[Congressional Record (Bound Edition), Volume 155 (2009), Part 4]
[Extensions of Remarks]
[Page 5493]
[From the U.S. Government Publishing Office, www.gpo.gov]




         REMEMBERING THE LIFE OF GILBERTO ``JOE CUBA'' CALDERON

                                 ______
                                 

                         HON. CHARLES B. RANGEL

                              of new york

                    in the house of representatives

                       Tuesday, February 24, 2009

  Mr. RANGEL. Madam Speaker, I rise with great sadness as I pay tribute 
to my dear friend Gilberto Calderon who recently passed away. As I 
speak with profound sorrow, I ascend to celebrate a life well lived and 
to remember with fondness the accomplishments of a remarkable man who, 
over his many years in music, etched his name in history as Joe Cuba, 
``Father of Latin Boogaloo.''
  The death of Joe Cuba on February 15, 2009, brought immense sorrow 
and loss to his family and friends, and to the countless fans and 
individuals associated with Latin Rhythms and Salsa in the music world. 
The salsa band leader was famed for weaving a fluid and bilingual mix 
of musical influences dubbed ``The Boogaloo.''
  Born Gilberto Calderon in 1931 in New York to a family from Puerto 
Rico, the band leader and conga player helped change the sound of salsa 
in the 1960s. Until then, most popular salsa had been played by 
orchestras. But Cuba led a six-member band with three singers who also 
played percussion and danced a routine.
  He had a dynamic group with a signature vibraphone-fronted sound that 
caused a craze because it was different. Albums such as 1966's Bang! 
Bang! Push, Push, Push incorporated elements of salsa, Latin jazz and 
R&B and featured lyrics in both English and Spanish.
  Joe Cuba's music career started with La Alfarona X in 1950. In 1955 
the Joe Cuba Sextet came into being and his vibra-harp sound caught on. 
In 1962, when the group recorded ``To Be with You'' for Seeco Records, 
the band began to soar to popularity because of Nick Jimenez's 
arrangements and the vocals of Cheo Feliciano and Jimmy Sabater.
  When the boogaloo era arrived, the majority of the popular New York 
bands were put out of work. The Cuba sound changed with its recordings 
of ``El Pito'' and ``Bang Bang.'' He not only sold millions but enabled 
The Cuba Sextet to enjoy the No. 1 spot in the Latin music world along 
with the Eddie Palmieri Orchestra for years to come.
  The musician, a friend and contemporary of the late salsa giant Tito 
Puente, was an extraordinary man who lived a life of achievement which 
advanced a music that was at the forefront of the Nuyorican movement. 
Through these melodies brought by America's last citizens, the children 
of Puerto Rican emigrants, evolved new culture, arts, and politics.
  Joe Cuba will be long remembered for his extraordinary commitment, 
energy, wisdom, discipline, principle, and clear purpose which won the 
admiration of all who were privileged to come to know and work with him 
during his distinguished career in and around music. I consider myself 
fortunate to have had the opportunity to observe and experience his 
example as a personal inspiration.
  Madam Speaker, rather than mourn his passing, I hope that my 
colleagues will join me in celebrating the life of Joe Cuba by 
remembering that he exemplified greatness in every way.

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