Posted on June 22, 2008

A Conversation with Gilberto Colon Jr., PULPO
By Tomas Peña

TP: Congratulations on the release of HOT BREAD. Your recording strikes a perfect balance between salsa and Latin jazz.

GC: Thank you Tomas, I really appreciate that.

TP: Also kudos to Producer Chris Soto! Let’s start with the origin of your nickname, Pulpo (Octopus).

GC: In 1976 I was playing at The Corso with Hector Lavoe’s band and I took an extended piano solo. When I finished Hector said, “On the piano, Gilberto Colon Jr., Pulpo!” Quite frankly, the first time he called me Pulpo I took offense to it. My first thought was that he was disrespecting me. Later, to my chagrin (percussionist) Eddie Montalvo latched on to the name, however, he explained that it was a compliment and that it meant that I was “all over the piano.” He took the name to another level and it stuck.

TP: That it did. Let’s backtrack for a moment. You began playing the piano when you were fourteen years old.

GC: That’s correct.

TP: And you studied under the late, great pianist Charlie Palmieri. Was Charlie your first piano teacher?

GC: My first music teacher was actually Mr. Luigi Letizia, an Italian professor who studied at Julliard. Mr. Letizia was a multi-talented musician but his main instruments were the piano and the organ. I studied with him for about a year and half.

Then one evening in 1971 I went to The Corso with my sister and Charlie Palmieri was there. I introduced myself to Charlie, he gave me his business card and told me that he gave private lessons. Mr. Letizia taught me classical music and classical technique. Charlie opened up my ears to other aspects of the music and taught me to play with finesse.

After Charlie, I studied with a guy named George Gould. He was a great pianist who studied under Larry Harlow but he had some bad habits so I left him to study with Nicolas Rodriguez, who had performed with Louie Armstrong in the 1940s and studied at Julliard. Those who studied under him were: Oscar Hernandez, Dr. William Rodriguez, Nelson Sanchez, the great Alfredo Rodriguez (may he rest in peace), Lino Frias, Joe Mannozzi and finally Elvis Cabrera.

TP: You were in your early 20s when you replaced Professor Joe Torres, the pianist and musical director for Hector Lavoe’s band. It’s no secret that Hector was a complex person but it disturbs me that the media has gone out of its way to portray Hector in such a negative way. No doubt you could write a book about your experiences with Hector. Tell me a “feel good” story about Hector.

GC: I was very close to Hector. Even before I became his musical director and piano player I idolized him and worshipped the ground he walked on. Here’s the thing about Hector, there were two sides to his personality. I am not trying to denigrate him, what I am saying is, Hector reinvented himself as this hardcore, mischievous, dark street character for the benefit of the public, but he was none of that. He was a very humble person with principals and morals. Hector only had a seventh grade education but he was intelligent and he dominated the Spanish language. When he was in the public eye he was El Malo de La Salsa (The Bad Boy of Salsa), but in private he was another person. It took me a long time to penetrate his inner-circle and learn that about him.

OK here’s a feel good story: After a concert at Madison Square Garden we had a gig at The Corso. To make a long story short, I left my piano and a set of timbales in the back seat of my car with the window open and everything was stolen. Even though it was my fault, Hector bought me a brand new piano, no questions asked. I have more stories …

TP: I’ll bet you do! While we are on the subject of Hector Lavoe, what’s your take on the film, El Cantante?

GC: The film wasn’t bad but they could have concentrated on other areas of Hector’s life. If they had done their homework and done the right thing they could have balanced the negativity.

TP: You hold the distinction of having played with three of the most famous names in the history of Latin music: Frank Machito Grillo, Tito Puente and Tito Rodriguez. Also known as The Big Three.

GC: I also played with Tito Rodriguez’ son!

TP: Earlier in you career you performed with Carlos Patato Valdes and Alfredo Chocolate Armenteros.

GC: That was before I played with Hector. I have played with Patato’s quintet throughout my career. Bass player Joe Santiago was the musical director for Patato’s group. He loved me on the piano and took me everywhere with the band. At the time Patato’s quartet was: Nicky Marrero, Patato, myself, Joe Santiago and Dave Valentin on flute. That was before anybody even knew who Dave was. Few people know that he came into prominence with Richie Marrero’s group and the vocalist was Angela Bofill.

TP: Didn’t Dave also perform with Manny Oquendo and Libre?

GC: Playing with Manny and Libre put Dave on the map in the salsa scene. Then he signed with GRP Records, Dave Grusin’s label.

TP: Let’s talk about HOT BREAD. What took you so long?

GC: Some years ago there was a person who was very interested in financing my career. Unfortunately he passed away. As for the rest, I won’t go into detail but I wasn’t living right and I wasn’t motivated. About ten years ago I got sober, put a group together, which became the house band at Tito Puente’s Restaurant and the rest is history.

TP: How did Hot Bread come about?

GC: To make a long story short, (producer) Chris Soto and I first met when he interviewed me for his magazine, La Voz. Later, he approached me about participating in a tribute to Tommy Olivencia but it didn’t pan out. Then he approached me about making a recording. At first I put him off but he was so persistent that I finally agreed. We started making the preparations in 2007 and on January 9th 2008 we did it!

TP: Kudos to everyone concerned on a job well done. How old is Chris anyway?

GC: Twenty-seven!

TP: Let’s talk about the repertoire. Tell me about the story behind the title track.

GC: Twenty years ago I asked Jose Luis Febles to compose a Latin jazz tune for a small group with two trombones. At first he was a bit reluctant because he usually works with the big bands and big instrumentation but some coaxing he agreed to do it. The next day he called me and played the tune over the telephone and I went crazy. I paid him for the score, put it away and forgot about it. That was twenty years ago.

TP: And Cross Body Groove?

GC: Cross Body Groove was composed by my compai Oscar Hernandez. By the way, Oscar is the reason that I play the piano today. We used to play the trumpet together in high school and he played the piano by ear. I switched to the piano, figuring it would be easier than the trumpet.

TP: Was it?

GC: Not true! The piano is less physical but there is a lot more to learn. Anyway, one day Oscar called me up and invited me to go to dinner. Whenever he called I would always hear his piano playing in the background. So I heard this tune and I asked him what it was and he told me that it was a Latin jazz tune that he had just composed for a recording that he was thinking about doing. He called it Mambo Rhapsody. Later, I went to Oscar’s house and told him that I was about to make a recording and I asked him for it and he gave it to me as a gift! That was twenty years ago (again). I put the tune away and didn’t see it until we recorded Hot Bread! Chris was the person who came up with the idea of changing the name of the tune and dedicating it to the dancers. By the way, Oscar has no recollection of ever composing the tune or giving it to me as a gift!

TP: Did he like the new version?

GC: He loved it!

TP: You also tip your hat to Willie Colon and Hector Lavoe (La Murga), Eddie Palmieri (Tirandote Flores), Papo Lucca (Sonero Mayor) and your roots (Soñando con Puerto Rico).

GC: I love that tune. Let me tell you something, Chris didn’t want to include Soñando Con Puerto Rico in the repertoire. He felt that it wouldn’t fit in with the style of the recording. I felt that the album needed a ballad and insisted on including it. To the best of my knowledge, no one has ever recorded Soñando Con Puerto Rico as a duet with a piano and trombone. Everyone who has heard it loves it!

TP: The younger set tends to forget the importance of ballads and boleros.

GC: I had to remind Chris that there is a big difference between listeners and dancers. Dancers do just that, dance! At other times they just listen. Listeners listen to the music intently and when in the mood they will dance on or off the clave.

TP: While we are on the subject of the younger generation, my compliments to Hector Papote Jimenez for a job well done. He’s a name to watch.

GC: Papote was an extra-added attraction. The original concept was to record ten instrumentals. Again, Chris came up with the idea of adding a vocalist on two of the tracks and I agreed. Why? Invariably you end up paying for suggestions that you don’t take. So we did Sonero Mayor and I had this tune (Aparencia) that Jose Febles gave me as a gift many years ago.

TP: Let me guess, you put it away and discovered it twenty years later!

Can we expect a follow up to HOT BREAD in the near future?

GC: I have already written three new tunes and I have one in the can.

TP: I am going to go out on a limb and predict that HOT BREAD is going to appear on a lot of TOP TEN lists for 2008.

You have a number of regular gigs in the New York area.

GC: I have upcoming concerts at The White Plains Council of the Arts, The New Jersey Performing Arts Center (NJPAC) and the Botanical Gardens in the Bronx.

TP: On a more serious note, a lot of the great ones have passed away and the Latin music scene has undergone radical changes. From your vantage point, where is the music headed?

GC: If we didn’t have Oscar Hernandez and The Spanish Harlem Orchestra, I don’t think we would be heading in the direction we are going in now. There are some important players that are trying to keep the “old school” sound and mentality going and I’ll tell you who they are: Bobby Allende y Ocho y Mas, Jimmy Bosch and Chino Nuñez, all of who came up through la escuela (the school) of Oscar Hernandez. These are musicians who respect salsa dura.

TP: You just returned from Puerto Rico. What’s your take on the music scene in PR?

GC: The tide is turning and the public is starting to embrace salsa again. The pendulum is swinging in our direction.

TP: I just returned from PR, where I covered The Heineken Jazz Festival. Puerto Rico is buzzing with music and yes, salsa seems to be making a well-earned comeback.

Just out of curiosity, what are you listening to at home, or in your vehicle as we speak?

GC: Bill Evans, clarinetist Ron Odrich and pianist/trombone player Barry Olsen.

TP: Tell me about Ron Odrich and Barry Olsen.

GC: Ron Odrich is a dentist who plays the clarinet. My wife works for him! He’s bad! Barry Olsen is a monster as well.

TP: Before we close, who are the members of your working band?

GC: Ray Martinez on bass, Wilson “Chembo” Corniel and Little Johnny Rivero on percussion, Ralphie Lopez Jr. on the timbales, Marco “Ito” Arguinzoni and Danny Mendez on the bongos, Joe De Jesus and Jose Davila on the trombones, Eddie Rosado, Alex Rodriguez and Johnny Ortiz on the coro and our sonero, Hector “Papote” Jimenez.

TP: Any final comments?

GC: Thank you for taking the time to introduce me to your readers. Also, thank you to Vicky Sola (producer and host of Que Viva La Musica on WFDU, 89.1 FM) for perpetuating the music and for allowing me to grow on her show. I am very, very grateful to her for everything she has done for me and I want her to know that. Also, I want to thank her for introducing me to you, a very knowledgeable and conscientious jazz aficionado.

TP: Flattery will get you everywhere! But seriously, we both owe Vicki a debt of gratitude, THANK YOU VICKI!

And thank you for taking the time to speak with Latin Jazz Network. Good luck with HOT BREAD, it’s slammin’!

GC: Thank you Tomas.

FOR ADDITIONAL INFORMATION ON GILBERTO COLON JR. VISIT: www.pulpomusic.com

SUGGESTED LISTENING:
Hector Lavoe – Comedia
Pete El Conde Rodriguez – A Touch of Class
Machito and his Salsa Big Band: Live at North Sea ‘82