Recorded at Discos Fuentes, Medellín, Colombia

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T
hese days, when being wary of technology
makes you look as though you are slightly
stuck in the past, music producers Mario
Galeano (Frente Cumbiero, Colombia)
and William Holland (Quantic, UK), decided to return to
old techniques in search of the spirit, texture and sound
of a time when music perhaps sounded better. With full
conviction, these two producers, who are like graduates in
a school of researchers who look for what lies hidden in the
grooves of old vinyl LPs, give us Ondatrópica, a master-class
of craftsmanship shaped into sound.
As a music lover and member of Colombian Public
Radio, I consider myself privileged to have witnessed the
intense and joyous recording sessions of Ondatrópica in
the Discos Fuentes studios during January 2012. Few things
in life are as priceless as seeing with your own eyes—and
hearing with your own ears—Pedro ‘Ramayá’ Beltran
conjuring up modernity in a rap; colourful Michi Sarmiento
behind his sax and singing like he did back in the sixties with
the Combo Bravo; Markitos Micolta serenading us on why
he wants to live to be a hundred years old; or accordionist
Aníbal ‘Sensación’ Velásquez paying the respect he deserves
to the great Andrés Landero. And there was nothing more
satisfying than to see everyone show how our musical
heritage is a vehicle for a cross-over of generations, sound
traditions, and influences.
I know that listeners worldwide will gladly embrace
this piece of Colombia materialized on an LP, and also this
timeless gathering of our nation’s musical talent: Guepajé!
Jaime Andrés Monsalve
Musical Director, Radio Nacional de Colombia
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AN INTRODUCTION BY WILL HOLLAND
& MARIO GALEANO:
A
fter several years of working in and around Colombian
tropical music, we were given the opportunity to create
a large-scale project involving an iconic selection of
Colombian musicians in a classic and mythical studio
setting, using completely analogue recording equipment and benefiting from
an inter-generational meeting between the new and the old guard. We were
looking to re-confirm the music of old in a progressive setting, to create a
space in which to re-interpret the tropical musical heritage of Colombia with
new approaches in composition, arrangement and production. In the infancy
of our planning for Ondatrópica, we had first to decide where all this music
would be recorded, and Discos Fuentes was our number one choice. Jamaica
has Studio One, England has Abbey Road and Colombia has Discos Fuentes.
Although steeped in history, we visited Fuentes to find that it was being underexploited and rarely used for recordings with more than three musicians at a
time. This was no fault of Fuentes, just a sad phenomenon that is typical of all
studios of this age in Colombia. We agreed that there was something magical
within the Fuentes rooms, and although several decades on from its original
analogue splendour, we were lured in by the spirits of past recordings made
within those very walls. The next stage was to prepare a list of the musicians to
invite. A concerted effort was made to invite musicians who we felt had made
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a particularly important contribution to tropical music history in Colombia.
To a regular Colombian, some are not exactly household names, or certainly
haven’t been for a long time. However, in their own time and in their own way
these musicians were some of the most innovative; they took risks, invented
new rhythms and approaches to music and were the architects of a sound that
has since become recognised worldwide. For us, this was a very emotional
experience: this was an opportunity to meet our idols, learn from them; eating,
living and recording in the same creative space for three weeks. As important
as it was to invite these master musicians, we wanted also to invite a selection
of talented young musicians from the new generation who have immersed
themselves in tropical Colombian music today; to create an atmosphere of true
musical discussion, learning and exchange.
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I
t was in the early part of January 2012 that the logistics of
transplanting a good ton of recording equipment, organizing
an extensive original repertoire, and making arrangements for
getting thirty-five musicians to Medellín, were finally complete.
It became a pilgrimage of creative energy. On arrival in MedellÍn, we were
met by Mario Rincón and his son Luis, long-time engineers at Studio Fuentes
and integral to the recording. First we unpacked the crated tape machines and
equipment sent ahead from Will’s Sonido del Valle studio. We then had two days
to prepare the studio space, plug in the equipment, fight with patch-bays and
buzzing cables, perform some last minute soldering and collectively scratch our
heads. From that day on we entered the roller-coaster schedule of recording,
with several musicians entering and exiting Medellín every couple of days. Our
initial desire to keep the variety of the record moving along meant that we
recorded by day and then composed last-minute material by night. In turn, there
were new musicians entering the room each day, entailing new microphone
layouts and additional equipment changes. We had intended to record a dozen
songs and then return to Bogotá but we actually ended up with three times
that amount of material. This whole process resulted in more than we had
hoped for, as we had made new friends amid an atmosphere of mutual respect,
and by the end of the three weeks everyone left with a sense that something
very special had occurred. This kind of common creative spirit was once an
everyday occurrence under the roofs of the Discos Fuentes headquarters and
the many other recording houses of the day, so it felt immensely fulfilling to be
resurrecting this sense of musical union and prosperity. The recording that you
hold in your hands is the sum effort and devotion of forty-two musicians sharing
a unique creative journey: a portrait of an exceptional musical encounter that
will stay with us forever.
Mario Galeano and Will Holland
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A R T I S T S
Mario Galeano
Will Holland
Michi Sarmiento
Fruko
Anibal Velásquez
Pedro Ramayá
Born in Bogotá, Mario has been involved
in Colombian tropical music projects since
the late nineties. Under the name Frente
Cumbiero he has collaborated with many of
the key figures of the transnational cumbia
scene. The band is regarded nowadays as
one of the most forward thinking new cumbia
ensembles ever to come out of Colombia.
As a composer, researcher, vinyl collector,
university teacher, bassist and guacharaquero
he keeps very busy.
Will is a British multi-instrumentalist and
producer who moved to Colombia in 2006
from the UK. Known for his prolific work
under the Quantic productions umbrella he
was taught accordion by Anibal Velasquez
amongst others after settling in Cali and now
Bogotá. His Los Miticos del Ritmo, Flowering
Inferno and Combo Barbaro projects have
all met with recent critical acclaim.
The crowned godfather of Ondatrópica, his
spirit really came out during our days at the
studio. Unique melodic phrasing and a strong
tone are just a few of his aces. A true musical
esoteric, he could feel the vibe of such tunes
as ‘Iron Man’ (which, of course, he had
never heard before), stating: “that melody
has message”. Michi is the son of the late
Climaco Sarmiento (1960s Discos Fuentes inhouse arranger and clarinetist/saxophonist
in the Orchestras of both Pacho Galan and
Lucho Bermudez)
Fruko, the brain-child of the Fuentes Studio,
was one of the top progressive minds of
the seventies with projects such as Fruko y
sus Tesos, Afrosound and Wganda Kenya.
Fortunately, we got him so interested in our
project that he joined us for much longer
than originally planned, treating us, between
sessions, with fruit salads and papayuela
desserts prepared with his own hands.
The infamous Costeño accordion-playing
don and singer joined us for two days of
recording adventures. Barranquilla-born and
one of the most prolific musicians of all time
to come out of Latin America, he is known
for his fast guarachas, unique style and for
literally hundreds of 78s, LPs and 45s that he
recorded over a fifty-year career.
At eighty-two, Pedro Ramayá was the oldest
of our guests and the one who brought all
the ancestral, indigenous sound of the caña
de millo. Besides his masterful millo playing,
we got him to do the first rap of his life.
Pedro was one of the first Atlantic Folkloric
musicians to record for Philips Colombia,
Fuentes & Felito Records.
Mario Rincón
Markitos Micolta
Wilson Viveros
Nidia Góngora
Freddy Colorado
Eblis Álvarez
He is an engineer, producer, vinyl-mastering
engineer, studio-don and also Fruko´s uncle.
The super-heavy sound he gave to Discos
Fuentes recordings during the seventies
materialized in some of the most iconic
Colombian tunes of all time. He was the key
that opened up for us the secrets of Fuentes’
recording room, giving us tips and advice on
recording and using the techniques he had
used in past decades.
Known as ‘The first voice of the Pacific
coast’, he has recorded and performed with
the pioneering band Peregoyo y su Combo
Vacana since the sixties. His compositions
and unique vocal timbre have made him
the pride of the southern Pacific Colombia.
Markitos was recently honored at 2011s
“Petronio Álvarez Festival” with a medal
of ‘achievement in folkloric music’ for his
contributions to currulao.
Wilson has been a key member of the
Colombian music scene since the sixties. He
started as a young drummer in his father’s
band in Buenaventura, barely able to
reach the drum pedals, and rose to be one
of the greatest timbaleros in Bogotá in the
seventies, performing and recording with
Jimmy Salcedo, Joe Madrid, Fruko, Alfredo
Linares, Peregoyo and many others. He is also
a strong advocate for Pacífico music, playing
currulao regularly.
Nidia, from the river village of Timbiquí
in Cauca, has been a key collaborator for
Quantic projects, as well as having her own
marimba-based folkloric group Canalon
de Timbiquí. She comes from a lineage of
Pacific Afro-Colombian folkloric singers and
is held up as an authentic continuation of the
Pacífico spirit. She was invited to the project
for her work as a great singer but also as a
very creative and original songwriter in her
own right.
Freddy is a reveared percusionist born and
bred in Cali, Valle del Cauca. His first outing
was with ‘Renacer Antillano’ a nineties salsa
group produced by Alfredito Linares. Over
the last decade he has gained particular
noteriety for his collaborations with La Tribu
Perdida, Grupo Bahia and Residuo Solido, of
which he is bandleader.
One of the key figures of the experimental
music scene of Bogotá, he has twice won the
Colombian National Award of Composition
in contemporary music. A true avant-garde
electric guitar player and composer, he
currently leads his personal project Meridian
Brothers: one of the most original and
unclassifiable bands of the new Colombian
scene. He also plays guitar and assorted
electronics in Frente Cumbiero.
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A R T I S T S
Anita Tijoux
‘El Profe’
Chongo
Esteban Copete
Pedro Ojeda
Marco Fajardo
French/Chilean rapper and singer Anita
Tijoux grew up in France with her exiled
parents and returned to Chile at age 13.
She began her musical career with band
Makiza and today is respected as a leading
and innovative solo artist throughout Latin
America. Her most recent Albums ‘1977’ and
‘La Bala’ have developed a futurist’s blend of
jazz, soul and Dilla style Hip-hop with a fiery
lyricism that few can compete with.
Jose Miguel Vega (aka ‘El Profe’) is a fiery
trombone player who represents the street
sound coming out of Bogotá. He has
performed in a variety of ska, jazz, and
Colombian music ensembles since the nineties.
Currently and for the past 7 years he has
played lead trombone in La-33, one of the
most recognized new salsa bands to emerge
from the capital city of Colombia.
Born in Cartagena into a musical family, he
has pure Colombian groove flowing through
his veins. A strong and expressive percussionist
of the Alegre Drum and Caja Vallenata, he
has also introduced hip-hop beat-boxing
into his rhythmic repertoire. Recently he has
featured in the renowned bands Sidestepper
and Petrona Martinez. At 25, he is the
youngest musician to record in Ondatrópica.
Born in Chocó on the Pacific coast and raised
in Cali, Esteban is best known for being the
grandson of the famous Pacific musician &
composer ‘Petronio Álvarez’. He is a creative
and colourful marimba player, saxophonist
and percussionist and regularly performs
Colombian, jazz and soul music with his band
‘Ancestros’.
As one of the most prolific drummers
from Bogotá´s new scene, he explores
relentlessly the common thread that links
jazz, cumbia, songo, chirimía, afrobeat or
compas drumming. Having lead ensembles
in Havana, Toronto and Bogotá, he currently
lays the grooves in Frente Cumbiero as
well as fronting the bands Los Pirañas and
Romperayo.
A clarinetist and alto-sax player, Marco is part
of Frente Cumbiero´s live quartet formation.
His contributions to the avant-garde, jazz
and traditional music movements has helped
form Bogotá’s reputation as the most cutting
edge scene in Colombia. Aggressive tone
combined with a deep knowledge of
Colombian melody is his signature.
Armando Hernández
Wilfredo Peña
Jorge Gaviria
Juancho Vargas
Alfredito Linares
Fernando ‘Ovejo’ Silva
An accordionist and singer born in
Magangué, Armando is best known for his
interpretation of one of the most classic of
all cumbia tunes “La Zenaida”. His career is
very prolific, having performed with iconic
bands such as Los Corraleros de Majagual
and Los Hermanos Zuleta. He recorded
backing vocals and hand percusion with
Ondatrópica.
Wilfredo is a young and celebrated
clarinetist from Jamundí, Valle del Cauca.
Since receiving the award for ‘Best
Clarinetist’ at Cali’s Festival Petronio Álvarez
he has devoted himself to the musical
studies of folklore, rising as a virtuoso in the
styles of chirimía, cumbia & jazz.
The first trumpet player of the long-running
band Fruko y sus Tesos (as well as The Latin
Brothers and the Discos Fuentes studiobands Afrosound and Wganda Kenya), he
stands out for the clear tone and the high
pitch he gets from the instrument. Every
Colombian can sing out loud his iconic solo
on Joe Arroyo´s song ‘Rebelión’.
Pianist, composer and musical director
of the Sonolux record label, he recorded
some heavily exploratory records in the
sixties and seventies, such as Colombian
Brass and Cumbias Espaciales. He came
straight from the hospital on this day to
record a loungy and atmospheric ‘space
cumbia ’ with us.
After decades of being the go-to pianoplayer for salsa, Latin soul and jazz in his
native Perú, Venezuela, Argentina, the USA
and Colombia, Alfredito finally settled in
Cali where he developed a style, reputation
and the respect of a true maestro. We
were honoured to have him dedicate his
talents to the Ondatrópica cause and have
him masterfully arrange several numbers
with his unique sound and experience.
Fernando Silva, nicknamed ‘El Ovejo (The
Sheep)’ started his career as bass player in
Armenia, Quindío before moving to Cali.
He is an aficionado of Andean music,
noted for his subtlety & harmony and
one of Cali’s go-to bassists for salsa, son
& currulao. Having played with Son de
Cali, La Misma Gente & La Gran Banda
Caleña, he is currently a member of the
Departamental Band of Valle del Cauca
and teaches his bass wizardry at Cali’s
Institute of Popular Culture.
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TECHNICAL NOTE
This album was recorded entirely live with minimal
overdubs, using an Ampex 440 four-track machine
recording onto ATR magnetic tape. A consideration
was made to retain the true sound using the finest in
microphone technology and positioning: Neumann,
Sony, AKG, Royer and RCA microphones. A certain
amount of mixing was done live ‘in the moment’,
hence this could be regarded as a truly live recording.
The four-track tape was then transferred to two-track
stereo tape with minimal effects and compression
to retain the original atmosphere and dynamics of
the recording. The vinyl version of the album was
mastered directly to vinyl without passing any digital
processing, using a Neumann VMS70 lathe.
“This record was made with the kind co-operation of Estudios Fuentes, Medellín”
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D I S C
1.
1
TIENE SABOR, TIENE SAZÓN
Will Holland, Mario Galeano AND Nidia
Góngora
WORDS BY Nidia Góngora ARRANGED BY Will Holland
LEAD VOCALS: Nidia Góngora BACKING VOCALS: Nidia Góngora,
Tanya Makú, Sara María Quintero WURLITZER PIANO: Alfredito Linares
GUITARS: Will Holland, Eblis Álvarez BASS: Mario Galeano TIMBALES:
Wilson Viveros DRUMS: Pedro Ojeda CONGAS: Freddy Colorado
TRUMPET: Jorge Gaviria TROMBONE: José Miguel Vega ‘el Profe’
WRITTEN BY
Will: Mario and I met in my studio in Cali prior
to this recording and had a little jam together
with my small drum machine. This was one of
the grooves that came to us. Once we were in
Medellín, I met with Nidia and arranged the horns
as she wrote the words. It was a real adrenalin
rush to record everything without edits, just tape
punches, cues and some very attentive musicians!
2.
PUNKERO SONIDERO
WRITTEN AND ARRANGED BY
Mario Galeano
TROMBONE: José Miguel Vega ‘el Profe’ ACCORDION: Will Holland
GUITAR: Eblis Álvarez BASS: Mario Galeano DRUMS: Pedro Ojeda
CONGAS: Freddy Colorado GUACHARACA: Mario Rincón
Mario: A raw, instrumental tune, this was one of
the first we recorded in the Fuentes studio. Its
analog synth bass and four-to-the-floor feel is our
salute to the cumbia diaspora worldwide.
3.
I RON MAN
WRITTEN BY Osbourne,
Iommi, Ward, Butler
ARRANGED BY Mario Galeano, Will Holland
BACKING VOCALS: Martín Giraldo, Brian Cross, Juan Diego Ahogado,
Evelio Ramírez, Michi Sarmiento, Wilfredo Ayerbe, Marco Fajardo,
Will Holland, Mario Galeano ALTO SAX: Michi Sarmiento BASS
CLARINET: Marco Fajardo CLARINET: Wilfredo Ayerbe Peña TRUMPETS:
Ramón Paniagua, Fran Londoño DOUBLE BASS: Hernando Isaza
TIMBALES: Rafa Benitez TAMBOR ALEGRE: Chongo GUACHARACA:
Mario Galeano CYMBALS: Mario Rincón
Mario: This is a drunken version (the refrain
“el ron se acabo” in Spanish means “the rum is
finished) of Black Sabbath’s classic tune, wherein
Colombia and the UK drink a toast of rum (ron)
and whisky to celebrate the world’s common
interest in inebriation.
4.
SUENA
WRITTEN BY Will
7.
Holland AND Anita Tijoux
Will: Having heard a hint of ska in all the classic
Pedro Laza and Sonora Cordabesa records that we
had collected over the years, it seemed the time
to record a full-blown ska track at the holy grail
of all Latin American recording studios. This was
the result.
Will: When we heard our friend Anita Tijoux
would be visiting Colombia to perform in Bogotá,
we immediately set about inviting her to our
recording session in Medellín. Anita is a rapper
known for her versatility, flow and spontaneity.
The beat was recorded entirely live without edits,
and the melody line is an ode to the major-key
sound of sixties-style sabanero cumbias. Ana
spent less than an afternoon writing the lyrics and
recorded the whole thing incredibly quickly. It was
a truly spontaneous process.
8.
Will Holland, Mario Galeano AND Juan
Carlos Puello
MARÍMBULA: Mario Galeano ACCORDION: Will Holland BEAT-BOX:
Chongo
Mario: This was the final recording we made for
the LP, and was recorded on the last night before
packing everything up. The recording was made
in a trio of marimbula, accordion and beat-box,
a format that has never been tried before in
Colombian music.
Mario Galeano
TROMBONE: José Miguel Vega ‘el Profe’ TRUMPET: Jorge Gaviria
WURLITZER PIANO: Alfredito Linares ACCORDION: Will Holland GUITAR:
Eblis Álvarez BASS: Mario Galeano DRUMS: Pedro Ojeda TIMBAL:
Wilson Viveros CONGA: Freddy Colorado
9.
LIBYA
WRITTEN AND ARRANGED BY Will
Mario: This porro unexpectedly turned out to
Holland
ACCORDION: Will Holland CAÑA DE MILLO: Pedro Ramayá (solo) ALTO
SAX: Michi Sarmiento CLARINETS: Marco Fajardo, Wilfredo Ayerbe
Peña TRUMPETS: Ramón Paniagua, Fran Londoño DOUBLE BASS:
Hernando Isaza TAMBOR ALEGRE: Chongo TIMBALES: Rafa Benitez
GUACHARACA: Mario Galeano CYMBALS: Mario Rincón
have a type of locomotive atmosphere, made even
weirder by the fact that Colombia hasn´t had a
commercial train service in decades. We would
like to think that old locomotives rusting away get
drunk and dream of their past days of glory on the
lines.
6.
3 REYES DE LA TERAPIA
WRITTEN BY
LOCOMOTORA BORRACHA
WRITTEN AND ARRANGED BY
11.
WRITTEN AND ARRANGED BY
Anita Tijoux
ARRANGED BY WIll Holland
LEAD VOCALS: Anita Tijoux DRUMS: WIlson Viveros GUACHARACA:
Markitos Mikolta WOODBLOCK: Brian Cross ALTO SAX: Esteban
Copete BARITONE SAX: Michi Sarmiento BASS CLARINET: Marco
Fajardo ACCORDION: Will Holland BASS: Mario Galeano BACKING
VOCALS: Michi Sarmiento, Wilfredo Ayerbe, Marco Fajardo
5.
SKA FUENTES
Will Holland
TROMBONE: José Miguel Vega ‘el Profe’ TRUMPET: Jorge Gaviria
GUITARS: Will Holland, Eblis Álvarez BASS: Mario Galeano DRUMS:
Pedro Ojeda CONGAS: Freddy Colorado GUACHARACA: Mario
Rincón
WORDS BY
Will: This piece was written around the time that
Libya was entering into conflict and eventual
revolution. The piece was recorded with a
configuration of fourteen musicians, one of the
largest ensembles we’d had in the studio. The
piece interplays middle-eastern melodies with
Colombian phrasing and rhythm.
REMANDO
WRITTEN AND ARRANGED BY Mario
Galeano
PIANO: Alfredito Linares BABY BASS: Fernando Silva ‘Ovejo’ DRUMS:
Wilson Viveros TIMBALES: Fruko BONGOS: Freddy Colorado
CONGA: Rafael Benitez GUACHARACA: Mario Galeano VIBRASLAP:
Mario Rincón ALTO SAX: Michi Sarmiento (solo) TRUMPET: Luis Bravo
TROMBONE: Jose Miguel Vega ‘el Profe’
10.
GAITA TRÓPICA
WRITTEN AND ARRANGED BY
Mario: This was originally composed prior to
Mario Galeano
TIMBALES: Rafa Benitez GUACHARACA: Mario Galeano TAMBOR
ALEGRE: Chongo LLAMADOR: Juan Diego Ahogado CYMBALS:
Mario Rincón ACCORDION: Will Holland DOUBLE BASS: Hernando
Isaza CAÑA DE MILLO: Pedro Ramayá ALTO SAX: Michi Sarmiento
LEAD CLARINET: Marco Fajardo 2ND CLARINET: Wilfredo Peña LEAD
TRUMPET: Ramón Paniagu 2ND TRUMPET: Fran Londoño SYNTH: Mario
the formation of Ondatrópica. It was my take on
the 1970s style of Afrosound and Fruko and the
musical experimentation that was going on in
that decade. It was very satisfying to actually
have in the studio, interpreting this song, Alfredito
Linares, Fruko and Wilson Viveros, who were some
of the most prolific artists of the seventies.
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RAP-MAYA
WRITTEN AND ARRANGED BY
Carlos Puello
RAP, CAÑA DE MILLO:
Pedro Ramayá AND Juan
Pedro Beltrán
BEAT-BOX:
Chongo
Will: On meeting Chongo, it was really a
revelation: here was someone who could not only
play bullerengue on a world-class level, but could
beat-box it too. I had met Ramayá in Malambo
a few years back and was impressed by his
progressive attitude and young spirit. This track is
a 2-channel sound-clash between beat-box and a
rapping gaitero.
12.
DOS LUCECITAS
WRITTEN AND ARRANGED BY
Mario Galeano
WURLITZER PIANO: Alfredito Linares LEAD VOCALS: Nidia Góngora
BACKING VOCALS: Nidia Góngora, Mario Galeano, Freddy Colorado
TROMBONE: José Miguel Vega ‘el Profe’ FLUGELHORN: Jorge Gaviria
GUITAR: Eblis Álvarez BASS: Mario Galeano DRUMS: Pedro Ojeda
TIMBALES: Wilson Viveros CONGAS: Freddy Colorado GUACHARACA:
Mario Rincon
Mario: This is a song for my two little daughters,
one of whom was still in the womb at the time.
Nidia’s vocal was recorded at the same time
as the rest of the band, which made for a really
special atmosphere. I especially like the harmonic
interplay between electric guitar and Wurlitzer
piano. Having been focused on instrumental
music for some time, it was nice to write a song
with words.
13.
CUMBIA ESPACIAL
WRITTEN AND ARRANGED BY Juancho
Vargas
PIANO: Juancho Vargas BASS: Fruko TAMBOR ALEGRE: Chongo
LLAMADOR: Chino CYMBAL: Mario Rincón GUACHARACA: Mario
Galeano
Mario: The fact that Juancho Vargas was that
morning in hospital and the same afternoon in the
studio recording with us made for a very emotional
session. This track has a kind of introspective and
solemn feel and we all felt very privileged to be in
the studio accompanying what he had to say on
the piano that day.
14.
SWING DE GILLIAN
Galeano
Will Holland
Sarmiento BASS CLARINET: Marco Fajardo CLARINET:
Wilfredo Ayerbe Peña BARITONE SAX: Michi Sarmiento DRUMS:
Wilson Viveros
Mario: This track is loosely based on an orchestral
gaita style where there is an intense and repetitive
melodic riff, upon which we can hear colourful and
extrovert performances from each soloist. This
combination makes for an intense and psychedelic
journey to Saturn and back.
Will: After two weeks or so in the studio and away
from our homes, I think we all began to miss our
families. This was a song I wrote thinking of my
mother, Gillian, after speaking to her on the phone
in England on her birthday. It was composed on
accordion and adapted to woodwind quartet.
WRITTEN AND ARRANGED BY
ALTO SAX: Michi
D I S C
1.
2
BOMBA TRÓPICA
4.
EL CAIMÁN Y EL GALLINAZO
Will Holland
ARRANGED BY Will Holland AND Alfredito Linares
BACKING VOCALS: Wilson Viveros, Alfredito Linares, Michi Sarmiento,
Freddy Colorado, Mario Galeano BASS: Fernando Silva ‘Obejo’
PIANO: Alfredito Linares TIMBALES: Wilson Viveros TRIANGLE: Wilson
VIveros CONGAS: Freddy Colorado TROMBONE: Jose Miguel Vega ‘el
Profe’ ALTO SAX: Michi Sarmiento TRUMPET: Luis Bravo
Climaco Sarmiento
LEAD VOCALS: Michi Sarmiento BACKING VOCALS: Mario Galeano,
Chongo Puello CONGA AND TAMBOR ALEGRE: Chongo GUACHARACA:
Mario Rincón CYMBALS: Mario Galeano ALTO SAX: Michi Sarmiento
CLARINETS: Marco Fajardo, Wilfredo Ayerbe Peña TRUMPETS: Jorge
Gaviria, Fran Londoño DOUBLE BASS: Hernando Isaza TAMBOR
ALEGRE: Chongo TIMBALES: Rafa Benitez
Will: Within this recording we knew that we
Will: After a particularly satisfying meal at
WRITTEN BY
must do some tracks for the salseros. This song
incorporates The Latin Brothers sound of the
seventies with the tougher tumbao of Richie Ray’s
pelegrino rhythm.
2.
LINDA MAÑANA
WRITTEN AND ARRANGED BY Michi
Sarmiento
Michi Sarmiento BACKING VOCALS: Mario Galeano,
Chongo Puello, Michi Sarmiento PIANO: Luis Fernando Meza
‘Tomate’ DOUBLE BASS: Hernando Isaza BASS: Chongo Puello
CONGAS: Rafael Benitez GUCHARACA: Mario Galeano WOODBLOCK:
Mario Rincón BARITONE SAX: Michi Sarmiento BASS CLARINET: Marco
Fajardo SOPRANINO SAX: Wilfredo Ayerbe Peña
LEAD TRUMPET: Ramón Paniagua 2ND TRUMPET: Fran Londoño
LEAD VOCALS:
Will: This was a song that Michi Sarmiento
originally recorded on the Barranquilla-based
Sonofiesta label in the sixties. When looking
for material, I played this song to Michi and
suggested re-recording it. Michi is one of the
heaviest sax players Colombia has ever produced
and he also has a fantastic singing voice. By the
end of recording this LP, he had really become
the godfather of the whole project, someone very
important to us.
3.
TRAIGAN LA BATEA
Nidia Góngora AND Will Holland
WORDS: Nidia Góngora ARRANGED BY Will Holland
LEAD VOCALS: Nidia Góngora BACKING VOCALS: Nidia Góngora,
Tanya Makú, Sara María Quintero, Wilson Viveros, Mario Galeano,
Freddy Colorado WURLITZER PIANO: Alfredito Linares TROMBONE:
José Miguel Vega ‘el Profe’ TRUMPET: Jorge Gaviria GUITAR: Will
Holland BASS: Mario Galeano DRUMS: Wilson Viveros TIMBALES:
Pedro Ojeda CONGAS: Freddy Colorado
WRITTEN BY
Will: Nidia has a unique voice and writing style,
combining the dual heritage of her native, rural
Timbiquí and the soul and edge of the urban city
of Cali. This song talks about all the aspects of
mining in the Pacific, something that is slowly
changing the face of the region, for better or worse,
mostly for worse. In this composition, cowbells
imitate pickaxes and shovels; the horns allude to
industrious hands working at the soil and the bass
floods the speakers like water rising in a ditch.
7.
WRITTEN AND ARRANGED BY
Mario: A real gathering of ‘All Stars’, these
heavyweight salseros take turns in showing us
how it’s done. You can bet that this is the first time
you will have heard Michi, Fruko, Wilson Viveros,
Alfredito Linares, Freddy Colorado, Luis Bravo
and El Profe on the same recording. De Colombia,
para el mundo!! (From Colombia, for the world!!)
Mondongos, one of our favourite Medellín
weekend eateries, we all emerged feeling rather
full and content with ourselves. Michi, striding
and wearing a smile, began to sing ‘El Caimán y
Gallenazo’ as we walked down the street (a song
written by his father Climaco). On hearing it, we
knew we must record it!
5.
8.
PAPI SHINGALING
Will Holland
Alfredito Linares DRUMS: Wilson Viveros CONGAS: Freddy
Colorado TIMBALES: Julio Estrada GUIRO: Mario Galeano GUITAR:
William Holland BASS: Fernando Silva TRUMPET: Luis Bravo ALTO SAX:
Michi Sarmiento TROMBONE: José Miguel Vega ‘el Profe’ BACKING
VOCALS: Wilson Viveros, Markitos Mikolta, Mario Galeano, Esteban
Copete
WRITTEN AND ARRANGED BY
MI NEGRA
PIANO:
Written by: Michi Sarmiento, Anibal Velásquez
ACCORDION: Aníbal Velázquez BABY BASS: Julio Estrada ‘Fruko’ ALTO
SAX: Michi Sarmiento GAITA CORTA: Pedro ‘Ramayá’ Beltran CONGA:
Rafa Benitez GUACHARACA: Rosemberg Peinado CAJA: Juan Carlos
Puelle ‘Chongo’ WOODBLOCK: Mario RIncón LEAD VOICE: Aníbal
Velázquez 2ND VOICE: Armando Hernández
Will: This is a shingaling for the ladies, a dapper
beat with the soul and stride of a well-dressed
gentleman, for all to enjoy.
Mario: This was one of the tunes structured right
in the studio prior to recording. Anibal and Michi
made the song work, coming up with lyrics and
melodic riffs on the spot.
6.
DESCARGA TRÓPICA
Alfredito Linares
PIANO: Alfredo Linares TIMBALES: Julio Estrada ‘Fruko’ CONGAS:
Freddy Colorado BONGO: Wilson Viveros GUIRO: Mario Galeano
GUITAR: William Holland BABY BASS: Fernando SIlva TRUMPET: Luis
Bravo ALTO SAX: Michi Sarmiento TROMBONE: Jose Miguel Vega ‘el
Profe’
WRITTEN BY
9.
MAMBO LOCO ESPECIAL
WRITTEN BY
CURRO FUENTES
Aníbal Velásquez
LEAD VOICE AND ACCORDION: Aníbal Velásquez BACKING VOICE AND
CAMPANA: Armando Hernández GUACHARACA: Rosemberg Peinado
BONGO: Juan Carlos Puello ‘Chongo’ LLAMADOR: Chino BASS: Mario
WRITTEN AND ARRANGED BY Will
Holland
TIMBALES: Julio Estrada ‘Fruko’ PIANO: Alfredito Linares BABY BASS:
Fernando Silva ‘Ovejo’ GUIRO: Wilson Viveros TIMBALES: Fruko
BONGOS: Freddy Colorado CONGAS: Rafael Benitez CYMBALS: Mario
Galeano GUACHARACA: Mario Rincón ALTO SAX: Michi Sarmiento
(solo) TRUMPET: Luis Bravo TROMBONE: Jose Miguel Vega ‘el Profe’
LEAD VOCALS: Michi Sarmiento BACKING VOCALS: Michi Sarmiento,
Markitos Mikolta, Mario Galeano, Esteban Copete
Galeano
Mario: After one hazy session trying to figure
out where we would take the next track, mighty
Chongo ignited the light in Anibal´s head and a
fiery, crazy tune was born. Don’t be misled by the
‘Mambo Loco’ tag, this goes way beyond it!!
Will: Curro Fuentes, the founder of Discos
Curro and one-time house producer for Phillips
Colombia, was the younger brother of Antonio
Fuentes (founder of Discos Fuentes). Whilst
Antonio and his Fuentes label concentrated on
marketing music to inland Colombia, Curro’s
focus remained on the coast, pioneering his
trademark, powerful candelazo sound. This song
is a dedication to Curro Fuentes who passed away
in 2009.
10.
DONDE SUENA EL BOMBO
Markitos Mikolta
Markitos Mikolta BACKING VOCALS: Michi Sarmiento,
Esteban Copete, Yeiler Quintero MARIMBA: Esteban Copete BASS:
Mario Galeano YAZPALO: Jefferson Hurtado CYMBALS: Ciro Florez
BOMBO: Marvin Borja CONGAS: Wilson Viveros ALTO SAX: Michi
Sarmiento BASS CLARINET: Marco Fajardo CLARINET: Wilfredo Ayerbe
Peña
WRITTEN AND ARRANGED BY
LEAD VOCALS:
Will: This one belongs to Markitos Micolta, one of
the most legendary voices of Colombia, the voice
of a generation and the godfather of the music
of the Colombian Pacific coast. He was the first
singer to arrive at Discos Fuentes and record with
Peregoyo y su Combo Vacana in the 1960s. This
was a gallant return for Markitos and I think we
all felt proud to witness it. An essential inclusion
of musicianship was the talented marimba
playing of Esteban Copete, grandson of Petronio
Álvarez and understudy of Markitos and the
Pacific sound.
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11.
LA TRANCA
WRITTEN AND ARRANGED BY Will
Holland
Michi Sarmiento BACKING VOCALS: Mario Galeano,
Chongo Puello CONGA AND TAMBOR ALEGRE: Chongo GUACHARACA:
Mario Rincón CYMBALS: Mario Galeano ALTO SAX: Michi Sarmiento
CLARINETS: Marco Fajardo, Wilfredo Ayerbe Peña TRUMPETS: Jorge
Gaviria, Fran Londoño DOUBLE BASS: Hernando Isaza TIMBALES:
Rafa Benitez
LEAD VOCALS:
Will: This is a song written in the style of the old
78s of the sabanas. Unlike cumbia, the porro has
yet to populate the world’s airways, something
that we think we can change. This song is a
homage to the good spirit and companionship
found throughout our time living and recording in
Medellín.
12.
CIEN AÑOS
WRITTEN BY Markitos
Linares
Micolta
ARRANGED BY Alfredito
LEAD VOCALS: Markitos Micolta BACKING VOCALS: Mario Galeano,
Esteban Copete, Wilson Viveros, Michi Sarmiento TIMABLES: Wilson
Viveros CONGAS: Freddy Colorado Guiro: Markitos Mikolta PIANO:
Alfedito Linares BASS: Fernando SIlva ALTO SAX: Michi Sarmiento
TROMBONE: Jose Miguel Vega TRUMPET: Luis Bravo
Mario: Markitos goes straight to the core with
this one: “I don’t want to die, I want to live for
a hundred years”. The joyful cry is a strong
reminder that one should better wait for death
dancing than laying down.
Recorded at Discos Fuentes, Medellín, Colombia
B E T W E E N
9 T H
A N D
2 7 T H
J A N U A R Y
2 0 1 2
P R O D U C E D A N D D I R E C T E D B Y Will Holland A N D Mario Galeano
M I X E D AT Sonido del Valle B Y Will Holland A N D Mario Galeano
C H I E F R E C O R D I N G A N D M I X I N G E N G I N E E R : Will Holland
R E C O R D I N G E N G I N E E R : Luis Rincón
C R E AT I V E C O N S U LTA N T : Mario Rincón
P H O T O G R A P H Y : B+ (mochilla.com)
M A S T E R E D B Y Frank Merritt A N D Simon Little @ The Carvery (carverycuts.com)
C O V E R I L L U S T R AT I O N B Y Lewis Heriz (lewisheriz.com)
D E S I G N B Y Meurig Rees (reesource.co.uk)
G E N E R A L C O O R D I N AT O R : Martín Giraldo - La Ceguera
O N - S I T E C O O R D I N AT I O N : Juan Diego Ahogado
O N - S I T E A S S I S TA N C E : Evelio Ramírez
T H A N K S : Catalina, Luciana y Martina, The Hollands, Ariana, British Council Colombia, Robert
Ness, Paula Silva, Marta Rincón, Mario Rincón, Mateo Rivano, Luis Rincón, Martín Giraldo, Ana Abad,
Tony Peñaredonda, Gilberto Ramírez. Miles Cleret, Charles Kirby-Welch, Luke Selby, Joss Yerbury, Matt
Wheeler, Brian Cross, Juan Diego Ahogado, Evelio Ramírez. Casa RAM. Viejotecas de Medallo, Frank
Merritt, Simon Little, Bill Bragin, Andy Wood, Steve Nickolls, Eric Benoit,
Jimmy Johnson, Sylvain
Morton, Annika Brandenburg, Till Andersen, Norio Shimizu, Esther Tewkesbury, Ben Rimmer, Nicolas
Bouchard, Erik Gilbert at Essential USA, Pedro Ojeda, Eblis Álvarez. Gracias a los vinilos de Colombia!
THIS PROJECT WAS MADE POSSIBLE BY THE SUPPORT OF THE BRITISH COUNCIL
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