#248 José Mangual Jr.- Percussionist for Hector Lavoe, Willie Colon, Ruben Blades and More!
The son of the innovative and pioneering bongo musician, José Mangual Sr., aka “Buyú”, José Mangual Jr. was born and raised in East Harlem, the Spanish Quarter of New York City known as “El Barrio”. By the age of fifteen, José Jr. was already playing in local groups.
In 1968, Mangual Jr. was invited to play bongos and sing background vocals for a fledgling orchestra led by a young man named Willie Colón. The lead vocalist for this group was also a young singer named Hector Lavoe. Along with his perennial rhythm section “compadre”, legendary percussionist Milton Cardona, Mangual would become a part of history, as they made some of the most important recordings in the annals of salsa music.
Mangual Jr. showed his skill as a composer, author, and lead vocalist with Colón’s orchestra. With Kent Gomez in 1973, Mangual co-authored the song “San Miguel” for Tony Pabón y la Protesta. This song featured him as a lead vocalist.
After Willie Colón and Hector Lavoe parted ways to pursue different ventures, it was José Mangual Jr. who took over the musical direction of Lavoe’s band. Shortly after this in 1977, Mangual formed his own record label, True Ventures Inc., and released A Tribute to Chano Pozo. This album features the classic recordings, “Campanero” and “Cuero ‘Na Ma”. It also established Mangual as a lead vocalist to be reckoned with, and a serious record producer.
The 1980’s saw José Mangual Jr.’s fame grow even more, as he became a premier artist for Velvet Records, and further solidified his fan base in South America, Europe and the Orient. His skills as a percussionist, vocalist, composer, and musical director were sought out by many including Juan Luis Guerra, Rubén Blades, Herb Alpert, Dizzy Gillespie, David Byrne, Celia Cruz, Ramon Orlando, Mario Bauza, Mongo Santamaria, The Fania All-Stars, Junior Gonzalez, Ismael Miranda, Louie Ramirez and many others.
Perhaps the most fascinating aspect of Mangual’s career is his ability to evolve and refine the sounds of his music. The 1990’s saw him forming and leading his band Sarabanda, while still pursuing the projects he always wanted to do. In 1995, Mangual released his long-awaited Tribute to Chano Pozo Volume II. This album ranks among his finest, and gives listeners a glimpse into the mind of a master musician who grew up during the golden age of modern Latin music.
In 1998, Mangual produced and musically directed Caiman Records new salsa and Latin jazz release, “Son Boricua”, by his band of the same name. This session features his original composition, “El Jibarito”, which pays homage to the island of Puerto Rico, and his Boricua heritage. The album and group was the recipient of the New York Latin Critics’ ACE Award as Best New Latin Release for 1998-1999.
Mangual’s recent new release with “Son Boricua”, entitled Homenaje a Cortijo y Rivera is a moving, swinging homage to the music of Rafael Cortijo and “El Sonero Mayor” Ismael Rivera. What makes this work so noteworthy is that it marks an even deeper trip, not only into Latin jazz, but into the panorama of what the sounds of a Latin New York are: the sounds of the streets of “El Barrio”. Here, Mangual displays all of the attributes of his professional career, from being the musical director and a lead vocalist, along with the “Smooth One”, Jimmy Sabater, to being a composer with his original composition, “Boricua Blues”. With this release, Mangual, Sabater, and “Son Boricua” captured their second ACE Award in 2002. A third ACE Award would follow in 2003 for “Son Boricua’s” 2002 release, Mo!
R.I.P.
Legendary salsa musician Roberto Roena died Thursday night, a spokesman for his family confirmed Friday.
The Latino musician was 81.
Roena was best known for being one of the original members of Puerto Rico's renowned salsa orchestra "El Gran Combo," as well as the founding member of the “Cortijo y su Combo” orchestra and the "Roberto Roena y Su Apollo Sound" music group.
In 1970, he recorded his first album with Fania, the leading salsa music record label at the time, after joining the widely successful Fania All Stars orchestra, which showcased some of the label's most talented musicians. -Article
Happy Birthday!
Happy birthday to several friends of the show.
Bob Weiner of episode 44, has toured and performed with Harry Belafonte, Itzhak Perlman, Betty Buckley, Jon Lucien, Dianne Reeves, Andy Statman, Rebecca Paris, Kenny Werner, Bob Moses, and many others.
Bob wrote both the Afro-Cuban Rhythms for Drumset book with Frank Malabe as well as the Brazilian Rhythms for Drumset with Duduka De Fonseca.
Master percussionist Pablo Batista has performed, recorded and toured internationally for 30 years with some of the biggest stars in rhythm and blues, jazz, Latin, pop and gospel.
Artists with whom he has worked with include Alicia Keys, Patti Labelle, Kirk Franklin, Jill Scott, Gerald Levert, Jeffrey Osborne, Phyllis Hyman, Teddy Pendergrass, Diane Reeves, Norman Brown, Manny Oquendo and Libre, Eddie Palmieri, and Musiq. A drummer of unusually diverse talents, Pablo is highly regarded for his professionalism, tireless work ethic and ability to listen. He can integrate his playing into almost any style at the highest level of musicianship, holds the rare distinction of having performed on Grammy-winning releases in jazz, R & B and gospel, and has also been a guest with the Philadelphia Orchestra Percussion Ensemble.
Jason Ihnat holds concurrent careers as an educator, performer, composer and arranger. He currently serves as the Front Ensemble Coordinator for the Boston Crusaders. Prior to coming to Boston, he was a part of The Cadets organization from 2004-2016 as a front ensemble staff member and from 1998-1999 as a member of the corps. During his time with the Cadets, the corps won three DCI World Championships and two Fred Sanford High-Percussion Trophies.
Ihnat is also involved in the Winter Guard International (WGI) activity, where he currently serves on the front ensemble staff for Spirit Winter Percussion. Previously, he served as the Director and Co-Founder of the Eastside Fury Percussion Ensemble from 2000-2014, winning two World Championships in 2000 (A Class) and 2004 (Open Class).
In addition to his involvement with the DCI and WGI activities, Ihnat is the Director of the Detroit Lions "Honolulu Boom" Drumline. This ensemble performs at every Detroit Lion’s home game in front of 65,000 fans, as well as in parades and celebrations in the Detroit area.
Academically, Ihnat has served as a part-time Lecturer of Music Theory at Eastern Michigan University (EMU) since 2012. He has also been the Percussion Arranger and Instructor for the EMU Marching Band for over a decade. Ihnat performs frequently with the Dearborn, Flint, Macomb and Saginaw Bay Symphony Orchestras as well as the Michigan Philharmonic. His compositions and arrangements have been performed at the top universities and high schools in Michigan and throughout the country.
Jason’s education includes a Bachelor of Music Education degree from Wayne State University, where he studied percussion under Keith Claeys and a Master of Music in Composition from Eastern Michigan University, where he studied with renowned composer Dr. Anthony Iannaccone and percussionist John Dorsey.
Jason also performs frequently with the Dearborn, Flint, Macomb and Saginaw Bay Symphony Orchestras as well as the Michigan Philharmonic. His compositions and arrangements have been performed at the top universities and high schools in Michigan and throughout the country.
Born in Copenhagen Denmark, Markus Schwartz grew up in an American household surrounded by Jazz, and has devoted more than twenty-five years to learning the wealth and complexity of traditional Haitian religious music. Moving in and out of Haiti since the early 1990s, Markus followed the lead of Haitian percussionists on pilgrimages into the countryside to learn the intricate and powerful drumming styles of the various lakou—historic religious compounds—such as Badjo, Soukri and Souvenance.
Settling in Brooklyn in the late 1990's, Markus became a sought-after drummer at Haitian religious ceremonies, and was instrumental in creating the ground-breaking Haitian Jazz quintet Mozayik, bringing his informed arrangements of Vodou rhythms to jazz standards, Haitian traditional songs and Mozayik’s original compositions. He has since become a first-call percussionist on the NYC Haitian music scene, performing and recording with a diverse array of artists across many genres.
With an extensive discography as a featured artist on myriad projects, Markus has released four seminal recordings as a leader thus far; Tanbou nan Lakou Brooklyn (2008), Equinox (2011), Vo-Duo Nou La (w/ Monvelyno Alexis, 2013), and most recently Kay Sa (2019), the second Lakou Brooklyn Quartet recording on the audiophile Soundkeeper Recordings label. Current projects include his own ongoing band Lakou Brooklyn Quartet, as well as membership in Grammy-winning saxophonist David Sanchez' Carib project, and We All Break, led by the iconic drummer Ches Smith, along with pianist Matt Mitchell and Haitian master drummer Daniel Brevil. Markus maintains an active freelance schedule as well, appearing locally and abroad with a host of talented artists from the Haitian community.
Keith Rousu is the Director of the Seattle Seahawks Blue Thunder Drumline. Beginning at the age of 12, drumming and sports have been his passions. Spending 4 years in the renowned University of Washington Husky Marching Band Drumline, Keith also played around Seattle in various rock bands before deciding upon a career change. He went back to school for a degree in Sports Management and that led to where it all began with the Seahawks. He has arranged music and instructed clinics for a few high schools in Washington. Blue Thunder has performed with guest drummers: Alan White (YES), Jason Finn (Presidents of the USA), Mike Derosier (Heart), Steve Smith (yes, thee Steve Smith!) and Scott Rockenfield and all members of Queesnryche. Blue Thunder also has the biggest bass drum in the world, built by Dynasty in spring of 2006, sitting at 100” in diameter. Blue Thunder proudly uses and abuses Dynasty Drums, Sabian Cymbals, Vic Firth sticks and mallets, and Remo drumheads.
Carol Steele has been traveling to Cuba for 30 years, and introducing the island to fellow travelers for 20. Carol developed her love of travel as a professional musician, but it was going to Cuba in 1987 when she knew she had found her spiritual home. Carol’s enthusiasm is contagious, as is her love of Cuba, its culture, its history, and most of all, its people. Carol’s professional résumé reads like a Who’s Who of popular music. She has performed or recorded with Peter Gabriel, Steve Winwood, Joan Baez, Tears for Fears, Bette Midler, and many other well-known artists. Carol was the first American woman to play with Los Muñequitos de Matanzas, one of Cuba’s iconic folklore groups, and she toured the United States with Lazaro Ros and Amelia Pedroso, two of Cuba’s most popular and beloved Folkloric singers. Carol’s second passion, besides music, is the study of Cuban Religions of African Origin. She loves to share her knowledge of the history of these spiritual practices, of their survival through music and art, and of how deeply entwined they are into the fabric of everyday Cuban life
Gig Alerts
If you’re wondering how old the members of The Rolling Stones are, the average age is now a healthy 76 years of age. But despite the recent passing of drummer Charlie Watts, who passed away shortly after turning 80, the remaining members are showing little sign of slowing down. -Article
Social Soundbyte
The Hands Of Time is the new album from (friend of the show) Weedie Braimah, via Christian Scott aTunde Adjuah’s Stretch Music label. The album features the band of the same name, a cast of the hottest players in the game, with special guests Christian Scott aTunde Adjuah, Trombone Shorty, Terrace Martin, Tank Ball, Cory Henry, Mumu Fresh, Pedrito Martinez, Osain del Monte, Alain Perez, Elena Pinderhughes, Magatte Sow, Hatouma Sylla, Bassidi Kone, and Petit Adama Diarra. For the full list of elite performers, and to preorder the album, visit Weedie’s Bandcamp page.
Educational Spotlight
The educational spotlight is for college students to win a masterclass with Thomas Burritt.
Iconic Recording
The iconic recording for this week is “El Cantante” by Hector Lavoe, from the album Comedia. It has this week’s guest, Jose Mangual Jr. on bongos and background vocals (coro).
Music News
Spotify is cooking up even more ways to pay artists less — while charging them more. Now, Spotify wants artists to pay to reach fans they already have via a beta-stage “Marquee” push campaign feature.
Tweets from disgruntled artists reveal how Spotify’s new beta Marquee feature works. Screenshots of the new promotional campaign tool reveal that Spotify is taking up to $0.50 per click per user to show fans new music. It should be noted that many of these fans would willingly check out new music from the artist — either on their own or with the help of an organic (i.e., free) Spotify algorithm feed.
The $0.50 price-point for one click seems extreme, though at this point it’s unclear what Spotify’s price range is. It’s entirely possible that $0.50 isn’t the highest per-click price being charged. -Article
This episode is sponsored by Eucatape. Use the code EUCATAPE15 for 15% off at checkout.
Jose Mangual Jr. Interview
The song leading into the interview is “Siembra” by Willie Colon and Ruben Blades, from. the album with the same name.
The interview starts with Marcos bringing up the book Jose is writing.
Jose talks about his father Jose Mangual Sr. being in the Machito Rhythm section.
Jose mentions Mario Bauza playing with Chick Webb and introducing him (Chick) to Ella Fitzgerald. He even mentions about Dizzy Gillespie and his connection to Chano Pozo.
Marcos and Jose talk about the issue of skin color and opportunities in entertainment.
Jose talks about the percussion section of the Machito band with his father and Tito Puente as well as Carlos Vidal.
Damon brings up, and Jose clarifies, that the old heads on bongos and congas having been tacked on needed heat to be tuned.
Jose talks about another great percussionist named Chino Pozo.
Marcos brings up Jose’s early life. Jose talks about learning by watching and listening to the masters. He also talks about the importance of the Union hall.
Jose talks about learning all of the instruments in the percussion section so you understand how they work.
Jose clears up some of the personnel on some Willie Colon albums.
Damon brings up African American conga players, Jose talks about Johnny Griggs and Ralph MacDonald.
Jose also talks about the fusion of Latin Jazz.
Jose talks about the relaxed laws with regard to travel.
Marcos asks about some of the concepts and creations in the Willie Colon band with regard to the arrangements.
Jose talks about the history of the instruments and Marcos correlates that to the frequency of sound and the instruments.
Jose talks about an incident in Bridgeport, CT in the early 70s.
Marcos and Jose talk about the shifting of musical tastes.
Jose talks about some of the duties of the bongocero.
Jose talks about the shift in the Hector Lavoe band.
Marcos brings up some more of Jose’s discography. Damon asks some of Jose’s influences with regard to his vocals.
Jose talks about an instructional CD he did with Martin Cohen, Patato and his father among others called “Understanding Latin Rhythms Vol 1.”
Jose then was inspired to do his own album and it was a tribute to Chano Pozo.
The book Jose mentions that Martin Cohen made is available HERE. The album that Jose’s father made with Martin is available to listen to HERE. It is called Buyu.
Shout-out to the great arranger, José Febles.
Marcos brings up some of the iconic recordings Jose was a part of, like Maestra Vida by Ruben Blades.
R.I.P. to Ralph Irizarry and “Doc” Gibbs.
Damon brings up the 10 year lease in big cities, and the importance of smaller venues.
If you’d like to keep the 55 Bar open and thriving you can CLICK HERE TO HELP.
You can follow Jose on Facebook.
The song leading out of the interview is “Mi Gente” by Hector Lavoe from the album ‘La Voz’.
