Jazzin' May - July 2016
P u e r t o
The Bayrón Sisters and The International Sweethearts of Rhythm
R i c o
J a z z
G u i d e
Salsa Meets Jazz
Jazzin Interview: Alfredo Falú Falú
Puerto Rico Jazz Pioneers Fernando Arbello
Jazzin' Magazine Interview Jazzin Magazine: Tell us about your beginings in music. Alfredo Falu: Who started me in music was my father, Basilio Falu. He was passionate about music and had a big Record collection; Tito Rodriguez, Machito, Tito Puente, Cal Tjader, Bebo Valdés, Lena Burke, Frank Sinatra, Johnny Mathis, Duke Ellington. So I grew up listening to all that
music. And he always said that it was important to know about music, no matter your profession. That way you could go out and enjoy a Symphony Concert, Mozart, Bach, and know what a violín or a cello was. Or go to see a Jazz Band or dance to a Salsa group.
JAZZIN MAGAZINE INTERVIEW: ALFREDO FALÚ SALSA MEETS JAZZ
o d e r f Al Falú
JM: IS THIS THE SAME ARBELLO WHO PLAYED WITH SOME BIG BANDS IN THE US?.
AF: Yes. I think he played with Duke Ellington and others.
After studying with Arbello I went to the Music Conservatory High School and from there to the Music Conservatory, when it was located at Roosevelt Avenue. I was living in Santurce back then.
A
arbello introduced me to Angel Nater, President of the Music Federation where he was the director of an orchestra. There I met Willie Matos, Perico, Bobby Valentin. Nater was the first who gave me a barítono sax. I recorded two albums with him, the first one when I was 15..
Later I met Jorge Milet and also recorded with him. We had a steady gig at the Roosevelt Casino. From Milet I went to work with Bobby Valentín. It was 1974, Bobby was about to go on Tour, and Humberto Ramírez Senior could not go. After a few days on tour Bobby asked me if I could stay in the band, so I stayed for almost ten years of tours and recordings.
When I was playing in the town of Loiza, PR, there was a woman talking about the Bands in the Army and I asked her for some information. I went to the auditions, passed and went to the Army Where I stayed for twenty years. 1986-2006
JM: So you worked with some of the great singers at Bobby Valentin Band? AF: In the the time I was at Bobby's band I worked with Marvin Santiago, Frankie Hernández, Luiggi Texidor, Cano Estremera, Johnny Vázquez, Rafu, and others. I left Bobby and created my orchestra La Nueva Salsa. The name was the idea of the great composer Tite Curet Alonso. Darío González of Borinquen Records recorded the Orchestra but he was in transition, Moving the studio to Santo Domingo, and the album never came out. I had the Orchestra for about two years and then I worked with Elias Lopes, Rubby Haddock and others.
two years ago I got the idea of recording an album with them. . JM: Who else participated in the recording?
In the Army I played with the Concert Band, the Big Band, and the Jazz Combo. And in the last four years I had the opportunity to be the Director of the Big Band and the Jazz Combo. In 2006 I retired from the Army and came back to Puerto Rico.
AF: Junior Irizarry, Eric Figueroa, Luis Marín, Lenny Pietro, Charlie Sepulveda, Angle Machado, Julito Alvarado, Jan Duclerc, Roberto Calderón, Efrain Hernández, Danny Thompson, Rafu Warner, Lisa Warner and Roberto Ortiz. The album was recorded from october, 2015 to january 2016 at Rolo Recording Studios in Guaynabo.
My sons and grandaugther are also musicians and
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JM: The music selection is very interesting. Continues from page 7 AF: Is mostly music from people I grew up listening to. Montuno from Lalo Schiffrin, a jazz arrangement of Tito Rodríguez Modulando, another theme Tito, El Monito Y La Jirafa, that's the one my grandaugther sings. Lucky Mambo, Condiciones que existen, that last one from Eddie Palmieri, and Reflexión, an original composition by Roberto Ortiz, arranged by Jochy Rodríguez who also did all the transcriptions. JM: This is your first jazz album but is not your first experience with jazz. AF: No. When I was working with Bobby, we created a jazz group with Fernando Marcano, Tony Renovales and Junior Irizarry, called Ejecución. We played mostly at Universities and other activities with Ramón Soto and Taller de Jazz Don Pedro. JM: Who were your jazz influences? AF: Dexter Gordon, Pepper Adams, Gerry Mulligan, Charlie Parker, and musicians like Mario Rivera and Chombo Silva who also were friends of my father..
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11 It is unclear how the Bayrón sisters came to Mississippi and integrated to The International Sweethearts of Rhythm. One version is that Dr. Jones on a trip to New York Bayrón offered the family to move to Mississippi, an offer Gace and Judy parents rejected. When the parents of the Bayrón sisters died, Grace calls Dr. Jones and accepted the offer. The International Sweethearts of Rhythm broke ties with the Piney Woods School when they concluded that they could make more money as a freelancer orchestra.
Puerto Rico Women Jazz Pioneers: Bayrón Sisters and The International Sweethearts of Rhythm Grace and Judy Bayrón had notable careers in jazz in the early 20th century. Judy and Grace were musicians who started their careers in jazz with The International Sweethearts of Rhythm. Grace was saxophonist and Judy was a guitarist and later a trombonist. The International Sweethearts of Rhythm was multiethnic Big Band composed exclusively of women. The orchestra was founded in 1909 by Dr. Laurence Clifton in Piney Woods Country Life School in Mississippi, a school for poor children. Dr. Clifton recognized the importance of music education and music education programs. He also organized bands of men and women who were also divided by age and level of talent.
Grace Bayrón developed an excellent saxophonist and the orchestra appeared throughout the United States including the Howard Theatre in 1941, where they broke attendance records. They also traveled to Europe in presentations to army troops, apparently the first orchestra composed of all women to do it. In 1978 a meeting of the surviving members of The International Sweethearts of Rhythm included the participation Judy Bayrón. In 1986, a documentary of The International Sweethearts of Rhythm highlighting his achievements was filmed. This orchestra accompanied jazz greats such as the legendary singer Billie Holiday.
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Puerto Rico Jazz Pioneers: Fernando Arbello Also known as Arbelo or Arvelo, Fernado Arbello was born in Ponce, 1902 (The New Grove Encyclopedia of Jazz states his birth as 1907) and at the age of 12 studied trombone. During the 1920’s and 30’s Arbello played with some of the biggest names in Jazz. From 1929 until 1935 Arbello played and recorded with Chick Webb Big Band, his playing can be heard on the recording Stompin at the Savoy. Chick Webb Big Band was also recognized as the career starting point of the great singer Ella Fitzgerald. Arbello also played and recorded with Fletcher Henderson 1934-37, Jimmie Luncerford 1942-46, Midge Williams 1937-38, Machito 1960 and with the legendary King Oliver 1930-33. King Oliver was a father figure and mentor to trumpet virtuoso Louis “Satchmo” Armstrong. With Roy Eldridge 1935-43, Arbello had the opportunity to work with Chu Berry, Ben Webster, Coleman Hawkins, Teddy Wilson and in the recording of the song Falling in Love with one of the best jazz singers, Billie Holiday. Arbello played briefly with Lucky Millinder, Edgar Hayes and Fats Waller. And Fats Waller recorded one of Arbello compositions, “Big Chief of Sota”. See more at: http://www. caribejazzmagazine.com
"From 1929 until 1935 Arbello played and recorded with Chick Webb Big Band, his playing can be heard on the recording Stompin at the Savoy. Chick Webb Big Band was also recognized as the career starting point of the great singer Ella Fitzgerald."
Fletcher Henderson Orchestra
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