The Life and Times of the Legendary Joe Cuba

The Life and Times of the Legendary

Joe Cuba 1931-2009

An Authorized Biography

By Antonio Mejias

Smashwords Edition Copyright 2010 © By Antonio Mejias

Smashwords Edition, License Notes

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First Edition The Legendary Joe Cuba StoryCopyright 2001 by Antonio I. Mejias.

All rights reserved and secured under International and Pan American Copyright Conventions. Published in the United States. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced, translated, or distributed in any form or by any means, or stored in a data base or retrieval system, without the prior written permission from the author.

Library of Congress Cataloging in Publication Data:Library of Congress Catalog Card Number: 2001 132825Mejias, A.The Life and Times of the Legendary Joe CubaISBN: 0-966-1557-6-9Cover Graphic Artist: Andy Fernández

The Life and Times of the Legendary Joe Cuba, is an authorized biography registered with the Writers Guild of America, on the East and West coast.

Acknowledgements

Grateful acknowledgment is extended to the late Joe Cuba for his assistance, patience and guidance in the compilation of this authorized biography. It was inspiring to see this story come to life, before the eyes of the Legendary Joe Cuba. He also gave me the privilege to obtain photographs from his private collection.

Esteem affection is extended to Maria Pérez Calderon, to whom this book is personally dedicated. Maria always welcomed me into their private residence, from the inception of this work. In addition, I would like express gratitude to Jack Calderon, Lisa Levine, Marie Liotta, Mitchell Calderon, Nina Popik Calderon, Haydee Calderon, Michael Calderon and Marlene Calderon, for contributing family related stories and photographs. Joe Cuba also acknowledged Maria Teresa Fernández (Mariposa) for dedicating to him the inspiring poem, Ode To The DiaspoRican. Her poem symbolizes the true feelings and sentiments of Puertoricans born in the United States.

An extended appreciation is given to the following individuals and organization for providing me with their descriptive views on this project: Ralph Paniagua Jr.: Viva MagazineVicente Barreiro: The Casa Latina Music ShopEfraín Suáres: The International Salsa MuseumJoe Hernandez: The International Latin Music Hall of FameLloyd Williams: The Greater Harlem Chamber of Commerce.

Finally, gratitude is extended to the following individuals who provided us with many of the wonderful stories of Joe Cuba’s extraordinary life:Joe Gaines, Max Salazar, Jackie Thorne, Lloyd Williams, Larry Birnbaum, Alberta Riviera, Richie Bonilla, Alfredo Chocolate Armenteros, Pete Russian, Anthony Roach, Ralph Garay, Jr., Henry Medina, Harvey Averne, Pedro Aguilar, Willie Medina, Leona & J.T. Carter and Charlie B. Rangel.Their narrative versions of Joe Cuba's life made this an unforgettable story.

By: Antonio I. Mejias

Dedications

Before Joe Cuba’s death, he dedicated this book to his beloved wife Maria Calderon, and to his parents Gloria and Miguel Calderon. He also said, I would like to pay homage to all of my musicians and singers who have passed away. In recognition for their service and distinctive talent, I honor their memory. May they rest in peace.

The Honorably Departed Members of the Joe Cuba Sextet:

Tommy Berrios

Santitos Colón

Norberto Cruz

Chivirico Davila

Phil Diaz

Yayo El Indio

Sixto Martinez

Charlie Palimeri

Louie Ramírez

Mon Rivera

Héctor Romero

Roy Rosa

Junior Soria

Table of Contents

Introduction

The Birth of a New Era

The Inspirational Years

The Conception of the Joe Cuba Sextet

The Boogaloo Era

The Exhiliarating Years

Tears and Difficulties To Overcome

The Recognition of a Legend

The New Millennium

Conclusion

Bibliography

The Joe Cuba Sextet Discography

Introduction

This story is about an individual who grew up in Spanish Harlem, and became one of the twentieth century's living legends. From the beginning, his life is impaired by the daily struggles of life in the ghetto. The story becomes legendary when the young Gilberto Navarro is transformed into the widely acclaimed and romanticized Joe Cuba. To conceptualize the meaning of Joe Cuba’s character, we have to visualize some of the roots that molded his personality.

Although he was raised in El Barrio, the personality of Joe Cuba was influenced by some of the greatest individuals of our time. The late Dizzy Gillespie, Machito, Tito Puente and Charlie Palmieri were all important figures that invigorated his passion for music. Their genius inspired and encouraged Joe to become one of the leading authorities in Latin music.

His career as a musician spanned six decades. Joe was unique in his field because he was one of the first to successfully introduce English lyrics to Latin music. As an innovator, he combined authentic Latin beats with rhythm and blues tempos, igniting a new and vibrating sound called the boogaloo. Although he recorded only 240 tunes, many of them became popular among the American pop charts. Two of his greatest hits, Bang Bang and El Pito are said to have sold millions of copies throughout the world. As a native New Yorker, he communicated with his fans in Spanish and in English, while preserving his well-mannered Latin charm. While being charismatic and courteous with his American audiences, he launched a successful career in Latin music.

Among his many accomplishments, Joe Cuba appeared at the 1964 World's Fair in the Caribbean Pavilion, starred in Carnegie Hall. He was also featured at the Apollo Theater, the Hollywood Palladium and in the Madison Square Garden Salsa shows. Joe Cuba was presented his first gold record on the nationally televised Merv Griffin Show. The Joe Cuba Sextet also appeared on The Don Pasante Show, the first Latin variety television program. The group also made presentations on the Mike Douglas Show, the Clay Cole Show, Gil Noble's Like It Is, Joe Franklin and Alan Burke Show, the Jerry Lewis Telethon, the Felipe Luciano Show and NBC's Mambo Memories Show. During the seventies and eighties they spent a lot of time touring South America, Europe, Puerto Rico and the United States. In the nineties, Joe Cuba recorded a big band sound titled, Steppin Out Again which reassured his fans that he still had the magic touch. With another bestseller, he went on a world tour to Paris, Italy, Alaska, South America and Japan.

Joe Cuba’s renowned status earned him the right to be one of the first inductees into the International Latin Music Hall of Fame. He was chosen for this honor for his extraordinary contributions to Latin music worldwide. In Spanish Harlem, he was also the Director of the International Salsa Museum, which featured audio and visual archives donated by a distinguished list of New York music legends. Furthermore, Joe Cuba was inducted into the prestigious Schomburg Center for Research and Black Culture, an organization that has honored world famous African-American stars such as Count Basie and Duke Ellington. Moreover, this is a story of a complex personality. When you analyze the character of Joe Cuba, you are able to envision the innovative artist, songwriter and bandleader. An assessment of his lifetime achievements enables you to realize that he was a Latin music icon and a living legend in his own time.

Birth of a New Era

The transformation of a legendary personality is usually molded by the influences of the environment, and by the extra ordinary achievements of a lifetime. Likewise, the spirit and makeup of a person is also developed by the social and cultural conditions, such as in the story we are about to embark.

The Legendary Joe Cuba was born as Gilberto Navarro, on April 22, 1931, at the Lying-in Hospital in Manhattan. Gilberto was the son of Gloria Cardona and Joaquin Navarro. He also had an older brother, Jack Navarro, who was born in Manhattan on February 2, 1930. By the time Gilberto was only a year and eleven months, his father left their home. During that era, people were trying to survive the Great Depression. Overwhelmed by her situation, his mother Gloria was forced to put her children in the Foundling Home, on 175 East 68th Street, until she could find work. However, during the time of their separation, Gloria never abandoned her boys. Frequently she visited her boys at the Foundling Home.

MAMA JOSEPHINE LIOTTA

PHOTO COURTESY OF JACK CALDERON

Meanwhile in Brooklyn, the Liottas, an Italian family was struggling to survive, and decided to join a government-sponsored program that paid families to take-in Foundling Home children. Early in September of 1930, the Liottas bought a house on 208 Beach Avenue, (New Drop) Staten Island. By 1932, they were ready to bring into their home the Foundling Home children. The first to enter their home were the Navarro boys.

Joseph and Josephine Liotta’s household consisted of four daughters and a son: Camile, Marie, Josephine, Gussie and Charlie their only son. Charlie became an expert carpenter, who built his own house brick-by-brick. Marie served as the Vice President of the Staten Island Bank. Josephine turned out to be the assistant principal of Curtis High School. Gussie became the owner of a plumbing supply house. Camile, however, ran the household. She dedicated her life to raise the Foundling Home children. Camile was also an incredible cook, who won trophies for her baking. While reminiscing about his childhood Joe Cuba said, I still savor the memory of Camile’s Italian food.

While living with the Liottas, Gilberto was nicknamed Sonny. When Marie Liotta was asked why they started calling Gilberto Navarro Sonny, she said, At the time I was also a little girl, but I remember that Gilbert was constantly the center of attraction. Since the sun always shone over his head, my family started calling him Sonny. She added that the name was given to Gilberto because he was so bright. Although they were living with the Liottas, Sonny’s natural mother also visited them often. Gloria had a strong bond with her sons and was determined never to lose touch with them. Once Sonny and Jack became 5-years of age, they were enrolled in parochial school at Our Lady Queen of Peace, in Staten Island. Just as Jack and Sonny were starting to get accustomed to the suburban way of life, Gloria Cardona came in the summer to claim her sons. Their mother had remarried and wanted her sons back. The day Sonny was told his natural mother had come to take him to a new home, he became upset and ran upstairs to his bedroom to cry. Sonny loved his adopted family.

Returning home, they took the ferry to Manhattan, and then went on the subway. After the subway ride, Sonny’s first memory was a green truck blowing his horn on 116th Street. Their mother had married a man called Miguel Calderon, and settled in Spanish Harlem. The boys had to quickly adapt to the congestion of the city. Sonny recalls his return to Manhattan, The roadways were cluttered with horses, carriages, push carts and old delivery trucks. The streets were filled with African-Americans and newly arrived Puertorican migrants, and almost everyone spoke Spanish. Once they arrived at their apartment on 62 East 115th Street, their new father warmly greeted them. Sonny recalled, As a token of friendship, Miguel Calderon gave my brother and I a cup of coffee so strong that we had to put ten spoons of sugar to kill the bitter taste.

When you compare the suburbs of Staten Island to the streets of New York City, you can easily see the big change the boys were in for. In Staten Island, the houses and buildings were not attached, such as in a congested city. Their houses were built at a distance from one another. There were farms, trees and grass around the Liotta home. In essence, their return to the city was a cultural shock. They had come from an Italian-American environment into a Puertorican environment, which was totally foreign to them. Everyone, including their mother spoke to them in Spanish. Although they were very young, it took them a long time to adapt to their new home and language.

GLORIA & MIGUEL CALDERON

PHOTO COURTESY OF JOE CUBA

To the boys delight, their stepfather Miguel Calderon turned out to be a great man. Miguel was a no-nonsense type of guy who was an entrepreneur, with a business called Mike’s Candy Store, located on 62 East 115th Street, between Park and Madison Avenue. Their apartment was conveniently located right above their store. In that era, he worked for a penny, a nickel or a dime, selling candy, magazines and newspapers. Miguel Calderon worked long hours to make a living for his family. Reflecting on that era Sonny said, Every morning at 5am my father used to pick up the newspapers from a delivery truck, and sell them for two cents per customer. Although my parents were married, Miguel also wanted to adopt my brother and I. While in the process of looking for a bargain attorney, he hired a ‘crooked lawyer’ who botched up the adoption papers. Then in 1937, my brother and I were baptized and enrolled at Public School 57, as Jack and Gilbert Calderon. By the time we realized that the adoption papers were not legal, we were known by our family name. Once we became a family, we were proud of our name and continued to use it.

Miguel Calderon loved his wife’s kids, and was a strong supporter of the neighborhood stickball team. His candy store was located directly in front of the street where the Young Devils regularly played stickball. With only a periodical contribution of two dollars, sandwiches and sodas, Miguel helped launch the Young Devils stickball team. The Young Devils were like the televised series called The Bowery Boys, who carried on as youngsters often do. In those days, the boys of the block lived to play stickball in the street. Wherever they played, it seemed as if the whole neighborhood watched and cheered for them, from the windows and fire escapes. It was one of the most important activities of their lives. Playing ball also provided an outlet for the boys. By occupying their lives with the game, it diverted them from becoming hoodlums or drug addicts. During the week they played ring-a-levio, Johnny-on-the-pony and most importantly stickball. On Sundays, they competed against other neighborhood stickball teams. Once the evening set in, the boys washed, changed clothes and hanged out at Mike’s Candy store. Some of the regular boys were Pete Russian, Louie Palangana, Tony Madison, Pete-Young Devil, Charlie Gillespie, Héctor Lilo Pacheco, Magui Padilla, Charlie Black, Perfecto, Reggie King and Eagle Eye. All the boys of the block loved and respected Miguel Calderon because he allowed them to hangout and pass the time at his store. Towards the rear of the store they also had a public telephone booth, which was constantly ringing. The store was also a central meeting place for many people of the community.

Although the common language was English, Spanish was the dominating language at home and in the neighborhood. In order to survive, the boys learned to speak a hybrid of the two, called Spanglish. For example, even the area where Sonny lived, on 115th Street and Park Avenue was called La Marqueta, which is a Spanglish word meaning the market. Whenever they spoke to their mother, they also substituted Spanish and English words interchangeably. For them, it was the common language of the neighborhood, which focused on mixing words and phrases as a means of expression. As Sonny grew up, he found that American slang along with Spanglish spiced up his conversations, and later his music.

Reviving his childhood years, Sonny said, Some of the most memorable stories involved my parents, Gloria and Miguel. When he was about nine years old, a neighborhood boy called Henry, sucker punched him on the eye. Just as Sonny started to fight back, one of his mother’s friends grabbed him by the arm and pulled him away. In an effort to reprimand him, while he cried and resisted her, she escorted Sonny to his mother’s apartment door. Antagonized by her friend, Gloria became annoyed when she saw Sonny with a swollen eye. Troubled by the rising swell on his eye Gloria asked, What happened? Sonny replied, I was minding my own business, when Henry punched me in the face. The minute I tried to fight back, this lady pulled me away. Infuriated, Gloria told the woman, to never lay a hand on her son again. Then she took Sonny outside and said, Find Henry and get even with him. And remember, nobody hits you and gets away with it! Go now, and return before supper.

The neighborhood youth of the time did not abused liquor or drugs. They only loved to drink soda and hung out. Their lives were centered around their stickball games. Many of the boys were also very handsome, so naturally they had the neighborhood girls crazy about them. They loved to joke and boast about one thing or another. For them, it was a great environment to live in, despite the fact that they lived in a ghetto, surrounded by a hostile gang environment.

PAQUITO CARDONA, GRANDMOTHER RAMONA CARDONA

AND ANGELO CARDONA

PHOTO COURTESY OF JOE CUBA

As a child, Sonny vividly recalls his mother’s brothers, Angelo Cardona and Tilde Rodriguez. Angelo Cardona was a tall good-looking man who looked like John Carroll, the actor. Angelo was always a well-dressed elegant looking man. Sonny said, Uncle Angelo used to frequently visit our home. I was proud of him because he was a well-known vocalist in the neighborhood, who often sang at Club Obrero Español, on 102nd Street and Madison Avenue. Since he was always making public appearances, he constantly changed his clothes at least twice a day. Although he appeared to be doing well, he lived in a small one-room apartment, cluttered with three-piece suits and clothes. One day, his girlfriend brought him a large Victrola console with a radio/record player, which did not fit in his small apartment room. Sonny said, Since he couldn’t return it, my uncle brought it to my mother’s house along with his collection of Machito records. Every now and then, he would come over to our house to play his records. Since my mother allowed him to keep his record player at our house, he allowed us to play his records. I loved his Machito collection and spent countless hours listening to the breaks and changes of ‘Tingo Talango’ and ‘Que Vengan Los Rumberos.’ Once I started playing the conga, Uncle Angelo used to advise me when I was off rhythm. Sonny’s other uncle was Tilde Rodriguez, who was a trio guitarist. When guitar trios went out of style, Tilde turned to the bass and the timbales, to find work. Tilde once told Sonny, "Whenever a band needed a bass player, I would say, ‘Don’t worry, I’ll find you one.’ By the time the bass player was needed for the gig, I’d show