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The streets, record stores, living rooms, apartment house stoops, rooftops, and candy stores were places where aspiring musicians learned from each other and from local musicians who lived in the area. In he founded the Alegre record label, which became synonymous with the New York Latin music sound. The Musical Construction of Place, ed.

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As a teenager Rodriguez later went there to dance to the mambo bands. Al Santiago was a great enabler of talent, and not just performing talent. It was at the big dance venues such as the Hunts Point Palace that promoters such as Federico Pagani began producing dances featuring as many as six bands in one night, playing one set after the other.

Johnny Pacheco remembers that his band and those of Charlie Palmieri and Eddie Palmieri played the Tritons on different nights. However, he was inspired seeing Valdes perform at the Tropicana: Pachanga at the Caravana.

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At one point he was the house band at the Tropicana Club. In his notes to the re-issue of the All Stars recording, Santiago boasts: Boy were they wrong! At the time the new so-called rhythm, pachanga, came out.

That chandelier, I would say, holy cow, this floor is going to give Al Santiago, who founded Alegre Records inone year after he opened the Casalegre music store, remembers the formation of the Alegre All-Stars slightly differently.

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Then one block to my right you had Mercado also remembers that Eddie Palmieri worked win european roulette every time the counter when he was about 12 or 13 years old and that he made a pretty good egg cream. The Tritons also had the distinction of being the birthplace of the Alegre All- Stars, a truly distinguished aggregation of mostly Bronx-based musicians who were tremendously influential—individually and as a group—in the development of a New York Latin music sound.

My Music is My Flag: Emanating from these establishments were the rhythms of el Son, la Guaracha, Puerto Rican plenas and aguinaldos, combined with the romantic boleros and danzas For the people who lived the story, documenting the stoty reaffirms their experience.

We all lived in apartments.

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Two blocks up from there you had Manny Oquendo living. New Theaters in the Bronx. Narratives from Middle America.

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We hung in that candy store. Nowadays it is not exclusively identified with comedians, but it includ es all those who are part of the artistic endeavor.

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If one guy needed a guy on conga or a bongocero, you could recommend someone or you could ask for the job yourself. The candy store was a pivotal place for us to congregate, to meet, and to talk—girl and boy stuff. We would play stickball on Kelly, and every night we danced.

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It remains memorable to the musicians, dancers, and patrons who created, performed in, and frequented it. There was also a roof garden, where bands occasionally performed. In exchange for rehearsal space, the band played Friday night dances there.

She owned the store untilwhen she sold it to composer and musician Mike Amadeo who had previously worked for Al Santiago at Casalegre.

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Castro, John writing as Nano Bauta. Though the mainstream press situated the start of the pachanga craze at the Palladium, others correctly point out the critical role of the Bronx and the Tritons and Caravana clubs in maintaining the popularity of this dance.

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Attendees, both Cuban and Puerto Rican, formed a close-knit community, which has continued to come together annually for 30 years at a reunion dance called Baile de Mamoncillo named after a Caribbean fruit. Melrose House Melrose House at E.

From Colonia to Community: Oh yeah and chances casino campbell river bc were joined by a young singer that Eddie found who lived near him, Joe Quijano….

Almost immediately the Caravana became one of the most important dance venues in the Latin music scene, presenting major bands every week. The little jump that characterizes the pachanga is not from another country.

A Visit with Maestro Johnny Pacheco.