George Delgado: drumming for himself …

Latin Beat Magazine, March, 2005 by Rudy Mangual

After enjoying a productive career as one of the most sought after Latin percussionists in the business and after having performed or recorded with everyone who is anyone in Latin music, George Delgado finally found time to produce his first solo production as a leader. Latin Beat Magazine caught up with the busy percussionist in Los Angeles, California during the annual Winter NAMM Show in January 2005.

Rudy Mangual: Congratulations on an excellent solo debut. Can you tell us how it all came about and why?

George Delgado: The CD is titled Mi Ritmo Llegó, which means "my rhythm has arrived" and it's my first production as a leader. I basically called all the shots as far as direction, selection of players and material and rhythmic flavor of the work.

RM: Which direction does this production take?

GD: It's a 100% salsa recording, which has been on my mind to accomplish for many, many years. The music is definitely rooted in the old school style of salsa, which mainly caters to the dancers. This is the music that I have been playing for many years since my early days in Puerto Rico with Tito Rojas, during the time when he fronted the band Conjunto Borincano, when he replaced singer Justo Betancourt. I was 14 at the time and already hooked on salsa. In 1983, after graduating from high school, I relocated to New York City and started playing for the Santiago Cerón band. Cerón was a Dominican vocalist who loved to sing and perform montunos. Several years later, I joined Manny Oquendo & Conjunto Libre.

RM: How important was it to work with Manny Oquendo?

GD: Well, I entered the band replacing Jerry González, which was not an easy chair to fill in the band but the truth of the matter is that I was always a fanatic and admirer of Conjunto Libre and the opportunity to be a part of the band was like a dream come true, an unbelievable experience and education.

RM: Did you have to audition for the band's conga chair?

GD: I caught a break thanks to my friend Eddie Montalvo, a.k.a. Mr. Marcha, one of the great New York City conga players of all times who is infamous for his impeccable and precise timing. He was filling in on congas after González left Conjunto Libre, but he was always too busy working with several different bands at once, so he called me in one night to substitute for him. Because I know him personally I wasn't at first convinced of his request. I didn't quite believe him because he's a "charlatan" (practical joker). Nevertheless, I took my chance and showed up to the gig and it was for real. At the end of the night, Manny Oquendo said to me in his unique tone of voice: "Hey man, so what are you doing?" And I answered him, "well, I'm playing around with some local bands from time to time." Oquendo responded: "Whenever you want to play with us you are welcome" and then he slapped my hand with his heavy hand and said to me in Spanish, "estas conciente," meaning that I was aware and conscience of what I was playing. I would never forget those words; it was such a generous compliment coming from one of the masters of Latin music. From that day on, he basically took me under his wings and made me a better conga player and musician.

RM: Who else was a major influence in your musical career?

GD: My percussion influences after Manny Oquendo include José Mangual Sr., Tata Güines, Yeyito Iglesias, Ray Barretto, Mongo Santamaría, Tito Puente, Eddie Montalvo, Nicky Marrero, Johnny Rodríguez Jr., Chuckie López, and of course Giovanni Hidalgo. As for favorite band styles I prefer the conjunto style of Arsenio Rodríguez and Félix Chapottín, and the big band sounds of Machito, Tito Puente, Tito Rodríguez, La Sonora Ponceña and Willie Rosario. Favorite singers include Cheo Feliciano, Ismael Rivera, Justo Betancourt, Miguelito Cuni, Santitos Colón and Tito Allen. All these influences are apparent at different times in my music and in my new debut recording, from the selection of the scores to the arrangements specifically targeting the dancers.

RM: Do you have any formal percussion or musical training?

GD: No, my father was my first teacher per se, training me to play along with a record as a kid. After several years I got very good at it. The rest I learned from watching others play and trying to imitate them. I did join a drum class in junior high school but did not stay in it for too long. It wasn't the type of drumming that I was into then or now.

RM: You are currently teaching others to play Latin percussion instruments.

GD: Yes, I have been teaching at the Boys Harbor Center in Manhattan for over ten years. Before that I taught at the Johnny Colón's East Harlem Music School. It all started during a long tour in which I carried a book with me called Syncopation to learn how to read percussion charts. After the tour and with a little help from my friends I overcame the fear of reading percussion charts. With that under my belt I decided it was time to go ahead and teach others to enjoy playing these incredible Latin percussion instruments. I really do enjoy teaching. I teach conga, bongó and timbal playing, as well as the English language in many cases, depending on the students.