Biography
Originally assembled in New York in 1972, the enduring salsa and Latin jazz ensemble Tipica '73 took shape under the influence of Tito Puente, Arsenio Rodriguez, and Machito. Session percussionist Johnny "Dandy" Rodriguez Jr.—son of John "La Vaca" Rodriguez Sr., who had played in Ray Barretto’s rhythm section—launched the project through weekly jam sessions at the N.Y.C. venue And Vinny’s. Several musicians from Barretto’s lineup soon joined Rodriguez Jr., among them trumpeter Rene Lopez, bongo and timbales player Orestes Vilato, bassist Dave Perez, vocalist Adalberto Santiago, trombonist Leopoldo Pineda (formerly with Larry Harlow), pianist Elio Osacar (formerly with Jose Fajardo), and pianist-trumpeter Joe Manozzi (formerly with Frankie Dante). Over subsequent years the roster continually shifted, with personnel rotating in a pattern of constant change.
The Inca label signed the band, issuing its self-titled debut album just twelve months after formation. The record introduced a distinctive, compelling approach that fused the percussive conjunto lineup of congas, timbales, and bongos with a horn section, positioning Tipica '73 among New York’s foremost contributors to the salsa movement. A second album, also titled Tipica '73, followed swiftly and yielded the hit single “Amalia Batista,” a cover of the Rolando La Serie original; the same release marked the arrival of tres player Nelson Gonzalez, who quickly became a central figure in the group.
The 1975 album La Candela consolidated Tipica '73’s standing as one of the leading Latin ensembles worldwide and remains widely regarded as the most significant and accomplished entry in its catalog. Shortly afterward Rodriguez Jr. relinquished leadership to Sonny Bravo so he could devote himself to collaborations with musicians based in Cuba. Produced by the acclaimed Latin percussionist and arranger Louie Ramirez, the 1976 release Rumba Caliente contained the hits “Pare Cochero,” “Sonaremos el Tambor,” and “Guaguanco de los Violentos.” The band’s fifth album overall, The Two Sides of Tipica '73, stands as its most stylistically venturesome effort, incorporating salsa, charanga, bolero performed with orchestra, songo in the manner of Ritmo Oriental, and Latin jazz.
Salsa Encendida appeared in 1978, continuing the exploratory path of the preceding record. The next project, however, marked a decisive advance: 1979’s Tipica '73 en Cuba, Intercambio Cultural. Having spent several years scouting talent during trips to Cuba, Rodriguez Jr. recorded the entire album on the island with local musicians, a logistically difficult undertaking given the strained political relations between the United States and Cuba at the time. Some members of Tipica '73 resisted the idea, yet Rodriguez Jr. proceeded; afterward U.S. club owners declined to book the band, concerned that boycotts would reduce attendance.
The 1980 release Charangueando con la Tipica '73 paid tribute to the charanga tradition and featured notable interpretations of Tito Puente’s “A Donde Vas” and Cachao’s “Chanchullo.” Also issued that year, Into the 80’s assembled an array of guest artists that included Latin jazz pioneer Mario Bauza, Puerto Rican percussionists Rafael Cortijo and Kako, vocalists Roberto Torres and Nestor Sanchez, cuatro player Yomo Toro, and percussionist Roger Squitero. The lingering effects of the 1979 controversy ultimately prompted bandleaders Bravo and Rodriguez Jr. to disband Tipica '73 in 1982. The members subsequently concentrated on session work and appearances with other artists until the group reunited for a well-received concert in Puerto Rico in 1995, which in turn led to additional performances four years later.
The Inca label signed the band, issuing its self-titled debut album just twelve months after formation. The record introduced a distinctive, compelling approach that fused the percussive conjunto lineup of congas, timbales, and bongos with a horn section, positioning Tipica '73 among New York’s foremost contributors to the salsa movement. A second album, also titled Tipica '73, followed swiftly and yielded the hit single “Amalia Batista,” a cover of the Rolando La Serie original; the same release marked the arrival of tres player Nelson Gonzalez, who quickly became a central figure in the group.
The 1975 album La Candela consolidated Tipica '73’s standing as one of the leading Latin ensembles worldwide and remains widely regarded as the most significant and accomplished entry in its catalog. Shortly afterward Rodriguez Jr. relinquished leadership to Sonny Bravo so he could devote himself to collaborations with musicians based in Cuba. Produced by the acclaimed Latin percussionist and arranger Louie Ramirez, the 1976 release Rumba Caliente contained the hits “Pare Cochero,” “Sonaremos el Tambor,” and “Guaguanco de los Violentos.” The band’s fifth album overall, The Two Sides of Tipica '73, stands as its most stylistically venturesome effort, incorporating salsa, charanga, bolero performed with orchestra, songo in the manner of Ritmo Oriental, and Latin jazz.
Salsa Encendida appeared in 1978, continuing the exploratory path of the preceding record. The next project, however, marked a decisive advance: 1979’s Tipica '73 en Cuba, Intercambio Cultural. Having spent several years scouting talent during trips to Cuba, Rodriguez Jr. recorded the entire album on the island with local musicians, a logistically difficult undertaking given the strained political relations between the United States and Cuba at the time. Some members of Tipica '73 resisted the idea, yet Rodriguez Jr. proceeded; afterward U.S. club owners declined to book the band, concerned that boycotts would reduce attendance.
The 1980 release Charangueando con la Tipica '73 paid tribute to the charanga tradition and featured notable interpretations of Tito Puente’s “A Donde Vas” and Cachao’s “Chanchullo.” Also issued that year, Into the 80’s assembled an array of guest artists that included Latin jazz pioneer Mario Bauza, Puerto Rican percussionists Rafael Cortijo and Kako, vocalists Roberto Torres and Nestor Sanchez, cuatro player Yomo Toro, and percussionist Roger Squitero. The lingering effects of the 1979 controversy ultimately prompted bandleaders Bravo and Rodriguez Jr. to disband Tipica '73 in 1982. The members subsequently concentrated on session work and appearances with other artists until the group reunited for a well-received concert in Puerto Rico in 1995, which in turn led to additional performances four years later.
Albums
