Legends of Fania at NJPAC
June 5, 2004

Aurora Flores

Much like a yellow jacketed ringmaster at the center of a three ring circus, Larry Harlow led an artistic team of 32 musicians and dancers in a star studded tribute to 40 years of Latin music. With simulated palm trees swaying in the backdrop of the stage, the almost sold out NJPAC was decked in 'salsafied" splendor with spectators sporting Puertorican flags reminiscent of the salsa fever that spread through New York during the 70s.

Six singers took the stage representing various chapters in the career of Larry Harlow, one of the first artists signed to the then fledging label called Fania back in 1964.

From Jr. Gonzalez's rendition of "Hommy" the first Latin music opera to Ismael Miranda's "Abran Paso" the three hour extravaganza crescendo into "Yo Soy Latino" where all the musicians got a chance to shine while sporting a singer's chorus line. Among them, the young vocals of Emo Luciano and Luis Rosario stood out alongside the timbres of the veterans.

With no intermission, the music segued from Adalberto Santiago singing tunes from his days in the Tipica '73 conjunto (former director Sonny Bravo was on synthesizer and keyboard alternating w/Harlow) to a 20 minute segment called "ThunderDrums." Here, six percussionists, led by Bobby Sanabria kicked off an Afro-Cuban call to the Gods ending in a four conga solo by virtuoso Giovanni Hidalgo incorporating elements of Puerto Rican plena into the mix. Louie Bauzo handled the bata drums, Ralph Irrizarry was like a freight train on the timbs with Chembo Corniel keeping the beat and Nicky Marrero weaving in and out of Irrizary's way. It was a seamless presentation that blended and harmonized in a team effort that displayed dexterity without overperforming or ego overloading.

Cano Estremera showed off his true sonero/thug street savvy in machine gun phrases that captured the "machismo" of the lumpen in a way that makes reggaton sound like kindergarten. Singing rhythmic and melodic patterns that he played off of Alfredo de la Fe's violin and Jimmy Bosch's trombone, the great Albino singer who replaced the late Nestor Sanchez, kneeled before the audience before going into a rendition of "Arsenio" that prefaced the entrance of Ismael Miranda.

Miranda, for his part, exhibited a voice and dexterity identical, if not better, than when he was a skinny 18 year old singing on the Lower East Side with the unknown band of Orchesta Harlow. His ease of style, dynamics and melodic voicings soared over the all star orchestra piercing through to the five balconies that hung over the hall. Smoothly grabbing one of the dancers to also throw down with some steps, Miranda commanded the stage with regal elegance.

Harlow was a beaming master of it all, directing the orchestra to stop for Yomo's solo, signaling his brother Andy to step forward on the flute and helping Bosch coordinate a trio of trumpets manned by Richard Viruet, Pete Nater and Mac Gollehon that soared and complimented each other like three musketeers.