There is a good reason behind the excellence of Para Mi Gente, Chivirico Dávila's 1976 album.  A true master, who left this world prematurely:  arranger, pianist, painter and composer Jorge Millet.

The musician from the region of Santurce passed away in 1981, the victim of a heart attack.  He was 42.  Millet left behind a number of masterful recordings which, three and four decades later, demonstrate that he was way ahead of his time.

Rafael “Chivirico” Dávila's Para Mi Gente is one of his most respected recordings.  Because he was aware of the singer's versatility, Millet structured the sequence of 10 songs alternating between salsa and boleros - both of them formats that Chivirico handled effortlessly - presenting an eclectic repertoire for this collection, released on the Cotique label.

Para Mi Gente was Chivirico's last hit album in the salsa scene.  A veteran performer, Chivirico had recorded with Ricardo Ray, Tito Puente, Joey Pastrana,Cortijo, Joe Cuba, Alegre All Stars, Tico All Stars and Johnny Pacheco, among other artists.  His career declined when, in the late '70s, Richie Ray and Bobby Cruz produced the album Nuevos Conceptos.   Stylistically, this session distanced him from his trademark style, the salsa swing and romanticism that are so evident in Para Mi Gente.

Millet gathered the best musicians from the salsa scene for this album.  The presence of Víctor Paz, Bomberito Zarzuela, Bobby Porcelli, Mario Rivera, Nicky Marrerro and Orestes Vilató guaranteed a session seeped in Afro-Caribbean flavor.  Tracks such as the guaguancó “Para Mi Gente” and the son montuno “Tumba” boast irresistible arrangements suited for the dancefloor, with chromatic harmonies and jazzy touches added by Millet on the mambo sections.

From his time with Johnny Pacheco's Tumbao orchestra, Chivirico presented a new version of the guaguancó “La Mujer del Peso.”  The chorus is marked by a voice similar to Pacheco's in its sharp, nasal and guttural qualities - bringing a distinct change to the harmonies of Yayo el Indio, Adalberto Santiago and Jorgito Millet, the session's official backup singers.

As far as the song narratives go, “Para Mi Gente” is a tribute to the salsa world:  the percussionists, the guaguancó, and the so-called gavilán - the player who seduces another man's woman.  On “La Mujer del Peso,” the only salsa here that Chivirico did not write himself, we hear about a a laundrywoman who chases after a customer who used her services and left witout paying for them.  Chivirico's lyrics were usually not very deep, but he was a master in the art of the subtle double entendre.

Para Mi Gente presents the sentimental side of Chivirico with his interpretation on boleros like “Enamorados,” “Quizás, Quizás,” “Por Equivocación,” “Cristal” and “Mar y Cielo” - all of them showcasing Millet's unparalleled gift as orchestrator.

“Mar y Cielo,” a gem by Puerto Rican composer Julito Rodríguez, showcases the talent of Vinnie Bell on guitar, as well as Chivirico himself - he complements his soulful singing by reciting poetry, just like he did on many of his boleros.

Even though Para Mi Gente did not receive the approval of the music industry when it was released in 1976, it stands today as one of the best albums in Chivirico Dávila's career.

Liner notes written by Jaime Torres Torres