By Carlos Flores

Kalinda! Newsletter, Center for Black Music Research, Columbia College Chicago, 1994
CHICAGO -

I Vividly remember my first musical experiences while growing up as a seven-year-old in the town of Guayama, Puerto Rico. In the late 1950's, I was one of many Puerto Rican children whose parents had migrated to the United States seeking ways to support and provide a better life for the rest of the family; therefore, I was raised by my grandparents. In my grandparents' home, we were one of the few families in the entire barrio that owned a television set. Most evenings, neighbors gathered outside the house to watch various programs. A popular program was the "Taberna India," a variety-comedy show that featured comedians like Floripondia and Reguerete. But the one act that everyone awaited with enthusiasm was Rafael Cortijo y su Combo, with Ismael Rivera doing the vocals.
At that time I was not aware of the impact that these two individuals were having on the musical history of Puerto Rico. These two Afro-Puerto Ricans were responsible for exposing the music style bomba y plena to the entire world. Their efforts resulted in the creation of more opportunities and improved conditions for Puerto Rican musicians- like more recording and performance contracts as well as increased salaries.
Cortijo's influence on me was apparent when I would annoy my grandparents by constantly beating on the dinner table, the counter of my grandfather's small food store, tin cans, bottles, you name it. I remember memorizing tunes like "El Negro Bembon," "Perico," and "El Chivo."
At the age of ten, I arrived in Chicago to join my immediate family. I grew up in a large family- my parents, four girls, and two boys. I remember the big fiestas held by my parents and their friends. They would be stomping on the floors until the early hours of the morning, dancing to pachangas and guarachas. During this period, from our record players came the sounds of El Gran Combo, Tito Puente, Johnny Pacheco, Tito Rodriguez, Sonora Matancera, Celia Cruz, Cortijo y su Combo, Porfi Jimenez, and many more.
Added to the Flores household during my teen years was the music of Little Anthony and the Imperials, Chubby Checker, Jackie Wilson, The Impressions, and the Temptations. The music of these artists became part of the music that influenced us, and these groups provided a bridge to cross over a different language and culture. It was a very natural transition.
In the 1970's, the explosive music of Eddie Palmieri, Ray Barreto, Willie Colon, and Hector Lavoe, the Joe Cuba Sextet, and La Sonora Poncena added elements of jazz as well as English lyrics. An interesting aspect of their music was an attempt to raise the listener's level of social consciousness through messages in the lyrics. Eddie Palmieri's "Justicia" and Ray Barreto's "Power" raised questions about self-identity and political empowerment. Issues like poverty, discrimination, and self-respect were being echoed throughout the music of many of these artists.
During the same period, rock groups like Santana, Malo, and Azteca were creatively adding Afro-Caribbean music styles to their music. I continue to be amazed at the processes between jazz and Afro-Latin Caribbean music. Pioneers like Dizzy Gillespie, Mario Bauza, Machito, Juan Tizol, Chano Pozo, Tito Puente, and Cal Tjaeder were some of the many individuals who not only had a vision but also cultivated this perfect combination that we identify as Latin jazz. Their efforts were not in vain, because they were responsible for creating the emergence of several talented musicians from throughout the Caribbean: Hilton Ruiz, Jerry Gonzalez, and Giovanni Hidalgo (Puerto Rico); Gonzalo Rubalcaba and Arturo Sandoval (Cuba); Michele Camillo (Dominican Republic); Danilo Perez (Panama); Poncho Sanchez (Mexico-U.S.); and Claudio Roditti (Brazil).
I consider myself fortunate for having the opportunity to experience all these musical styles. They helped me understand and adopt other languages and cultures. I am excited to be part of this CBMR project, which is innovative and long overdue. This project was established with the goal of researching and exploring commonalities and relationships in the music of the Latin-American, Caribbean, West Indian, and African-American communities. I welcome the challenges that will come in achieving the Center's goal. I also expect to grow personally with the music that has always been a part of my personal history, my identity, and my community.
Copyright, Columbia College, 1994. Originally published in KALINDA! Newsletter, Summer 1994, published by the Center for Black Music Research. Reproduced by permission.