Larry Harlow and the Latin Legends Band


Larry Harlow, Yomo Torro and Aldaberto Santiago

Musician, arranger, composer, engineer, producer: these are a few of the roles Larry Harlow has stepped into during his lengthy career. Hailing from Brooklyn, NY and a musical family, Harlow first heard Latin rhythms and music from the neighborhood bodegas near his high school. At age 15 he hit the hotel circuit in the Catskills (upstate New York) and met Tito Puente and others that were also playing there. While in college, Harlow took off for Cuba, first for a week or two and then for a 2 year stay. This was just before Castro came into power. Back in the US, Harlow played with various groups but wanted to try his own sound: his arrangements with his band including trumpets and trombones. One night he was approached by Jerry Masucci, of the then fledgling Fania Record Company, who said he would send over his musical director to check out the band. This was Johnny Pacheco, whom Harlow already knew and so became one of the first to sign with the new Fania label. Orquesta Harlow's first recording was Heavy Smokin', in 1965. Along with numerous Orquesta Harlow recordings, including 4 Gold albums, Harlow joined the Fania All Stars, with many recordings, tours and videos. 'El Judio Maravilloso', a name given because of his love and respect for 'El Ciego Maravilloso', the late Arsenio Rodriquez, Harlow now leads the Latin Legends band with Yomo Torro, Aldaberto Santiago and a group of very talented musicians. Hard at work as ever, I caught him one afternoon and asked about the Latin Legends schedule and projects he was pursuing.

LH: Well, this weekend was our first set of gigs since Tony's [Jimenez] sudden death, and it was a little sad. He only died a month ago. I took Tony's death very hard. We have a long history together. We had returned from a nice tour, and Tony stayed in my other apartment. It hurt a lot, and it will be a while before we all really get back on our feet. Nikki Marrero replaced Tony. Jimmy Delgado will come by later, maybe to play gigs that Nikki cannot make.

As for projects, the Latin Legends CD (cover pictured at right) is coming out early February and we are traveling around quite a bit. We'll be in Europe for 6 weeks and return for a few dates with Sofrito, the children's show here in NYC. In February, we'll play at the Copa, which I had been 'jewed' out from playing there by the previous manager. We then return to Puerto Rico for gigs with the Fania All Stars, and then we'll be in California in March. Hope to hit the Bay Area for a week, Las Vegas, and then back to NYC in April.

(I'm) Starting a new recording, Noche Caliente #4. Three were done about 10 years ago, (the late) Louis Ramirez did 2, I did one, and this is a continuation of that series that started the romantic salsa movement in 1984-85. It was KTEL's promotion at stores, with remakes of all the old novella themes, with Ricky Iglesias, Alejandro Fernandez, Christian Castro and their ballad hits. Some horns, charanga. We will be recording this in Puerto Rico mid-December and finish it up the first week in January. About 10 years ago I did an album called Los Tres with Orlando Watussi, Ray Perez, and Doris Eugenio from Columbia. It was the three singers with the Larry Harlow Band, but no one ever heard it because KTEL went bankrupt. It will be re-released by Caiman Records of Florida called Larry Harlow and Los Tres and should be out in March. An old album I did with a piano sextet in Japan might be re-released in May. There is another Noche Caliente after this one called Noche Caliente in Japan with Nora (from Orquesta de la Luz). We will have a few bilingual tunes in Japanese and Spanish. I had a good time working with Nora in Japan this summer. She does a nice show and is a wonderful lady. So, from not having anything out in the last five years, I'll have four CDs in three months!

 

The touring is great, the producing is great, plus I will be flying back to do the Bob Marley Memorial Concert on February 14 in Miami. They expect one hundred thousand people. Only a $5 cover and 3 cans of food for the homeless. I will be with Santana, U2's, Ziggy and the Marley family, Lenny Kravitz and of course, the Latin Legends. That will be filmed and recorded live.

Q: What about this program that was produced about you?
LH: Well, looks like the hour and a half documentary 'Through the Eyes of Larry Harlow' will start as a pay-per-view in December, according to Ralph Rivera of Tropical Visions Entertainment Group. The feature shows my life, including my recent wedding, and of course, all the guys in the Latin Legends band. It has a lot of great music, old Cuban footage including Beny More, Orquesta Aragon, and [Fidel] Castro and Ché [Guevera] coming into Havana. Sony will eventually do a cassette release. I think it will be taken to Cable, then network and then out on video cassette. I was very honored they asked me to do that. I asked why me and they said I had an interesting life. In addition, I am doing a book for Warners Publishing on how to play piano. [Tito] Puente is doing the timbales and Giovanni Hidalgo is doing the conga. These include books and video for instruction. This should be out by next September or October. I am also working on a book, like the one called The Day the Music Died, about deceased rock stars. This one will be about all the deceased Hispanic stars, entitled The Day the Clave Stopped. It will be in Spanish and English, with nice photos and a few pages about each artist. This is a project with Ralph [Mercado]. Ismael Rivera, Tito Rodriguez, Hector Lavoe and all the guys we lost starting from about 1960 will be included. Should be a nice tribute to remember all those that are gone. We are just in the contractual stage, but it will happen.

And Sofrito. We had an initial run at the New Victory Theater here. My wife Wendy edited down a 10 minute version for a promo and sent them out to all these children's theaters across the country, and just now, we are getting responses for the 98/99 season. We will be at the La Jolla Theater in L.A., New Performing Arts Theater in NJ, and hopefully we will take it to Puerto Rico next year for 3 weeks in September. David Gonzalez (creator of and actor in this children's production) is doing more work so we can translate the show into Spanish. It is a great project and a fun show. This is the first Hispanic show on Broadway since Desi Arnez in 1956.

Q: The energy you have now, even with more than 35 years in the industry, persists and is as vibrant and driving as ever. I can only imagine the energy you had back then!
LH: Well, I have always had that. It was tougher in the '60s. I was not really accepted. I had to go up against reverse 'Uncle Tom' stuff. I used to have to sit in José Curbelo's office, the agent of Tito Puente and Tito Rodriguez. He had all the big bands signed, and I used to sit there, a humble little kid. I did not start my band until I was 29, so I had a late start. I used to be a school teacher and decided to make this my lively hood and stop teaching. A lot of the other guys, like Willie Colon, started at 16. They all had a jump on me, plus I was white and Jewish. So, I had to beg for a chance, and finally, Curbelo would say to clubs that if they wanted Puente or Rodriguez, they would have to take Larry Harlow too. That is how they would sell me. Once they heard the band, it was easier. Still, the first 5 years were tough until 1970. It was an anti-white thing until I became accepted. Then I got into Santaria, and made Santo in 1975. There I was, this white Jewish kid the only Santo in the Fania All Stars. I am one week older than Tito Puente in the Santo, so Tito is supposed to prostrate himself to me! I goof on that one!

I continually work to straighten out the Grammy Committee. They are trying to do a separate Latin telecast which will be part of the Grammy's. Instead of only five Latin categories, there will be some twenty and we can start breaking them up into best female vocal, best song, etc. (Note: Harlow was instrumental in the creation of the Latin Music category for the Grammy awards.)

Q: It has always interested me that you maintain a very strong connection with the Cuban music, the roots of the Salsa movement.
LH: Yes, I play very tipico. Son montuno, cha cha chá, descargas. The romantic salsa movement limits one's creative ability and imagination and has one theme: sex and romance in the lyrics. Now, I love how [La] India sings, but every song on her album is the same: same intro, synthesizer, theme, breaks into the same tempo, the same musical arrangements and all the same ama me, bessa me, etc. Now, this formula made money for Marc Anthony, Sergio Geroge and of course Ralph Mercado and there is nothing wrong with that. It is just limiting. They don't play son, they don't play cha cha chá. No bomba plena, no merengue. All the songs have the same tempo, no changes and all sound alike.

Q: But is this because of who is producing these artists?
LH: Sure, but on the other hand, the teenagers that came up in the 1980's don't know my name or the music I play or about the roots of Salsa. I listened to Domingo Quiñones, and he is a marvelous vocalist who started out in charanga bands and who could branch out anyway. Jerry Rivera's new album is great. He's listened to the older soneros and really improved. He's learned a lot. Marc Anthony will tell you he is not a sonero He has to memorize his inspriaciones and if he has to sing one extra, he is stuck.

Q: What has the reaction been from the younger crowd who did not grow up with your music?
LH: Here in the US, they haven't hear me yet. In South America, (Peru, Columbia, Venezuela) which is a very big market for us, Puerto Rico, Panama and Mexico, they are more sophisticated musically and they know the music better. They ask me questions I don't even know answers to, like why did you put this harmony with this , and why is the flute playing this, etc. They really understand and know the music. The #1 song in Cali, Columbia at this moment is Soy Sensactional, from the album "Hommy" and this is 27 years old! The #1 song in Bogata is Cari Caridad, also 27 years old. Here, they don't usually play the old songs, only the current stuff, like the romantica songs. So we don't get heard. But in Cali, there are 110 stations, and they all play Salsa. Here it is limited to 2 or 3. At least there we are still in the rotation. These kids go to school and study in Salsa music schools, not like here. Poco a poco, we will win those fans back again, especially if we get a hit with the new CD.

Q: I really like the Latin Legends theme song.
LH: Yeah, that is descarga and not too many people play that except for Jimmy Delgado (who just arrived for a meeting with Larry). Jimmy recorded on the Latin Legends CD also.

Q: Any other projects you are working on.?
LH: There are two movie scores I'll be working on. One is an adaptation of Cuban playwrite Edwin Marchado's play called 'Fabiola'. It is part of a trilogy and Marilyn Freed, acting coach to many stars, will direct. The play takes place in Cuba between '56-'62. Right up my alley. They will shoot either in Puerto Rico or Santo Domingo in April or May. I probably won't get it until later next year. That will include composing a title song plus music, charanga, bembe, rumba and such.

Q: Any suggestions for up and coming musicians?
LH: Stay in school and don't become a musician! But if you really have to, you will always survive on your talent if you persist and practice hard enough. There is a lot of competition, cut throat stuff, it is really tough. Mostly, don't forget the roots of the music and don't limit yourself to one specific area. All of a sudden, these pretty faces were pushed in front of the bands, like in the '80's, but they don't know music. It is very difficult for a non-musician to tell musicians what to do. I admire people like [Ray] Barretto and [Tito] Puente, who are percussionists, and usually, drummers do not know music. But these guys know music. They play keyboard and do arrangements. They play other instruments and didn't limit themselves to just one thing. That is very important and I respect them and others like that.

Jimmy Delgado: Even if they (the singers) don't know music, they should at least know clave, and know how to play maracas and guiro.
 LH: And they should know the history.
JD: And they should know how to dance the correct steps on the bandstand. They just limit themselves to standing in front of the microphone and doing the simplest, dumbest steps.
LH: They never let the musicians do anything either. You could hide Victor Manual's band behind the curtain and no one would miss them. No one takes any solos or stands out in front. In the Latin Legend band, if someone is taking a solo, they come up front and play. Everyone gets a chance to play. If the singers want to be musicians, the voice is their instrument and they have to learn how to do inspiraciones and learn the poetry of this music. They need to be able to rhyme their vowels. They should be able to create their inspiraciones as well as their poetic inspiration. I listen to Ruben [Blades] and Nestor Sanchez and Tito Allen and guys that first of all, have a great vocal range and they change their melodies. It is like playing jazz with their melodies and reciting poetry with their lyrics and relating to what the coro is about too. These young kids get people like Nestor [Sanchez] to write their 4 or 5 inspiraciones for them, coach them on a recording, do the recording and then sing these same 4 or 5 inspiraciones every time and they don't create anything. You have to be able to improvise. Guys like Aldaberto [Santiago] and Cheo [Feliciano] and [Ismael] Miranda and Pete ['El Conde' Rodriguez] do that.


The Latin Legends

Q: Aldaberto is still a wonderful sonero.
LH: And having the two younger singers on either side of him, well, he will rub off on them, even if it takes a year or more. They'll learn from him and how to rhyme lines. I've seen Cándido Fabre sing for 2 hours without repeating himself, having a conversation in song with the other singers. It is killer, seeing the Cuban guys converse in song. And that is what the young guys here don't realize. I'm trying to stick more to the roots and be open to more options, instead of just singing all the romantica stuff. But I did include one romantica tune on the Latin Legends CD.

Harlow and Jimmy Delgado had business to discuss. I thanked Harlow for his time and got ready to leave. You can write Harlow or visit is his web site. He loves hearing from people. Look for the Latin Legends CD in February and check back to see when the Latin Legends will be here in the Bay Area.



Interview and photos © 1998 by Julia Sewell


San Francisco/Bay Area Salsa & Latin Jazz: Interviews:
Larry Harlow and the Latin Legends Band


Larry Harlow, Yomo Torro and Aldaberto Santiago

Musician, arranger, composer, engineer, producer: these are a few of the roles Larry Harlow has stepped into during his lengthy career. Hailing from Brooklyn, NY and a musical family, Harlow first heard Latin rhythms and music from the neighborhood bodegas near his high school. At age 15 he hit the hotel circuit in the Catskills (upstate New York) and met Tito Puente and others that were also playing there. While in college, Harlow took off for Cuba, first for a week or two and then for a 2 year stay. This was just before Castro came into power. Back in the US, Harlow played with various groups but wanted to try his own sound: his arrangements with his band including trumpets and trombones. One night he was approached by Jerry Masucci, of the then fledgling Fania Record Company, who said he would send over his musical director to check out the band. This was Johnny Pacheco, whom Harlow already knew and so became one of the first to sign with the new Fania label. Orquesta Harlow's first recording was Heavy Smokin', in 1965. Along with numerous Orquesta Harlow recordings, including 4 Gold albums, Harlow joined the Fania All Stars, with many recordings, tours and videos. 'El Judio Maravilloso', a name given because of his love and respect for 'El Ciego Maravilloso', the late Arsenio Rodriquez, Harlow now leads the Latin Legends band with Yomo Torro, Aldaberto Santiago and a group of very talented musicians. Hard at work as ever, I caught him one afternoon and asked about the Latin Legends schedule and projects he was pursuing.

LH: Well, this weekend was our first set of gigs since Tony's [Jimenez] sudden death, and it was a little sad. He only died a month ago. I took Tony's death very hard. We have a long history together. We had returned from a nice tour, and Tony stayed in my other apartment. It hurt a lot, and it will be a while before we all really get back on our feet. Nikki Marrero replaced Tony. Jimmy Delgado will come by later, maybe to play gigs that Nikki cannot make.

As for projects, the Latin Legends CD (cover pictured at right) is coming out early February and we are traveling around quite a bit. We'll be in Europe for 6 weeks and return for a few dates with Sofrito, the children's show here in NYC. In February, we'll play at the Copa, which I had been 'jewed' out from playing there by the previous manager. We then return to Puerto Rico for gigs with the Fania All Stars, and then we'll be in California in March. Hope to hit the Bay Area for a week, Las Vegas, and then back to NYC in April.

(I'm) Starting a new recording, Noche Caliente #4. Three were done about 10 years ago, (the late) Louis Ramirez did 2, I did one, and this is a continuation of that series that started the romantic salsa movement in 1984-85. It was KTEL's promotion at stores, with remakes of all the old novella themes, with Ricky Iglesias, Alejandro Fernandez, Christian Castro and their ballad hits. Some horns, charanga. We will be recording this in Puerto Rico mid-December and finish it up the first week in January. About 10 years ago I did an album called Los Tres with Orlando Watussi, Ray Perez, and Doris Eugenio from Columbia. It was the three singers with the Larry Harlow Band, but no one ever heard it because KTEL went bankrupt. It will be re-released by Caiman Records of Florida called Larry Harlow and Los Tres and should be out in March. An old album I did with a piano sextet in Japan might be re-released in May. There is another Noche Caliente after this one called Noche Caliente in Japan with Nora (from Orquesta de la Luz). We will have a few bilingual tunes in Japanese and Spanish. I had a good time working with Nora in Japan this summer. She does a nice show and is a wonderful lady. So, from not having anything out in the last five years, I'll have four CDs in three months!

 

The touring is great, the producing is great, plus I will be flying back to do the Bob Marley Memorial Concert on February 14 in Miami. They expect one hundred thousand people. Only a $5 cover and 3 cans of food for the homeless. I will be with Santana, U2's, Ziggy and the Marley family, Lenny Kravitz and of course, the Latin Legends. That will be filmed and recorded live.

Q: What about this program that was produced about you?
LH: Well, looks like the hour and a half documentary 'Through the Eyes of Larry Harlow' will start as a pay-per-view in December, according to Ralph Rivera of Tropical Visions Entertainment Group. The feature shows my life, including my recent wedding, and of course, all the guys in the Latin Legends band. It has a lot of great music, old Cuban footage including Beny More, Orquesta Aragon, and [Fidel] Castro and Ché [Guevera] coming into Havana. Sony will eventually do a cassette release. I think it will be taken to Cable, then network and then out on video cassette. I was very honored they asked me to do that. I asked why me and they said I had an interesting life. In addition, I am doing a book for Warners Publishing on how to play piano. [Tito] Puente is doing the timbales and Giovanni Hidalgo is doing the conga. These include books and video for instruction. This should be out by next September or October. I am also working on a book, like the one called The Day the Music Died, about deceased rock stars. This one will be about all the deceased Hispanic stars, entitled The Day the Clave Stopped. It will be in Spanish and English, with nice photos and a few pages about each artist. This is a project with Ralph [Mercado]. Ismael Rivera, Tito Rodriguez, Hector Lavoe and all the guys we lost starting from about 1960 will be included. Should be a nice tribute to remember all those that are gone. We are just in the contractual stage, but it will happen.

And Sofrito. We had an initial run at the New Victory Theater here. My wife Wendy edited down a 10 minute version for a promo and sent them out to all these children's theaters across the country, and just now, we are getting responses for the 98/99 season. We will be at the La Jolla Theater in L.A., New Performing Arts Theater in NJ, and hopefully we will take it to Puerto Rico next year for 3 weeks in September. David Gonzalez (creator of and actor in this children's production) is doing more work so we can translate the show into Spanish. It is a great project and a fun show. This is the first Hispanic show on Broadway since Desi Arnez in 1956.

Q: The energy you have now, even with more than 35 years in the industry, persists and is as vibrant and driving as ever. I can only imagine the energy you had back then!
LH: Well, I have always had that. It was tougher in the '60s. I was not really accepted. I had to go up against reverse 'Uncle Tom' stuff. I used to have to sit in José Curbelo's office, the agent of Tito Puente and Tito Rodriguez. He had all the big bands signed, and I used to sit there, a humble little kid. I did not start my band until I was 29, so I had a late start. I used to be a school teacher and decided to make this my lively hood and stop teaching. A lot of the other guys, like Willie Colon, started at 16. They all had a jump on me, plus I was white and Jewish. So, I had to beg for a chance, and finally, Curbelo would say to clubs that if they wanted Puente or Rodriguez, they would have to take Larry Harlow too. That is how they would sell me. Once they heard the band, it was easier. Still, the first 5 years were tough until 1970. It was an anti-white thing until I became accepted. Then I got into Santaria, and made Santo in 1975. There I was, this white Jewish kid the only Santo in the Fania All Stars. I am one week older than Tito Puente in the Santo, so Tito is supposed to prostrate himself to me! I goof on that one!

I continually work to straighten out the Grammy Committee. They are trying to do a separate Latin telecast which will be part of the Grammy's. Instead of only five Latin categories, there will be some twenty and we can start breaking them up into best female vocal, best song, etc. (Note: Harlow was instrumental in the creation of the Latin Music category for the Grammy awards.)

Q: It has always interested me that you maintain a very strong connection with the Cuban music, the roots of the Salsa movement.
LH: Yes, I play very tipico. Son montuno, cha cha chá, descargas. The romantic salsa movement limits one's creative ability and imagination and has one theme: sex and romance in the lyrics. Now, I love how [La] India sings, but every song on her album is the same: same intro, synthesizer, theme, breaks into the same tempo, the same musical arrangements and all the same ama me, bessa me, etc. Now, this formula made money for Marc Anthony, Sergio Geroge and of course Ralph Mercado and there is nothing wrong with that. It is just limiting. They don't play son, they don't play cha cha chá. No bomba plena, no merengue. All the songs have the same tempo, no changes and all sound alike.

Q: But is this because of who is producing these artists?
LH: Sure, but on the other hand, the teenagers that came up in the 1980's don't know my name or the music I play or about the roots of Salsa. I listened to Domingo Quiñones, and he is a marvelous vocalist who started out in charanga bands and who could branch out anyway. Jerry Rivera's new album is great. He's listened to the older soneros and really improved. He's learned a lot. Marc Anthony will tell you he is not a sonero He has to memorize his inspriaciones and if he has to sing one extra, he is stuck.

Q: What has the reaction been from the younger crowd who did not grow up with your music?
LH: Here in the US, they haven't hear me yet. In South America, (Peru, Columbia, Venezuela) which is a very big market for us, Puerto Rico, Panama and Mexico, they are more sophisticated musically and they know the music better. They ask me questions I don't even know answers to, like why did you put this harmony with this , and why is the flute playing this, etc. They really understand and know the music. The #1 song in Cali, Columbia at this moment is Soy Sensactional, from the album "Hommy" and this is 27 years old! The #1 song in Bogata is Cari Caridad, also 27 years old. Here, they don't usually play the old songs, only the current stuff, like the romantica songs. So we don't get heard. But in Cali, there are 110 stations, and they all play Salsa. Here it is limited to 2 or 3. At least there we are still in the rotation. These kids go to school and study in Salsa music schools, not like here. Poco a poco, we will win those fans back again, especially if we get a hit with the new CD.

Q: I really like the Latin Legends theme song.
LH: Yeah, that is descarga and not too many people play that except for Jimmy Delgado (who just arrived for a meeting with Larry). Jimmy recorded on the Latin Legends CD also.

Q: Any other projects you are working on.?
LH: There are two movie scores I'll be working on. One is an adaptation of Cuban playwrite Edwin Marchado's play called 'Fabiola'. It is part of a trilogy and Marilyn Freed, acting coach to many stars, will direct. The play takes place in Cuba between '56-'62. Right up my alley. They will shoot either in Puerto Rico or Santo Domingo in April or May. I probably won't get it until later next year. That will include composing a title song plus music, charanga, bembe, rumba and such.

Q: Any suggestions for up and coming musicians?
LH: Stay in school and don't become a musician! But if you really have to, you will always survive on your talent if you persist and practice hard enough. There is a lot of competition, cut throat stuff, it is really tough. Mostly, don't forget the roots of the music and don't limit yourself to one specific area. All of a sudden, these pretty faces were pushed in front of the bands, like in the '80's, but they don't know music. It is very difficult for a non-musician to tell musicians what to do. I admire people like [Ray] Barretto and [Tito] Puente, who are percussionists, and usually, drummers do not know music. But these guys know music. They play keyboard and do arrangements. They play other instruments and didn't limit themselves to just one thing. That is very important and I respect them and others like that.

Jimmy Delgado: Even if they (the singers) don't know music, they should at least know clave, and know how to play maracas and guiro.
 LH: And they should know the history.
JD: And they should know how to dance the correct steps on the bandstand. They just limit themselves to standing in front of the microphone and doing the simplest, dumbest steps.
LH: They never let the musicians do anything either. You could hide Victor Manual's band behind the curtain and no one would miss them. No one takes any solos or stands out in front. In the Latin Legend band, if someone is taking a solo, they come up front and play. Everyone gets a chance to play. If the singers want to be musicians, the voice is their instrument and they have to learn how to do inspiraciones and learn the poetry of this music. They need to be able to rhyme their vowels. They should be able to create their inspiraciones as well as their poetic inspiration. I listen to Ruben [Blades] and Nestor Sanchez and Tito Allen and guys that first of all, have a great vocal range and they change their melodies. It is like playing jazz with their melodies and reciting poetry with their lyrics and relating to what the coro is about too. These young kids get people like Nestor [Sanchez] to write their 4 or 5 inspiraciones for them, coach them on a recording, do the recording and then sing these same 4 or 5 inspiraciones every time and they don't create anything. You have to be able to improvise. Guys like Aldaberto [Santiago] and Cheo [Feliciano] and [Ismael] Miranda and Pete ['El Conde' Rodriguez] do that.


The Latin Legends

Q: Aldaberto is still a wonderful sonero.
LH: And having the two younger singers on either side of him, well, he will rub off on them, even if it takes a year or more. They'll learn from him and how to rhyme lines. I've seen Cándido Fabre sing for 2 hours without repeating himself, having a conversation in song with the other singers. It is killer, seeing the Cuban guys converse in song. And that is what the young guys here don't realize. I'm trying to stick more to the roots and be open to more options, instead of just singing all the romantica stuff. But I did include one romantica tune on the Latin Legends CD.

Harlow and Jimmy Delgado had business to discuss. I thanked Harlow for his time and got ready to leave. You can write Harlow or visit is his web site. He loves hearing from people. Look for the Latin Legends CD in February and check back to see when the Latin Legends will be here in the Bay Area.



Interview and photos © 1998 by Julia Sewell