Alfredo chocolate armenteros biography of barack

Alfredo "Chocolate" Armenteros (4 April 1928 – 6 January 2016) was a Cuban trumpeter. Armenteros’ first solo in this piece includes a high C# (concert), a major third higher than any note in the Velazco solos and an augmented fourth higher than Chapotin’s highest notes in Dundunbanza.

I’ve jammed with Los Van Van and Arturo Sandoval. Later, Chocolate joined Machito and his Afro-Cubans in New York opening an international door to Latin music and jazz trumpet improvisation.

Since that auspicious beginning, Chocolate performed with Cesar Concepción, Tito Puente, Tito Rodríguez, Ismael Rivera, Joe Cotto, Moncho Leña, Cachao, Eddie and Charlie Palmieri, Johnny Pacheco, Larry Harlow, Mongo Santamaria with La Lupe, the Alegre All-Stars, Dianne Carroll, and so many more.

Continues to freelance and perform with every “salsa” bandleader in New York, including Johnny Pacheco, Alegre All-Stars, Eddie and Charlie Palmieri, Larry Harlow, Ray Baretto, Mongo Santamaria, Ismael Rivera, La Lupe, Celia Cruz, Bobby Capo, Sonora Ponceña, Orlando Marin, Roberto Torres, and many, many more.

1974: Records With a Touch of Brass for Tipica Novel that won Chocolate a Latin New York Award for Best Trumpet.

1975: Records on the two volumes of critically acclaimed and groundbreaking recordings by a workshop group of musicians produced by music producer, René López: Grupo Folklórico y Experimental Nuevayorquino.

Whether recording an educational jazz series with Wynton Marsalles or playing his flugelhorn with a symphony, Chocolate Armenteros performed, recorded, and toured the world, returning to his beloved New York Barrio, where he lived among the memorabilia of a glorious career. Harmonized horn lines mocked Eurocentric convention, sparring with each other like boxers, gyrating like dancers, and at some points, crying with each other like sympathetic, jilted lovers.

Chocolate had arrived.

La trompeta "es mi novia; es mi alma, mi vida, mi corazón", dijo el músico, quien se mantuvo activo en los escenarios hasta pasados los 80 años de edad, participando en conciertos, festivales y otros proyectos artísticos. A popular YouTube video features him schooling Wynton Marsalis on the art of Afro-Cuban improvisation.

Here he records nine albums on the advice of Machito, who warned him that “creating a style, being accepted, and then being liked by the public are three distinctly different things ¬very hard to achieve.”

After realizing his two lifelong dreams of playing with Arsenio and organizing the most popular dance band in Cuba with Benny Moré, Chocolate took Machito up on his offer and come to New York.

His recording over the album With A Touch of Brass for Tipica Novel won Armenteros’ a Latin New York Magazine Award in 1974 while the following year found him at music collector René Lopez’ Bronx home at a weekly experimental retreat where he and brothers Andy and Jerry Gonzalez, percussionists Milton Cardona, Marcial Reyes, Nicky Marrero, vocalist Willie Garcia, and an array of folk and local artists were “looking for a sound” in a mixture of Afro-Caribbean structures with a funky Nuyorican backbeat.” They were “guapeando” (ballsy) at its New York best.

“Freelancing and working with so many other bands and musical groups is what keeps the improvisation fresh and creative.” He underscored.

However, as Professor Rick Davies describes in his dissertation, in the harmonic voicing of one of Arsenio’s memorable numbers, “No Puedo Comer Vistagacho,” Armenteros’ instrumental virtuosity surpasses that of his older colleagues. Works with Joe Cotto, Moncho Leña, and Mon Rivera. Oct. 1990: Receives three awards from Santo Domingo, Republica Dominicana, Discos Terrazo and Discoteca Kristal in recognition of Chocolate’s work.

1991: The Colombia Club in New Jersey recognizes the lifetime achievements of Chocolate Armenteros.

1992: Records with Paquito D’Rivera on 40 Years of Cuban Jam Sessions.

He toured the French Caribbean of Martinique and Guadalupe with Zon del Barrio, celebrated his 85th birthday in Central Park, where he received a proclamation from the City of New York from Speaker Melissa Mark-Viverito, and could be seen every Sunday at the Julia de Burgos dance, performing and enjoying the good life.

Chocolate collaborated with the most significant Latin music bandleaders of the 1960s, 1970s, and 1980s.

El músico, quien debe su apodo al error de una chica que lo confundió, de joven, con el famoso boxeador cubano Kid Chocolate, contaba con más de 60 años en los escenarios. That’s different from playing straight-up jazz. The three-trumpet “sonora” format set them apart from their predecessors by dint of their unique improvisational styles, rooted in earlier septeto experience.

Arsenio was the first to introduce the “tumbadora” (conga drum) into the conjunto, showcasing the trumpet while enhancing the guaguanco beat.

He did not suffer fools.

He retired from the musicians’ life by the time Alfredo was born on April 4, 1928, and dedicated himself to his wife, family, and Villa Ranchuelo, their farming estate before his untimely death when the young Alfredo was twelve years old; but not before instilling a sense of moral commitment and work ethic into his son’s talent and stand up character.

In his memory, the family wishes that fans remember his zest for life, his love of music, his passion, and, above all, his infectious, happy laugh.

Alfredo Chocolate Armenteros is survived by his son Alfredo and his two granddaughters, Diavana G. and Amanda D. Armenteros. A family’s legacy shapes the identity of the clan.

Chocolate’s was the first hand raised when his friend Richard Egües’ father asked for students interested in being part of a local band at school.