Siempre Vivir: An Interview With Celia Cruz
by
Nestor Louis
Three
years ago I interviewed Eddie Palmieri, and I remember saying prior to that
interview something along the lines of not wanting to interview the stars of
yesterday because they have been asked everything about themselves and their
careers already. I just wouldn't have anything new to ask. Well, once again my
words have come back to haunt me. I found myself interviewing the Queen of
Salsa, La Guarachera del Mundo, Celia Cruz, who has been signed to a
new record deal with Sony Discos.
Since
her start with La Sonora Matancera, all through the 50's, 60's, 70's, 80's, and
the 90's, Celia Cruz's extensive track record is so stellar that her success
cannot be questioned. Her huge fan base has always been there to prove that
point, regardless of record label legalities. "People were always asking
for La Sonora Matancera, but at that time I was signed to Morris Levy's Tico
Records. Because La Sonora was under contract to Seeco, I couldn't sing with
them, or even sing their songs." While with Tico Records, she recorded
approximately six records with Tito Puente, "It was great music; but
truthfully, we didn't sell that many records back then. I wanted to leave Tico
because we were not selling records. Back then no money was invested in
promotions. There was no such thing." So, how does Celia Cruz become a
Fania All Star? Many, seeking some type of acknowledgment, have taken credit for
this. "The first thing I did for Fania was the Latin Opera Hommy,
which was directed by Larry Harlow. He can tell you about the fact that I
recorded my parts in just twenty minutes. Jerry Masucci books Hommy into
Carnegie Hall, and later takes it to Puerto Rico. While taking the plane ride to
Puerto Rico, Masucci is talking to my husband, Pedro Knight. At that time I was
still under contract to Tico. Masucci and Levy were very good friends. I did
that record while I was still under contract to Tico as a courtesy to Fania. I
didn't know Pacheco, so he wasn't responsible for my signing with Fania. Neither
was Harlow, he might have recommended me to Masucci for Hommy. What
happened was that while I was living in Mexico, Masucci was calling me every day
insisting that I sign with his company. In 1973 I signed with Fania."
Once
Celia Cruz officially joined Fania Records she achieved instant success with
Johnny Pacheco. In 1974 Celia Y Johnny, in 1975 Tremendo Cache, in
1978 Eternos, 1985 De Nuevo Otra Vez. Their musical partnership
included other productions that were done in collaboration with Papo Lucca and
Justo Betancourt in 1976, Recordando El Ayer, and the late Pete
“Conde” Rodriguez in 1980, Celia, Johnny & Pete. For decades it
was speculated by the common folk that Celia Cruz was always paired up with
artists that needed some kind of career "boost". On the
contrary, upon further analysis, we can clearly tell that Celia Cruz recorded
with artists that were at the height of their popularity. Celia's 1978 recording
with La Sonora Ponceña came after Yolandita Rivera, Miguelito Ortiz, Tito
Gomez, and Luigi Texidor had already brought the Puerto Rican musical
institution much international attention. The same is true with her recordings
with Willie Colón. Their recordings, 1977's Only They Could've Made This
Album, 1981's Celia Y Willie, and 1984's The Winners, came at
a period when Fania's most creative producer was enjoying success in abnormal
proportions, thanks to his productions of Hector Lavoe and Ruben Blades, not to
mention his own as a solo artist. Celia Cruz stepped into the glory days of
Fania, an era that built our current musical icons, an era that she surprisingly
doesn't miss. "I don't miss that era simply because every now and then I
meet up with Pacheco, and Conde. The other day I was in a recording studio and I
ran into Adalberto! It was great! Since I live in New Jersey, which is not far
from New York, I get to see many of my friends from that era all the time. Do I
miss anyone in particular? Which one group, artist, or orchestra I miss the
most? Definitely it would have to be La Sonora Matancera. It is because of them
that I'm well known today. Besides, this way I don't offend anyone in particular
(chuckles)".
In
the late 80's Fania Records, without its huge roster of salsa superstars, was a
far cry from the "Latin Motown" it once was. Yet Celia Cruz
records her second record with Ray Barretto in 1988 titled Ritmo En El Corazón,
and in 1992 a tribute to Ismael Rivera. However in 1991 she forms part of
the crew of artists that are featured in the late Tito Puente's 100th album, and
in 1993 she records Combinacion Perfecta, both for RMM Records. "I
never had a contract with Ralph. With him it was always a verbal agreement,
because we are great friends. I recorded three records for him, Azucar Negra,
Irrepetible, and Mi Vida Es Cantar. He also put out a compilation
of hits titled Celia's Duets, which consisted of records I did with other
artists. I've always done what I think are good records, but never in my career
have I done much in terms of promotion. That's the difference today. Today
it’s all about promotion." It is with that understanding that Celia
Cruz has launched her latest production titled Siempre Vivire for Sony
Discos.
Siempre
Vivire,
produced by an interesting ensemble of talent housed by Emilio Estefan's
production company, Crescent Moon, Inc., and Oscar Gomez's, Crab Productions, is
a tropical recording that compiles all sorts of tropical Latin American rhythms
that are mainly derived from the Cuban son. "I've recorded almost every
possible Caribbean rhythm, and as long as it fits to my style of singing, I'm ok
with it. I'll tell you, in this record Vicente Fernandez and I did a song that I
recorded many years ago with La Sonora Matancera titled, “Tu Voz”. I
remember I was preparing to sing it as a ranchera. Vicente tells me ‘Celia I
don't sing salsa', and I told him well I don't sing rancheras. So we did it as a
bolero. It came out very good. This time around I can't complain. With as much
promoting as Sony has done for me, if this record doesn't do well it's because
the public doesn't approve and not because it wasn't promoted."
As
a result of her popularity worldwide, Celia Cruz has recorded with some of the
most successful artists outside our musical genre. Artists like Angela Carrasco,
Caetano Veloso, Los Fabuloso Cadillacs, and recently Wyclef Jean have contacted
her and asked her to appear on their records. "I don't like to turn
singers down. It's very difficult to do so. If someone calls me and asks me to
appear on their record I would gladly comply. I recorded, what has to be the
most frightening experience for me, with David Byrne. I remember Jerry
Masucci telling me about recording with David. I agreed without knowing
that I had to sing in English. I didn't understand David, David didn't
understand me, we didn't understand each other; but, I got to the studio and
there I find Johnny Pacheco, Adalberto Santiago, Cali Aleman, and Masucci. From
there on I felt at home and recorded the song. David got a lot of heat from the
American press, but all in all the album was well received. Sure, there have
been projects and singers I've turned down, mainly from singers that don't have
a track record, or are trying to make a name for themselves without really
earning it. But for the most part, I don't turn singers down." My
impression is not that she doesn't want to record with them or whatever. My
guess is that she stands to loose more than she gains in those situations.
Let’s think about the possibilities, and the consequences. If an unknown
artist puts out a good record, on it’s own merits, it would seem as if Celia
was just there hoarding space, after all it’s not her record. And, if on the
other hand the record turns out not too favorable, she would be in a situation
that can be spun into a "not even Celia Cruz could've saved this record".
Both hypothetical situations are ones that are more likely to materialize, and
therefore valid. No mainstream
Celia Cruz has been the source of inspiration for many female vocalists in our
genre. La India, being one of the most noticeable, has commented in past
interviews that Celia Cruz is the undisputed Queen of Salsa, and that
it’s a shame, and an embarrassment, to hear other lesser-known female
vocalists label themselves the newest Queen of Salsa. To add to Celia's kind
character, the average fan on the street, industry insiders, and musical
colleagues credit her with being the nicest lady in the music industry, all but
Andy Montañez perhaps? Story has it that Celia Cruz was highly incensed with
the legendary Puerto Rican singer, over an alleged photograph that depicts him
embracing the Cuban trovador, Silvio Rodriguez. "That was gossip which
was started by Andy Montañez. Gossip that I would not like to discuss. I would
love for this rumor to be resolved in an honest and truthful way. To speak of a
man that claims I spoke ill of him and his country, and can't exactly repeat
what he claims I said, does not deserve a statement from me. If he tells me
‘Celia, you said this about Puerto Rico’, or manufactures the tape where
I've said whatever negative comment about him or his country, then he would've
earned an apology. Until that happens I have nothing to say about him, or that
issue. I love Puerto Rico and its people. Ok, granted there was that incident in
Puerto Rico with the Fania All Stars, but the people in Puerto Rico were just
reacting to gossip and were not aware of the truth. I can't blame them for what
happened that day. This is the only blemish in my long career, and it shouldn't
have happened with a rumor that someone created. I am not about gossip or
controversy. I've lived my life and carried my career cleanly, it doesn't make
any sense for me to further address that situation. As El Gran Combo de Puerto
Rico says, ‘No hay cama pa' tanta gente’."
In lieu of the Cuba-mania that has taken Europe and the United States by storm
for the past five years, much of an issue has been made about the origins of
what today is known throughout the entire world as Salsa. Conspiracy theorist
constantly call the issue a covert plot by Cuban entities designed to discredit
all and any contributions made by Puerto Rico and it’s descendants to the
music. The issue is one of great passion and furor that a prominent Latin
artist, producer, arranger, vocalist, and politician, has gone public in
accusing one of the main producers of Celia Cruz's Siempre Vivire as
being part of a "Miami based mafia, that's in place to blacklist him and
others from performing". "Today we call it Salsa, but before we
use to call the music what it was, rumba, guaracha, guaguanco, mambo,
cha-cha-cha, guajira, and bolero. These are the folkloric rhythms of my country.
These are the different rhythms that exist in Cuba. These are the styles that I
use to sing with La Sonora Matancera. Styles that are the roots of what we call
today Salsa, and no one can deny the fact that these rhythms were made popular
by Puerto Rican bands. Neither can we deny that many of these bands were
rummaging through many songs that, I myself didn't know, were Cuban in origin.
In New York many earned a living doing this. After a few decades the term salsa
was coined. Even though no one can really claim they invented the term Salsa,
the first time I heard it was in Venezuela. It was a local broadcaster by the
name of Danilo who in 1967 invited me to his radio show titled La Hora De La
Salsa. The music he played was performed by La Sonora Matancera, Celio Gonzalez,
and other Cuban groups. However, no one can deny that the music was heavily
supported by Puerto Rican musicians. In fact, today the term Salsa was adopted
by the bands in Cuba because, to play "Cuban music" was deemed old.
I'm certain that this bickering will continue, but those who know, including
those who are creating the argument, know what the music is and where it comes
from. I don't argue about that because we are all earning a living from
performing the music. Remember that El Rey, Tito Puente, would get upset
whenever anybody referred to Cuban music as Salsa. He would tell you ‘Salsa is
something you eat...this is Afro-Cuban music’, and he was Puerto Rican."
I
recently saw El Gran Combo de Puerto Rico perform after 15 years. Watching them
was an awesome sight. It was so because I was watching them through the
appreciative eyes of a man in his thirties versus the thoughtless eyes of a late
teenager. That night El Gran Combo helped me realize that indeed there is a
Puerto Rican son. A son that has a certain similarity to the one executed in
Cuba, but that is a tad different. With the guidance of George Rivera, I noticed
that Rafael Cortijo, Ismael Rivera y sus Cachimbos under Javier Vazquez (a
Cuban), and Milton Cardona played a different style of son, a son that's rooted
in a Puerto Rican style of playing. I mention this for a reason. If I realized
all that from watching El Gran Combo after fifteen years, imagine how much more
I could've learned and appreciated from the inimitable Celia Cruz? A friend of
mine, upon learning that I was scheduled to interview Celia, asked me to do him
the favor and ask her, how does it feel to have performed in so many different
parts of the world, with all that she has accomplished at her age (which until
this date is a mystery)? How does it feel to be Celia Cruz?" What seemed
like a dumb question at the time, as I'm writing the closing lines of this
article, suddenly doesn't sound so dumb. What is dumb is the probability that I
almost didn't ask her. Or maybe I did? Perhaps the answer I got was so
predictable and blasé that I didn't bother remembering it. Then again I just
did. You know what Celia's answer was? "It feels great…"
Editors
Note: The controversial "greeting" of Silvio Rodriguez by Andy
Montañez took place in San Juan, Puerto Rico during a presentation of the Cuban
trovador. All the major newspapers in Puerto Rico carried the story when it
broke. Celia Cruz cancelled a scheduled event where she was to share the stage
with Andy Montañez during this period using Montañez's embrace as the reason
for the cancellation. This incident led to the Miami Kiwanis banning Andy
Montañez from performing at the Calle Ocho festival, where he was to be the
Grand Marshall. A Federal lawsuit was filed on behalf of Andy Montañez against
the Miami Kiwanis.