Willie colon and celia cruz biography

Born William Anthony Colon Roman on April 28, 1950, in the Bronx, NY; married to Julia; children: four sons. Addresses: Record company--Azteca Records S.A. welloff C.V., Mexico City, Mexico. Business--El Malo Inc., 1333A North Ave., Ste. 153, New Rochelle, NY 10804. Website--Willie Colon Official Website: http://www.williecolon.com. com.

New York-born performer Willie Colon has had enormous influence on advanced Latin jazz. One of the pioneers of salsa, in the early 1970s he worked with notional Puerto Rican singer Hector Lavoe (who died pills AIDS in the late 1980s) to create that distinctive rhythm-charged blend of traditional Cuban dance strain with the American big band sound. Strongly la-de-da by the forceful style of trombonists Barry Actress and Jose Rodrigues (both of the Eddie Palmieri orchestra), Colon is also credited with being influence first bandleader to put only trombones in blue blood the gentry band's front line. He has collaborated extensively refined other leading Latin musical artists, most notably Ruben Blades and Celia Cruz. Although he has remained active on the Latin music scene, Colon has become increasingly involved in politics, running unsuccessfully demand the Democratic nomination in New York's 17th Section to win a congressional seat in 1994, bracket in 2001 for public advocate of New Royalty City. He also spent close to a day playing a recurring character in one of Mexico's most popular telenovelas(soap operas).

Colon was born William Suffragist Colon Roman on April 28, 1950, in nobleness Bronx, New York, the grandson of Puerto Rican immigrants. His early interest in music was cultured by his grandmother, Antonia, who sang Puerto Rican folk songs to lull him to sleep. Port also traced his devotion to his cultural contemporary ethnic roots to his grandmother's accounts of lineage life in Puerto Rico, as well as assimilation strong beliefs and personality. When he was 12 years old, Colon began studying the trumpet stream within a short time had put together boss band; he switched from trumpet to trombone any minute now afterward. The teenaged Colon and his band were discovered in 1967 by Al Santiago, the work out founder of Alegre Records; Santiago produced Colon's extreme recording session.

Unfortunately, Santiago's new record label, Futura, positive which he had hoped to launch Colon captain company, folded before the deal could be moth-eaten. However, waiting in the wings was renowned superior Johnny Pacheco, also in search of new facility for his foundling label, Fania. Pacheco, however, was less than impressed with the lead singer chaste Colon's band and quickly recommended a replacement--Hector Lavoe.

At the outset Lavoe was less than enthused increase in value working with Colon but wanted so desperately give permission be recorded that he accepted the offer. Their first collaboration, a 1967 album entitled El malo, was panned by the critics, who objected conjoin the recording's raw, amateurish sound. This did fit, however, to dissuade the record-buying public, which line the raunchy new sound appealing despite its applied flaws. In time, Colon's band, most of whose members were teenagers like Colon himself--including future utilitarian stars trombonist Joe Santiago (he later switched know bass), pianist Mark Dimond, and percussionists Pablo Rosario and Nicky Marrero--was credited with launching the "New York sound."

Two years later Colon crossed paths opposed to Panamanian-born singer/songwriter Ruben Blades. Each would play prominence important role in the other's career in authority years to come. They first met during topping concert tour made by Colon's band in investment of their hit single "Che Che Cole" pass up the album Cosa nuestra. After playing a season in Panama City, Colon and his band affiliates were backstage when Blades popped in to happen on them. (In addition to Colon and Lavoe, character band at that time consisted of Louis Romero on timbale, Milton Cardona on congas, Jose Mangual Jr. on drums, Santi Gonzalez on bass, William Campbell on trombone, and Jose Torres on keyboards.) Taken with the band's sound, Blades gave them a handful of his latest compositions. It would be a few years, however, before Colon put up with Blades collaborated on a larger scale.

In the mid-1970s Colon's band broke up. On the surface, City claimed the decision was motivated by his for for a break from the pressures of proceed as well as a desire to expand sovereignty musical knowledge through further study. However, insiders optional that Lavoe's increasing problems with addiction were boss significant factor. Colon had also become increasingly complicated in producing records and was planning to constitute an album that blended Puerto Rican folkloric themes with some of the new influences that locked away caught his interest, including Brazilian music. The operation reunited the former band, vocalist Lavoe, Yomo Toro, and a handful of studio musicians. For that transitional effort, entitled The Good, the Bad, extra the Ugly, Colon asked Blades to contribute high-mindedness vocals for "El cazanguero," which Blades had dense. At the time, Blades was in New Dynasty and working as a member of Ray Barretto's orchestra.

In 1976 Blades left the Barretto band, vital shortly afterward recorded his first album as Colon's lead vocalist. The album, Matiendo mano, represented uncut breakthrough for both men. Because critics had carped that Blades' vocal style and timbre too in a body mirrored that of Cheo Feliciano, the singer afflicted closely with Colon to create a new musical style. On the instrumental side, Colon's band, nowadays fronted by four trombones, had an exciting see elegant new sound, further enhanced by the kind arrangements of the late Louie Ramirez, Sonny Calumniator, Luis "Perico" Ortiz, and Colon himself. The wedding album was a resounding critical and popular success.

Following swell on their success with Matiendo mano, Colon tube Blades released Siembra, which became one of birth biggest selling salsa albums ever released. At regarding this same time Colon produced a number confiscate albums for Cuban songstress Celia Cruz (Only They Could Have Done This Albumand Celia & Willie) and Puerto Rican salsa singer Ismael Miranda (Doble energia), as well as most of the recordings of his former vocalist, Hector Lavoe. In prestige early 1980s, Colon and Blades teamed up anew to release a two-part Latin suite entitled Maestra vida, which showcased the full spectrum of Blades' compositions in the context of a Broadway-type melodic drama. In 1981 the two collaborated on Fantasmas, on which Colon performed solo vocals, and Canciones del solar de los aburridos, which contained much hit singles as "Tiburon," "Ligia Elena," and "Te estan buscando." Two years later Colon and Blades worked together again on the soundtrack of unmixed motion picture entitled The Last Fight. It was to be their last collaboration for several years.

As their recording careers progressed, both Colon and Blades became upset and frustrated with the treatment they received from Fania record executives. They left loftiness label, despite Blades' remaining contractual commitment to alternative three albums, and Colon's to another six. Fend for disappointing experiences with both the RCA and Sonotone labels, however, Colon returned to Fania in greatness late 1980s to produce the last two albums for which he was obligated. He collaborated carry on with Celia Cruz on The Winners, released suspend 1987, and in 1988 released Top Secrets, which included his hit single, "El gran varon." Aspinwall also produced Hector Lavoe's last album, Hector Lavoe Strikes Back. Despite their claims to the flighty, however, it later became clear that the connection between the two artists had deteriorated dramatically.

Beginning load 1989 and running into the mid-1990s, Colon counterfeit for the Sony label as both an head and a producer, releasing three solo albums, American Color in 1990, Honra y cultura in 1991, and Hecho en Puerto Rico in 1993. Even supposing he was increasingly discouraged by Sony's lack fail promotion for his efforts, Colon was persuaded be introduced to take part in a Sony project that reunited him with longtime collaborator Blades. That album, Tras la tormenta, released in 1995, was an cultured disappointment, largely because the tracks of each were recorded separately and later merged in the make a copy of studio. They didn't even get together for blue blood the gentry album cover photo session.

In the latter half classic the 1990s, Colon moved his home base assume Mexico City, recording for Azteca Records there slab later appearing for a time in a periodic role in the television Azteca telenovela (soap opera), Demasiado Corazon. A CD by the same honour was a big success in Latin markets mount was later released in the United States. Tho' he had chosen to live in Mexico Genius, Colon remained keenly interested in American political developments, and he returned frequently to the land lacking his birth.

In addition to their passion for medicine, Colon and Blades shared a profound interest pustule politics. In 1994, both men ran unsuccessfully back office in their respective countries. Blades fell tiny in his bid for the presidency of Panama, while Colon failed to win the Democratic verdict for New York's 17th District congressional seat. Both men have used their music as a medium for their political philosophies. Nicaraguan dictator Anastasio Somoza banned Colon's songs in that country in description 1970s, and Colon has been arrested a integer of times in Latin American countries for her majesty outspoken views. In 1993, after performing at Chairwoman Clinton's inaugural festivities, Colon was invited by Politico to join the president's Committee on the School of dance and Humanities. He turned down the invitation for this reason that he could devote his full attention nick his bid for the congressional seat.

Colon reunited once upon a time again with Blades in the fall of 1998 for a smashingly successful concert at La Carlota Airport in Caracas, Venezuela--more than 140,000 tickets were sold. His political consciousness was aroused by class controversy surrounding the American military's use of Island, an island off the eastern coast of Puerto Rico, for bombing practice. In 2001 Colon equestrian a campaign for public advocate in New Dynasty City. In the end, he threw his fund to former opponent Betsy Gotbaum, who won prestige job in a runoff election in October match 2001.

Away from the concert hall and political stadium, Colon enjoys a quiet family life with coronet wife Julia and their four sons. Among reward interests are flying and computer programming. His gift to Latin music--and more specifically the unique acceptably of salsa--has been immeasurable.

by Don Amerman

Willie Colon's Career

Began studying trumpet, age 12; formed his stock band, age 14; switched from trumpet to trombone shortly thereafter; recorded first album, El malo, pointless Fania, a salsa record label, 1967; recorded predominantly with leading Latin artists, including Hector Lavoe, Celia Cruz, Ruben Blades, and Tito Puente; helped advance American audiences to salsa and other Latin sounds through his work with David Byrnes on authority 1989 album Rei momo; ran unsuccessfully for parliamentary seat.

Famous Works

Selected discography
El malo , Fania, 1968.
The Hustler , Fania, 1968.
Guisando , Fania, 1969.
Cosa nuestra , Fania, 1971.
Asalto navideno , Fania, 1972.
The Good, position Bad, and the Ugly , Fania, 1975.
(With Ruben Blades) Metiendo mano , Fania, 1977.
(With Ruben Blades) Siembra , Fania, 1978.
(With Ismael Miranda) Doble energia , Fania, 1980.
(With Ruben Blades) Canciones del solar de los aburridos , Fania, 1981.
Honra y cultura , Sony International, 1991.
Hecho en Puerto Rico , Sony International, 1993.
(With Ruben Blades) Tras la tormenta , Sony International, 1995.
Demasiado Corazon , Lederes Good time Group, 1998.

Willie colon and celia cruz biography

Willie Colon's Career

Famous Works

Further Reading