As the nation celebrates the historic election of our first African 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:
on the press page.
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."
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.
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
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.
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."
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 Orestes 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.
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.
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
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
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.
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.
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