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 Rivera collaborator 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
