Mongo Santamaria: The turning point; part two

Latin Beat Magazine, Dec, 1997 by Max Salazar

In 1952, Cuban flutist-composer Gilberto Valdés organized the first American charanga orchestra whose sidemen included violinist Alberto Iznaga, conguero Willie Bobo and timbalero Papi Pagani. Valdés' flute and strings orchestra was based at the Bronx's Tropicana Club.

One evening, the bands of Marcelino Guerra, José Luis Moneró and Gilberto Valdés were on the same bill. Mongo never left the stage. Between 9 p.m. to 4 a.m. he performed on conga and bongó with each orchestra. On another evening while playing conga with Monero's orchestra at a Bronx theatre, Tito Puente and Charlie Palmieri were in the audience. Palmieri, who had replaced pianist Gil López in Puente's band the month before, raved about Santamaria's unique conga drumming, arguing that he would be an excellent replacement for Frankle Colón who had been inducted into the U.S. Army.

"One day," said Mongo, "Justin Barretto came to my apartment and said Tito Puente was looking for me... that he wanted me for a Marcelino Guerra Verve recording... Tito used his sidemen and René Hernández on piano. After the recording, Tito mentioned he would be backing Polito Galindez, for whom he orchestrated the tune Señora Maria for a Coda label recording. After the session, Tito invited me to play on his Tico recording session of La Gloria Eres Tu, Ta Bueno Pa Bailar, Guaguancó En Tropicana and La Guira. Tito was happy with the way the sounds came out and offered me a job... that same night I was playing conga with his band at the Palladium Ballroom."

Before the fall of 1952, the smoldering hot Tito Puente orchestra made its first trip to Los Angeles. Vocalist Vicentico Valdés, familiar to the Los Angeles Mexican population because of his many years of popularity in Mexico, was given top billing over Puente. This infuriated Puente and his angry words at the Cuban vocalist resulted in Valdés leaving the orchestra. On November 3, 1952, Mongo earned $80.00 for recording five tunes for Gabriels Oller's SMC 10" LP Tambores Afro Cubanos.

In 1954, Vicentico Valdes' Seeco recordings of Como Fue, Derroche de Felicidad, Plazos Traicioneros and Si Te Dicen, placed him among Latin music's top ten musicians. Tito Puerte fumed when he learned his sideman bassist Bobby Rodriguez, trumpeter Jimmy Frisaura, bongocero Manny Oquendo and Mongo were utilized for the recordings. His words offended Manny Oquendo who idolized Valdes. Oquendo left the band. Puente replaced him with Chino Pozo, then fired him because of the ill feelings between Pozo and Santamaria. At this time Santamaria and Puente were close...they were like brothers... Mongo was Puente's confidant.

One evening after a Palladium gig, Puente drove Mongo to his home, an apartment building on 112th Street between Madison and Park Avenues. "I told Tito about Willie Bobo... Tito knew of Willie and didn't want him... he thought Willie was crazy. After two hours I convinced Tito to give Willie a chance... Tito said 'okay, but you will be responsible for him.' I agreed. Willie had been waiting to hear from me about the job, when I told him Tito had said yes, Willie couldn't speak, he was very happy."

During the cha-cha-chá popularity in 1955, Tito, Willie and Mongo drove dancers at the Palladium wild when each took turns playing timbal to El Rey del Timbal. Mongo recorded the Tico LP Changó and a few weeks later, Puente recorded his first percussion album Puente In Percussion. Again the percussion trio of Puente, Mongo and Bobo raised blood pressures when each played timbales on Ti-Mon-Bo (Tito-Mongo-Bobo).

Mongo took part in several Latin and non-Latin recordings made in the '50s. Herman Diaz, RCA's A&R man, utilized Mongo for the recordings of El Trio Los Diamantes, Facundo Rivera and Noro Morales. While in California, Armando Peraza enabled him to record a ballad with the George Shearing Quintet. The Tito Puente orchestra was Latin music's hottest attraction. Puente's music arrangements became best-sellers and his percussion section was incredible. With the Puente band, Mongo and Willie Bobo traveled to every major city throughout the United States.

In 1957, The Puente orchestra was touring California. One evening, Cal Tjader's Quintet was featured at San Francisco's Club Macumba. Before the evening ended, Tjader invited Puente's sidemen, bassist Bobby Rodriguez, Bobo and Mongo to sit in. The unprecedented sounds just drove the listeners wild.

"After the gig," said Mongo, "Willie and I played a few Cuban rhythms for Tjader-we taught him 6/8 time and we explained it until 6 a.m. Everywhere Tito's band appeared, Tjader was in the audience watching us."

Before 1957 ended, Tjader's Fantasy label LP Mas Ritmos Calientes was released. Along with the back liner notes there were four photos of Puente sidemen -- Bobby Rodriguez, Mongo, Bobo and altoist Gerald Sanfino. Puente verbally castigated them. For the first time, Bobo exploded and screamed at Puente, and told him he was leaving the group. Bobo needled Mongo into leaving also. In November, 1957, Bobo and Mongo told Tjader at Birdland they were leaving Puente and they wanted to join his group. Tjader had difficulty believing it... he told them he would be organizing a new group in six months and would send for them. During the same week, conguero Ray Barretto and bongocero julito Collazo recorded the album Dance Mania, Puente's best selling album to date.