A Man & His Music: Tite Curet Alonso
auro...@gmail.com
American president, on the Latin music side, we are rejoicing the
return of Tite Curet Alonso's music back on the airwaves after a 14
year absence.
Emusica is releasing the double CD set on 1.20.09, same day as the
election, while the island of P.R. has been celebrating this historic
release since Three Kings Day.
Below are the liner notes I wrote for the CD. If any of you are
interested in reading the extended, unedited version, they are posted
on our website at:
http://www.zondelbarrio.com/Press.php
or just click here:
Por. Aurora Flores
Catalino “Tite” Curet Alonso: A Man & His Music
Aurora Flores
© December 10, 2008
All rights reserved
It was in Old San Juan’s “Bombonera” restaurant in 1977 when I spotted
the traditional straw hat and signature daisheke on the man sitting at
the counter. Catalino “Tite” Curet Alonso was holding a note.....
Enjoy!
Aurora
Catalino “Tite” Curet Alonso: A Man & His Music
It was in Old San Juan’s “Bombonera” restaurant in 1977 when I spotted
the traditional straw hat and signature daisheke on the man sitting at
the counter. C. Curet Alonso was holding a note pad and tape recorder
when I sat beside him. He was reserved, diffident and guarded, until
we began talking about Ismael Rivera’s, “Esto Si Es Lo Mio.” That’s
when a glint appeared in his eyes, and a smile crossed his face, and
we bonded for that moment around talk of ‘Maelo, plena, bomba,
poverty, race, politics, religion y música!
Curet defined a revolutionary period in Latin music. His compositions
brought out the best in the interpreter. Masterworks included Hector
LaVoe’s “Periodico de Ayer” or “Juanito Alimaña,” Cheo Feliciano’s
“Anacaona,” Pete El Conde’s “La Abolición,” Andy Montañez’ “El Echo de
Un Tambor,” Celia Cruz’ “Isadora Duncan,” and La Lupe’s “La Tirana.”
Curet’s name was ubiquitous, gracing hundreds of album credits of many
of the top Latin music artists of the ‘60s, ‘70s, ‘80s and ‘90s. He
penned more than 2,000 songs, spawning and jump-starting the artistic
careers of many, from La Lupe, to Cheo Feliciano to Frankie Ruiz. The
most in-demand composer of tropical music, Curet’s songs were
guaranteed hits, and classics today.
“You had to take a number and wait on line,” Ruben Blades told the
L.A. Times when Curet passed away. “His songs could revive any
career, so there was always a fight to get new material from Tite,”
recalled the Panamanian singer/songwriter whose interpretation of
Curet’s “Plantación Adentro” also hit the top of the charts.
Curet helped father the nascent salsa movement that was marking time
in clave through the streets of Puerto Rico and Latin New York. His
words inspired hope and faith, solace and joy during a time of social
upheaval. In more than 2,000 tunes, Curet was the musical narrator of
current events and national pride, romance and religion. He reflected
the face of a community in need of answers.
His talent for composing extended beyond the borders of the Caribbean
dipping into Mexico, Venezuela, Paraguay, Spain and Brazil which he
credits for receiving his best musical training from the “sorcerers of
‘el medio tono’,” (the half tone). His merengue for Los Hijos del Rey,
“Yo Me Dominicaniso” made much noise while Tony Croatto’s version of
Curet’s “Cucubano,” became a hit, later recorded by Menudo. From
Chucho Avellanet to Nelson Ned, Tite Curet Alonso has been a pivotal
figure in the musical repertoires of many Latino superstars.
In this compilation, the music of one of Puerto Rico’s most important
composers of the late 20th Century now comes to light after a fourteen-
year absence in Puerto Rico. This 30-tune double CD set, featuring
some of Curet’s most-loved works is a worthy addition to anyone’s
collection. His songs were unavailable since 1995 due to a separate
performance rights society contract Curet signed that built an
unnecessary layer of bureaucracy between the radio stations, the
publishing rights organizations and the composers.
Notes music writer Jaime Torres Torres of El Nuevo Dia. “An entire
generation was deprived of the genius of this notable and creative
songwriter.
This compilation reflects several of the master composer’s themes.
However, Curet was most proud of his writing skills, in particular his
journalistic ability often pointing to his scant use of adjectives in
crafting a hit number. Tite Curet wrote for newspapers, magazines,
hosted radio shows and was later writing screenplays for stage and
television as well as children’s songs and hymns.
He studied to be a pharmacist but through an uncle who had a print
press he found journalism, writing columns and essays that he later
pointed to as fodder for his musical muse. Curet worked almost all
his life for the U.S. Postal Service, never fully relying on the music
business even at the height of his popularity. He was proud that
way. A proud Afro-Boricua negro, he wrote his roots on paper and
abandoned his heart to song.
His was a hard life. Born in the pueblo of Guayama, Puerto Rico on
February 26, 1926, Curet’s father taught Spanish and played in the
municipal band of Simon “Pin” Madera. Couples and singles paraded in
plazas across from churches and government steeples where gazebos kept
musicians out of direct sunlight.
However, his parents divorced taking the young Curet to Barrio Obrero.
Those mean streets around the ‘hoods of Tokio, El Fangito, Tras
Talleres and Puerta de Tierra were the last forts of proletariat
resistance while breeding some of the Island’s biggest talents. Tito
Rodriguez, who later recorded Curet’s hit “Tiemblas,” lived down the
block from the fledging songwriter as did bandleader Rafael Cortijo
featured on “Se Escapo Un Leon,” singer Gilberto Monroig and the
internationally renown composer, Rafael Hernandez.
A seasoned man in a time of resistance to societal norms, Curet later
witnessed the worldwide rage against Vietnam and the tsunami of civil
and social change heralded by the ‘60s and ‘70s. This intense,
historical climate shaped Curet’s life and work.
Curet studied music as an adult. When asked for a song, he’d study
the voice, tone and timbre of the singer, highlighting the phrasing,
diction and enunciation. His verses were measured and restrained while
bursting with assertive irony, wit and conflict. His study of music
theory and solfegio helped him come up with melodies, lyrical meters
and musical arrangements that augmented the work of arrangers. Artists
who retained him were also subject to his scrutiny, part of the magic
and power included in the creative process of the song.
Curet’s mother was a seamstress but early on she was a voice for the
rights of women. Curet was able to write for women with a sensibility
and feminine perspective that changed the tone of love songs from
wrist cutting torch songs to empowering tunes of self-reliance.
“La Gran Tirana” is no shrinking violet song about I’ll love you no
matter how bad you treat me. This is a woman putting on her “pants”
and saying, “When you left me, I hit the lottery!” Originally written
for a male singer, it was Lupe Victoria Yoli who turned it around into
an empowering act of aggression. That 1968 hit sparked Curet’s
commercial career and recharged Lupe’s artistic profession. “Puro
Teatro” followed. But it was with vocalist Joe Quijano’s
interpretation of “Efectivamente” where Curet got his first break in
1965.
His sympathetic admiration for singer Cheo Feliciano led to Curet’s
pivotal role as producer for Cheo’s return as solo artist. The
subsequent 1971 Fania recording produced five hits including the now
standard, “Anacaona.”
Through Cheo, Curet told the folk tale of the valiant “Anacaona,” a
Taino Indian “Cacica” (chief) from the Dominican Republic who speaks
of a long awaited struggle for her elusive freedom and break from
slavery. Knowing this would be a passionate metaphor for Cheo’s own
dependence, Curet writes “Anacaona” in Cheo’s style making the number
his. Pianist Larry Harlow performs one of the finest solos of his
career accompanied by Oreste Vilato on timbales. The great Louie
Ramirez takes a fluid vibes solo accompanied by Bobby Valentin on bass
followed by Johnny Pacheco’s rhythmic conga drive and Johnny
Rodriguez’ forcefull bell for a laid-back yet aggressively swinging,
history making session!
Richie Viera who grew up in his father’s record store recalls the many
hours Tite Curet spent in a backroom where he would write his
newspaper column and songs. “Everyday he would come in with a big bag
of plaintain, alcapurrias or bacalaitos. He’d bring enough for
everyone before sitting in the back office at an old typewriter. I’d
watch him write as a line of one song would inspire the beginning of
another. He would throw his head back and begin to sway…”
Africanized nationalistic dignity is a recurring theme for Curet who
wrote provocatively on the struggles of a mulatto culture trying to
progress and thrive within an American structure. Pete “El Conde”
Rodriguez said it best in “La Abolicion:” the abolition of slavery
does not mean freedom.
With Ismael Rivera’s 1975 hit “Caras Lindas,” Curet parades the multi-
colored faces of the various tribes bought over to the Island. He
notes their pain…”Las caras Linda de mi raza prieta. Tienen de
llanto, de pena y dolor.” in verse that cuts across class, gender and
race.
Rivera makes “Caras Lindas” an anthem, phrasing verses in his rhythmic
vocal style accompanied by an arrangement sampling “blues riffs” on
the trombones.
Curet combats the social issues of his time with lyrical laments
within a dance format. An actual story, friends Rafael Viera and
Franklin Hernandez introduce singer and musician Billy Concepción to
Curet in a restaurant. Concepción was blacklisted by the music
industry and couldn’t find work. A father of six, he recounts the
overwhelming feeling of having the world on his shoulders. Curet
immediately took his pen and wrote “Lamento de Concepción” on a
napkin. “Concepción eleva la vista al cielo. Va gritando hay niños que
mantener.” expressing the universal feeling of impotence at not being
able to support the family.
Billy Concepción did leave P.R, for New York rescued by Cortijo who
took him on tour. Roberto Roena’s take on this tune has a deceiving
funk and danceable swing sandwiched between pastoral samba passages
that betray its tragic tale.
“Galera Tes” is a tale of injustice behind the justice system. A young
Ismael Miranda gets his street ‘cred in this protest song against
prison violence. “Galera Tres” first appears in a Marvin Santiago
recording without Curet’s name. The composer credited Santiago’s wife
enabling her to receive royalties while Marvin was incarcerated.
Curet wrote many songs celebrating life, drums and music. “Evelio y la
Rumba” becomes part of this collection joining other songs such as “El
Primer Montuno,” here interpreted by the Andy Harlow band. “La Esencia
del Guaguanco,” as expressed by the Willie Rosario orchestra rejoices
in the essence of this Cuban rhythm.
Curet’s religious compositions embrace “Tengo El Idde,” (I have
protection), with Celia Cruz and Johnny Pacheco warning haters about
their spiritual shield, Curet’s words reflect the sacred rituals of
the poor communities.
In romance, Curet is at once jilted, as in “Periodico de Ayer” sung by
Hector LaVoe, as he is vengeful in “Aquella Mujer” interpreted by
Bobby Valentin. Even Piraña rages against yet another wonton woman
reviled yet desired. Just as quickly as he condemns the female sex,
Curet writes the lusty “Las Mujeres son de la Azucar” recorded by
Sonora Ponceña.
Blanca Rosa Gil belts out her love song of strength in “Fue Por Mi
Bien” with such passion you almost feel sorry for the guy she’s
breaking up with. The lush and languid arrangement behind Blanca’s
level headed cry for friendship to replace lost love, puts the
composer in the female psyche of platonic reconciliation while Sophy’s
upbeat take of “Amor y Tentación” is flirty, coy and free-spirited.
In his later years, Tite Curet Alonso left Puerto Rico to be with
family in Baltimore, Maryland. On August 5, 2003 he died of a heart
attack. He was 77. The Institute of Puerto Rican Culture gave him a
hero’s wake. He was buried in Santa Maria Magdalena de Pazzis
Cemetery in San Juan. Ruben Blades suspended his “Farewell Tour” to
attend the funeral. Cheo Feliciano, one of his closest friends served
as one of many pallbearers.
It was said that like the Island’s native tree frog, el coqui, Tite
Curet Alonso died when he could no longer feel the warmth of his
beloved little island.
Aurora Flores is a journalist, writer, producer and bandleader of Zon
del Barrio, a Latin music group in New York's Spanish Harlem,
© 12.10.08
All Rights Reserved