NY Scrapbook: Part 1:

Harbor Performing Arts Center:
The music lives!

Even as I rounded the corner from Fifth Avenue to 1 E. 104 Street, I caught sounds of brass and percussion instrumentals floating up from the basement. Formerly Boy's Harbor, the Harbor Performing Arts Center (HPAC), at the edge of Manhattan's East Harlem barrio, sponsors classes in Caribbean and Latin folkloric roots music, dance and art. HPAC is dedicated to the 'preservation and nurturing' of Latin roots music. Co-founded by Ramon Rodriquez in the early 1970's, the HPAC boasts of a current tenured musical staff who offer both individual and group instruction for percussion and brass, piano, voice, strings and reeds as well as ensembles and workshops. The percussion staff presently includes Louis Bauzo, José Madera, Johnny Alemandra, Jimmy Delgado and John Berdeguer. Theory, harmony, composition, and rhythmic reading classes are also offered. Housed at HPAC is the only existing collection of original music charts from the Latin Big Band masters: Machito, Tito Rodriquez and Tito Puente.

Ramon Rodriquez, Director, with a file cabinet of music charts.

I arrive early to sit in on the Monday night Latin Big Band. I head up to the Performing Arts floor. Students sit waiting for their instructors, reading through charts or tapping out a rhythm. The narrow walls of the Performing Arts hall are lined with unique photos from the 1920's through the 1980's, including images of Arsenio Rodriquez, Joe Cuba, Machito, Cuban groups and dancers, Mongo Santamaria, the Fania All Stars, Tipica '73 and the Bay Area's own Orestes Vilato!

Johnny Alamandra of Los Jovenes del Barrio was there to teach that evening. He disappears into one of the practice rooms as his students arrive. I hear José Madera's voice in one of the offices and poke my head in to say hello. He is busy transcribing words for one of the tunes the Latin Big Band ensemble will play. Their repertoire includes such tunes as 'Miedo al Cha cha chá' 'Jamaicuba', 'Elegua Chango', 'Cara de Payaso' and 'Picao y Tostao'. The ensemble was to perform in January as part of the recreation of the first Latin jazz concert 50 years ago. But Graciela, Machito's sister and vocalist, is not well and the concert is postponed.

I walk down to the basement and enter a studio where some of the ensemble has already gathered. Metal chairs are taken from the corner and placed in front of the 20 odd music stands. The vocalists have their stands facing the rest of the band. The ensemble awaits Louis Bauzo, musical director and José Madera who helps out, offering various musical pointers such as timing, voicing, chords and entrances. Some of the horns have arrived and are warming up. More horn players arrive and the room is filled with the cacophonous sounds of various scales. The ensemble is fashioned after the Latin Big Bands of the 1920's and later: 4 trumpets, 5 saxes, 4 trombones, timbales, conga, a trap set, maracas, guiro, bass, piano and 4 vocalists. All this sound is getting me excited. I begin to anticipate all of the instruments becoming a single voice of harmonious sound.

The Latin Big Band works that tune!

The vocalists start to practice a tune. They harmonize, then stop and start. José arrives with some new charts. He finally finished transcribing the words. Under José's watchful eye and ear, the trumpets are prompted to start. He stamps out the beat as they tend to slow down. The saxes join in, the piano plays and finally, the trombones kick in and the percussion fills out the sound. The studio is now one bright and full Big Band sound. The bass player arrives as does director Louis Bauzo. Notes for the sax section are discussed and changed so the correct chords are heard. Louis takes the tune from the top and it now swings, as the parts all come together. José stops the tune to coach the coro. Late arrivals of additional brass players enter. Louis stamps out the rhythm again, stops and starts certain sections, as does José, as the tune goes sharp. One more time from the top, and the mambo takes off. It is impossible to sit still as the band plays. As usual, I dance sitting down: just moving my body and feet. The rhythm and swing of this tune are intoxicating. Onlookers stand in the door, moving and listening to the music of a bygone era.

Louis Bauzo, Latin Big Band Director, works out a trombone part.

José Madera finds the correct chord!

The ensemble moves on to another tune. I quietly exit as I head back upstairs for a dance class. First, I stop back at the Performing Arts floor and catch Los Jovenes practicing. More great music to listen and dance to! The Harbor Performing Arts Center offers a unique array of Latin music classes and ensembles. Whether you play an instrument, dance, or just love the music, make sure to stop by HPAC for a lesson or to listen to one of the ensembles. You will leave either humming a melody or dancing to Big Band tunes that are preserved and taught only at the Harbor Performing Arts Center.

Check back for NY Scrapbook: Part 2: The clubs, the music and more!


Photos and article © 1998 by Julia Sewell.

NY Scrapbook: Part 1:

Harbor Performing Arts Center:
The music lives!

Even as I rounded the corner from Fifth Avenue to 1 E. 104 Street, I caught sounds of brass and percussion instrumentals floating up from the basement. Formerly Boy's Harbor, the Harbor Performing Arts Center (HPAC), at the edge of Manhattan's East Harlem barrio, sponsors classes in Caribbean and Latin folkloric roots music, dance and art. HPAC is dedicated to the 'preservation and nurturing' of Latin roots music. Co-founded by Ramon Rodriquez in the early 1970's, the HPAC boasts of a current tenured musical staff who offer both individual and group instruction for percussion and brass, piano, voice, strings and reeds as well as ensembles and workshops. The percussion staff presently includes Louis Bauzo, José Madera, Johnny Alemandra, Jimmy Delgado and John Berdeguer. Theory, harmony, composition, and rhythmic reading classes are also offered. Housed at HPAC is the only existing collection of original music charts from the Latin Big Band masters: Machito, Tito Rodriquez and Tito Puente.

Ramon Rodriquez, Director, with a file cabinet of music charts.

I arrive early to sit in on the Monday night Latin Big Band. I head up to the Performing Arts floor. Students sit waiting for their instructors, reading through charts or tapping out a rhythm. The narrow walls of the Performing Arts hall are lined with unique photos from the 1920's through the 1980's, including images of Arsenio Rodriquez, Joe Cuba, Machito, Cuban groups and dancers, Mongo Santamaria, the Fania All Stars, Tipica '73 and the Bay Area's own Orestes Vilato!

Johnny Alamandra of Los Jovenes del Barrio was there to teach that evening. He disappears into one of the practice rooms as his students arrive. I hear José Madera's voice in one of the offices and poke my head in to say hello. He is busy transcribing words for one of the tunes the Latin Big Band ensemble will play. Their repertoire includes such tunes as 'Miedo al Cha cha chá' 'Jamaicuba', 'Elegua Chango', 'Cara de Payaso' and 'Picao y Tostao'. The ensemble was to perform in January as part of the recreation of the first Latin jazz concert 50 years ago. But Graciela, Machito's sister and vocalist, is not well and the concert is postponed.

I walk down to the basement and enter a studio where some of the ensemble has already gathered. Metal chairs are taken from the corner and placed in front of the 20 odd music stands. The vocalists have their stands facing the rest of the band. The ensemble awaits Louis Bauzo, musical director and José Madera who helps out, offering various musical pointers such as timing, voicing, chords and entrances. Some of the horns have arrived and are warming up. More horn players arrive and the room is filled with the cacophonous sounds of various scales. The ensemble is fashioned after the Latin Big Bands of the 1920's and later: 4 trumpets, 5 saxes, 4 trombones, timbales, conga, a trap set, maracas, guiro, bass, piano and 4 vocalists. All this sound is getting me excited. I begin to anticipate all of the instruments becoming a single voice of harmonious sound.

The Latin Big Band works that tune!

The vocalists start to practice a tune. They harmonize, then stop and start. José arrives with some new charts. He finally finished transcribing the words. Under José's watchful eye and ear, the trumpets are prompted to start. He stamps out the beat as they tend to slow down. The saxes join in, the piano plays and finally, the trombones kick in and the percussion fills out the sound. The studio is now one bright and full Big Band sound. The bass player arrives as does director Louis Bauzo. Notes for the sax section are discussed and changed so the correct chords are heard. Louis takes the tune from the top and it now swings, as the parts all come together. José stops the tune to coach the coro. Late arrivals of additional brass players enter. Louis stamps out the rhythm again, stops and starts certain sections, as does José, as the tune goes sharp. One more time from the top, and the mambo takes off. It is impossible to sit still as the band plays. As usual, I dance sitting down: just moving my body and feet. The rhythm and swing of this tune are intoxicating. Onlookers stand in the door, moving and listening to the music of a bygone era.

Louis Bauzo, Latin Big Band Director, works out a trombone part.

José Madera finds the correct chord!

The ensemble moves on to another tune. I quietly exit as I head back upstairs for a dance class. First, I stop back at the Performing Arts floor and catch Los Jovenes practicing. More great music to listen and dance to! The Harbor Performing Arts Center offers a unique array of Latin music classes and ensembles. Whether you play an instrument, dance, or just love the music, make sure to stop by HPAC for a lesson or to listen to one of the ensembles. You will leave either humming a melody or dancing to Big Band tunes that are preserved and taught only at the Harbor Performing Arts Center.

Check back for NY Scrapbook: Part 2: The clubs, the music and more!


Photos and article © 1998 by Julia Sewell.