Herman Olivera the freestyle sonero - Artículo Breve - Entrevista

Latin Beat Magazine, Feb, 2002 by Jesse Varela

In 2001, singer Herman Olivera received long overdue props as featured vocalist on three tracks of the Grammy-winning CD, Masterpiece/Obra Maestra (RMM) by Tito Puente and Eddie Palmieri. Since his days with Conjunto Libre, Herman has honed a style gleaning from the great soneros of Palladium-era in New York City like Tito Rodriguez, Machito, Santos Colón and others. With a smooth resonate high tenor voice, the self-taught vocalist has contributed great interpretations and metaphorically rich inspiraciones (improvised verses) to an array of tunes such as Que Humanidad, Café, and Palo Pa' Rumba. His stints with Eddie Palmieri and the Machito Orchestra have helped Olivera ascend as a world class salsa singer. Greatly influenced by Fania Records and stellar performers like Cheo Feliciano, it's that salsero spirit nourishing him with historical depth and nuances that adhere to the details of intonation, articulation, dynamics and singing in clave. In early December 2001, I caught up with Herman at his home in Newark, New Jersey (where he was born and raised) as he was preparing to go in to the studio to finish up lead vocal chores on Eddie Palmieri's latest album.

Jesse Varela: What's new with you?

Hermán Olivera: Right now I'm recording the latest album for Eddie Palmieri, which is due out around April. I sing six songs on this, my fourth effort with Eddie. I'm featured on El Rumbero Del Piano, Eddie Palmieri Live and Obra Maestra. Performing on Obra Maestra was a privilege and a dream come true and I feel real good about the tunes I sang. Fueron unos palos --Ultima Copa, Piénsalo Bien, and Yambú Para Inglaterra. But being on a recording with those two giants (Puente and Palmieri) is a pinnacle in my career.

JV: You were born on January 30, 1959 in Newark, NJ and still live there. How did you get exposed to music?

HO: My parents were from the pueblito of Maricao, Puerto Rico. My father loved to play records at home by Felipe Rodríguez, Bobby Capó, Tito Rodríguez, Ismael Rivera, Cortijo, Machito, Gilberto Monroig, Santitos Colón and many others. I felt this affinity for music at a young age but didn't know whether to sing, play trombone or be a band boy. I began by learning the songs I heard my father play. I was a teenager when the salsa boom hit with Fania Records in the 1970s and artists such as Cheo Feliciano, Ismael Rivera, Héctor Lavoe, Chamaco Ramírez and Marvin Santiago truly inspired me.

JV: When did you begin to perform professionally?

HO: I was 15 when I started singing in a group around Newark called La Justicia. We did weddings, baptisms, dances, divorces. Wherever there was a party we were there playing. From there I went to La Sonica, where I met Jimmy Bosch and Edwin Bonilla. After that I joined Conjunto Caramelo, which was a band that evolved from La Justicia. It was with that band that I started performing in nightclubs. We opened up for the best groups of the day from NYC. We played in hotels, discos, resorts and did our share of banquets. It was at a gig in Jersey City that we opened up for Conjunto Libre and met Tony "Pupy" Torres, Andy and Jerry González and Manny Oquendo. At the time, they were looking for a singer to join Pupy and about a month later I joined them.

JV: How was your early experience in NYC?

HO: I was green but I wanted to sing and triumph. Conjunto Libre polished me up. I learned how to sing and dance in clave and how to play maracas, güiro and clave. Being with Libre was a "cocotazo." We alternated with the best salsa bands around so you had to be on top of it. Of the Conjunto Libre recordings my favorites are Que Humanidad, Decidete, Tu Me Perteneces, Obsessión, Sabor a Mi, and No Me Eches La Culpa. It was a beautiful period in my career.

JV: It was with Conjunto Libre that your wit and wisdom surfaced. I once called you a freestyle sonero because of the effortless ease with which you invent the inspiraciones.

HO: I can improvise verses on the spot at the spur of a moment. I can sing a song seven days a week, and sure, the front melodies and lyrics will pretty much be the same every time, "pero cuando rompe el soneo," I don't know what's going to come out. Right now we're finishing up the new record with Eddie and he can tell you that I don't carry pads, paper of pencil with me. I never repeat anything and always try to invent new phrases.

JV: You're like a big band singer in many ways and really have to cut through some heavy horns to be heard.

HO: I love big band pop singers like Frank Sinatra, Tony Bennett and Ella Fitzgerald. But I don't like to sing in English. No tengo sabor ni sazón para cantar inglés. I've recorded in a variety of settings, from the 24-piece orchestra of Obra Maestra, to smaller jazzier things with Jimmy Bosch. Last month I was special guest with the Carnegie Hall Big Band and sang boleros with this beautiful orchestra directed by Jon Faddis. I sang Corazón Rebelde, a Benny Moré tune, but I am comfortable in just about any setting. Como se dice: el gallo canta en cualquer gallinero.