Jose Alberto El Canario: 25 years of salsa

Latin Beat Magazine, Oct, 2004 by Rudy Mangual

A native of the Dominican Republic, José Alberto Justiniano spent his childhood in Puerto Rico, where he studied music at Antilles Military Academy. After graduation, he relocated to New York City in pursuit of a musical career-, not too difficult a choice since he was gifted with an exquisite voice. José Alberto was singing as long as he could remember and he was nicknamed "El Canario" (The Canary) because he had an amazing ability to use his highly melodious whistling skills as a solo instrument. To this day, when audiences hear that whistling trademark, they instantly know who is coming onstage to interpret their favorite salsa songs.

After recording his first version of the composition Usted Esta Conforme (with the César Nicólas Orchestra in 1974), El Canario went on to become lead vocalist for the Tito Rodríguez, Jr. Orchestra and recorded the album Curious in 1976. Soon thereafter, he moved on to Manolín González y su Tambora band, staying with them for about a year.

Through his friendship with vocalist Adalberto Santiago, who was temporarily substituting as lead vocalist with the popular Típica 73 (along with Azuquita, after singer Tiro Allen left the band), Canario was invited onstage by Santiago during a performance at El Trocadero nightclub. The following day, Canario was offered one of the lead vocalist positions in the band, alongside Azuquita. He stayed with the band from 1977 to 1982, honing his vocal skills and learning the music business. During the late seventies, he was also among the lead vocalists on Louie Ramírez's production Noche Caliente (the first album to give popular Latin ballads an uptempo salsa treatment).

In 1983, Canario embarked on a solo career and formed his first band, and subsequently, recorded three albums for the SonoMax label. Many of the tracks from these albums brought fame and recognition to the young singer/bandleader. The hit tracks Desesperado, La Cinta Verde and Rio Manzanares all carry the vocal credits of Jose Alberto "El Canario."

In 1987, he became the first artist to record for the newly formed RMM label in New York City. Under the RMM banner, he delivered hit recordings such as Sueño Contigo (1988), Mis Amores (1989), Dance With Me (1991), Llegó La Hora (1992), De Pueblo y Con Clase (1994), On Time (1995-featuring a duet with Celia Cruz), and Tributo a Machito (1997-featuring Tiro Puente and Dave Valentín). After the demise of RMM Records, Canario recorded the CD Herido (1999), which generated the hits Me Dejo Picao and Flor de la Candela, followed by his Ryko Latino production of Diferente, with the hits Amada Mia and Quiero Salsa.

He has collaborated in studio sessions and on the stages of the music world with the late "Queen of Salsa," Celia Cruz, and the late "King of Latin Music," Tito Puente, as well as with most of the influential artists in tropical dance music. His productions include recognized composers and arrangers such as Isidro Infante, Angel "Cuco" Peña, Luis "Perico" Ortiz, José Febles. Manuel Jiménez, Paquito Pastor, Ricky González, Omar Alfano, Ramón Orlando and Amaury Gutierrez, among many others.

The following is a recent interview with the veteran salsa vocalist.

RUDY MANGUAL: First of all, congratulations on your latest CD, El Canario/Then and Now and on the celebration of your 25-year career in the music business. The new disc recaps many of the greatest hits in your career, with the addition of some new compositions. What led to this mixed repertoire of old and new selections?

JOSE ALBERTO: There were many factors involved, starting with the high cost of recording these days to the fact that in celebrating my 25-year anniversary as a recording artist, many of the younger fans out there may not be familiar with my early work and accomplishments. During the planning stages of this new production, I was able to negotiate and acquire the rights to my first three recordings under the SonoMax label titled Tipicamente (1984), Canta Canario (1985) and Latino Style (1986). From these productions, I selected several favorites--like Desesperado, A Romper el Coco, Canta Canario and Rio Manzanares--for the new album, and of course, featuring new arrangements and digitally remastering. In the case of Canta Canario (a Charlie Donato composition), its new arrangement by José Febles includes five saxophones, giving it that big band sound and appeal.

RM: Which are the new compositions on the recording?

JA: The three new compositions are Mueve Tu Cintura (which is my own composition brilliantly arranged by Ricky González), Hay Amores, composed and arranged by Ramón Orlando and considered to be the second part to his mega hit composition Amada Mia, which I recorded on my 2001 CD Diferente; and Oye Mi Tono, composed by Los Compadres and arranged by José Febles.

RM: Was it by chance or was it planned that most of your collaborators in this production are of Dominican heritage like yourself?

JA: No, it just happened to turn out that way. Throughout the years, I have worked with my Dominican brothers Ricky González and Ramon Orlando, as well as with my Puerto Rican brothers Louie Ramírez and Isidro Infante. But of course, I'm very proud of the participation of Ramón Orlando, Alex Mazilla, Ricky González, Carlos Lalane, Leopoldo Pineda and César Calvajar, as well as Isidro Infante, on this special production.