In partnership with Jerry Masucci (1934-1997), an Italian-American lawyer who had handled his divorce, Dominican-born multi-instrumentalist Johnny Pacheco formed Fania Records in New York in 1964. The company dominated the Latin record scene for two decades by bringing along promising young artists rather that poaching acts from other labels: Larry Harlow, Bobby Valentín, Joe Bataan and many others became stars on Fania, with Johnny as the recording director on early releases. He launched the label with the album Cañonazo (its catalogue number [S] LP 325 was derived from Pacheco’s date of birth: 3/25) fronting a band called Nuevo Tumbao (New Rhythm) with a Cuban conjunto format of trumpets, rhythm section and voices and a spirited sound akin to the Cuban giants La Sonora Matancera, Arsenio Rodríguez and Félix Chappottín. Tellingly, the title track was a cover of the 1954 hit by the great Cuban musical institution La Sonora Matancera, whose sound he was accused of copying. Though there is substance to this, his "new" matancerized sound, executed with aplomb and verve, proved to be a successful formula for both his future recordings and productions for other stars in the Fania roster. Lead vocalist, Pete "El Conde" Rodríguez (1933-2000), who previously recorded with Pacheco’s flute and violins charanga band on the Alegre label, made a further six albums with Nuevo Tumbao between 1964 and 1973 before going solo in 1974. Johnny brought in the smoky voice of Havana-born Héctor Casanova (1944-2007) for 1975’s El Maestro, on which the group was reborn as Tumbao Añejo (Aged Rhythm). Héctor, whose voice has a similar timbre to Pete’s, was criticised for imitating his predecessor. Casanova recorded a further two albums with Johnny before going solo at the beginning of the 1980s. After releasing a series of albums on which he teamed up with veteran singers like Angel Luis Silva "Melón", Daniel Santos, Celio González and Rolando La Serie, Johnny reunited with El Conde to make four more albums for Fania between 1983 and 1989, including the Grammy-nominated Salsobita (1987). Casanova guested on one track of Johnny’s final Fania solo outing, Sima! (1993), and in 2004 he participated in Johnny’s comeback album Entre Amigos on Bronco. – John Child
Orquesta Novel (originally called Orquesta Típica Novel), a swinging charanga band noted for their rich harmonies and tight arrangements, were formed in New York in the 1960s. Led by Afro-Cuban pianist, arranger, composer and vocalist Willie Ellis, Típica Novel made six albums for the Fonseca and TR labels between circa 1967 and 1975. When the flute and violins-led charanga sound made a comeback in the mid-’70s during the brass dominated New York salsa boom, renamed Orquesta Novel, the band switched to Fania Records for series of eight albums between 1976 and 1989. Novel augmented their lineup with trombonist Barry Rogers and trumpeter Alfredo "Chocolate" Armenteros for their last TR album With A Touch Of Brass (1975). They continued to include brass on their Fania recordings, using Rogers on their 1976 label debut Salsamania and trumpeter Ray Maldonado and trombonists Papo Vásquez and Jimmy Bosch on subsequent recordings. Rogers shines on "Moñoño", arranged by Louie Ramírez, the producer of Salsamania, who co-wrote the song with co-lead vocalist Marco Motroni (1945-2001). Sadly, Marco perished in Tower 1 of the World Trade Center on September 11, 2001. Longstanding member, violinist and arranger Eddie Drennon, produced Novel’s three 1980-1 Fania albums. Returning to the name Orquesta Típica Novel, a new version of the band made a comeback in 2000 under the leadership of flautist Mauricio Smith Jr. – John Child
Conguero, flautist, singer, composer and producer Julio Castro worked with Roberto y su Nuevo Montuno, Orquesta La Unica, Pete "El Conde" Rodríguez and José Mangual Jr., among others, before becoming the leader of Orquesta La Masacre and recording New Generation Presenta Julio Castro & Orquesta La Masacre (TTH, 1979), with Tito Nieves on lead vocals and featuring the hit "El Pregonero", and Mamey (Fania, 1980). Julio’s 1984 Fania follow-up Julio Castro y La Masacre is really an overlooked classic because it received very little exposure at the time of its release. The album was one of Oscar Hernández’s earliest experiences as a producer, though today’s leader and co-producer of the Spanish Harlem Orchestra was not credited on the sleeve. According to Oscar, Julio recorded the music for the album in Puerto Rico, and then a brush with the law prevented him from completing the project. Nestor Sánchez (1949-2003) was selected as the lead singer and Fania called in Oscar to finish the album. And what a commanding piece of work it is. Nestor’s voice and performance are a model of perfection. Standout tracks are "Incertidumbre", written by Julio, "Colonizaciones", composed by Johnny Ortiz, and "Los Negros De La Central" penned by Jorge Ayala. Castro resurfaced in 2010 as co-producer and a performer on La Gitana: Julio Castro And Ray Castro Presenta Nayibe (Budda Bear West Side Records) by the young Colombian female singer Nayibe La Gitana. – John Child
elWatusi is happy to include the catalog of CESTA RECORDS, the label formed by the esteemed band-leader JOE QUIJANO in the 1960s. Joe was born on September 27, 1935, at Puerta de Tierra, Puerto Rico, his family relocating to New York City in 1941. Over the years he has contributed greatly to the development of Latin music in New York City.
His complete catalog is available in high quality mp3/320 or audiophile FLAC formats.
Musicians are a breed of their own. In most cases they come and go; some reach the top charts and become unforgettable and others go unnoticed and fall through the cracks. We know who the unforgettable ones are because, we as human beings identify our special moments through their music and lyrics.
Joe Quijano is one of the unforgettable orchestra leaders, composer and cinger of our time, and, oh, how he can woo the ladies, with his romantic melodies and sexy voice. He started his career as a boy, in 1950 in the back streets of the Bronx, NY, with such known artists as Eddie Palmieri (pianist) Orlando Marin (timbale player), Chiqui Perez (conga player) and Larry Acevedo, (trumpet player). He formed his first band known as the Banana Kelly’s Mambo named after Kelly Street where most of these artists grew up. Later, he changed the group’s name toEl Conjunto Cachana, and the band is still very active today.
Throughout his career, he has had many accomplishments. He has recorded 14 albums and over 300 songs. In 2003 he recorded his latest album, in english, entitled Salsa- Natra In Clave, a tribute to Frank Sinatra. He was an innovator of La Pachanga, a Cuban-Nuyorican rhythm, and the Cha Cha Cha, and is most famous for his interpretation of La Pachanga Se Baila Asi, which inspired other great artiest such as Tito Rodriguez, Frank Grillo (better known as Machito) and Tito Puente to incorporate La Pachanga in their big band orchestras in the late 1960s.
Many of us will remember his very famous song, A Cataño, which became popular for the verse Aguanta La Lancha ue voy pa Cataño. Joe was a founder of the Cesta All Stars with Al Santiago and Charlie Palmieri.
Joe Quijano is an all-around artist. He not only composed, sang, and conducted his orchestra; he was also an accomplished pianist, and played flute as well as the timbales, congas, and bongos.
In 1992, Joe Quijano was still going strong until fate turned things around. He had a motor-cycle accident, here in Puerto Rico, which left him in a wheel-chair for several years. He has had over 12 surgeries, but his love for music, and his unbelievable stamina, has brought him right back to where he was, and to us. He is still performing and going strong, his most recent performances being in Cali, Columbia.
I have just skimmed the surface of this great artist. To do him justice, I would have to write a book, which, by the way, is being done today. His music has inspired many great musicians throughout the years, and his legacy will live on for as long as we have, and enjoy music. I am proud to call Joe Quijano my friend. He is an unbelievable human being, and a great artist.
The salsa world is mourning the loss of the much loved singer, Junior González, who passed away Thursday morning just days after his 63rd birthday. The cause was complications with his pancreas and liver.
Junior González was born in May 7, 1949 in Coamo PR. In 1971 he made his first appearance on the legendary Fania label as the lead singer for the groundbreaking Hommy, a Latin Opera which was inspired by the success of Tommy, the rock opera by The Who. The album also featured Celia Cruz, Cheo Feliciano, Pete “El Conde” Rodriguez, Justo Betancourt and Adalberto Santiago.
González recorded many albums with the Harlow orchestra, including, among others, El Jardinero Del Amor, Live In Quad, and Our Latin Feeling.
Gonzalez enjoyed a successful solo career that begain in the late ’70s with albums like Mi Estilo. He balanced the classic New York salsa sound and, in the ’80s, salsa romántica as well.
Later in his career he released Tribute to Héctor Lavoe, Live At La Isla, Ibiza, and his final recording entitled Hommy: 40 Aniversario.
Junior González connected with his audiences on an emotional level, and he will be dearly missed.
The maternal grandfather of Cuban-born singer, bandleader, actor and TV executive Desi Arnaz (Desiderio Alberto Arnaz y de Acha III, 1917-1986) was one of the founders of Bacardi Rum, but the family lost everything in the revolution of 1933. Desi went to the USA in 1934 and cleaned birdcages in Florida, sang rumbas in Miami clubs and is credited with helping to make the conga a national fad. His big break was touring with Xavier Cugat at the age of 19. He met songwriters Rodgers & Hart, who cast him in the 1939 Broadway musical Too Many Girls, in which he did the conga, and also played in the 1940 film version co-starring Lucille Ball (1911-1989; they married in 1940 and divorced in 1960). Minor roles in other films followed. Like Cugat, Arnaz was a populariser of Cuban dance music. He had minor hits with an inferior version of Margarita Lecuona’s "Babalú" (1946) and "Cuban Pete" (from the 1946 low-budget film of same name). Others recordings included "Green Eyes" (with Cuban pianist René Touzet), "Rumba Matumba", "La Conga en Nueva York", etc. He was also musical director of the Bob Hope radio show after World War II. Between 1951 and ‘59 he played Ball’s TV husband Ricky Ricardo in the massively successful series I Love Lucy. They formed the TV production company Desilu. He will be remembered more for introducing the TV sit-com three-camera production technique than for his music. His autobiography A Book was published in 1976. – John Child
Havana-born trumpeter, reedman, pianist, composer, musical director Mario Bauzá (1911-1993) is credited as the creator of Latin jazz (a term he loathed). He was adopted and raised by his godparents and tutored by his godfather. He attended Havana’s Municipal Academy from the age of seven; debuted on clarinet with the Havana Philharmonic at the age of nine and became a regular member from 12. He played clarinet at Havana nightspots and met Machito (1908-1984) around 1923/4. He made a brief trip to New York City in 1926 with the orchestra of pianist and composer Antonio María Romeu (1876-1955) to play clarinet on danzón recordings for RCA. He experienced jazz first hand in Harlem, having heard it on Cuban radio, and was inspired to learn alto sax by seeing Paul Whiteman’s band. He graduated from the Havana Municipal Conservatory in 1927 and played together with Machito in the teenage orchestra Los Jovenes Rendención in 1928.
He relocated to NYC in 1930, travelling on the same ship as Don Azpiazú’s Havana Casino Orchestra with singer Antonio Machín (1900-1977), who are widely credited for introducing Cuban music to the USA in 1931 with their crossover hit "El Manisero" (The Peanut Vendor). Bauzá learned trumpet in two to three weeks to record with Machín’s group Cuarteto Machín. He worked with numerous orchestras over the next decade, including Cuban trumpeter Vicente Sigler (regarded as probably the first big Latin dance band to perform in NYC during the ’20s), Noble Sissle ‘31-2, and Hi Clark and His Missourians at the Savoy Ballroom. Chick Webb spotted Bauzá while performing with the latter in 1933 and hired him as his lead trumpeter. Webb promoted him to musical director the following year, but he was fired from the band in 1937 or ‘38 after an argument with a club owner or because of the jealously of certain band members (accounts vary). Bauzá helped launch the career of Ella Fitzgerald by introducing her to Webb. In 1936 he married Machito’s sister Estella (c. 1912-1983). During 1937-9 he worked briefly with Don Redman and Fletcher Henderson, then replaced Doc Cheatham in Cab Calloway’s band in 1939. He became a close friend and influence on Dizzy Gillespie (they met in Webb’s band); and gave Gillespie a major break by faking illness to enable Gillespie to substitute for him and be heard by Calloway, who then recruited him. He also introduced Gillespie to Chano Pozo in 1947, helping to change the course of jazz.
In 1941 he joined Machito’s Afro-Cubans, reorganising and expanding the band. While Machito was absent for military service in 1943, Bauzá is said to have been responsible for the genesis of the jazz/Latin fusion called at various times: Afro-Cuban jazz, Cubop and Latin jazz, when he created "Tanga" (meaning: marijuana) during a rehearsal. "Mario, through his efforts married these musics to incorporate as much richness in rhythm and harmony as possible; all bands, therefore that came after the Afro-Cubans were just followers," stated Chico O’Farrill (1921-2001). With Bauzá as musical director, the Machito orchestra redefined the Latin sound as hot Cuban music, as opposed to bands like that of Cugat, which played a polite style for white hotels. Machito described him as the architect of his orchestra. Bauzá may have been the inventor of Afro-Cuban jazz, but many consider that the band’s popular trademark sound was provided by the consistently jazz-inflected arrangements of René Hernández (died: 1977), Machito’s arranger and pianist from 1945 to ‘66. Hernández went on to work with the Tito Rodríguez orchestra and wrote arrangements for many bands on the NYC Latin scene including Eddie Palmieri.
In 1974 Bauzá produced the LP Esa Soy Yo, Yo Soy Asi on Mericana for Graciela (1915-2010; Machito’s sister, and singer with his band from 1943) and co-produced the Grammy-nominated Dizzy Gillespie y Machito: Afro-Cuban Jazz Moods on Pablo in 1975, both with O’Farrill, but split acrimoniously with Machito after 35 years in late ‘75 when he objected to Machito’s son Mario Grillo being moved from bongo to timbales (to replace José Madera): the upshot was that Mario Grillo replaced Bauzá. Bauzá organised a band with Graciela to make the LP La Botanica (Lamp / Coco, 1977), which sold poorly. He continued guesting on LPs such as Rafael Cortijo’s Caballo de Hierro (Coco, 1978) and Típica 73’s Into The ’80’s (Fania, 1981). Bauzá and Graciela’s 1986 project Afro-Cuban Jazz With Graciela, Mario Bauzá And Friends for Caimán Records garnered a Grammy nomination. The twosome also featured on Rica Charanga (Caimán, 1986) by veteran vocalist Rudy Calzado (1929-1911).
He commissioned O’Farrill to develop "Tanga" into the four-movement "Tanga Suite", which his orchestra first performed at Harlem’s Abyssinian Baptist Church on October 21st, 1989. In 1990 he was appointed Artist-in-Residence at Harvard University, where he conducted the Harvard University Jazz Band. After seeing his Afro-Cuban Jazz Concert Orchestra (featuring Graciela and Calzado) performing with Gillespie for Bauzá’s 80th Birthday Tribute at NYC’s Symphony Space in April 1991, German Messidor label boss Götz A. Wörner signed him up. Bauzá’s 1992 Messidor debut Tanga, including "Tanga Suite" expanded to five parts, was voted album of the year in the downbeat critics’ poll. In 1992 he appeared with his orchestra in The Cosby Show along with Willie Colón’s band and performed on The Mambo Kings soundtrack album. He toured USA and Europe with his Afro-Cuban Jazz Orchestra. His Messidor follow-up My Time Is Now was released in June 1993, the following month he died of cancer in the apartment he had occupied for 50 years, the address of which provided the title of the posthumous release 944 Columbus (Messidor, 1994), recorded in May 1993. "This is the last thing I’m going to do for the new generation," he told Calzado. – John Child
Cuban-born pianist, organist, bandleader, arranger and composer Pérez Prado (Dámaso Pérez Prado, 1916-1989) popularised a diluted form of the mambo. He studied classical piano at the Principal School of Matanzas and played with local bands. He relocated to Havana in the late 1930s, where he initially performed with bands at the Pennsylvania and Kursaal nightclubs. In 1940 he briefly worked as an arranger and pianist with Orquesta Casino de la Playa (four sides he recorded with the band are collected on the 1991 CD Memories Of Cuba 1937-44 on Tumbao). He also worked with Orquesta Cubaney (led by trumpeter Pilderó), Paulina Álvarez’s orchestra and the CMQ radio band. He formed his own band in 1946, and made his first overseas tour and recordings the following year. Sides he recorded in Cuba between 1947 and ‘49 are compiled on Kuba-Mambo (Tumbao, 1991).
Prado gave inconsistent accounts of how and when he started writing mambos. It is posited that he utilised the term already popularised by danzón-mambos performed by the flute and strings orchestra Arcaño y sus Maravillas, to develop a formula for his brass-and-sax jazz-type line-up. He made little impact in Cuba, so went to Mexico in 1948 and worked with various bands before organising another band. He hired the Blanquita de Cuba theatre where he performed the successful show Al Son del Mambo (To The Sound of the Mambo). He teamed-up with the Cuban sonero Benny Moré for highly successful Mexican tours, a notable appearance at Panama carnival and numerous recordings: "El Barbaro Del Ritmo" Mambos by Beny Moré (Tumbao, 1991) collects sides recorded on RCA Victor with Moré between 1948 and ‘50, arguably some of his finest and most authentic recordings.
He made his US debut in May 1951 for a one-nighter with a pick-up band (including Mongo Santamaría) at the Ashland Auditorium for Chicago’s Mexican Youth Center. He took up residence in USA after being kicked out of Mexico in bizarre circumstances. There he recorded for Seeco, United Artists, Epic and other labels, but mostly for RCA. His best-known mambos were numbered: "Mambo No. 5" (1949, said to have been the first major crossover mambo hit), "Mambo No. 8" (both included on Go Go Mambo! ‘92 on Tumbao, a collection of recordings he made in Mexico between 1949 and ‘50 and New York City in ‘51). The mambo gradually became a craze in various Latin countries and a national fad in the USA in 1954. In the USA Latin community the three mambo kings were Machito, Tito Puente and Tito Rodríguez; although the last two also recorded for RCA, Prado became the best known of them all because he had the biggest crossover hit: "Cherry Pink And Apple Blossom White" in 1955. "Cerisier Rose et Pommer Blanc" was published in Paris in 1950, recorded by Prado as "Cerazo Rosa" in 1951 (included in Go Go Mambo!) and again in 1955 for use in the film Underwater with Jane Russell; the arrangement had a slower tempo than Prado’s other mambos and a spectacular trumpet solo by Billy Regis. It was no. 1 in the USA for ten weeks and for two weeks in the UK. He had a second no. 1 in 1958 with "Patricia", a bouncy organ-led jazzish cha cha chá.
Prado left the US in 1970 (it was rumoured that he had fallen foul of Internal Revenue Service), continued to tour the world, and returned to Mexico. Mongo Santamaría, Doc Cheatham, René Bloch (reedman and later bandleader), Johnny Pacheco (on percussion) and Ray Barretto were among those who passed through Prado’s band. Other compilations include Al Compás del Mambo 1950-52 (Tumbao, 1993), Mambo Mania / Havana 3 A.M. (including most of the hits) and Voodoo Suite / Exotic Suite (the former included Shorty Rogers on trumpet) on Bear Family. The lesser 1958 hit "Guaglione" was a UK top ten hit in 1995 through its use in a Guinness stout TV ad; and it became chic to use Prado or Prado sound-alike mambos in other ads and as TV themes and incidental music. In 1999, Lou Bega’s cover of "Mambo No. 5" became a worldwide hit; it reached no. 3 in the Billboard Hot 100; remained no. 1 in Australia for eight weeks; topped almost every European chart, including Bega’s home country, Germany, and set a record by staying at no. 1 in France for 20 weeks. – John Child
The phenomenal trumpet-led string, percussion and voices institution La Sonora Matancera was established on January 12th, 1924 in Cuba’s Matanzas province (hence the name) in the home of tres guitarist Valentín Cané. Originally called Tuna Liberal, their line-up included bassist Pablo Vázquez "Bubú" (died: 1969), timbalero Manuel Sánchez "Jimagua", Ismael Goberna on cornet and three guitarists. Two key individuals entered the group in 1926: maracas player and third vocalist Caíto (Carlos Manuel Díaz Alonso, 1905-1990) whose falsetto voz de vieja (meaning: "old woman’s voice") chorus singing style became a trademark, and guitarist and singer Rogelio Martínez (1898-2001), later the group’s leader. The group also underwent one of its several name changes that year by becoming EstudiantinaSonora Matancera. In January 1927 the group moved to Havana. Their trailblazing use of uniforms was initially mocked, but swiftly became the norm; with rapid acceptance came gigs at numerous celebrated Havana venues, including the La Tropical and Marte y Belona nightclubs, Havana Sports Club, Alhambra Theatre, Galician Centre and on the radio. They made their first recording on Victor in mid-1928. They repeatedly performed for the Cuban leader General Gerardo Machado Morales between 1929 and 1932.
In 1930 the group settled for the name La Sonora Matancera (The Matanzas Group). In 1932 José Rosario Chávez "Manteca" replaced Jimagua on timbales. Former Septeto Nacional trumpeter / composer Calixto Leicea replaced the ailing Ismael Goberna (who subsequently died) as first trumpeter in 1935. The same year, Valentín switched to conga and his son Humberto Cané was hired to play tres. Bienvenido Granda (1915-1983) sang lead vocals from the early ’40s to the mid-’50s; he left due to differences with Martínez. Peerless pianist, composer, arranger Lino Frías (died: April 1983) played piano from 1944 to 1976 (he retired due to arthritis), followed by notable New York-based salsa pianist, bandleader, arranger, composer and producer Javier Vázquez (Bubú’s son). Second trumpeter Pedro Knight was added on January 6th, 1944 in order to rival other bands with three trumpets. After marrying Celia Cruz (lead singer ‘50-65) on July 14th, 1962 in Mexico City, he retired from the band on April 30th, 1967. Raimundo Elpidio Vázquez replaced his father Bubú on bass in 1954. Valentín departed in 1947 and Martínez was appointed leader. Manteca left in 1955. Papaíto joined as timbalero in 1960 and trumpeter Alfredo "Chocolate" Armenteros joined Leicea from 1976 to 1980.
Besides Granda and Cruz, over 60 singers performed with La Sonora, including Daniel Santos, Myrta Silva, Miguelito Valdés, Bobby Capó, Vicentico Valdés, Nelson Pinedo, Laíto (Estanislao Sureda), Alberto Beltrán, Carlos Argentino, Leo Marini, Celio González, Willy "El Baby" Rodríguez, Justo Betancourt, Elliot Romero, Yayo el Indio, Roberto Torres, Wuelfo Gutiérrez, Jorge Maldonado, Cali Alemán, Ismael Miranda, Fernando Lavoy and Frankie Vázquez.
Embracing both Cuban and other Latin rhythms, they are said to have recorded approximately 4000 songs for assorted labels, including Victor, Panart, Stinton, Seeco / Tropical, Ansonia, Orfeón, Bárbaro (a Fania sister label) and Fania. Their fame peaked across Latin American and the Caribbean during the ’50s. They left Cuba for good on June 15th, 1960, ostensibly to work in Mexico for four weeks; they stayed two years and then relocated to New York City in 1962. Their 65th anniversary was celebrated by a three concert series in June 1989, reuniting them with 13 former lead singers. The June 1st, 1989 concert was released as Live! From Carnegie Hall: 65th Anniversary Celebration (Team, 1989). One of Cuba’s earliest co-operative bands, this buttressed their enduring solidarity; they also never felt the necessity for written contracts. Recommended albums include Se Formó La Rumbantela ‘94 on Tumbao (an anthology of Victor recordings ‘48-50); Algo Especial and the hits compilation 50 Años, which collects 24 tracks ‘49-59, both on Seeco; the Betancourt reunion Sonora Matancera con Justo Betancourt ‘81 and the Celia Cruz reunion Feliz Encuentro ‘82, both on Bárbaro; 65 Aniversario ‘89 on Seeco, which collects hits ‘51-58; and Sonora Matancera Live on the radio 1952-1958 ‘96 on Harlequin. – John Child
One of Latin music’s heroes, the great Colombian salsa singer Joe Arroyo, died today at a hospital in Barranquilla, apparently of multiple organ failure.
Born in 1955 in the Caribbean city of Cartagena, Arroyo signed with the legendary record label Discos Fuentes in the early ’70s, and fronted now legendary bands like Fruko y Sus Teso and The Latin Brothers. Arroyo was known to incorporate many pan Caribbean and African styles in addition to the native Colombian rhythms. He even claimed to invent his own style called “Joe-son,” a cumbia-salsa hybrid.
One of his most well known songs is “Rebelión,” about an African couple brought by Spanish slave traders to Latin America, is included in many Arroyo compilations such as Grandes Exitos pictured further down below.
Un matrimonio africano, esclavos de
un espanol, el les daba muy mal trato
y a su negra le pego
Y fue alli, se revelo el negro guapo, tomo
venganza por su amor y aun se escucha
en la verja, no le pegue a mi negra
No le pegue a la negra
No le pegue a la negra
It was posthumously announced that Arroyo would be one of the recipients of the Latin Recording Academy’s Lifetime Achievement Award. It’s no secret that Joe Arroyo was one of my personal heroes, and songs like La Noche will always find a place on my ultimate playlist. We’ll miss you Joe.
