JOE QUIJANO & CONJUNTO: SHING-A-LING & BOOGALOO: RARE

$

25

REMARKS: JOE QUIJANO....INSTEAD OF JOINING THE FANIA EMPIRE HE FORMED HIS OWN LABEL "CESTA"....A SALSA LEGEND!!!! This Time Shing-A Ling & Boogaloo!!!.......Boogaloo or bugalú (also, shing-a-ling, Latin boogaloo, Latin R&B) is a genre of Latin music and dance that was popular in the United States in the 1960s. Boogaloo originated in New York City among teenage Puerto Ricans, Afro-Americans and other groups. The style was a fusion of popular African American R&B and soul with mambo and son montuno. It included the use of English lyrics as well as Spanish!

A hip assortment of rare Latin soul and other grooves from the legendary Joe Quijano! The package features a number of very rare tracks from Joe's 60s years on the Latin scene in New York – and the rhythms here are all nice and lively – mostly in the Latin Soul style you'd guess from the title! Some lyrics are in English, others are in Spanish – and players include Bobby Nelson on flute and sax, Herman Gonzalez and Al Bryant on trumpet, and Paquito Pastor on piano and arrangements. Titles include "La Orquesta", "Melina", "Fun City Shing-a-Ling", "Echa Pa Lante", "Quien Llorara", "No", and "Lo De Boogaloo".

INTERESTING......QUIJANO & CHARLIE PALMIERI AND THE PACHANGA/CHARANGA ISSUE!: (I'm Including This Because I Think That Joe Was One Of The Most Underrated Early Salsa Greats...Underrated Because He Decided To Do It By Himself And He Did It Great!!!.... En Puerta De Tierra Se Baila Asi Hay Mucho Ritmo En Cantidad, Pa' Cataño, La Pachange Se Baila Asi......)

During the summer of 1961, Joe Quijano, in his second year as a bandleader, was in the basement of Charlie Palmieri's Bronx home composing new tunes (this time the Pachanga New York Style). Quijano would utter words to which Palmieri then created the melodies.

Weeks later, Quijano's Conjunto Cachana, which consisted of Charlie Palmieri and Hector Rivera on piano, Lou Goicochea on conga, Joe Rivera on bass, Luis "Chicky" Pérez on bongo, the trumpets of Herman González and Bobby Valentín (Fania All Stars), and the chorus of Willie Torres, Paquito Guzmán and Quijano, recorded La Pachanga Se Baila Asi for Columbia Records.

Right after the popular DJ Dick "Ricardo" Sugar aired it during his Saturday afternoon show, Conjunto Cachana soared to popularity almost overnight. The top five most popular bands were Johnny Pacheco, Charlie Palmieri, Joe Quijano, Tito Puente and Tito Rodríguez. Quijano's conjunto was performing at all of New York and Puerto Rico's popular ballrooms. Quijano and Palmieri were recognized for solving the confusion regarding a charanga and a pachanga. Their contribution contributed to the development of Latin music in New York City.

For the last 40 years, dancers have enjoyed Joe Quijano's music. As a social activist he has been one of two musicians who has organized and coordinated tributes for musicians in their twilight years who were in need of funds. Although he has never been dependent on liquor or drugs, he's directed programs which helped its abusers.

Quijano landed a job with Tico Records, the label which had Tito Rodríguez, Machito, Pete Terrace and Noro Morales under contract.

"Ralph Seijo, Tico's A&R man (artists and repertoire) recorded me...my sound did not appeal to him and the recording was never released...then in 1959, United Artists released Charlie Palmieri's album which kicked off the Charanga-Pachanga era...I went to work for 'Good One Stop,' a wholesale distributor servicing retail stores and juke boxes...I convinced the owners to bankroll the recordings of Rumba En Navidad and Descarga Charanga which was released on the AQA label...then things started to happen for me...I owe Charlie Palmieri my success as a Latin music artist...his melodic arrangements sold my recordings... I supplied lyrics like 'Pachanga N Changa,' some silly things...none of the lyrics told a story...they were just coros. I remember the day Charlie and I were discussing the difference between pachanga and charanga...Tito Rodríguez's album Para Bailar La Charanga...this is why we composed La Pachanga Se Baila Asi and ended the confusion."

Since that summer day in 1961, Quijano has recorded 37 albums, utilizing Latin music's top arrangers such as Charlie Palmieri, Hector Rivera, Bobby Valentín (Fania fame), Johnny Conquet, Paquito Pastor, Luis "Perico" Ortiz, Charlie Fox and René Hernández. At the moment, there are 7 Quijano CDs on the market and each contain at least 20 tracks. They are a refreshing reminder of La Sonora Matancera with an Orquesta Aragon chorus. The Joe Quijano orchestra was responsible for one of the popular sounds of the sixties.

1- ECHA PA' LANTE
2- QUIEN LLORARA
3- NO
4- LO DE BOOGALOO
5- LO MISMO QUE A USTED

THE LINER NOTES ONLY MENTION jOE, AND THE VOCALISTS...WILLIE TORRES & CHAGUITO MONTAVO!!!

64. Joe Bataan: Riot (Fania)

65. Willie Rodriguez: S/T (Fonseca)

66. Tito Puente: Top Percussion (RCA)

67. Alfredo Linares Y Su Salsa Star: Sensacionales (Caliente)

68. Orchestra Kool: Kool Heat (Fonseca)

69. Ghetto Brothers: Power-Fuerza (Salsa)

70. Joe Quijano: Shing-A-Lings (Cesta)

71. Eddie Palmieri: El Molestoso (Alegre)

72. King Nando: El Solitario / The Loner (Swinger)

73. Joe Cuba: Cha-Cha-Cha's To Soothe The Savage Beast (Mardi-Gras)

74. The Lebron Brothers: The Brooklyn Bums (Cotique)

75. Hector Rivera & The Latin Renaissance: Hecto-Mania (4 Points)

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Record Grading: Standard guidelines for grading records comes down to a subjective judgment that may vary from person to person. We grade records and LP covers visually AND (when possible) play-tested. We make every effort to give full disclosure (remember that the LP has at least 12 tracks and the grading may vary between each other)  and your satisfaction is guaranteed. Don't assume that our vinyl determination of "Very Good+" is the same as yours!

RECORD OR COVER GRADED VG or LESS WILL BE "SOLD AS IS"

MINT: Unplayed, still sealed.
 

NM RECORDS: are shiny, with no visible defects, they might have one or 2 minor superficial scuff and they should play without any noise. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must not be present; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.)

NM COVERS:

have no creases, ring wear or seam splits of any kind.

Picture Sleeves: should look as if they never housed a record. This is a great reason to remove your 45s from their picture sleeves and keep them separate. Just keeping the 45 inside the sleeve will cause damage than can reduce the grade of the sleeve.  

VG++ (Excellent) RECORDS: 
Barely noticeable play wear and background noise. May have surface scuffs and/or superficial marks, which will be inaudible or indiscernible from the background, no scratches. Very nice, flaws noted.
VG++ COVERS:
Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.  

VG+ RECORDS:

may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable.

VG+ COVERS:
should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.

VG+ PICTURE SLEEVES:
might show some very light creasing where it is obvious that a record once resided (or still does reside). A VG+ picture sleeve might have some very minor seam wear or a split (less than one inch long) at the bottom, the sleeve’s most vulnerable location. 

VG RECORDS:

They have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches  may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise. Minor writing, tape, or a sticker can detract from the label. Many collectors who have jukeboxes   will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG COVERS and PICTURE SLEEVES:
will have many signs of human handling. Ring wear  in the middle or along the edges of the cover where the edge of a record would  reside, is obvious, though not overwhelming. Some more creases might be  visible. Seam splitting will be more obvious; it may appear on all three sides,  though it won’t be obvious upon looking. Someone might have written or stamped  a price tag on it, too.

RECORDS GRADED VG OR BELOW WILL BE "SOLD AS IS" 

Items are to be paid within 5 days (if not paid by that time it will be subject for relisting) of auction close and will be shipped within 48 hours of receipt of payment. Paypal is the preferred method of payment.
 
Carlos A. Flores 25830 Crippen Dr. Land O' Lakes, FL  34639