VVAA ¡Gózalo! Bugalú Tropical Vol.4

VVAA
¡Gózalo! Bugalú Tropical Vol.4
¡Gózalo! Bugalú Tropical Vol.4
12 Saludo Maracaibo Pedro Miguel y sus Maracaibos
22 Boogaloo en ambiente Alfredo Linares y su Sonora
32 Yo traigo boogaloo El Combo de Pepe
42 Cumbayea Mario Allison y su Combo
52 Psicosis La Sonora de Lucho Macedo
62 El diablo Compay Quinto
72 Yo no pido nada Orquesta Casino de Hugo Macedo
82 Guarachera Ñico Estrada y su Sonora
92 Guajireate Coco Lagos y sus Orates
102Pa gozar candela Betico Salas y su Sonora
112Boogaloo Boogaloo Joe Di Roma y su Orquesta
122Descarga Maracaibo Pedro Miguel y sus
Maracaibos
132Guayaba Popi y sus Pirañas
142Peruvian guajira Melcochita y Karamanduka
152Kintos instrumental Los Kintos
162Boogaloo en España La Sonora de Lucho Macedo
172Yenyere Cuma Pedro Miguel y sus Maracaibos
182Pollo atrasado Chivirico Dávila y Sonora MAG
192Busco una chiquita Coco Lagos y sus Orates
202Caliente Mario Allison y sus Estrellas
212La charanga del espacio Carlos Pickling y Orquesta
222Por tu amor Willy Marambio
232Canta, canta Los Hilton's
242Descarga Alfredo Linares y su Sonora
252El carbonero Compay Quinto
262Aguanile Los Girasoles
272Malambo Los Diablos Rojos
282Mambo Ravel Andrés de Colbert y Orquesta
Title ¡Gózalo! Bugalú Tropical
Vol.4
Release 2013-02-26
Label Vampisoul
Genre Boogaloo
2LP: VAMPI 127
Barcode 8435008862336
CD: VAMPI CD 127
Barcode 8435008862329
MP3: VAMPI DG 127
Barcode
Sales
ulla@munster-records.com
Promo
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Website
www.munster-records.com
When drawing the musical map of Latin America, the mistake is often made to identify
the zone of influence of Afro-Latin music only around the Caribbean. It’s true that the
great creators are Cuban and Puerto Rican, but when their music spread out across
Latin America, similar scenes sprung up in other parts of the continent. It was during
the 50s that the genre captivated Peru.
Tropical orchestras appeared everywhere with a repertoire based on mambos,
guarachas and, to a lesser extent, boleros and merengues. However, over the
Afro-Cuban foundation they added diverse influences and reached a new sound,
different from their inspiration. Within the core of the tropical music scene, the Sonora
de Lucho Macedo clearly stands out; they were the first group of its kind in the middle
of an environment exclusively populated by orchestras. The Sonora released more
than 80 LPs and countless singles. Of all the ensembles, it had the greatest
international projection.
Beyond his irrefutable professional merits, Macedo’s essential contribution was to
recruit musicians that later on would start the most important boogaloo groups. At
times, Macedo’s career seems the backbone of this whole story. The first one to leave
his band and go his own way was Joe Di Roma. Bongoist Ñiko Estrada left a little later
to create his Sonora Antillana. From Macedo’s band also came double bass player
José “Pepe” Hernández, percussionists Mario Allison and Coco Lagos, trumpet player
Tito Chicoma and singer Charlie Palomares – almost all of the main artists of the
golden age of boogaloo in the mid-60s, each of them a director of their own band. 1962
saw the arrival of Nilo Espinosa, a saxophonist with a solid academic formation and a
deep knowledge of jazz. He started to record with his own orchestra and in 1965 he
would form the group Los Hilton’s. The puzzle was completed with the self-taught
pianist Otto de Rojas. They all knew each other from the hotels, parties and TV sets,
but especially from the recording studio sessions.
Although the main record labels, El Virrey, Sono Radio and Iempsa, also recorded
tropical music, it was MAG, run by Manuel A Guerrero, which most focused on the
genre. Lucho Macedo, once again, was the pioneer. In 1955 he already had a contract.
All his disciples stayed at MAG and made a big part of the great recordings from the
boogaloo era in the label’s studio. MAG possessed the best infrastructure. Guerrero
used to take his recordings to Ecuador, Colombia, Venezuela, Puerto Rico, the United
States, among other countries, and would sell them to foreign record labels. He chose
the repertoire for the recordings himself. He built his own musical factory. MAG studio’s
group of musicians in the 60s was rather eclectic. Some of them would come and go,
but there was a core of players who became more or less the house band. The
permanent members were Mario Allison, Coco Lagos and Nilo Espinosa. On trumpets
were Tito Chicoma and Betico Salas; Alfredo Linares would sometimes play the
vibraphone and was the most regular pianist. Víctor Fuentes, Melcochita and the
multi-instrumentalist Charlie Palomares were in charge of the vocals. They all played
for each other’s bands. The energy could be felt everywhere.
The height of the tropical orchestras coincided with boogaloo. At that point the scenario
had changed. The massive migration inland towards the capital brought along a radical
change in popular music, giving birth to Peruvian cumbia, which also had a tropical
foundation. The Afro-Cuban influence, without disappearing at all, left room for a
Colombian influence. With the new decade the market was taken over by cumbia and
salsa. An era had reached its end.
HIGHLIGHTS
Volume 4 of our successful series of tropical Peruvian music of the 60s. An
exciting, spicy mix of musical gems that fill in the link between the mambo era
and the dawn of salsa in South America.
Another great selection of tracks from a little known but essential period in the
development of Latin Music.
A terrific, dance-inducing mix of genres across 28 tracks: boogaloo, mambo, son,
guaracha, cumbia.
Features liner notes in Spanish and English by expert Carlos Torres Redondo