Tipica ’73

The long-running salsa/Latin jazz outfit Tipica ’73 originally formed in NY during 1972, sketching inspiration by famous brands Tito Puente, Arsenio Rodriguez, and Machito. The group created out of regional jam sessions which were structured and led by program percussionist Johnny “Dandy” Rodriguez Jr. (whose dad, John “La Vaca” Rodriguez Sr., was a percussionist for Ray Barretto). Rodriguez Jr. asked several friends to become listed on him on-stage to get a weekly spot on the N.Con.C. membership And Vinny’s, as many people of Barretto’s music group soon agreed upon on aswell: Rene Lopez (trumpet), Orestes Vilato (bongo, timbales), Dave Perez (bass), Adalberto Santiago (vocalist), Larry Harlow’s trombonist Leopoldo Pineda, Jose Fajardo’s pianist Elio Osacar, and Frankie Dante’s pianist/trumpeter Joe Manozzi. Through the entire years, nevertheless, Tipica ’73’s lineup shown a casino game of musical chair, with people constantly getting rotated. Tipica ’73 shortly signed a cope with the Inca label, leading to the discharge of their self-titled debut just a year once they originally shaped. The group strike upon a brand new and intoxicating sound, because they mixed the conjunto percussive design (congas, timbales, and bongos) using a horn section, and, along the way, became among the salsa movement’s leading clothes to hail from NY. A sophomore work quickly made an appearance (like their debut, it had been also entitled Tipica ’73), which spawned the strike one “Amalia Batista,” a cover tune that was originally produced well-known by Rolando La Serie. But moreover, the record signaled the debut of a fresh member, tres participant Nelson Gonzalez, who become an intrinsic person in the clothing. The group’s third discharge, 1975’s La Candela, additional helped to determine Tipica ’73 among the world’s best Latin clothes, and is frequently singled out as the utmost important (and greatest) from the group’s lengthy career. Immediately after, first head Rodriguez Jr. handed the reins to Sonny Bravo, as he made a decision to concentrate on collaborating with music artists surviving in Cuba. 1976 noticed the discharge of Rumba Caliente, an recording made by the renowned Latin percussionist/arranger Louie Ramirez, and spawned such strikes as “Pare Cochero,” “Sonaremos un Tambor,” and “Guaguanco de los Violentos.” The group’s 5th release overall, BOTH Sides of Tipica ’73, can be widely regarded as their most musically experimental, therefore designs as salsa, charanga, bolero (merged with an orchestra, non-etheless), songo a la Ritmo Oriental, and Latin jazz could be discovered throughout. Salsa Encendida was released in 1978, which noticed the group stick to in the same path as their prior release, nonetheless it will be Tipica ’73’s following release that became a major step of progress. Since a couple of years prior, Rodriquez Jr. got regularly are exposed to a few of Cuba’s finest music artists during his musical expeditions there, scouting regional skill. And on Tipica ’73’s last release from the ’70s, 1979’s Tipica ’73 en Cuba, Intercambio Cultural, Rodriguez place his results to make use of, as he documented the album completely in Cuba along with his newfound talent from the united states (that was no easy feat at that time, because of the U.S. and Cuba’s tense politics romantic relationship). The move was fulfilled with some level of resistance from certain users of Tipica ’73, but Rodriguez forced forward along with his strategy non-etheless. Although commendable, the group was consequently given trouble by golf club owners in the U.S., who consequently refused to publication the music group, fearing ticket reduction because of boycotts. The ’80s started on a much less controversial note, having a tribute towards the charanga design, 1980’s Charangueando con la Tipica ’73, including standout variations of Tito Puente’s “A Donde Vas” and Cachao’s “Chanchullo,” amongst others. Tipica ’73 released another recording the same 12 months, In to the 80’s, which presented various unique guests, including looks by Latin jazz pioneer Mario Bauza, Puerto Rican percussion greats Rafael Cortijo and Kako, performers Roberto Torres and Nestor Sanchez, cuatro participant Yomo Toro, and percussionist Roger Squitero, amongst others. But the stress of 1979’s controversy got put on the group out, as bandleaders Bravo and Rodriguez Jr. made a decision to end Tipica ’73 in 1982. Very little was heard through the group afterward, because so many from the group’s people focused on program work and performances on various other artist’s recordings. However in 1995, Tipica ’73 reunited for an effective concert in Puerto Rico, which resulted in some displays four years afterwards.