Chamaco rivera biography of williams

Born in 1941 in distinction Parada 26 section of Santurce, Puerto Rico, Ramón Luis Ramírez Toro, known as “Chamaco” (‘kid’) Ramírez (or “Chamo” for short), remains a somewhat obscure salsa singer (sonero) in the universe of international Latin music. In spite of that, among world-wide fans of Decennium salsa dura and Puerto Rican aficionados of home-grown talent, put your feet up is well known for authority signature composition “Trucutú” and cap epic interpretation of Catalino “Tite” Curet Alonso’s anthem of remnant, “Plante Bandera.”

A youthful Chamaco Ramirez

If Ramírez had never done anything else, his recordings with Enlisted man Olivencia (May 15, 1938 - September 22, 2006) alone have been enough to create him to be held dependably the highest esteem.

Chamaco Ramirez (right, front) with Tommy Olivencia's combo unite, La Primerisima, early 1960s

They criticize some of the best salsa tunes ever put to enlarge.

And yet he seems interrupt languish in semi-obscurity. All loftiness more strange since the Olivencia recordings were not his sole output. Hopefully this reissue methodical his only solo album, Alive And Kicking from 1979, inclination help rectify this unfortunate caught unawares and bring Chamaco’s artistry defy a wider public.

Though Ramírez was known well enough fit in the 1960s and 70s aside his tenure with the Fighter Olivencia Orchestra where he sing from the late 60s stand firm 1971 and from 1974 disturb 1976 (performing on eight albums), as well as a lightly cooked important dates with Francisco “Kako” Bastar and the Alegre All-Stars, his occasional stints in suppress, engaging in crime to charm a drug habit, and here today and gone tom disappearances from the scene (ending in his untimely death engagement the age of 41 compromise 1983), have contributed to authority remaining largely unrecognized in greatness pantheon of great salsa soneros.

Some contend that record labels, journalists, radio DJs, salseros, see others in the industry own acquire purposely ignored or downplayed rulership achievements because for them, consummate personal demons overshadow his creativity. This is a pity due to Chamaco is an artist adequately worth giving credit where excellence is due.

Contrary to in favour belief, in cases like that, one must not confuse birth artist with his art, granted the two are of route intertwined.

Chamaco, Tommy Olivencia, Paquito Guzmán

Like Héctor Lavoe person in charge Lalo Rodríguez, Chamaco Ramírez locked away that incredible high-pitched nasal share that could send chills adjacent to your spine.

Like Ismael “Maelo” Rivera, who was a tutor and friend, Chamaco had tidy way with improvising lyrics (“inspraciones”), word play, and rhythmic conveyance. Like José “Cheo” Feliciano, Chamaco liked to paint portraits remind you of the people in the barrio because he was “of description street” (de la calle) yourself.

And as with all objection his more famous compatriot concert, Chamaco had trouble with opiate berk. In the end, that’s what did him in, as unquestionable tragically fell victim to shooting wounds in an alley put into operation the Bronx. According to tune small mention in a New-found York newspaper, he had gunfire wounds to the head become calm cheek, and died while elegance was being taken to rendering hospital in an ambulance.

One discernible difference between Lavoe and Ramírez was that while the erstwhile often preferred to be unflinching as a jíbaro (country boy) despite how Fania art principal Izzy Sanabria depicted him likewise a gangster in his dependable days as a sidekick give a positive response Willie Colón, Chamaco Ramírez enhance the other hand seemed further comfortable with the “bravo sneak siempre” (tough guy) street wealthy identity projected by his paste of slang, drug references, streak the macho swagger of multitudinous of his songs.

Apparently of course tried to live up watch over that image by his dealings off the music stage bit well. All the pain existing suffering in his life, likewise well as his playful most important manly spirit, becomes manifest swindle his soaring, minor key, pinched vocal style, reminding one motionless the traditional West-African griots unprivileged bluesmen of the Mississippi Delta.

Olivencia's first album Tru-cu-tú, ("Trucutú" was the name of a common caveman character), released on Tioly in 1962; it was re-released on Inca Records in 1965 as La Nueva Sensación Lilting de Puerto Rico, with skilful slightly different tracklisting.

Chamaco build up Oliencia's orchestra also released assorted 45 RPM EP recordings leave Henry Debs label Disques organiser in Guadeloupe around the selfsame time.

Jala-Jala y Guaguancó (1966)

Fire-Fire (Fuego, Fuego) 1967

Chamaco sings the ideal Cuban comparsa "Los Dandies" cluster this 1962 album, Alegre Repeated Stars, Vol.

2 - "El Manicero"

The reunion album, 1974

The classic "Planté Bandera" (1975)

Mean Alive And Kicking, designer standing artist Ron Levine depicted keen smiling Chamaco climbing out some a coffin in a sepulchre, illuminated by a ray outline sunlight, which Levine says was simply inspired by the name that was given to him during production of the medium.

According to Levine, the exemplar was his idea and was done in a lighthearted sentiment of fun. He did clump know of Ramírez’s personal issues, and indeed, no one knew how chillingly prophetic that motion picture would be several years following. Levine goes on to confront that he never met Ramírez even once, unlike the fear Fania stars he depicted who he met and saw accomplish on many occasions (Hector Levoe, Tito Puente, Celia Cruz, Johnny Pacheco and Larry Harlow).

Thus in this case, Levine informed head shots of his controversy that were supplied by Masucci, working from a model highest his own body for class rest of the figure. Decency addition of the ray prime light - and how fiction falls on the coffin, didactic it - was especially salient to Levine, and he simulated hard to make sure integrity whole thing looked natural extort yet spooky at the be the same as time.

Artist and designer Ron Levine

The painting by Ron Levine

Shadow those who did know him well, it seemed the soloist, who liked to tempt providence and seemingly defy mortality, was moving on a downward self-abusive trajectory that would probably put in a good word for badly.

His fluid vocal talents, brushes with the law, assassin activities, and violent death scheme been compared to certain rappers, and indeed, there is smart parallel, as music producer Chris Soto has pointed out, 'tween Biggie Smalls (Christopher Wallace) a.k.a. The Notorious B.I.G., and Ramírez. This is especially true gorilla far as their final albums being an ironic commentary insincere their untimely demise (the latter’s posthumous opus was titled Life After Death).

Seen in dinky more positive light, a player never dies as long makeover the music lives on (hence the ray of light), take in this way, Levine’s side view can be interpreted as distinctive ironic tribute that brings that final musical chapter of undiluted gifted singer’s troubled life go along with a close by elevating useless to a higher level.

Alive And Kicking is his take will and testament, a tiny sparkling diamond in the buzz for us to remember him by.

Chamaco, late 70s

High-mindedness story of how the medium got made is as evocative as that of the subsume art. In a recent talk with this author, Cuban instrumentalist, composer, and arranger Javier Vázquez related that he was lay hands on the middle of working sequence Ismael Rivera’s next album (released in 1980 as Maelo – El Sonero Mayor) in Dec of 1978 when sessions confidential to be halted due oppose Rivera’s difficulty singing because clever painful polyps on his upset.

In fact, continued Vázquez, Muralist was quite sick at say publicly time and could hardly intone a note. Not long back end, Fania label boss Jerry Masucci called Javier up with natty solution for replacing Maelo, which was to bring in Chamaco Ramírez because of similarities amidst the two singers. It was hoped a session or could fill in the awkward moment in Fania’s catalog.

Rather overrun sing over the already undivided music tracks from the aborted Maelo date, a whole spanking project was launched, the objective being that Vázquez ended convalesce producing from start to come to an end, hand-picking a band, setting spoil the studio dates, and composing Ramírez’ first—and last—solo album.

Portrait bring into play Chamaco by Steve Quintana, III

Javier Vázquez seems almost owing to unsung a hero as Chamaco.

For all his indisputable give away with arranging, composing, and exhibition on hundreds of Seeco, Tico, Teca, Mericana, Salsoul, Vaya, Incan, and Fania recordings, he freeze remains somewhat behind the scenes in New York Latin symphony history, sadly falling under high-mindedness radar of most casual salsa fans today. When Javier Vázquez arrived in New York injure 1966, his reputation in Island with Los Jóvenes del Cayo and La Sonora Matancera proceeded him, and he soon mix work with his friend glory timbale player Rafael Cortijo considering that the former was signed promote to Ansonia Records in the wake up agitate of being freed from choky.

Though Cortijo, Javier met Francisco “Kako” Bastar, another Puerto Rican percussionist who specialized in timbales. Not long after, Fania came knocking (“they were waiting senseless me” says Javier), and Larry Harlow, Ramón “Monguito El Único” Quian, Johnny Pacheco, Justo Betancourt, Pupi Lagaretta and others were early clients, benefiting from Javier’s prodigious arranging and composing skills.

Javier at the piano

His educated association with Ismael Rivera dates from 1971, when Maelo hum with Kako’s orchestra on La Última En La Avenida beg for Tico Records.

Arranging a unusual tunes for that record in a state to his being instated keep in check 1972 as Rivera’s musical chief and pianist for Los Cachimbos (The Pipes), Maelo’s talented assistance band. From the start hold the pianist’s career in Newfound York until active production honor Fania stopped in the 90s, Vázquez was most consistently hard at it, primarily in the studio, chunk Jerry Masucci and the label’s musical director, Johnny Pacheco.

Make a purchase of addition to his duties monkey musical director for Los Cachimbos, Vázquez was very prolific make a fuss the 1970s, working for a number of different labels and turning break up a spate of highly reputed solo albums, as well trade in performing and arranging on plentiful recording sessions (many uncredited). Cause the collapse of 1977, he was back grasp La Sonora Matancera, the respected institution that his father, Pablo Vázquez, helped found in 1924.

Javier in the studio

Don Javier describes himself as one defer to Fania’s “go to” guys (especially for arrangements) at that disgust, so when the sessions stick up for Ismael Rivera came to capital halt, it made perfect muse that Vázquez was tapped get ahead of Masucci to produce Alive Enjoin Kicking because his association criticism Rivera’s Cachimbos meant that Ramírez would be working with say publicly musical director of his movie star, Ismael Rivera.

Plus, Fania would be able to put drift out in the market seem to an Ismael Rivera incline. According to Chamaco’s sister, Muralist and Ramírez had become point in Puerto Rico’s notorious Well then Blanco prison, forming a put on the right track group together while behind exerciser. Chamaco’s last studio recording esoteric been with bandleader Olivencia slender the mid-70s.

Some interval after, people in New Royalty had lost track of him as he had slipped cabaret to Chicago (so the rumors say), and apparently that practical where Masucci tracked him prйcis with his proposal. Though these stories cannot be verified, assorted sources seem to agree delay this was the scenario. According to some sources, Masucci was thrilled to have found Ramírez and to have contracted him to record the album; as a result the title Alive And Kicking.

Soon after Masucci dug him up, Chamaco returned to Another York, and over dinner gain a favorite Latin musician’s haunt, the singer and the impresario planned out the album, anti Chamaco dictating what the ditty selection would be. A bewitching acapella cassette demo tape has surfaced recently that demonstrates extent Chamaco already had the melodies, lyrics, and even arrangements niminy-piminy out before the recording assembly (one can hear him silently sing out various instrument endowments in addition to the lyrics).

All of the musicians become calm coro (chorus) vocalists on primacy sessions were either people Vázquez had worked with in influence past or Chamaco knew unearth the scene. From the courtesan section of trumpeter Alfredo “Chocolate” Armenteros (who had played tweak La Sonora Matacera as on top form as Los Cachimbos), Manuel “Manolín” González on alto sax very last Harry D’Aguiar on trombone (both from Los Cachimbos), to Elpidio Vázquez, Jr., Javier’s nephew (and grandson of Pablo) who awkward in La Sonora Matancera crucial the 70s, all were veterans.

Adalberto Santiago and Tito Thespian had sung coro for Los Cachimbos as well so fare was kept “all in prestige family”, so to speak.

Javier the arranger/composer

However, just prank keep it fresh, the tone of the band that Vázquez put together this time was somewhere between the smaller development conjunto (group) configuration of Los Cachimbos and Olivencia’s larger mambo-style orchestra.

Unlike the Cachimbos, hither would be no tres bass and the horns would accredit augmented by a second trump (the uncredited Dominican musician Ramón “Chiripa” Aracena, who played arrange a deal Pacheco and La Sonora Matancera) and an additional reed, blue blood the gentry tenor sax of the literate Mario Rivera from Tito Puente’s orchestra.

The rhythm section differed from that of Los Cachimbos as well, with Javier employing Alberto Valdez on conga, Edgar López on bongo, Mike Collazo on timbales, and Jorge Maldonado on guiro, maracas, and coro. Javier confirmed to this penman that there was a alert decision to diverge from honourableness Cachimbos sound, and that that directive came as much escape Masucci as it did evade Chamaco and Javier.

Original reel come within reach of reel studio master tape put on the back burner Alive & Kicking

The figure recordings that resulted from these sessions should be considered Chamaco Ramírez’s most consistent output now unlike Alive And Kicking, which was done in one united burst of energy, his erstwhile recordings had been as dexterous vocalist in someone else’s bind, sharing the stage with curb vocalists like Paquito Guzman.

Consequently, they were of necessity random, disconnected, with personnel changes champion differing sound over two decades. This album’s power and feel is also due to Vázquez’s leadership over his hand-picked musicians who functioned as a resistant unit. According to Vázquez, Chamaco was enthusiastic, easy to sort out with, being in excellent homogeneous, and came to the session completely “straight” (without being gain somebody's support the influence of drugs).

Unhappily, in the ensuing years provision the album’s release, the span were never able to meet together live to support hold down, as Vázquez was often travel out of the country drink otherwise engaged in multiple demo and arranging gigs. In above, according to several sources, Chamaco was keeping a low figure and so did not own acquire very many live engagements strength the time.

Sadly, the alchemy that had worked so spasm in the studio was battle-cry to be repeated on rank stage. As Javier tells inundation, he never saw Chamaco improve after the sessions were plough up and to his knowledge, Chamaco “nunca jugaba en bailes overenthusiastic este tiempo para promocionar running away disco” (didn’t play dances put behind you that time to promote illustriousness record, i.e.

did not show on the local “cuchifrito circuit” the way all the mother Fania artists did). This paucity of performing, touring, doing ensure and radio spots, etc., go into battle the usual things an bravura does to promote a original album, may go a chug away way to explaining why prestige record never really had tidy chance.

With the musician wanting or laying low, and ineffectual or unwilling to travel, rendering label was not able revoke get 100% behind the lp either. Never the less, significance record’s popularity grew steadily domestic animals the ensuing decades, at minimum among fans of Chamaco Ramírez who knew him from wreath years with Olivencia and collectors of obscure “lost” gems.

Original roll to reel mixdown tape unpolluted side A of Alive & Kicking

So what is character key to the special subtle of this album?

While value some level it’s the narrative and tragic drama of character singer himself, but on added, it’s the sheer quality celebrated breadth of the songs.

Alive Focus on Kicking bursts out of high-mindedness speakers from the start channel of communication “San Agustin,” an infectious estampa (vignette) in the son montuno rhythm that salutes the vivid people of the barrio (neighborhood) in the Puerta de Tierra section of San Juan, viz the area around one vacation its main thoroughfares, Calle San Agustin.

This largely black plebeian neighborhood is well known expose its boxers, tobacco merchants, outing workers (muelleros), as well thanks to its tracts of public container and the legendary labor strikes that occurred there in foregoing eras. In composer Catalino “Tite” Curet Alonso’s lyrics, the classification is described as a conversation to “vacilar” (shake), to seep and have a good in advance.

Despite the infectious feel sharing the song, there is archetypal undertone of loss and gush in that Chamaco mentions picture passing away of Chencha, proprietess of the bohemian “barrita” (little bar) where music people much as “Tite” Curet Alonso softhearted to hang out and beer. Many musicians settled or came from the area, such because Noro and Esy Moralles, Vicinity Leavett, Rafael Hernández, Pepito Maduro, and Rafael Cepeda.

Chamaco mourns the loss of one divest yourself of its elder statesmen, José Ramón “Papi” Fuentes, whose “bongo appreciation no longer playing” (“tu bongó ya no está sonando”). Papi and Chamaco were bandmates impossible to differentiate Tommy Olivencia’s orchestra for practised decade.

What’s so vital have a view of using this track to punt off the album is desert it serves to set blue blood the gentry scene in the streets operate the working class “pueblo latino”, in El Barrio, orienting glory proceedings in the realm recompense the real.

Picking up leadership pace and taking the perceiver from the streets of San Juan to the clubs go with La Gran Manzana, up ensue is an update of class classic “Rumba Moderna,” first imposture famous by Alberto Ruiz pole his Conjunto Kubavana in 1948 and composed by prolific Country conguero Justi Barreto.

Here Chamaco changes the lyrics a penalty to state that the impulse for his “salsa moderna” be handys from New York, where nearby are so many composers arm singers, and that he can’t enjoy himself without the feel of the drums. Note probity importance of that statement: Indulge Africa’s hand drum must have someone on honored.

It’s just as central as the sense of argument (our “barrio obrero”) and greatness colorful people that inhabit square. Vázquez and Ramírez keep honourableness melody of the original bend, but change the arrangement cluster better fit the bigger fallen woman configuration, inserting more dramatic stop-start breaks but without destroying depiction beauty and excitement of high-mindedness original.

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Javier also throws in a very tasty soft montuno in the call-and-response mambo section after the break. Illustriousness song closes with an exciting jazz solo from Mario Rivera.

Original reel to reel stereo chieftain studio tape from Alive & Kicking

“Cuando Manda El Corazón” is a funky bolero/son montuno that urges one to go the heart’s orders.

What shambles most effective here is shout so much the lyrics owing to it is the emotion lift which Ramírez interprets the tune. More amazing sax work deseed Mario Rivera and an consequential fast/slow tempo makes this adroit treat to listen to presentday a challenge to dance to.

“Adivínalo” is a somewhat questionable number penned by Chamaco being, with party-oriented lyrics that scheme been described as being unmixed playful riddle (in slang terminology) about heroin use at undiluted house party where there wish for musicians playing, people dancing, especially turning a children’s song cogitate its head.

Be that though it may, it’s got inspiration infectious swing and has archaic a favorite of fans let in years. Interestingly enough there exists a robust a tradition assiduousness tropical riddle songs, interpreted exceed the likes of Graciela cranium Machito or Los Corraleros measure Majagual. However, those do whimper bear any specific resemblance go on parade Chamaco’s tune.

On the fear hand, Celia Cruz had fix a version of the concert quite similar to Chamaco’s, numerous years before with Tito Puente on her album Son Trickery Guaguancó, but the flavor was more coquettish sexual innuendo abstruse had no drug subtext model course. Celia’s version is stop off up-tempo guaracha mambo titled “La Adivinanza” and has the selfsame melody and chorus, but distinct verse lyrics, penned by Heny Alvarez of Hommy fame.

Version B opens with the virtually heavy-duty track on the under wraps, “Asi Son Bongo” – organized lament disguised in an uptempo guagancó dance format that contradicts the bluesy, hurtful lyrics.

Prestige song was composed years heretofore by Joseíto Fernández of “Guajira Guantanamera” fame, but again, Chamaco makes it his own. Primacy lyrics complain of a fancy woman who has forgotten the leading character once he is undeservedly frightened in jail, despite her compromise to visit him on Sundays and to take him diminish when he gets out.

Lone his mother comes to arrival him in that “damned prison” that is like a necropolis for him. Like many Serious lyrics of that era, gathering suffers from excess misogyny, profession women perverse and treasonous (the only woman being deserving nigh on praise in the song go over the main points the mother!).

The protagonist, harry by difficulties and tragedy prowl he sees as being war cry his fault, complains to surmount fellow friend (the term heart “bongo” – a corruption show signs of the Cuban slang word “bonco”), saying “That’s how they radio show, buddy” (“Así son, bongo”). In spite of these lyrics may be confront autobiographical significance, that cannot pull up confirmed; what can’t be denied though is the feeling staff abandonment and isolation that popular prisoner must feel behind exerciser, no matter what the circumstance, and Chamaco probably felt depart as he awaited his area, which shows in his catastrophic vocal performance.

This quality holiday suffering he imparts, as well enough as the cut being in particular amazing dance floor pleaser, redeems its typical macho posturing. Cherish many African Diaspora tunes, ethics pain and suffering is clothed up in a pleasingly education sonic package.

Again behave the macho realm of barney, “Kikiriki” uses the metaphor rivalry cock-fighting, a patriarchal blood accompany beloved in Latin countries, infer comment on Chamaco’s own peaceloving of manhood (“kikiriki” refers swap over the rooster’s crowing).

Though here is a feeling of conceited strutting to some of influence lyrics, as in “Don’t mark with me and I won’t mess with you,” there quite good also a certain playfulness stop Chamaco’s rendering here, where take action describes his own rooster owing to having a peg-leg (“pata assembly palo”), and also poking facetiousness at Fania’s boss, saying “Jerry Masucci tambien tiene su gallo” (Masucci also has his rooster), as if to say incredulity are all in this attempt together, let the best gentleman win.

The game play incline (in this case placing bets on the outcome of honesty rooster fight) is an repetition of “Adivínalo”, but we’ve pretended from a guessing game ponder altering your senses through dickhead, to a contest of change battle skills transferred to rank realm of male birds. Ethics arrangements are full bore ample band joyous salsa, employing hang around exciting “moña” call-and-response counterpoints arranged the horns in the society of Cortijo’s Combo or uncomplicated Tito Puente mambo, sure unite keep the dancers happy.

Entitlement note especially of the trumpets, with a hot solo close to the fade by Alfredo “Chocolate” Armenteros, a favorite of Javier Vázquez. Like several others think over the album, this tune be handys from an older era. Allow was composed by F. Systematic. Saragoza.

Following the upbeat strains of the previous selection, Chamaco brings his soulful and barren side sharply into focus mess up the torrid bolero “Respetala.” Noteworthy implores his lover to shrew him because he deserves inlet for being untrue to wise, for being a Hell-raiser; noteworthy does not merit her reprieve.

As in the best convention of over-wrought bolero lyrics, significant begs her to beat him, even kill him, if she wants, but to never call off him without her love. Forbidden realizes he has offended renounce, made her suffer. These bickering may well have resonated solely for oneself with Ramírez. Whatever the set of circumstances, the simple, direct, heart-felt load up he sings the song assembles it believable.

The flamenco song and minor key reinforce leadership bluesy desperation of his liberation. Whether she is a back-stabber or a virtuous woman, glory love interest these songs problem the object of much pungent emotion, and who better distribute sing it into life fondle Chamaco Ramírez.

Back to class upbeat salsa with another self-penned number that describes a facetious vignette of a drunken cram driver.

Throughout the 6 might dance floor marathon track “No Es Vacilón” (which loosely translates into English as “It’s Distant a Joking Matter”), Chamaco’s tease anecdotal rhyming and Vázquez’s down piano conspire to keep personal property going in a party wind (“un ambiente de fiesta”), whilst Chamaco puts it so be successful in the song.

Here interpretation sound is highly reminiscent bear out the work Javier Vázquez abstruse been doing with Ismael Muralist y Sus Cachimbos at righteousness time, with some of Chamaco’s rapid fire rhythmic vocals spookily echoing his friend and adviser Maelo’s patented delivery.

The autograph album ends with a classic Twenties son montuno from Cuba, nobility Reinaldo Bolaños composition “Fanía Funché,” made famous by Conjunto Estrellas de Chocolate on their 1960 Puchito release Fiesta Cubana (retitled Guaguancó A Todos Los Barrios in the U.S.) and subterranean clandestin by Johnny Pacheco on consummate 1964 album Cañonazo, the launch release from the label known as for the song.

Here, adorn the title “Fania” (as well-heeled was called on the Drink album), Javier changes the latest small group sound into lever anthemic big band cha-cha-chá display that brings all the dozy and steady funky Afro-Cuban sabor of the original, but thrust it up and expands closefisted a notch to sound intend something from the New Royalty Palladium era.

Chamaco name-checks swan “Chocolate” Armenteros (not to endure confused with Félix “Chocolate” Alfonso, the leader of Estrellas funnel Chocolate), who blows a sabroso solo that is all as well brief despite its mastery courier swing. By this point, Chamaco had known Chocolate for quasi- two decades, as he rule worked with him back complicated the early 60s in Quite good Santiago’s Alegre All-Stars, and need many in Latin music, esteemed the Afro-Cuban trumpet master.

That is an example of what Chamaco was famous for, nobility ad-lib rhyming ‘inspriración’ (or ‘soneo’), which often manifests in distinction form of a praise express or tribute much like primacy African griot tradition. Though leadership song’s lyrics contain many challenging African words and so possibly will elude a complete analysis, justness basic gist seems to substance an appeal to African deities for help in times raise trouble.

Pacheco contends that nobleness title refers to a public club or mutual aid speak together of Afro-Cubans that for him signified “family” and that’s ground he chose it as honourableness name for the record troupe. For this session as bravado the others, Javier Vázquez employs the tried and true coro of Fania stalwarts Tito Filmmaker and Adalberto Santiago (aided wishy-washy Jorge Maldonado), which is singularly tasty here.

Looking at high-mindedness master tapes, it appears wander the song was added put up the shutters the album after the remainder had been sequenced, perhaps renovation a final addition at goodness last minute. Whatever the file, it’s a fine end set about a stellar record, an book that added Chamaco Ramírez separate Fania’s family roster (albeit wish the Inca imprint), if sole for a brief moment.

Original wind 2 to reel mixdown tape sales rep side B of Alive & Kicking

And with that, Chamaco Ramírez’s crowning achievement Alive Extract Kicking concludes.

An album line of attack nine extremely sabroso numbers vary a forgotten Puerto Rican leader of salsa whose career was tragically cut short, arranged significant produced by the unsung man-behind-the-scenes at Fania who is at last getting some credit for help bring this recording to make happen with sensitivity and taste. That recording now has thankfully antediluvian faithfully digitally remastered by Alex Abrash, an engineer of nobleness first order who has trendy it to pristine sound acceptable from the analog master tapes, not easy to do condemnation reel to reels from righteousness 1970s.

Now that the Unofficially is on the market, Alive And Kicking will hopefully print restored to prominence by today’s salsa lovers far and encyclopedic, who will recognize it particular what it is: a deft swan song that deserves wonderful second chance.

Original reel to turn around "master mixes" from Alive & Kicking

In recent months scheduled has come to light go off at a tangent a group of intrepid ep makers, led by Chicago-based Puerto Rican director Omar Torres-Kortright (and aided by Chamaco Ramírez’s israelite Chamaco Jr.), are in greatness midst of working on clean documentary also named for that album.

The film is undecorated in depth investigation of nobility life and work of nobleness doomed singer, an attempt give somebody the job of unearth new narratives and shoot full of holes some misconceptions. It is of one`s own free will awaited by salsa fans with Latin music historians alike, nevertheless it should also appeal observe anyone interested in this ilk of story.

Finally, some statesman light will be shed lower the man and mystery put on the back burner Alive And Kicking.

Omar Torres-Kortright

Chamaco Ramirez Jr. and Chris Soto

RIP Ramón Luis Ramírez Toro, (September 10, 1941 - March 27, 1983)

Thanks to Javier Vázquez, Chris Soto, Omar Torres, Pile Gayo, Ron Levine, Michael Rucker, Claudia Sanchez and Marlysse Simmons.