It’s been said that one out of every three modern renaissance men were born in Buenos Aires. But that doesn’t mean they still live there. In 1968 Juan Carlos Caceres left his home on the southern shore of the Rio de la Plata and moved to Paris to paint, sing, teach art history and can fresh vegetables. He even found time for a little hobby called Malon, a latin-tinged powerhouse comprised predominantly of French musicians. Caceres composed all of the music for their 1972 album El Camino Dale Negro, as well as providing lead vocals and playing more instruments than you can shake a stick at : piano, drums, trombone, trumpet, peruvian flute, zansa, and siku, to name a few. He also took the trash out of the studio on a regular basis.
Music has been a part of the Salvation Army tradition nearly since its inception. In the late nineteenth century, when salvationists paced the streets of London like hungry pumas hunting for agnostics to devour, they were often met with unruly opposition. In response, generals at Army headquarters devised a clever plan to lull the unbelievers into a stupor with music and then pounce on them mercilessly. Charles William Fry and his three sons were a family of musicians from Alderbury in Wiltshire and they were hired by the Army just for this purpose. Within days the Frys had the rowdy skeptics hypnotized, bound, gagged and begging for bibles. Realizing the tremendous power of their musical instruments, the Frys then took their cellos and trumpets to union protests and busted them up lickety split. Rumor has it their violins were also directly responsible for the Red Flag Act of 1878, the opening of Royal Albert Hall, and the institution of “The Ashes” in cricket.
The Salvation Army was likewise so impressed by the persuasiveness of music they began employing musicians to be on call 24/7 for any crisis that might arise. This eventually led to the creation of full-fledged bands, a tradition which continues today. The Army’s ability to adjust to current trends is one reason they have remained a relevant force in music for over 100 years. From the poppy Joy Strings of the sixties to the ska-core Insyderz of the nineties, they’ve always had a knack for using the popular idiom to reach the masses.
Redemption – A Change Will Come (1974)
Redemption was no exception. Formed in New Jersey in the mid-seventies as an attempt to promote Christian funk, the nine-piece band consisted of musicians who had grown up playing in the salvationist church and reflected the high standard of musicianship within the Army community. Trumpeter Lew Soloff had previously been a member of Blood, Sweat, and Tears and has since worked with Mongo Santamaria, Carla Bley, and Ornette Coleman. Trumpeter Phil Smith attended Juilliard and is now the principal trumpeter for the New York Philharmonic Orchestra. Trobmonist Charlie Baker is now the lead trombonist for the New Jersey Philharmonic Orchestra. Vocalist Jude Gotrich became a back-up singer for Perry Como and Andy Williams and has also appeared on Sesame Street.
Gone Fishing was released in 1974 by Triumphonic Recordings.
The Romero Family (from left to right: Al, Mary Lou, Cherise, Alfredo, Maxine, Bill, and Flavia) recorded this regional hit back in 1983 at the Rendezvous Studios in Honolulu, and although David Geffen offered to fly the entire family out to Los Angeles to record a follow up, they chose instead to ride off into the Oahu sunset. Lord knows why. But they make it very clear in “I Believe In God” that they don’t approve of superstars, organic food, or foreign cars — so perhaps they just couldn’t handle their burgeoning celebrity status and the lifestyle it demanded. Last month I ran into Alfredo Romero pedaling leis in front of the Opportunity Village charity shop on West Oakey Blvd. in Las Vegas.
UPDATE: I received this kind letter from Mary Lou Romero. It appears some of my information was erroneous, and I apologize. The guy I saw in Vegas looked exactly like Alfredo Romero, but it was not him. Here’s what Mrs. Romero had to say:
“It’s nice to be remembered, but as the Mom of the Romero family, I can assure you that the current news you reported about Alfredo Romero in Vegas and also about The Romero Family being offered a record contract by David Geffen is not true, though we desired very much to receive such an offer. There are surely many who would like to know what we are really doing now. Thanks again for remembering us, and please, at least consider replacing the info you posted on your site with the following short text:
“The Romero Family recorded this original hit in 1983 at Rendezvous Studios in Honolulu. Entertaining and bringing the Gospel to tourists for many years in Waikiki, they recorded 2 more albums together (White Dove & White Dove Country) and released a country single they recorded with Buck Owens’ Buckaroos at their Bakersfield studio. Alfredo Sr. and Maxine still entertain occasionally in Waikiki, Mary Lou is still recording her music, Alfredo Jr. is a music minister in CA, Cherisa is an aesthetician, and Bill & Flavia Busche are ministers/counselors in their local church in Hawaii.”
Morrey Davidson – Let’s Toast The Bartender (Morrey Davidson Sings For Everyone, 1973)
When Morrey Davidson recorded his first album at the age of 74 he had already been writing songs for over 50 years, many of them published by the nation’s top music publishers and performed by leading artists from around the world. His triumph was perhaps the 1927 classic “Get ‘Em In A Rumble Seat” performed by the Six Jumping Jacks. But in 1973 Morrey realized his 75th birthday was only months away, so he decided it was high time to interpret his own compositions for a change. He called up his old gang of famed instrumentalists, including Tony Mattola (one of Perry Como’s favorite guitarists), Bob McCoy from the Tonight Show Orchestra, and a few stragglers from the NY Philharmonic Orchestra. He even convinced Marty Gold to co-produce the record. Marty was super busy scoring the music for the Lloyd Bridges TV series “Water World”, but how could he turn down a friend on his death bed? Mr. Bridges would just have to be patient.
The results were astonishing. You can hardly tell that Morrey doesn’t know a note of music (as revealed on the back of the lp). And the stamped red lettering on the cover says it all: “At 75 he sings like 25”. Hear it and you’ll believe it!
