JOHNNY PACHECO''MASTER''
(Dominican Republic, 1975) ; @
"This is the most important Dominican musician of the twentieth century" because "led the first Latin American musical movement of worldwide significance."
Fernando Cabrera, Dominican writer
. Latino Heritage
Given to Barranquilla - Colombia
In fulfilling its 70 age, we can only say about Johnny that is the living history of Latin music. His voice faded from the peculiar sound of the flute choirs French hands that mimic those of the Sonora Matancera. Seems to have picked? in complicity with his partner Charlie Palmieri youth?, lilting music of the main island and prolonged in the city of New York. His first album, Pacheco y su Charanga Vol 1 was the biggest seller in the year 1960, for what became a classic.
During the 60s and 70s and the great Charlie Pacheco seemed to do everything, organized a group of very successful charanga called avant-garde Duboney (contact Palmieri Johnny Pacheco in the Monte Carlo club) with which filled all the dances, packed the Palladium, the Corso, the Caborrojeño, the Caravan Club, the Palmolive, Hunts Point Palace, the Palm Garden, the Triton club, including others. When Pachanga invaded the big city, and became insane, Pacheco was there at the exact spot where they cooked the pachanga, Triton Social Club in the Bronx, modifying its brass band and entering the new rate with the magnificent voices a trio of Gold: The master Chivirico Davila, Mr. Elliot Romero and Rudy Calzado teacher, in fact, all this time shared with Pachangueros Orlando Marin, Hector Rivera and His Orchestra, El Sexteto La Plata, the Orchestra of Chuito Vélez y sus Estrellas Boricuas, Charlie Palmieri, Joe Quijano, Al Castilian, Mongo Santamaria, Lou Perez and His Orchestra, Mon Rivera, Pete Terrace & His Orchestra, Arsenio Rodriguez, Dioris Valladares y su Conjunto, Joe Loco, Kako y su Combo, Manolín Morel y su Charanga, Tito Rodriguez, Don Belisario Lopez among others and it really was delirium. Then accompanied this wonderful club meeting at the Village Gate in Greenwich Village, who took shelter under the umbrella of the Allegre All Stars and were three beautiful voices LPs under Cheo Feliciano, Monguito "The One" and Chivirico Davila, defended the traditional music Cuban when the boogaloo swept the traditional foundations. And since the early '70s brought the "Maquina Musical" The Fania All Stars becoming an international star, with appearances at the United States, Europe, Africa, Asia and Latin America. Pacheco y su Charanga was the first Latin band who headed the Teatro Apollo, the New York neighborhood of Harlem, the temple of jazz (1962), and album Yankies Stadium with the Fania was recognized as one of the jewels music of the last century.
Armando Lopez put it, "Pacheco was born in bag. When they were cobarditos the violins, and his Charanga starting to fade, he was called to work metal in the 1964 World's Fair, and stick right there changed pa 'rumba: Pacheco y su Tumbao born! For other than a copy of the Matancera, added a bongo and a three, a la Arsenio Rodríguez. Fania All that was missing, the magical meeting with attorney Jerry Pacheco Masuci, would launch the world the name "salsa", and fill the void left by the Cuban music, isolated in their revolution. "
The first recording with the Fania (1964) was the disc 3-25. On Thursday night August 21, 1971 at the Cheetah in New York, will be remembered as those geographical coordinates oriented to Latin music to escape the conquering all worlds. It is when the expression of Salsa takes all the strength and momentum for decisive expand throughout the Caribbean and Latino communities in the United States, Pacheco says: "It was an unforgettable night where we gave a boost to the Latin community with Our Latin Thing ".
the distance looked like a caricature or a funny sketch of Miró. His thin wiry figure in a psychedelic shirt, dark pants boot wide, and again removing his long hair, his arms waved in conjunction possessed such a transmutation of the Austrian director Herbert Von Karajan, conducting a musical machine, was a perpetual image that Pacheco was not all presentations of Fania.
Master Johnny Pacheco, undoubtedly the main protagonist of the musical phenomenon known as salsa, from the perspectives of the Fania label and the orchestra, built in within the same label and directed by him, called the Fania All-Stars. César Miguel Rondón
, radio broadcaster and Venezuelan writer, author of THE BOOK OF SALSA (CA Caracas Oscar Todtmann Publishers, 1980), first published in English in a deep approach to address the phenomenon of salsa and consultation work required of all scholars and researchers of the phenomenon salsa; categorizes Pacheco, with pianist and bandleader Larry Harlow, one of the pillars of the traditionalist wave motion. (ISC)
John Zachary Pacheco Kinipping, better known as Johnny Pacheco, born in Santiago de los Caballeros, Dominican Republic on March 25, 1935.
Octavia's mother was a teacher of German descent and his father Azariah Rafael Pacheco, a tailor who was considered the best clarinetist Dominican, and who conducted the Santa Cecilia Orchestra, the number one at the time. Young Johnny
always visited the local radio station New HB, and when the band played never lost an opportunity to hear them. Soon he was sitting on a small chair next to the horn section, passing scores proud to members of the band.
An Epiphany his father gave him a harmonica and played seven years since Johnny Compadre Pedro Juan, a meringue made by the band's pianist, Luis Alberti, and also recorded them.
Later the family residence in Santo Domingo, where his mother used to listen to novels Doña Octavia radiated from Cuba, leaving the radio on the day. In those days, Radio Progreso and Radio Mambi passed Arcaño songs and Wonders, Orquesta Ideal, El Sexteto Habanero and Arsenio Rodríguez, which are carefully listened to Johnny, who absorbed so much of the musical influences that mark his style.
In 1946, when Johnny had eleven years old, his family moved to New York City where he entered public school in the Bronx, a neighborhood in which he felt at the Korean War. "There were five of us, a sister and four brothers, had to fight to survive. There were small gangs on the street. Once they saw that you were not a chicken, I became part of them, "says Johnny (1). But Johnny was kept out of them because of his fascination with music. At school he learned to play the clarinet and saxophone, and played stick ball.
already in high school, and following the footsteps of one of his brothers who was an electrical engineer, Johnny taught electrical technology.
In 1953, Johnny played drums and sang together the pianist Gil Suárez, where he ran Louie Ramirez on vibes.
Johnny continued his studies at Brooklyn Tech, where he excelled in all courses. Meanwhile, continued making small appearances with his band, to obtain the degree. But it was a great disappointment when he began to have jobs in technology, all I could win was $ 35 a week, after payment of taxes.
Luis Quintero
One day he called and asked "are you still playing the accordion?, We play at Villa Pérez and give you $ 95 at the end of the week, plus room and ticket. This amount was very interested, so, without hesitation, he left his tools in engineering and became a musician, without turning back (1).
then began working as a percussionist. His friend Willie Rodriguez was playing drums with the Paul Whiteman Orchestra, the great orchestra No. 1 in New York. "I think he called me because was the only one who played bongos and conga and could read music. " When they needed a Latin percussionist, I called them, so I participated in the Steve Allen Show and the Johnny Carson Show (1).
When Johnny started playing percussion bells were not available commercially, so the drummers in New York began to locate in racing horses, had bells hanging from the necks of the horses to take them off. "I remember one time a horse had one hanging on the neck and tried to cut it. The rider came and gave me a beating, I was caught with the evidence, but it was a beautiful bell. " By that time attempted to build a pair of congas, for which manufactured the wooden part and hired someone who worked on a project for the Air Force, that will develop the metal. One day, while visiting a piece of metal found on the floor and Johnny instinctively picked it up and hit her, producing a sound that echoed in his ear. "Jesus Christ, I have to make a bell", then produced and sold a good number of these bells (1).
In 1955, Johnny has joined the group THE MAMBALEROS, Lou Perez quintet, comprised of Nick Conti, piano; Johnny Grasso, tenor sax and flute; Cece Garcia, vocals, Lou Perez Johnny Pacheco on percussion and congas. Club debut at the Blue Haven in Queens.
After some time he joined some great orchestras of Tito Puente as a percussionist, Xavier Cugat and that of Valladares Dioris as conguero.
In October 1958, Johnny performing with the orchestra in the Monte Carlo Valladares, located on 137th Street and Broadway, where it alternated with the quintet of Charlie Palmieri. Charlie hears there practicing the flute in the middle and you are presented. Soon, Johnny joins the group as drummer Palmieri, participating in the recording for GONE, DOES IT EASY album, which runs the conga and bongos.
that time Fajardo y sus Estrellas presented in a political role for Senator John F. Kennedy, at the Waldorf Astoria in New York, and his hit show to lovers of Latin music and paving the way for the madness of the charanga. Before the end of the year, Mario Cora, trumpeter Palmieri group decides to return to Puerto Rico to join the Andalusian combo, and Johnny started playing the flute solos. Thus was born the Duboney. Similarly
at that time, economic and cultural ties with Cuba have intensified, so the time was ripe for Charlie and Johnny began with his charanga group. "We completely changed the sound of Latin music class neighborhood because the brass was executed with flutes and violins, two voices in unison and the rhythm section, timbales, guiro and conga. That is the typical Cuban sound "(1).
In 1960, after having recorded for United Artists label's first album entitled CHARANGA! (WAS Latino 4090) (reprinted under the title 19XX ECHOES OF AN ERA WS Latino label), Johnny and Charlie realized that their musical tastes were different. "Charlie was one of the best pianists in Latin music, was a great arranger, but usually Pacheco wrote very sophisticated and liked the simple thing. Johnny then made arrangements and written, Charlie was not a composer. When finished recording, Charlie charanga was his idea and it's Johnny. It was at that moment when they separate. " Because the band members were very close, decided on a "heads or tails" who would stay with whom. When finished, Charlie bought a bottle of liquor and held (1).
Pacheco organized his own band and began to market it in the city. However, nobody wanted to record the new group, so he went to a studio and recorded a disc containing promotional items The guiro Listen Macorina and mulatto. He then paid a visit to Rafael Font, a DJ who loved the charanga, begging "fuck you play this for me?". A loved Font what he heard and predicted success. "I knew that the public had flooded the station with calls trying to figure out where to get the disc. It became an instant success. Al Santiago had a record store and people were on Saturday to buy that radio thing Macorina The guiro. Al said what the hell is that Macorí guiro?, No one knew who had recorded, it was just a promo. " That Sunday, Johnny played in a club called The Tritons, located in the Bronx, and when James entered the band had reached its eighth issue and said "you want to record child, give you a contract." James was the owner ALEGRE seal.
That same year, 1960, Johnny Pacheco signed for the label ALEGRE, immediately recording his first album, produced by Al Santiago, entitled, Pacheco y Su Charanga (Alegre LPA-8010). The album contained the tracks The Melody, Listen mulatto and the issue of Pacheco, Johnny compositions; The Macorina guiro, the first hit as a composer and arranger Louie Ramirez, The clavelito water, Miguel Angel Pozo, El Chivo, of Vinicio Gonzalez, He went to the moon, Lou Perez, La Malanga, Rosendo Ruiz Jr, and I'm in Batabano, Sabrosa as the juice and What happens to my mom?. In just six months, sold over 100,000 copies of the album, becoming the biggest selling in the history of Latin music to date. "If I knew it would be so successful, it would have made the record myself, but I had no idea" grieves Pacheco. The band for the album was composed by Johnny Pacheco, leader and flute, Julián Cabrera, and John Palomo congas, percussion, all from the band Palmieri, Daniel Gonzalez, Carlos Piantini and Jose "Chombo" Silva (2), violins , Hector Pellot, piano, Victor David Perez, bass; Manny Oquendo, percussion, Elliot Romero and Pedro Manuel "Rudy" Footwear vocalists.
In 1961, he recorded his second album for Alegre, entitled, Pacheco y Su Charanga, VOL II, (Alegre SLPA-8050). For this album, Pacheco has two new violins, performed by José Andreu, who came to Palmieri's band and Alberto Fajardo. The album featured the topics I'm really cute, Pacheco composition; Stop Driver, Marcelino Guerra Cuban theme, mocking spirit of Miguel Jorrín; Thirty kilos, Hector Rivera, Candy, Robert Puente, the bolero Sad wrist, Felix Reyna, In you, in you, bolero Luis Demetrio; How good is the environment; Compay André, and the subject of Rudy Calzado, With Bataola.
In this same year, Al Santiago creates THE ALEGRE ALL-STARS, an echo of the famous Cuban Cuban Jam Session PANART seal. It was a band that had a unique instrumentation consists of flute, tenor sax, trombone and a full rhythm section. Johnny Pacheco is part of this group as co-leader (the leader was his friend, pianist Charlie Palmieri), who is also responsible for recruiting his friend, trombonist Barry Rogers, to touch with the band. Them involved in recording the first album downloads of the stars, entitled THE ALEGRE ALL-STARS (Alegre LPA-8100).
In 1962, he recorded the third album for the label, entitled, PACHECO Y SU CHARANGA, VOL III - THE FLUTE SOUNDS (Alegre LPA-8110), containing the issues Alto Songo, Cuban pianist Lili Martínez Griñan; Acuyuye, pachanga-twist made by Pacheco, Flying Pigeon, Felix Reyna; Cachita, Rafael Hernandez, Rosalia, pianist Gil Suarez; The piñazo, Johnny Pacheco, Pita truck; A horse Lies Creole pachanga Chappotín Felix, and the sound the flute danzón Victor Hernández Marín. On May 5 the band joins Pete "El Conde" Rodriguez, replacing Rudy Calzado.
In 1963, Pacheco recorded two albums: the fourth entitled Pacheco y Su Charanga, VOL IV - SUAV'ITO (Alegre LPA-8200), sung by Pete "El Conde" Rodriguez, Lopez and Elliot Romero Vitín, which includes those items Arcaño Memories, My dove, and the Batachanga chéchere composed of Pacheco; Masacote, Hector Zeno / J.Pacheco / Alvarez, Kumbaya, Silvio Contreras, Carnival, L. Velasco, cachetero, Mike Ramos, Suavito, Gil Smith, Pa 'chickens, Enrique Jorrin me not touch that point and Barrio, Lou Perez compositions.
And the fifth and final album for ALEGRE, titled SPOTLIGHT ON PACHECO - VOL V, (Alegre LPA-8270), sung by the trio Rodriguez - Lopez - Romero, containing items The carabiné, Chuki-Luki Wobble and The little ones, compositions Pacheco; The Matanzas are, Hilda Rodriguez, to me that Jesus' War, and Death came, M. Jorrín; Muchachita simple, Enrique Bonne, Determined, Gil Smith, I'm going to ignore, and the Brazilian theme Desafinado, N. Mendonca and Antonio Carlos Jobin.
This ended up being the last album recorded with his traditional charanga, as from next year, it would change the format of a set.
the end of the year, Johnny Pacheco, Jerry Masucci met at a party at the Hotel Taft. Immediately hit it off, and Jerry, a Jewish American who was a practicing attorney, would soon be handling a divorce from Johnny. One day they sat in a small club Johnny told Jerry, "You know, I'll start my own record company." Jerry asked if he needed legal advice, "Yes," said Johnny, I need a lawyer to get the papers, and some money because I have not. " Jerry's instinct for business and musical genius of Johnny, generated a marriage made in Manhattan. They got a loan of $ 2,500 and went to a studio to record.
At that time Al Santiago was a gold mine on their hands, but his personal problems began to affect his business, leading to financial problems. Although Pacheco amassed approximately 50% of income ALEGRE, Santiago could not pay more than their commitments, and when the contract expired, Pacheco retired the seal.
addition to the idea of \u200b\u200bthe label, Pacheco had also decided to change his charanga band are a set of for which is musical parameters of the Sonora Matancera, incorporating a pair of trumpets very refined. This change was forced because all violinists "decent" in New York, wanted to play classical music. The band would be called NEW TUMBAO.
In 1964, Pacheco and his NEW TUMBAO decide to launch the first study, cannon, under his own record label, for which take their name from an old Reinaldo are composed Bolaños, Fania. Meanwhile
FANIA
beginning to reap the rewards. The young company had hired some musicians recording and wanted to expose all their lists.
in 1966 and produced four albums with the NEW TOMB, Pacheco takes the sound of the charanga album Pacheco y Su Charanga - BY POPULAR DEMAND (Fania SLP-333), sung by Elliot Romero, El Conde Rodríguez-who returns to the set, after having recorded two albums with FEELINGS SET Rey Roig, and Tony Diaz. The album includes tracks Dos Gardenias, Isolina Carrillo, Atilano problems, Peter Aranzolo; Compay and Suaviloo Cucu, Pacheco, Bilongo, William Rodriguez Fiffe: my cart, of Nico Saquito; The jug and the guiro, of R. Valdes: I am cndela, Felix Molina and outfielder Sunshine Superman.
Towards the end of 1963, Johnny Pacheco, Jerry Masucci met at a party at the Hotel Taft. Hit it off immediately, and together they founded the Fania label, named after the old are made by Cuban Reinaldo Bolaños, originally titled Fania Funch.
addition to the idea of \u200b\u200bthe label, Pacheco had also decided to change his charanga band for a whole are, and it is thus, eliminating the violins and trumpets adding a couple of very refined founded a new band, which would be named of THE NEW TUMBAO.
In 1964, Pacheco and his NEW TUMBAO decide to launch the first work under his own record label, which was titled MY NEW TUMBAO ... cannon, (Fania SLP-325), sung by Pete "El Conde" Rodriguez. The album also Fania theme, including guns; As mango sile Rafter, Champion, The kikiriki, tilling the ground, I am peasant, the preacher, Dakar, end point and Pinar del Rio, appeared under the catalog number 325, referring the date of birth of Pacheco.
In 1965, he recorded his second album PACHECO AT THE NEW WORLD'S FAIR (Fania SLP-326), containing topics such as What ball, Galan Galan, Carnival, sweet, and Alto Songo voiced by Pete "El Conde" Rodríguez and I am the mountain and I was vocalized by Ramon Quian, Monguito The One, who had joined the band.
also recorded the third album, entitled PACHECO INVITES YOU TO DANCE, (Fania SLP-327), sung by Monguito "The One" and Chivirico Dávila, as the Count after a dispute with Monguito, the band decided to separate. The album includes the hit Sarandonga, and Cipriano Acere issues but a woman's weight Mayarí; Guajira camera, the devil, that mankind, the fisherman, Come and see, how much na'má, and Salsa.
In December, Pacheco made a strange, experimental album titled PACHECO downloads - FLUTE AND HIS LATIN JAM (Fania SLP-328). For recording using a selection musicians, though many of them were still very young great-just after the discharge of Cachao and when the download was still a relatively new concept. Make up the cast: Lino Frías, piano, Bobby Rodriguez, bass; Barry Rogers on trombone, Pedro "Puchi" Boulong and Bobby Valentine, trumpets, Jose "Chombo" Silva, sax, Felix "Pupi" Lagarreta, violin; Orestes Vilato, timbales , Carlos "Patato" Valdes, congas, Ralph Marzan, bongos, Osvaldo "Chihuahua" Martinez, guiro, Carlos "Caíto" Diaz, on vocals and Johnny Pacheco, flute and vocals. The album's themes were: Frost Sugar (Sugar), which remained in force in New York for many years; Tinguaro, where the sax "Chombo" Silva put the touches of jazz, his sax is considered one of the best when it joins the jazz with Latin, so are BONCÓ, highlighting the single unrepeatable Pupi Legarreta on violin and Barry Rogers on trombone; Latin Gravy, Eve and Yembere.
In 1966, Pacheco returned to use Chivirico Monguito and lead vocalist for the album VIVA AFRICA (Fania SLP-330), which includes items The Champolón (cod); Hey Canuto; The Guandulito; A Moron Avelino , has no heart; The rebellion With a storm; My chicken bon bon; The world Seasoning and Guararey na'má. The album is named after Pacheco's tour to Africa, especially in Abidjan where they act in the Hotel Ivoire.
That same year, Pacheco-running Monguito flute and the vocals are involved in recording the album LIVE AT THE VILLAGE GATE conducted by TICO ALL-STARS, and picks up the sound of the charanga album PACHECO Y Su Charanga - BY POPULAR DEMAND (Fania SLP-333), with the vocals of Elliot Romero, El Conde Rodriguez, who returns to the set, after having recorded two albums with King SENSATION SET Roig, and Tony Diaz.
In 1967, he returned to the sound of the set on his new album TASTE TYPICAL (Fania SLP-339), sung by Pete "El Conde", Alberto Valdez and Pacheco himself, in which include themes Convergencia; El Bajio To enjoy Bethlehem, Arsenio Rodriguez, That Funan Griñan Lili Martínez and most successful album I am the son of Siboney, and supports Monguito The One, on his first solo album, entitled PACHECO Monguito PRESENTS (Fania SLP-341 .)
In 1968, he recorded the albums LATIN PIPER (Fania SLP-358), a strange crossover attempt, including the theme Maria Cervantes, new versions and Acuyuye Suavito instrumental; and Soul piper, flute Lazy, Latino, Green peppers, Hello me tight, among others, and Bakhit FLYING (Fania SLP-363), sung by El Conde Rodriguez, Alberto Valdes and Pacheco. The album includes the themes are not die; Hold the brush, That makes me laugh, Sugar Mom and kid menu.
In 1970, Pacheco recorded the album THE PERFECT COMBINATION (Fania SLP-380), sung by The Count and where the group first used three. The album includes the essence of Guaguanco composed of Catalino "Tite" Curet Alonso, one of the biggest hits of all time and topics Malecum Shalom, composed of Justi Barreto, The Black Panchón; No cane and without banana trees and Sonera, Cheo Marqueti compositions, and the bolero by Pedro Flores Blanca.
In 1971, he recorded the album Los Compadres (Fania SLP-400), sung by Pete "El Conde" Rodriguez, which was established in record sales according to official versions of the stamp and already pointed towards the salsa matancerización . The album includes the topics I'm the best, That you better, Hold the brush, and the composition of the Cuban Julio César Fonseca, Sweet with sweet dynamics, (Fania SLP-402), with the vocals of Cuban Justo Betancourt rising star of salsa, including issues with foot path, I just want to enjoy, Mango, Pineapple and cashew wounded heart, and Matanzas, among others, and the Fania label publishes a compilation of his hits with the title of 10 GREAT YEARS, (Fania SLP-409), which includes topics The essence of guaguancó, Pinar del Rio, Dulce Sweet, I am the son of Siboney, Convergence, Sonera, The Champolón, Sarandonga and Alto Songo.
After the rebirth of the Fania All-Stars, in this same year, Johnny Pacheco, "was gradually reduced their expectations and ending refugee musical ambitions, ultimately, in what many described as a dancer Sonora Matancera modernized or today . '(3)
In 1974, produces the album Celia Cruz Celia & Johnny (Go V 31) recorded for the label-Subsidiary GO FANIA-in which included an item that belongs to native New York salsa, perhaps best of all Quimbara-titled album, written by the young Puerto Rican Junior Cepeda (4). "This record still looks insurmountable, intelligence and taste of Celia to play with montuno and paste the extraordinary arrangement, help make this an anthology productions of the sauce." (3) Other items album were Toro Mata, Old Moon, the Cuban Orlando de la Rosa, I have the Idde and not Mercedes, Tite Curet Alonso compositions; Canto a La Habana, A. Castillo, El Tumbao y Celia, Johnny Pacheco composition, the step of the mule, The cry of the fishermen, and what's yours is mental.
In this same year he published a second collection of songs recorded with the charanga format to rejoice in the album THE BEST OF / THE BEST OF MARIJUANA (Alegre SLPA-7011), which includes, inter alia, Acuyuye issues, El Chivo, Memories of arcane, Macorina guiro, El Alto water clavelito and Songo.
In 1974, Pete "El Conde" Rodriguez, the star singer in recent years in all Pacheco, is released as a solo, Fania Records, and Johnny on a clever play draws to its replacement, the Cuban singer Hector Casanova, who had recorded with the band Monguito Santamaría and had a very similar timbre to that of Rodriguez, but with different style at the time of attack Salsa Montuno.
In 1975, Pacheco released the album THE MASTER (Fania SLP-485), with the vocals of Casanova and contains two areas of great importance for the sauce: Guaguanco Pa'l who knows, composition, for whom Felipe Yanez dedicated the album, with an excellent piano solo by Papo Lucca and pheasant, and a masterful three-run single by Charlie Rodriguez. The album, which includes other hits as I do not parlevu France, Pacheco composition; Simani, The Girls, Billo Frómeta teacher, and Mango Mangue de Francisco Fellove, received the first nomination for the Grammy Pacheco. From this album, the band is presented as PACHECO Y SU Tumbao Anejo.
also recorded the second album for GO, entitled HUGE CACHE (Go V 37), sung by Celia Cruz. The album includes the hits Couch, Wilfredo Figueroa composition guaracha rate (Ismael Rivera had already recorded before and pump) Three days of carnival and Hey Oriza Tell me if I was in time, the young Junior Cepeda; From Verdegue of Tite Curet Alonso, and soup in the bottle. For the album, the orchestra was formed Johnny Pacheco, guiro, fifth, chorus and leader, Papo Lucca, piano, Hector "Bomberito" Zarzuela, Luis "Perico" Ortiz, trumpet, Charlie Rodriguez, three, Victor Venegas, bass; Johnny Rodriguez Dandy, congas; Louis Mangual, bongos, Manuel Gutierrez, tambora, Ismael Quintana, maracas, and Justo Betancourt and Roberto Torres, vocals.
In 1976, he recorded the album CELIA, JOHNNY, JUSTO & PAPO: RECALLING THE PAST, (Go VS 52), sung by Celia and Justo Betancourt, who received a Grammy nomination. The disc contains old songs Cubans and West Indians such as Besito coconut of Ismael Rivera, Ritmo, Tambo Y Flores, Jose Vargas, I know you, Charles "Caíto" Diaz, and Modern Yerbero, Charles Mill, one of the issues that most identified Celia. The piano playing is still in charge of Puerto Rico Papo Lucca.
In 1977, Pacheco produced three albums: THE ARTIST, (Fania SLP-503), voiced by Hector Casanova, and that includes the topics That Prieta, theme popularized by Beny Moré, Corso and Montuno, composition Pacheco tribute to the club where he played as the orchestra Corso plant, Yerba brava, my own blood; The goat, the inventor, You do not know na, Ileana; Tie the dog, and Dirindinde; THE TWO MUSKETEERS - THE TWO Musketeers (Go V 63), along with the sublime Cuban flutist and violinist Pupi Legarreta, sung by Tito Allen and Roberto Rodríguez, including the issues are not worth anything; Face rim, I'm a thousand: The convict, Weekend, hesitates and does not pollute; Picunina, Necia, Salsa, and I Saen. For the album the band consisted of Johnny, guiro and vocals; Pupi Legarreta, Lewis Kahn, Alfredo de la Fé, Mike Perez and Aurelio Parada, violins, Enrique Orengo and Patricia Dilene, cellos, Sonny Bravo, piano, Victor Venegas, under ; Johnny Rodriguez "Dandy" conga, Orestes Vilato, timbales, Louie Ramirez, vibraphone in the subject fool, Milton Cardona, fifth and beat on the track I Saen, Virgilio Marti, vocals in The convict, and ARRIVED MELON (Go V 60), the vocalization of Mexican singer Luis Angel Silva, "Melon" Pacheco who had met in 1964 at the New York World's Fair. For this album, Johnny formed the orchestra, flute, guiro, Sonny Bravo, piano, Eddie "Gua-Gua" Rivera, bass; "Perico" Ortiz and "Bomberito" Zarzuela, trumpets, Johnny "Dandy" Rodriguez, congas, Luis Mangual , bongo, Harry and Charlie Viggiano Rodriguez, Hector Casanova three, maracas. The CD includes the rumba flamenca Don Toribio, Peret, Pacheco y su Tumbao; That if you call love, I want to go to Puerto Rico, Veracruz, Compay Anton; Our appointment, jicama and salsa, and I'm just that highlights the lyrical soneo Melon.
In 1978, he recorded with Celia Cruz album ETERNAL (Go JMVS-80), which is in line with the above, Celia, including old Cuban issues. Topics include the shoal, J. Fumero / A. Castro, the jealousy, Junior Cepeda, celestial greeting of Efrain Gonzalez, Flor de May, the stick and the coin, I have a darling; Djembe Laroca, Suazo Branco, The guava, Pacheco composition, and the dance Cocoye, Luis G. Martínez.
In 1979, he recorded the albums FRIENDS (Fania 540), sung by Casanova, which include water issues clavelito, La Mulata, I want to die singing, comes out to look, The King, If the earth shakes ; Worship; Chamaca, I took the portfolio, and chickens have no teeth. For the album, the band was formed by Luis "Perico" Ortiz, Hector "Bomberito" Zarzuela, Ray Maldonado, trumpets, Papo Lucca, piano, Salvador Cuevas, bass; Johnny Rodriguez "Dandy", bongo, Eddie Montalvo, congas, Luis Mangual, percussion, Charlie Rodriguez three, and Santiago Cerón, choirs, and the distinguished, (Fania 549), voiced by veteran Puerto Rican singer Daniel Santos, which contains the themes Ciriaco Tasty, Patricia, Isla del encanto, working, bad luck, I regret the peasant; Shame ; The jibarito, and Juliana.
In 1980, Pacheco PACHECO involved in the album, FAJARDO, PUPI - THREE FLUTES º JAVIER Y Su Charanga (Fania JM-561), where Javier Vazquez as pianist and musical director brings together the three great flutist with a cast that includes Alfredo de la Fé and Lewis Kahn, violins; Elpidio Vazquez, Jr., bass; Alberto Valdes, congas, Nicky Marrero, timbales, Enrique Orengo, cello; Osvaldo "Chihuahua" Martinez, guiro, Rodger Squitero, Brazilian percussion and George and Tony Maldonado on vocals. The album includes the tracks The Three flutes has no rival; You have made me life, all authored by Javier Vazquez, Taconéala, Rene Casanova, Present and past, Joseph A. Fajardo, and Me voy pa 'Moron, Jose Herrera. Public
album Monguito PACHECO AND ONLY: THE CREAM (Fania 567), a compilation of previous recordings which include items The devil is gone from me Rise, That if you call wanting; Chambelona, \u200b\u200bI'm you; Account na'má; A Moron Quítate The jacket, The bird and the hunter Guajiro Amanecer, Seasoning, and have no heart; CHAMP (Fania 581), compilation that includes the topics Guaguanco Pa'l you know, you tie the dog, gorgeous singing, viral reverse; Pacheco and Tumbao; That brown, I took the portfolio, if the earth shakes, Lend me your gloves, and working; PACHECO AND Monguito: Sabrosura (Fania 587), compilation which includes tracks Ave Maria morena; Mayarí; Walk and turn on the stove, Salsa, I am cagueyran; Come and see, no love unclear; Acere Cipriano; The things in your mind, and never go thinking. The album features guest appearances by Javier Vazquez, piano; Mario Hernandez, three, Elpidio Hernandez, low, Alberto Valdes, congas and Edgar Lopez, bongo.
In 1981, he recorded with veteran Cuban singer Celio Gonzalez album THE FOX PRESENTS THE SKINNY SILVER GOLD (Fania 600), which includes the topics Thirty kilos; The cigarette, Amalia; All you crave, the fingering; Salsa and guaguancó, Cry, The moon like, I do not, and Pinar del Rio. And the seal COCO published with the title of EARLY RHYTHMS (Coco CLP-162), an album containing recordings made in August 1960 by pianist René Hernández, at the height of his brilliant career and the young flutist Johnny Pacheco. The album includes the tracks The Bodeguero Egües Richard, Patricia Perez Prado Mambo Inn of Mario Bauza and My music is for you by Rene Touzet; Zero elbows; Heart of melon, Nicole, René Cha cha, cha cha Clap your hand; Cha cha castanets; Listen breast and Zambia.
In 1982, he recorded the albums FAJARDO & Pacheco (Fania 603), with the participation of veteran Cuban flutist Jose Fajardo, voiced by German Cali, and includes a version of Juaniquita, and issues I feel a flute Hispanic Male; Cumbias sauce, magic fingers, cut and nail, Salsero sentimental, and reached the Koreans. The orchestra for the album was composed by Jose Fajardo, flute, Johnny Pacheco, flute and percussion, Sonny Bravo, piano, Joe Santiago, bass; Eddie Montalvo, Nelson Valdez and Alberto Rojas, congas, Miguel Pozo Jr, timpani, Eric Badner, Alfredo Triff, Eddie Drennon, Lewis Kahn, Mike Perez and Abraham Norman, violins, Enrique Orengo, cello, and Osvaldo "Chihuahua" Martinez, percussion; and film (Latin Music JM-613), with fellow veteran Cuban singer Rolando Laserian and includes topics The polvorete, the Colombian singer Lucy Gonzalez, For the love Añoranzas, be content; The word order, do not leave me alone Passing Encarnación, Pedro Aranzolo, and The sea is mine, the Brazilian Joao Nogueira.
In 1983, meets again with "The Count" to record the album COMRADES AGAIN (Fania 625). Topics include guiñaíta A: It is the eden, Divorce, Your Clock Pastora; You are late, Dinga and Mandingo, and gondoliers. For this album the band was formed by Paquito Pastor, piano, Andy Gonzalez, Low, Eddie Montalvo, congas, Jose Mangual, bongo, Tony Barrero, Luis Doñé and Hector "Bomberito" Zarzuela, trumpets, Ivan Conde, three, Gary Carrion, maracas, Cali German, choirs and Johnny Pacheco, flute, guiro and vocals.
In 1984 he recorded the album FLYING HIGH (Go JMVS-100), voiced again by Luis Angel Silva, "Melon" and includes items The Pañuelito; The cricket and the cockroach, to follow your footsteps, do not forget you ; That goes and sounds good I had it before me, an experience, The Moon and The Casuelita.
In 1985, he recorded the album jicama, (Fania 638), sung by Pete "El Conde" Rodriguez, in which include themes Love in the sand will Compadres, It is not possible; inspiration lady, How times change; Tell: thy belly, and are of the alley. The orchestra made up for album of Johnny Pacheco, percussion and choir, Paquito Pastor, piano, Joseph M. Garcia, three, Pedro "Puchi" Boulong and Hector "Bomberito" Zarzuela, trumpets, Carlos Lalane, bass; Luis Mangual, bongo, and Milton Cardona, congas, and again, (Go JMVS-106), sung by Celia Cruz which receives Grammy nomination.
In 1989, "the compadres "Johnny Pacheco and Pete" El Conde "Rodriguez celebrated the 25 th anniversary of its NEW TUMBAO, producing the album CELEBRATION (Fania 652). For the album, which includes items The Tumbaíto; That woman, Without faith, María Elena Ay!; Tales marine Give me a drink, Guantanamera and I have the key, the orchestra consisted of the following musicians: Isidro Infante, piano , Hector "Bomberito" Zarzuela, Pedro "Puchi" Boulong and David Rodriguez, trumpets, Johnny Torres, bass; Eddie Montalvo, congas; Tony Saydal, bongos, Jose Garcia, three, Johnny Pacheco, flute, guiro, V, and El Conde, vocalist.
In 1993, when it was believed that the band had disappeared after its celebration of 25 years, reappears on the market Pacheco record deal with SIMA album! (Fania 670), sung by Cheo Quinonez, which retains its overall format two trumpets and violins, but now with special guests, among them Hector Casanova, vocalizing a theme, and arrangements of José Febles, Oscar Hernandez, Isidro Infante, Luis Garcia and Paquito Pastor. The album includes the tracks The Petiso, I want to be, Sonnet, flute and flute; already left, the husband of the parrot, The Devil and to, and Charangas. Participating musicians Charlie Sepulveda and David "Piro" Rodriguez, trumpets, Isidro Infante, piano; Marcus Quintanilla, bass; Luis Rodríguez, three; Felix Farrar, Lloyd Carter and Brenda Vincent, violins, Jimmy Delgado, bongos and timbales, Eddie Montalvo, congas, Ramon Rodriguez, vocals, and Johnny, flute, percussion and vocals, and as guests Oscar Hernandez, piano, Peter McNamara and Hector Colon, trumpets, Jorge Gonzalez, bongos and Porfirio Fernandez, drums.
In 1996, participates in the impressive concert held at Teatro La Perla de Ponce, Puerto Rico, with his "friend" Pete "El Conde" Rodríguez, Ismael Miranda and Andy Montañez. In this concert, Pacheco runs flute, is part of the chorus and serves as musical director of the topics Los Compadres, Sonera, the essence of guaguancó and I am the son of Siboney, voiced by The Count. " (The concert was recorded and released in 2001).
In 2000, he released the album Fania Johnny Pacheco (Fania 725), a compilation of songs recorded on previous albums as well: Corso and montuno, Girls, You do not know anything and That brown, voiced by Hector Casanova viral reverse, with sweet Dulce Divorce, voiced by El Conde, Pinar del Rio, voiced by Celio Gonzalez, longing, sung by Rolando Laserian; That goes and sounds good, sung by Melon; Ciriaco the tasty, sung by Daniel Santos, Pacheco and Masucci, voiced by Robert Rodriguez, Mango, pineapple and cashew, voiced by Justo Betancourt and El Tumbao y Celia, sung by Celia.
"Speaking of the Silver Fox, Pacheco, musical character is talking about the most astute, charismatic and visionary salsoso this phenomenon had occurred in the New York Latino 70. Matancerizante wave able to overcome both criticized him and left within his institution, which never changed their sound - two trumpets since 1967 - a directory of "classic" with sufficient strength and authenticity to be recovered and recognized.
BETWEEN FRIENDS Friends and colleagues pay homage to her musical adventures with the introduction of the compact disc between friend Johnny Pacheco, edited by Bronco Records label.
Johnny Pacheco The album includes 11 tracks from friend: "Coco dry," "The demanding," "Celia ... reigns supreme," "The Bicycle", "Find your place," my neighbor's wife "," The surgery "," What sickness, "" The bacaliboro "," Women's weight "and" I failed. " The musical arrangements were provided by Bobby Valentín, Papo Lucca, Ricky Gonzalez and Johnny Pacheco himself, offering a delicious sound that recalls the glory years salsa, far from the bland productions dominate the market today.
The sound of this musical production was in charge of an impressive musical band who had a golden list of special guests including trumpeter Arturo Sandoval highlighted, the pianist Ricky Gonzalez, and Papo Lucca, the flutist Dave Valentin, bassist Bobby Valentin, Roberto Roena and bongo tres player Nelson González. The voices of Hector Casanova and Ray Viera, tumbao fixed singers Johnny Pacheco, are accompanied by guest vocalists: Gilberto Santa Rosa, Ismael Miranda, Tito Rojas, Michael Stuart, Cheo Feliciano, Adalberto Santiago, Jose Alberto "El Canario" Herman Oliveras and Johnny Ventura.
Although some health suffering, Pacheco is dedicated to producing quality music, as seen in this album that includes eight issues of his own. Knowledgeable as any of the secrets of dance music, Johnny Pacheco has a varied album with salsa, Son Montuno, Cha-cha-cha and merengue.
The album Johnny Pacheco of friend rescues a way to make salsa. This is the formula of one of the greatest players in the history of West Indian music with more than fifty year career.
Using a review of the discography, we found that Pacheco has recorded about 48 LPs, including 6 are charanga format, and that his band have been great singers of Caribbean music and salsa as Pete "El Conde" Rodriguez, Elliot Romero, Rudy Calzado, Hector Casanova, Chivirico Davila, Celia Cruz, Justo Betancourt, Tito Allen, Luis Silva "Melon", Robert Rodriguez; Monguito "The One" and others.
With Fania
This note would be incomplete without the charisma of Pacheco highlighted as leader of the most famous salsa band of all time: the Fania All Stars. His business sense allowed him to lead with Fania Records, West Indian music all over the world. Another
Pacheco facet worth mentioning is the composer, are his successes as My People and the King of Punctuality issues that identify the great Hector Lavoe. It has over 150 compositions in his catalog, a dozen gold records and nine nominations for the prize "Grammy."
Some say that the first attempt at a meeting of all stars of Fania Records is in the disk of Johnny Pacheco Latin Jam which featured the participation of Chombo Silva, Pupi Legarreta, Orestes Vilato, Caito and Patato Valdés. The
blooded salsa remember the image of Johnny Pacheco in front of the Fania All Stars in the film Our Latin Thing Salsa and filmed in 1971 and 1973 respectively. After successful tours around the world in 1976 for the first time the Fania All Stars recorded a studio album without the bustle of the concerts dedicated to the memory of the great Puerto Rican singer Tito Rodríguez.
In March 1979, the Fania All Stars traveled to Havana, becoming part of the U.S. delegation to the great cultural encounter between Cuba and the United States in the Karl Marx Theater with the participation of leading luminaries of the jazz record label Columbia Records, they shared the stage with the Orchestra Aragon, the legendary group Irakere and Cuban percussionists. The presence of the Fania All Stars went virtually unnoticed by the public habanero. As a historical record was recorded Habana Jam album which includes the presentation of the Fania All Stars in the Karl Marx Theater in Havana. Within
discography of the Fania All Stars California Jam album are instrumentals recorded in 1976 in the days of the first album from the Fania with Columbia Records. This album was released in 1980.
The Fania All Stars, Pacheco also officiate as director, also took advantage to choirs and solos for flute and sometimes accompanied with minor percussion.
fully share the contention of some salsa to say that if the sauce is because there Johnny Pacheco, genius and figure of this musical movement, great manager and promoter of the salsa movement from New York that flooded the entire world.
This and more is the great PACHECO, Masucci co-producer on more than 800 long-term, responsible for the launch, the boom, empire, crisis and decline of Fania, the label that made the world aware of what was done in sauce from the great metropolis, New York. "
Decorations:
In November 1998, her name was inducted into the International Latino Theatre Fame.
Among the awards received for his achievements we can mention: Bobby Rodriguez Hood Award Achievement Award 1997, presented by New York Governor George Pataki, Presidential Medal of Honor awarded by the President of the Dominican Republic, Joaquin Balaguer in 1996, First International Award at a Dominican artist presented in the Casandra Awards recognized in June 1996, and is the first Latin music producer to be awarded the NARAS (National Academy of Arts and Sciences Magnetofonías) the Governor of New York City. Seriously
committed to collaborate and contribute to global Latino community creates the Johnny Pacheco Scholarship Fund with the intention of giving an opportunity for talented young musician to develop as an artist can benefit from a good education in university.
Notes:
This compilation was published in the journal La Lira, the Association of Friends of Music of Yesterday, in December 2004 and January 2005 in Barranquilla - Colombia
(1) Mary Kent (1993). Pacheco: An Anniversary Salute. .
(2) On the recommendation of René Hernández, Machito's pianist, offered Pacheco "Chombo" a job as a violinist. Initially rejected the offer, and which since 1938 had not executed the instrument. But Pacheco got an instrument and hurried to get in shape. In three weeks, "Chombo" is retrofitted to the instrument, participating Pacheco recording two albums and standing in the court Theme Pacheco, included in this first album.
(3) César Miguel Rondón in The Book of Salsa, p. 89.
"Pacheco's orchestra La Sonora Matancera was not but it looked pretty. The horn section rested on two trumpeters, who performed the arrangements provided in the upper registers and without them the usual distinction between first and second trumpet with two alternate functions which are managed mambos simple in appearance and propositions harmonic but of undoubted strength and effectiveness. "César Miguel Rondón in The Book of Salsa, p. 92.
(3) César Miguel Rondón in The Book of Salsa, pag. 92.
(4) The story of the mythical origin of the published topic Quimbara Armando Lopez on July 17, 2004 on the site Cubaencuentro.com in an interview with Johnny Pacheco, "Celia was the orchestra," he said then. "I was in Puerto Rico, when a boy approaches me and says, 'Pacheco, I have some tunes I want to hear', and say, 'Well wait here, take some coffee that I have a meeting."
But I lingered in there. When I left, and I remembered the boy. I was leaving, when I came back, shouting: 'Hey, you do not you'll hear me? "," Hear what? "I replied. 'Do not tell me you expected?.
And I, wanting to get him off the top, threw it as an excuse: 'Do you have the sheet music, or recording? ". And I said, 'No sir, I have here', and pointed to his throat, and right there I sang: "Quimbo Quimbo quimbaquín bamba ...." I knocked! And I said, 'Come pa' up, young man, let me hear it well. " Cepeda was called Junior. Le
ten songs I recorded. Was so successful in his sauces, who moved to New York, but is tied with an older woman, who jealously three bullets hit him. He was killed when he had just turned 22. The poor killed one of the biggest names in salsa of all time. Celia Quimbara recorded, the rest is history.
As the break with Dubney, the article "Remembering Charlie Palmieri (1989), musicologist and historian Max Salazar said. "For the 60s, the bands were very hot and Charlie Palmieri and Johnny Pacheco divided the orchestra to work in different places. When the dancers complained to Charlie because they were stolen by having to pay high prices for half an orchestra, Palmieri decided that would be the one to enter into presentations the band. Under these conditions, Pacheco left to form his own orchestra. "
BIBLIOGRAPHY
Mary Kent. (1993) Pacheco y su Tumbao: An Anniversary Salute
Johnny Pacheco. Excite.com. Internet.
César Miguel Rondón. The Book Salsa. Óscar Todmann CA
Carp David Publishers (1997). Interview: A Visit with Maestro Johnny Pacheco.
http://www.descarga.com/cgi-bin/db/archives/Interview2
Cover and photos. Taken from Internet sites.
Other recommended items:
Pacheco, Johnny, 'Celia was the orchestra'
http://www.cubaencuentro.com/entrevistas/20040719/9dcd66264d165e61cff4d5dacde386f1/1.html
Hiram Guadalupe (2005). Johnny Pacheco: Head of the salsa sound. Primera Hora newspaper. March 9, 2005. San Juan - Puerto Rico,
http://www.primerahora.com/noticia.asp?guid=96CDF793C3C34C838F135BA06927DCFF
Pacheco, Johnny - Salsa
http://www.musicofpuertorico.com/es/johnny_pacheco.html
Johnny Pacheco Johnny Pacheco http://www.vistausa.com/Portadas/101Pacheco.htm
and Tasty Cañonazo
http://www.mambo-inn.com/articulos-Johnny.htm
Johnny Pacheco. The silver fox
http://caribaniamagazine.webcindario.com/march05/h_mz/pacheco1.htm sauce
Monroy Juan Gutiérrez. (2001) Johnny Pacheco. The wisdom of a silver fox.
http://www.americasalsa.com/entrevistasmx/pacheco.html
JOHNNY PACHECO
DISCOGRAPHY with the Alegre label recordings.
1960 C Pacheco y su Charanga, Vol I. (Alegre 8010) (The guiro Macorina)
1961 C Pacheco y su Charanga, Vol II. (Alegre 8050) (I'm really handsome)
1962 C Pacheco y su Charanga, Vol III - sounding flute. (Alegre 8110)
1963 C Pacheco y su Charanga, Vol IV - Suav'ito. (Alegre 8200) Spotlight on
1964 C Pacheco, Vol V. (Alegre 8270) (The carabiné)
with Fania Records and Go. 1964 C
..... My new tumbao Cañonazo. (Fania 325) (Cañonazo, Fania) 1965 C Pacheco
at New York World's Fair. (Fania SLP 326) 1965 C
invites you to dance. (Fania SLP 327) 1965 C Pacheco
- His flute and Latin Jam. (Fania SLP 328) (Sugar Frost) 1966 C
Great Pacheco. Viva Africa. (Fania SLP 330) 1966 C
By popular demand. Pacheco y su Charanga. (Fania 333) (Bilongo) 1967 C
flavor. (Fania 339) (I am the son of Siboney)
1968 C Latin pipper. (Fania SLP 358) 1968 C Flying
softly. (Fania SLP 363) 1970 C
The perfect combination. (Fania SLP 380) 1971 C
Los Compadres. (Fania SLP 400) (With The Count)
1971 C The Dynamic. (Fania SLP 402) (Supporting Justo Betancourt)
1971 C Pacheco. 10 great years. (Fania SLP 409) 1973 C
There was a time / Once upon a time. (Tico LP 7680) 1973 C Three
coffee / two sugars. (Fania SLP 436) 1974 C
Celia & Johnny. (Go V 31) (With Celia Cruz)
Best of 1974 C / The best of Pacheco. 1975 C Tremendo
cache. (Go) (with Celia Cruz) 1975 C
Master. (Fania SLP 485) (With Hector Casanova) (The Pheasant, Simani)
1976 C Recalling yesterday. (Go VS 52) (With Celia, Just and Papo)
1977 C The two Musketeers. (Go 63)
1977 C The Artist. (Fania SLP 503) (With Hector Casanova) (This brown) 1977 C
came Melon. (Go VS 70) (With Luis Silva "Melon") (Don Toribio)
1978 C Eternals. (Go) (with Celia Cruz) (El Bajio)
1979 C Los Amigos. Johnny Pacheco / Hector Casanova. (Fania 540) 1979 C
The Distinguished. Johnny & Daniel. (Fania 549)
1980 C Pacheco, Fajardo & Pupi - The three flutes. (Fania JM-561)
1980 C Cream. Pacheco and Monguito "The One". (Fania 567) 1980 C
Champ. (Fania 587) ("The Count", H. Casanova, "Melon", Wilfrido Vargas)
1980 C Sabrosura. Pacheco and Monguito. (Fania JM 587) 1980 C
Celia, Johnny and Pete. (ML 90) (So sang Daddy)
1981 C The Silver Fox has the Flaco de Oro (Fania 600) 1981 C
Early Rhythms. (Coco CLP-162) (the winemaker, Patricia, Mambo Inn)
1982 C Fajardo & Pacheco. (Fania JM 603)
1982 C De film. Rolando La Serie and Johnny Pacheco. (Fania 613) 1983 C
Again Los Compadres. (Fania JM 625)
1984 C Flying high. Pacheco and Melon. (Go JMVS 100)
1985 C jicama. (Fania 638) 1985 C
Again Celia Cruz & Johnny Pacheco. (Go JMVS-106) 1987 C Salsobita
. (Fania JM-644) 1989 C
Celebration. (Fania 652) 1993 C
Sima. (Fania 670) 2000 C
Johnny Pacheco. (Fania 725)
April 2005 edition
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