I was very excited to hear that Willie Colon, a salsa legend, will be playing a concert at the Docks on Saturday, November 3rd.
If you had a chance to see El Cantante you would have seen Willie highlighted in the movie. Many thought he wasn’t given the proper credit for his amazing talent and his part in bringing salsa to mass popularity. Check out the his impressive bio below to get to know this artist a little better. It was sent to me by Sylvia Rodriguez, one of the promoters for the event. For more information on the concert please call: 416-605-1281/416-567-2835 or check out their website at www.cocolatino.ca. Prices range from $45-$100 per ticket.
“Willie Colon Biography
Career, Biography, Famous Works, and Award
New York-born musician Willie Colon has had enormous influence on contemporary Latin jazz. One of the pioneers of salsa, in the early 1970s he worked with legendary Puerto Rican singer Hector Lavoe (who died of AIDS in the late 1980s) to create this distinctive rhythm-charged blend of traditional Cuban dance music with the American big band sound. Strongly influenced by the forceful style of trombonists Barry Rogers and Jose Rodrigues (both of the Eddie Palmieri orchestra), Colon is also credited with being the first bandleader to put only trombones in the band’s front line. He has collaborated extensively with other leading Latin musical artists, most notably Ruben Blades and Celia Cruz. Although he has remained active on the Latin music scene, Colon has become increasingly involved in politics, running unsuccessfully for the Democratic nomination in New York’s 17th District to win a congressional seat in 1994, and in 2001 for public advocate of New York City. He also spent close to a year playing a recurring character in one of Mexico’s most popular telenovelas(soap operas).
Colon was born William Anthony Colon Roman on April 28, 1950, in the Bronx, New York, the grandson of Puerto Rican immigrants. His early interest in music was nurtured by his grandmother, Antonia, who sang Puerto Rican folk songs to lull him to sleep. Colon also traced his devotion to his cultural and ethnic roots to his grandmother’s accounts of family life in Puerto Rico, as well as her strong beliefs and personality. When he was 12 years old, Colon began studying the trumpet and within a short time had put together a band; he switched from trumpet to trombone soon afterward. The teenaged Colon and his band were discovered in 1967 by Al Santiago, the late founder of Alegre Records; Santiago produced Colon’s first recording session.
Unfortunately, Santiago’s new record label, Futura, on which he had hoped to launch Colon and company, folded before the deal could be done. However, waiting in the wings was renowned bandleader Johnny Pacheco, also in search of new talent for his foundling label, Fania. Pacheco, however, was less than impressed with the lead singer for Colon’s band and quickly recommended a replacement–Hector Lavoe.
At the outset Lavoe was less than enthused about working with Colon but wanted so desperately to be recorded that he accepted the offer. Their first collaboration, a 1967 album entitled El malo, was panned by the critics, who objected to the recording’s raw, amateurish sound. This did nothing, however, to dissuade the record-buying public, which found the raunchy new sound appealing despite its technical flaws. In time, Colon’s band, most of whose members were teenagers like Colon himself–including future instrumental stars trombonist Joe Santiago (he later switched to bass), pianist Mark Dimond, and percussionists Pablo Rosario and Nicky Marrero–was credited with launching the “New York sound.”
Two years later Colon crossed paths with Panamanian-born singer/songwriter Ruben Blades. Each would play an important role in the other’s career in the years to come. They first met during a concert tour made by Colon’s band in support of their hit single “Che Che Cole” from the album Cosa nuestra. After playing a date in Panama City, Colon and his band members were backstage when Blades popped in to meet them. (In addition to Colon and Lavoe, the band at that time consisted of Louis Romero on timbale, Milton Cardona on congas, Jose Mangual Jr. on drums, Santi Gonzalez on bass, William Campbell on trombone, and Jose Torres on keyboards.) Taken with the band’s sound, Blades gave them a handful of his latest compositions. It would be a few years, however, before Colon and Blades collaborated on a larger scale.
In the mid-1970s Colon’s band broke up. On the surface, Colon claimed the decision was motivated by his need for a break from the pressures of touring as well as a desire to expand his musical knowledge through further study. However, insiders suggested that Lavoe’s increasing problems with addiction were a significant factor. Colon had also become increasingly involved in producing records and was planning to produce an album that blended Puerto Rican folkloric themes with some of the new influences that had caught his interest, including Brazilian music. The project reunited the former band, vocalist Lavoe, Yomo Toro, and a handful of studio musicians. For this transitional effort, entitled The Good, the Bad, and the Ugly, Colon asked Blades to contribute the vocals for “El cazanguero,” which Blades had written. At the time, Blades was in New York and working as a member of Ray Barretto’s orchestra.
In 1976 Blades left the Barretto band, and shortly afterward recorded his first album as Colon’s lead vocalist. The album, Matiendo mano, represented a breakthrough for both men. Because critics had carped that Blades’ vocal style and timbre too closely mirrored that of Cheo Feliciano, the singer worked closely with Colon to create a new singing style. On the instrumental side, Colon’s band, now fronted by four trombones, had an exciting and elegant new sound, further enhanced by the thoughtful arrangements of the late Louie Ramirez, Sonny Bravo, Luis “Perico” Ortiz, and Colon himself. The album was a resounding critical and popular success.
Following up on their success with Matiendo mano, Colon and Blades released Siembra, which became one of the biggest selling salsa albums ever released. At about this same time Colon produced a number of albums for Cuban songstress Celia Cruz (Only They Could Have Done This Albumand Celia & Willie) and Puerto Rican salsa singer Ismael Miranda (Doble energia), as well as most of the recordings of his former vocalist, Hector Lavoe. In the early 1980s, Colon and Blades teamed up again to release a two-part Latin suite entitled Maestra vida, which showcased the full spectrum of Blades’ compositions in the context of a Broadway-type musical drama. In 1981 the two collaborated on Fantasmas, on which Colon performed solo vocals, and Canciones del solar de los aburridos, which contained such hit singles as “Tiburon,” “Ligia Elena,” and “Te estan buscando.” Two years later Colon and Blades worked together again on the soundtrack of a motion picture entitled The Last Fight. It was to be their last collaboration for several years.
As their recording careers progressed, both Colon and Blades became upset and frustrated with the treatment they received from Fania record executives. They left the label, despite Blades’ remaining contractual commitment to another three albums, and Colon’s to another six. After disappointing experiences with both the RCA and Sonotone labels, however, Colon returned to Fania in the late 1980s to produce the last two albums for which he was obligated. He collaborated again with Celia Cruz on The Winners, released in 1987, and in 1988 released Top Secrets, which included his hit single, “El gran varon.” Colon also produced Hector Lavoe’s last album, Hector Lavoe Strikes Back. Despite their claims to the contrary, however, it later became clear that the relationship between the two artists had deteriorated dramatically.
Beginning in 1989 and running into the mid-1990s, Colon worked for the Sony label as both an artist and a producer, releasing three solo albums, American Color in 1990, Honra y cultura in 1991, and Hecho en Puerto Rico in 1993. Although he was increasingly discouraged by Sony’s lack of promotion for his efforts, Colon was persuaded to take part in a Sony project that reunited him with longtime collaborator Blades. That album, Tras la tormenta, released in 1995, was an artistic disappointment, largely because the tracks of each were recorded separately and later merged in the recording studio. They didn’t even get together for the album cover photo session.
In the latter half of the 1990s, Colon moved his home base to Mexico City, recording for Azteca Records there and later appearing for a time in a recurring role in the television Azteca telenovela (soap opera), Demasiado Corazon. A CD by the same name was a big success in Latin markets and was later released in the United States. Although he had chosen to live in Mexico City, Colon remained keenly interested in American political developments, and he returned frequently to the land of his birth.
In addition to their passion for music, Colon and Blades shared a profound interest in politics. In 1994, both men ran unsuccessfully for office in their respective countries. Blades fell short in his bid for the presidency of Panama, while Colon failed to win the Democratic nomination for New York’s 17th District congressional seat. Both men have used their music as a vehicle for their political philosophies. Nicaraguan dictator Anastasio Somoza banned Colon’s songs in that country in the 1970s, and Colon has been arrested a number of times in Latin American countries for his outspoken views. In 1993, after performing at President Clinton’s inaugural festivities, Colon was invited by Clinton to join the president’s Committee on the Arts and Humanities. He turned down the invitation so that he could devote his full attention to his bid for the congressional seat.
Colon reunited once again with Blades in the fall of 1998 for a smashingly successful concert at La Carlota Airport in Caracas, Venezuela–more than 140,000 tickets were sold. His political consciousness was aroused by the controversy surrounding the American military’s use of Vieques, an island off the eastern coast of Puerto Rico, for bombing practice. In 2001 Colon mounted a campaign for public advocate in New York City. In the end, he threw his support to former opponent Betsy Gotbaum, who won the job in a runoff election in October of 2001.
Away from the concert hall and political arena, Colon enjoys a quiet family life with his wife Julia and their four sons. Among his interests are flying and computer programming. His contribution to Latin music–and more specifically the unique sound of salsa–has been immeasurable.
by Don Amerman
Willie Colon’s Career
Began studying trumpet, age 12; formed his own band, age 14; switched from trumpet to trombone shortly thereafter; recorded first album, El malo, for Fania, a salsa record label, 1967; recorded extensively with leading Latin artists, including Hector Lavoe, Celia Cruz, Ruben Blades, and Tito Puente; helped introduce American audiences to salsa and other Latin sounds through his work with David Byrnes on the 1989 album Rei momo; ran unsuccessfully for congressional seat.
• Selected discography
• El malo, Fania, 1968.
• The Hustler, Fania, 1968.
• Guisando, Fania, 1969.
• Cosa nuestra, Fania, 1971.
• Asalto navideno, Fania, 1972.
• The Good, the Bad, and the Ugly, Fania, 1975.
• (With Ruben Blades) Metiendo mano, Fania, 1977.
• (With Ruben Blades) Siembra, Fania, 1978.
• (With Ismael Miranda) Doble energia, Fania, 1980.
• (With Ruben Blades) Canciones del solar de los aburridos, Fania, 1981.
• Honra y cultura, Sony International, 1991.
• Hecho en Puerto Rico, Sony International, 1993.
• (With Ruben Blades) Tras la tormenta, Sony International, 1995.
• Demasiado Corazon, Lederes Entertainment Group, 1998.