Orestes Vilató

Abidjan , still my favorite timbale solo after all these years …. Salsa-101

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In Camagüey, Cuba a little boy … builds himself a bongo set, complete with cymbals made from the top of a tin can. Playing along with the sounds manating from the radio the boy begins to form the foundation that later would thrill audiences around the world. This was Orestes Vilató’s beginning with music. During the 70s and 80s Salsa music was at it’s height of popularity in New York City. All the Latin music bands at that time had their own unique sound. You could tell who was playing just by listening to the first bars. Orestes Vilató was key in the development of the Ray Barretto’s band. It should be mentioned that during this time period, you could see your favorite band in any given night of the week. Latin Music dance clubs were all over the city, The Che Sensual, The Corso, Casino 14, Casa Blanca, etc etc.. The great thing about these clubs were that the artists were right in front of you up close. You can still experience this at the “Julia De Burgos- New York City” salsa parties. For the best in salsa dancing music seek out the artist from the 70 and 80, but always on the look out to what’s new also In Columbia salsa music is VERY big, and they love the music from the 70s and 80s. So much so that Oreste was once contracted for a concert/dance in Colombia and when arriving there he was told that the audience would be expecting to hear music from Los Kimbos era. Los Kimbos were from 1975, and Fania gave it hardly any promo. When Oreste performed everyone knew and sang the words to all the songs. That is why The Lebron Bros. are considered musical gods down there.

In 1979 Orestes Vilató visited Cuba with Tipica 73/Fania. The name of the project was Intercambio Cultural the LP that was recorded down there is “Tipica 73 en Cuba”. For dancing and listening this CD is a definite MUST to have in your collection !!

Orestes Vilató meets Chanquito for the first time. They become good friends instantly. Chanquito played for Oreste his solos from the songs Arrepientete and Cocinando. Oreste was later to learn that Chanquito had studies all of his solos “lick for lick”. Chanquito would listen to Oreste’s recordings everyday before having his coffee. It is no wonder that Chanquito was revered as a great timbale player “as if he had discovered electricity ” when he first came to the states and started playing timbales.

1986 Ray Barretto held a concert at the BEACON theather, a concert that was recorded and realeased as “Tomorrow: Barretto Live In New York” Before starting the tune “Que Viva La Musica”, Barretto announced Tito Puente was going to join them. When the timbal solo was coming up Barretto motioned to Tito to take it. Boy was I surprised, how could he give the FIRST timbal solo if Vilato is there ? Tito Puente’s solo turned out to be superb (as always), then Tito starts slowing down inviting Vilato to come in. How can Vilato top that ? What else can he do ? Turns out Vilato did what he knows best, play timbale like a true master of the timbale. I mentioned this concert date to Oreste and he remembered that night, he humbly stated that he was holding back on his solo in respect to Tito, which was the invited solo act for that night.

Today, Orestes Vilató one of the founding member of The Fania All-Stars, has recorded with all the major artists in Latin Music. Touring the globe with Jackson Brown as well as Santana for over nine years. But he’ll always be remembered and revered most for the years spent with Ray Barretto, Los Kimbos and Tipica 73. Oreste has traveled extensively in EUROPE, performing, recording (with local artists) and holding clinics. There is a big Salsa loving community in Europe, for evidence of this just check out http://www.salsa.ch/

Orestes Vilató has been nominated twice for grammy awards, once for “Ritmo y Candela” and now “It’s About Time”. What makes his nomination special for Oreste, is two things, one it’s his band  and second the sound quality of the CD. The sound engineered by Jimmy Branly. When you listen to the timbales on this CD you will be able to appreciate the true sound of the timbale. Today’s microphone use Condenser mike diaphragms which make the timbale sound too digital, not allowing the full spectrum of sound to be heard. Jimmy combined old school technique with today’s equipment to finally produce a sound that he is very proud of. Oreste says ” you can now hear my timbales the way they should be heard”. Kudos to Jimmy Branly. Oreste still practices art, not as such as he would like though. He listens to all types of music, including Rap and Hip Hop. Oreste says ” a mi no me tienen que decir lo que se esta tocando”.

For study purposes he likes to visits his musical roots. By listening to CHANQUI type of music from CUBA.

Look at the clip below to get a tase of it.

Over the years Oreste has designed and constructed several timbales. The green one often seen with him was designed and built by him. Oreste is more than a timbale player when it comes to music, but what a timbale player !!

Gracias Por La Musica
Salsa-101

The Making of “It’s About Time”

www.myspace.com/vilato
www.orestesvilato.com