Alabanciosa manny oquendo biography

Manny Oquendo (born 1-Jan-1931) is a Latin/American percussionist, influenced by Cuban drumming.
Oquendo was born in Brooklyn, NYC, of Puerto Rican parentage on January.
This is patented "Moña" style is evident in the tunes "Alabanciosa" and "Mejor que Nunca".

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Libre, aka Manny Oquendo’s Libre, was co-founded in October 1974 by Manny Oquendo (b. 1931, Brooklyn, New York, USA, of Puerto Rican parentage; leader, timbales, bongo, güiro, other percussion, chorus, arrangements) and Andy González (b. 1951, Manhattan, New York, USA; bass, claves, other percussion, chorus, arrangements). They met while working with Eddie Palmieri’s band and decided to organize Libre after having ‘irreconcilable problems’ with the band leader. Their founding principle was that Libre (‘free’) should be based on Afro-Cuban roots, not just copying them, but allowing a freer, jazzier, more urban sound which broke away from what they perceived as the ‘cold, unemotional and mechanical sound’ of most recorded salsa. Libre adopted a trombones and flute ‘trombanga’ frontline, a combination that Oquendo had helped Palmieri develop when he was a member of his group, La Perfecta, in the 60s. Oquendo literally grew up on Latin music. In the 30s his family lived above Almacenes Hernández, then one of the leading record stores in El Barrio (Spanish Harlem). As a youngster he li

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Andy Gonzalez. The Legacy of a Bass Innovator

by Nelson Rodriguez

Andy and Jerry Gonzalez

Foto de JazzTime

If the name Andy Gonzalez appeared in the dictionary the meaning would probably have something along the lines…’master of bassology 101’. I know bassology is not a word but in Andy’s case we are making it a new terminology where only Andy rules.

One of my fondest memories as a young Disco/Oldies/Latin music DJ in the early 80’s, that would forever change my life and make me an avid record collector of Latin music, was a visit to Andy’s house at 1963 Gildersleeve Avenue in the Bronx. That was my first exposure to a record collectors den neatly set-up with Jazz recordings on one side and Latin on the other and the rare Cuban and New York scene 10-inch-78 RPM’s (the way singles were promoted since the creation of vinyl later replaced by the 7-inch 45 RPM). But what was more impressive to me and always stood imbedded in me was the words Andy shared with us ‘puppies’ that day.

He spoke abou