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Willie Colón

Trombone participant, composer, and bandleader Willie Colón is among the pioneers of Latin American music. Despite preliminary criticism, Colón’s record El Malo is becoming known as among the initial albums to feature the “NY Audio” that sparked a restored curiosity about Latin music through the 1970s. Colón continues to be instrumental within the professions of such Latin music artists as Rubén Cutting blades, who initial sang with Colón’s music group in 1975, and Celia Cruz, for whom Colón provides created such albums as Just They Could DID This Record in 1977 as well as the extremely effective duet record Celia & Willie in 1981. Colón in addition has created albums for Ismael Miranda, Sophy, Soledad Bravo, as well as the past due Hector Lavoe, who sang along with his music group in the first ’70s. Inspired with the music of varied cultures, Colón provides documented with such music artists as Puerto Rican cuatro participant Yomo Toro and David Byrne. Colón’s structure “Che Che Cole,” modified from a Ghanaian children’s tune, was utilized by Ntozake Shange within the musical play For Colored Ladies Who Have Regarded as Suicide Once the Rainbow Is definitely Enuf. Furthermore to 11 Grammy nominations and something Grammy honor, Colón offers received a CHUBB fellowship from Yale University or college, the most exclusive award distributed by the Ivy Little league school. Colón went for america Congress, representing New York’s 17th Congressional Area, in 1992. Beginning to play the trumpet at age 12, Colón turned towards the trombone 2 yrs later on. Making his documenting debut in 1967, for Al Santiago’s Futura label, Colón became a sufferer of misfortune once the label folded. Colón was a lot more effective when he agreed upon with Johnny Pacheco’s Fania label. When his vocalist didn’t make Colón’s initial program for the label, Pacheco recommended Hector Lavoe as an alternative. The collaboration demonstrated successful when two singles from Colón’s initial two albums (Un Malo, Guisando) — “Jazzy” and “I Desire I PUT a Watermelon” — became strikes. Lavoe remained an essential person in Colón’s music group until the middle-’70s when an elevated drug addiction triggered him to miss or arrive past due for many gigs. Although their relationship formally finished in 1975, Colón and Lavoe continuing to interact. Lavoe’s last record, Strikes Back again, released in 1987, was made by Colón. In 1975, Colón well balanced his timetable as director from the Latin Jazz All Superstars with research in music theory, structure, and orchestration. His elevated knowledge paid quickly. In 1978, Colón was called Musician, Manufacturer, and Trombone Participant of the entire year in a visitors poll executed by Latin NY. Three years afterwards, he received an prize as Musician of the entire year and his record Fantasmas was called Album of the entire year. Colón continuing to garner acclaim when his record Canciones del Solar de los Aburridos received a Grammy prize in 1982. Although they fulfilled backstage before a concert in Panama in 1969, Colón and Cutting blades didn’t start collaborating until five years later on. While focusing on the recording THE NICE, the Poor, the Ugly, Colón asked Cutting blades to sing within the Blades-penned melody “Un Cazanguero,” which shown on Cutting blades’ experiences like a regulation student employed in a Panamanian jail. The program was so gratifying that Cutting blades became a full-time person in Colón’s music group following a departure of Lavoe. Their 1978 recording Siembra became the top-selling recording in Fania’s catalog. Despite their achievement, Blades seriously quarreled with label chief executive Jerry Mascucci over cash. Although Colón documented two single albums — Un Baquine de Angelitos Negros in 1977 and Single in 1979 — and Cutting blades recorded a single recording, Maestra Vida, in 1980, their single work didn’t match the industrial success of the joint attempts. In 1981, both music artists resumed their collaboration, with Cutting blades playing coro on Colón’s solo recording Fantasmas. The next yr, they collaborated within the Grammy-winning recording Canciones del Solar de los Aburridos, which yielded the strikes singles “Tiburon,” “Ligia Elena,” and “Te Estan Buscando.” Their collaboration again demonstrated short-lived as Colón and Cutting blades split after focusing on the film THE FINAL Fight. The divide was definately not amiable and both musicians continuing to feud until reuniting for the concert on the Hiram Bithorn Stadium in San Juan in March 1992. Despite collaborating in the record Tras la Tormenta in 1995, Colón and Cutting blades documented their parts individually. Carrying out a reunion concert on the Hollywood Dish in 1997, Colón and Cutting blades performed some concerts jointly. In the past due ’80s, Colón produced a new music group, Legal Alien, with youthful musicians. Putting your signature on with Sony, Colón as well as the music group documented Color Americano in 1990 and Honra y Cultura in 1991. 2 yrs afterwards, Colón documented Hecho en Puerto Rico with an all-star music group featuring ex-members from the Fania All-Stars, Papo Lucca and Bobby Valentin. Since departing Sony over too little promotional support, Colón continuing to remain energetic, filling up stadiums and concerts halls throughout Latin America and launching new materials including Experiencia in 2004, accompanied by THE GAMER three years later on and Un Malo, Vol. 2: Prisioneros del Mambo in 2008.

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