my love for Latin orchestra, and my mother and father would see Tito Rodriguez Sr. in person and dance to his music. As a Latin orchestra leader and timbalero, Tito Rodriguez as well as Tito Puente have had a huge impact on my life and my love for Latin Music.
It is a pleasure for me that Tito Rodriguez Jr. made time during his busy touring schedule to discuss a few questions that I have had regarding his career, I have been a fan of his music since his “Curious” album was released years ago, and one of my all-time favorite “Classic” Latin albums.
I have been playing professionally since 1974 so that would make it 38 years now.
My most recent recording was with The Big 3 palladium orchestra “Live at the Blue Note” with Machito Jr. and Tito Puente, Jr. performing the music of the Palladium era with an 18 piece orchestra using the original arrangements.
This was a live recording at the famous Jazz Club The Blue Note.
I have toured to the following places/Countries: France, Italy, Spain, Germany, England, Finland, Turkey, Canada, United States, Puerto Rico.
My favorite congueros are Eddie Montalvo, who has been with me for over 22 years, and of course Giovanni Hidalgo with his superior soloing techniques. Timbaleros I like are of course Tito Puente, Edwin Clemente, and Tito De Gracia.
Curious was a recording that was supposed to be a gimmick to see if I could create a fan base for my music after my father passed away.
I formed a 13 piece orchestra with Jose Alberto on the vocals (his first recording ever) and had Ruben Blades and Adalberto Santiago doing the coros. Ruben Blades also composed 2 songs for me for that LP. The songs were Oye mi son and Se Comienza por el uno.
The hit song on that LP was Sabor Criollo written by Johnny Ortiz a very prolific song writer in Latin Music.
The recording did very well and sold 50,000 copies alone in Africa and is still selling today all over the world. It was recently re-released by Universal as a classic.
My father never did bus tours with his orchestra. He would fly in and fly out. He never mentioned anything about ever being on a bus tour with the Orchestra.
There are a lot of new musicians, timbaleros who are very good at what they do but in my opinion put too much attention to soloing and to see who is the fastest. It is about being in the pocket time wise and keeping the afinque happening. In addition, a lot of these new players do not understand the old school big band style of playing. And maybe it is not their thing.
But the roots of the music today are what the masters recorded before so education is a good approach here to apply to their style of today. After all it is still 2/3 or 3/2 clave period. It is a totally different approach to playing and unless you have heard and studied what these players of that mambo era laid down on these recordings.
I encourage new players coming up to listen to Tito Rodriguez, Tito Puente, Machito, to really get educated about our music.
There are a lot of great groups out there. But not many 18 piece orchestras out there so it is hard to compare. I just do the best I can do to keep my father’s integrity intact when I perform his music. And to perform my original music to the best of my ability so my audience can dance and have fun and have my songs be memorable.
My latest projects include getting my father a posthumous Hollywood Walk of Fame Star which I have applied for and also a Posthumous Latin Grammy. I really feel it is way overdue that the Latin Grammys finally recognize what my father did for his contribution to Latin music all over the world.
In addition I am working on a script for a full length movie on the Life of Tito, Tito Rodriguez. I am very excited about this project.
My latest endeavor/dream was to form an orchestra in Puerto Rico (The Tito Rodriguez Orchestra). I assembled the orchestra 2 years ago and I am very proud of the sound of the orchestra and we are getting ready to tour Latin America this coming year. I also will be recording a new CD as well in Puerto Rico.
Source: WorldMusicCentral.org By Les Moncada
There are many occupations that, while they put beans of the table and keep a roof over your head, dont exactly instill much enthusiasm in their practitioners. Bandleader is not one of those professions. And if youre a bandleader whose father was a legendary singer and bandleader, the fires of professional passion can be downright incendiary.
So it is with Tito Rodriquez, Jr., son of Pablo Tito Rodriquez, dubbed the Frank Sinatra of tropical music. His scintillating rhythms had legions of fans swaying and swirling to the intoxicating big band Latin beat before and after the WWII era.
Tito Jr. surrounded by everything and everyone musical from birth, developed an interest in playing drums by age nine. Although he explored several musical instruments during his teens, including guitar, piano and vibes, he soon gravitated to the timbales. Tito then, at his fathers insistence, pursued a formal music education at the Berklee College of Music and the University of Miamis Department of Music.
While only in his early twenties, Tito organized his first band, the Tito Rodriquez II Orchestra, which led to his production and recording of Curious, an album that has recently been re-issued on CD and is considered a Latin classic.
Today Tito Rodriguez, Jr. carries his fathers music, as well as his own songs and arrangements to throngs of enthralled listeners and dancers around the world. His mission is to impart a love for his signature mambo refrains, introducing it to current and future generations. To anyone who has every attended a Tito Rodriguez, Jr. performance, there can be little doubt that his exuberant, Caribbean-derived cadence is worthy of musical immortality.
Our house was always full of music. I knew from all of Dad’s records and awards in the house that he was someone special, but to me, he was just Dad. My earliest memory is when I was seven and listening to my Dad rehearse his orchestra in our basement and then suddenly we were at the Palladium Ballroom in NYC. To encourage my interest in music, my parents bought me a drum set when I was about 8 years old. By the time I was nine, Dad had me working endorsing Bustelo coffee. I was part ofa passionate, hard working family.
Because of who my father was, I also had the opportunity to meet a lot of entertainers and sports figures, such as Roberto Clemente, Orlando Cepeda, Chi Chi Rodriguez, Jose Ferrer, Sammy Davis, Jr. Tony Bennett, Flip Wilson, Delta Reese, and Dione Warwick to name a few.
I have two favorite memories of celebrities. One time Orlando Cepeda came over to our house for dinner. We had time to kill before dinner so he took me and my friends out into the street and played catch with us. I was definitely the hero of the neighborhood for a white.
Golf lessons from the master, Chi Chi Rodriguez, also stands out. He was a great teacher and a real jokester. He had me in stitches on the range. The only downside to my Dad being famous was that my Dad had to travel to tour and he was away from all of us for long stretches of time. We realty missed him.
I never took it for granted. My love of music just evolved naturally over time. By the time I was sixteen, music began to spark my interest. Dad said if I was serious about music, then I had to have a formal music education before he would even consider allowing me to play with him and his orchestra. There were no free rides. This prompted me to study at Berklee College of Music and the University of Miami where I graduated with a BA in Music.
No, professionally I only play the timbales and occasionally sing background. Today I am primarily the orchestra leader/timbale player’ The music does not require me to play other instruments. I do enjoy playing the guitar in my spare time.
Yes, absolutely. I learned all aspects of writing music, harmony, theory, arranging, and melody improvisation. Without a formal education, I would not be able to do all of the things I do today, arrange, produce, write, and perform.
My father had just died and my Mother came to me with the idea of doing a record. My sister and her husband were running Dad’s label, TR Records. To pique people’s interest, Mom suggested the name Curious? At the time, I knew Ruben Blades.
We played soccer together in Central Park. He was with Fania singing and composing. I met with Ruben and other songwriters and put the album together. The lead singer was Jose Alberto, El Canario. ln addition, Adalberto Santiago was on Coro along with Ruben. The album sold over 5o,ooo copies in Africa alone. lnLatin music, sales over 50,000 units is considered a gold record. We had a winner on our first try.
Performing with Cetia Cruz at the Hollywood Bowl really stands out. lt was one of her last performances. Little did I know she was very ill. She put on a great performance and was one of the last great classic Latin performers. The performance at Carnegie Hall with Gitberto Santa Rosa was also very memorable. As an artist it is one of the greatest venues to perform in, so I am very proud of that.
Composing the theme song for Sally Jessy Raphael’s show was my first experience as a writer/arranger for a nationally televised TV production. Loved it. Would love to do more of this type of work. lt was a great collaboration between artists.
The concept was originally Mario’s. He came to me and asked me if I would co-lead the orchestra with him. The idea was to continue to play traditional Mambo Music with a big band. Between the three of us we have over 2,5oo original charts from our fathers. We love the music and love exposing it to a younger generation. For example, some of them know Luis Miguel’s version of Tu Me Delirio, but how many of them have heard my father’s recording of it with the London Symphony Orchestra?
ln 2004 we recorded The Big Three Palladium Orchestra, Live at the Bluenote in NYC. This propelled us onto the international stage and now we are touring all over the world. We have been privileged to perform at such spectacular venues as Tanglewood, the Hollywood Bowl, the Porijazz Festival, the lstanbul Jazz Festival and Jazz at Vienne France Festival.
We want to be in total control of every aspect of the product from start to finish. The idea is an album a year for me and to also write and arrange music. We want to sign new artists, produce their albums and support their development. We are currently in discussions now with a major independent label to distribute our products.
Generally, we dress for the venue. lf it is a huge outdoor festival like Pori Jazz festival with a crowd of over 20,000 we are all in T-shirts and jeans. lf it is a very elegant venue, we are in suits or tuxedos. An elegantly dressed 18-23-piece orchestra is merely icing on the cake to music that continues to rock. What we have found is that great danceable music withstands the test of time and appeals to everyone, especially the
younger generation. They are all over this music. lt is very alive and well.
Being a bandleader definitely has its ups and downs. Trying to please eighteen people is not always possible, no matter how hard you try. Being
a musician on the road today is not so glamorous either with travel being so difficult. Writing and arranging are very fulfilling because I am creating something new. That said, performing is a great rush. When you see that everyone is really enjoying the music, it makes me feel very fulfilled, that all of the inherent problems associated with the music business are irrelevant. It is the fans and their love of the music that makes it all worthwhile.
I really enjoy performing at dance clubs. It is great to see people perform the intricate synchronized Mambo dance moves. There is sensuality to the movement of the dancers and watching the dancers energizes the band and takes us to a higher level. We feed off each other. The more they are into the music, the more we are into it as performers.
As far as concerts go, the audience members always find a place in the isles to dance to the music. It is very hard to sit still while this riveting music is being performed. So no matter where I am performing people get up and dance.
Many musicians of your caliber collaborate with musical instrument makers to create their ideal sound. Have you developed, perhaps, with Toca Percussion, any special “tweaks” in your quest for tonal nirvana?I have suggested to TOCA in the past to come out with a timbale that has the cascara sound of the vintage Leedy Ludwig timbales of the ’50s. The shell Of the drum had a rich sound to it. The current Proline timbales that I perform with for TOCA have the closest sound to those drums in my opinion.
Yes, lstanbul Turkey was one of my favorite venues. We played in front of a tobacco factory ruin that was lined with a glass building.
Turkey is a visual feast, with the ancient and modern iuxtaposed. To be in a country with over 4,ooo years of history, where east/west cultures and all the major religions have collided, was a great experience. To learn that the people of lstanbuI not only knew the music but also know how to dance the Mambo in its purest form was a shock to me.
There I realized how very universal this music is and loved by all no matter what faith, ethic group or country you are from. Music is a universal language that reminds us of what we have in common with each other. During these difficult times, music reminds us of our humanity’
Yes, I have very strong ties in Puerto Rico. I recently formed the Tito Rodriguez Orchestra there, which plays my father’s original charts. It has always been my dream to form an orchestra using musicians from the island. This past February my dream became a reality. I also have many friends on the island and vacationing there with my family is something I really enjoy.
Golf, scuba diving, yachting, cooking and entertaining family and friends at home in NYC are great ways to unwind. just recently I played golf at Palmas Del Mar and also at Chi Chi Rodriguez’s El Legado Golf Resort. Chi Chi was there and after a round of golf we discussed doing a fundraiser together to raise monies for a children’s hospital on the island.
It is an honor to play his music and to introduce his music to a younger fan base. In addition, because he died so young, he was not able to take his music to Europe and Asia. This is a privilege for me’ I hope this music catches fire in a younger generation so it lives forever.
My music from is constantly evolving. I always gear my music for the dancer so that it is completely danceable whether it has a Latin Jazz sound or a Mambo sound. My music is first and foremost for the dancer’ Playing my father’s original charts continues to evolve as well The music sounds contemporary because the rhythm section has a more modern, contemporary sound. That sets the tone and the music is instantly updated.
First and foremost, get a good music education. Study the history of our music and the players who created it such as Perez Prado, Machito, Tito Puente, Eddie Palmerie, Celia Cruz, and of course, my Dad’ Have a vision, follow it, and never give up no matter what anyone says’ Reach for the stars. They are out there.
It is hard for me to pick an all-time favorite. When I am working on a new tune, that tune becomes my favorite, for that period of time. After it is recorded, I seem to let it go. I am always searching for inspiration for my next song and enjoy working to make it a reality.
By: Ramón Muñiz Hernández
Tito Rodriguez is gone, but the music remains. His music will continue to matter regardless what happens to our evolving popular culture. His fame as a singer, his voice, his style, his band, his music will be remembered and honored from his own country, Puerto Rico, to New York, to the world. Long after his death, every day, in cities and towns all over the planet, someone plays his music and discovers that quality that gave him a special place on the public stage of the Americas and the world. High art always survives.
Pablo “Tito” Rodriguez, born in Puerto Rico, is survived by his son who knows the importance of being called Tito Rodriguez, Jr. Tito Jr. remembers his father by carrying the torch of his art and legend, with a sense of pride and tradition, playing his songs and enabling an entire generation to enjoy his music, giving the American landscape a voice that lingers like a beautiful song..
When Tito Rodriguez died the news made the front pages of newspapers in his native Puerto Rico and Latin America and many cities worldwide. It was the death of an original. Over the previous year he had been in and out of hospitals, he had been a long time dying, but he had also been a long time living and entertaining people all over the world. Tito Rodriguez mattered to a lot of people and will continue to matter in the years to come. The music was the engine of his life, he transcended several eras; he was wonderful with his children, he was funny, he was vulnerable; like all great artists, he was one of a kind.
Now Tito Rodriguez is gone, but the music remains. The man and his music are well preserved in the musical arrangements kept through the years by his son. He has assembled a big band with some of the most fiery and tasty mambos ever written of all times. Here are the classic mambos of an era, the greatest arrangements, performed by a big band with a sound that only a big band can produce. Tito Rodriguez, Jr has proven that great music never dies. His own CD’s are considered classics and are being re-released by Universal Pimienta also. His new show combines his greatest hits with his father’s. It is a true passing of the baton.
The stage is being set. Those performances are here today for all to enjoy, it is musical history, is the continuation of a strong and powerful sound, full of vitality, of a contagious music that appeals to the feet and the brains and that can be enjoyed simply as music in concerts too. It is a rich heritage, a rich legacy. The Latin musical experience is a force, a storm, a volcano speaking, a train at full speed, an explosion, is something that goes beyond the mere aesthetics of music; it is the longing for freedom, the joy of the dance, the respect for the sublime, the romantic love songs of the islands of the Caribbean, it’s a hymn to life and eternity; music represents life, music is forever.
Bandleader Tito Rodriguez, Jr. is on a mission, almost a religious endeavor, and that is to take his father’s music, the late great sonero/bolerista Tito Rodriguez, the Frank Sinatra of tropical music, as well as his own, to all towns and cities of the world for the pure enjoyment of life. Their music is happy and brings joy to all listeners and dancers. Their music lives on!
For those of you with graying hair, listening to music from almost half a century ago can bring back memories of better times. A time when going out dancing meant you had to be a good dancer and a time where, when you fell in love, you fell in love to the language of the Bolero. Read More
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