An incubator band for some of salsa’s greatest singers, Fania producer and trumpeter Luís Perico Ortiz brought Tommy Olivencia and his 
musicians from Puerto Rico to New York to record this blockbuster.



Boasting several chart-breaking hits like “Planté Bandera”, “Casimira”, “Si Estas Herido”, “Evelio y La Rumba”, “A Mi Pai Chango”, and the now classic standard “Trucutu” penned by Olivencia’s hot singer Chamaco Ramirez, this recording was Chamaco’s last with Olivencia before his 1979 release Alive and Kicking prefaced his untimely death. Interestingly, that last recording was produced and arranged by Javier Vasquez, longtime Ismael Riveracollaborator with material intended for El Sonero Mayor before passing it on to Ramirez.



Crisp, complex and soaring trumpet solos mark many of the tunes distinguished by sharp arrangements wrapped around a big band production 
style favored by Ortiz. Many of these were written by Ortiz along with 
José Febles, Louie Cruz, Máximo Torres and Dominican trumpeter Cabrerita,
who arranged the tasty merengue, “A la Yumbae”.



As with most dance bands of the 1970s, ballads were included to give 
dancers some breathing room leaving lovers (and suitors) on the dance 
floor. On this recording, Olivencia leaves the romantic crooning to 
José Pepe Sanchez who starts off “Como Novela De Amor”, leaving the final 
soneos (improvisations) to Chamaco’s clear, strong yet somewhat nasally 
tenor while “El Amor” covertly includes a bossa nova feel lending to its 
amorous appeal.



Another distinction has most of the tunes, except for two, written by 
Puerto Rico’s prolific Tite Curet Alonso whom trumpeter/bandleader 
Olivencia would seek out for his original material. Alonso probably had 
some say in this production as well.



David Cortijito’s unusual tumbao (drumming patterns) during the call and 
response of the choruses also mark its territory underscoring the 
recording’s significance of branding by flag.



”Planté Bandera” in particular stands out as a life-affirming, 
self-empowering ode to coming of age confidence as sung by Chamaco. His 
phrase, al hecho pecho tambien yo tengo derecho (what’s done is done, I 
also have a right {to the spotlight}), quickly becomes the vernacular 
for upcoming street warriors.



The street theme of champions continues in “Si Estas Herido” where 
Chamaco advises young men not to cry about their problems, but like the 
lion fight back when attacked.



”Evelio Y La Rumba” is punctuated throughout with the tangy bongo beats 
of José Papi Fuentes escalating into a rumba descarga highlighted by the 
mozambique bell patterns of timablero, Julito Morales.



A bomba to the orishas (gods), “” Mi Pai Chango” is arranged in big band 
style by Ortiz, featuring three trumpets and two trombones accompanying the 
thunderously driving bomba beat. Chamaco comes through with flying 
white and red colors, symbolizing the deity of thunder, lightning and 
carousing. So much for those who say that bomba is not linked to 
spiritualism; this bomba bursts with so much spirit, strength and 
dance-filled fun it might bring down more than just a house.



Completing this recording is Chamaco’s signature “Trucutu”, a tune he 
recorded with Olivencia in the late 1960s. A literal shout out to all 
the truqueros-con artists—who circle like vultures around poor 
communities, “Trucutu” not only showcases Chamaco’s composing skills but 
his vocal dexterity (maña), phrasing, stamina and overall street cred 
and class.



¡A GoZalsa!

Written by Aurora Flores

Planté Bandera / Tommy Olivencia y Su Orquesta