Rafael Cortijo Verdejo

Latin Beat Magazine, Oct, 1998 by Frank M. Figueroa

Cortijo developed his own style of playing Afro-Puerto Rican music. His combo included trumpets and saxes, but kept the flavor of the traditional bomba and plena by means of a strong, typical rhythmic base. By this time, drummer Moncho Leña had established a technique for playing bombas and plenas using the timbal and Cortijo followed his style. The rhythm section also included timbas, congas, bongó, güiros, maracas and cowbell. Rafael wanted his combo's playing to be free and spontaneous and he wanted to break away from the inflexible routines of the big bands that kept the musicians tied to their chairs and enslaved by the written musical arrangements. Cortijo's boys played standing up, danced on stage, and even joined the dancers on the floor. Their arrangements were bare sketches to keep some kind of order between the musician's improvisations. One of the founding members of Cortijo and his Combo, saxophonist Eddie Pérez, said, "We were just a few cats who didn't need written arrangements. We just stood up on the bandstand and played out hearts out. That is how we ignited the crowd and were able to compete with the big bands of Machito, Tito Rodríguez and Tito Puente." [My translation.]

Cortijo and his Combo were a true audiovisual attraction and Puerto Rican television soon beckoned them. The popular Show del Mediodía featured the group Monday through Friday for five years. They maintained close touch with the people by playing dances throughout the island, especially at the traditional "fiestas patronales" (Patron Saint celebrations). The Combo recorded a long series of hits, starting with El Bombón de Elena and Saoco, for the Seeco label and extending to his futuristic Time Machine, released in 1974. In between came such classics as El Negro Bembón, Quítate de la Vía Perico, Maquinolandera, Oriza, Perfume de Rosas, Tuntuneco, El Chivo de la Campana and Déjalo que Suba. Cortijo's music was also popular in other parts of Latin America. When asked why other countries so readily accepted music so closely linked to Puerto Rican folklore, Rafael said, "Out African-derived drums are understood in all parts of the world. For example, I fully understand Haitian music and my music is understood and appreciated in Haiti as well. Humble people everywhere have no problem identifying with my music because it is essentially their music. We try to play it honestly, with spontaneity and without any sophisticated variations that may alter its original form."

In spite of an excessive modesty which kept him from seeking rewards and recognition, Cortijo always sought good pay for his musicians. When he came into the music business, musicians in Puerto Rico were paid four or five dollars per dance. Cortijo worked to change that situation. He said to promoters and dance hall owners: "Do you want good music? lf so, you will have to give better compensation to the musicians." That is how musicians, playing club dates, started earning more money that their colleagues working in the big hotels. Cortijo also struggIed to get equal pay for the percussionists who up to this time had been paid less than other players. The situation for musicians in Puerto Rico improved so well that they were paid as much as $60.00 per dance while their counterparts in New York received only $35.00.