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Left to right: Walfredo Reyes, Sr., Candido Camero & Bobby Sanabria
Narrated by Bobby Sanabria
Featuring
Candido Camero and Walfredo Reyes, Sr.
Candido discusses
his early background in Cuba beginning with how his
uncle influenced his decision to start playing music.
Interestingly, Candidoís first
set of bongos was actually two empty condensed milk
cans. Later,
his uncle did get him his first real set of bongos.
Candido also learned to play tres, a Cuban mandolin.
Walfredo begins by mentioning the history of his
musical family in Havana, Cuba. As a young child
he would often hear his family and their students
practicing scales. He knew from a very early age
that he would become a percussionist/drummer.
Candido reminisces
about immigrating to the United States on July 4,
1946. In this episode, he talks about his transition
from playing typical down home son,
what we now know as Salsa, to playing with big orchestras
on the radio. He recalls meeting Chucho Valdez, Tito
Puente, and Dizzy
Gillespie for the first time.
Walfredo recalls
meeting Candido for the first time. He was just 11
or 12 years old in Cuba and feels honored to be at
this interview with him today. He speaks about his
career in Cuba seeing such bands as Danny Thomas
and Noro Morales play American and traditional music.
He goes on to discuss the music scene in NYC, particularly
the golden days at the Palladium Dance Hall, where
he would hear Tito Rodriguez and Tito
Puente.
Candido comments
on his unique percussion/drum set up with Stan
Kenton.
Candido was the first percussionist to play a fiberglass
conga. He signed with LP in 1977; and remembers
his relationship with his contemporaries Armando
Peraza,
Francisco Aquabella and Mongo
Santamaria. He was
also the first player to use two congas and
then three congas at
the same time, a technique that all contemporary
conga players use today. He mentions his latest CD
and documentary film.
Walfredo remembers
traveling back and forth from Cuba and New York City.
Tito Puente was a major influence for him and noted
that Tito
was the first timbalero to bring the instrument
front and center on stage. Later, Walfredo transitioned
from traditional Latin music to straight ahead jazz
and then on to Bebop.
The episode ends with Candido giving some sound
advice for upcoming players.
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