Charlie Rosario: El Rumbero De La Carátula (The Rumbero of the Album Cover)

Charlie Rosario is a graphic designer, visual artist, drummer and poet of Puerto Rican parentage who was born in Brooklyn, New York in 1950. In the late 1960s he began his career in Latin album cover art with a psychedelic painting for Tito Puente (The King Tito Puente / El Rey Tito Puente, Tico Records, 1969), for which he was paid 95.00 but never given credit. 

Rosario attended high school at the School of Art and Design from 1967 through 1969 where he concentrated in art. From 1970 to ’71 Rosario studied commercial art (illustration, graphic design, film, and photography) at The School of Visual Arts. In the early 1970s he worked for Izzy Sanabria, art director at Fania Records and editor of Latin New York magazine, where he also learned about album design. Striking out on his own as a freelancer, by the late 1970s he had designed album covers for various Latin music record labels including Alegre, Coco, Combo, Fania, Ghetto, Kubaney, Mericana, Salsa, Salsoul, Tico, TR, Vaya and others. 

Rosario’s graphic design work included layout, typography, photography and illustration, as well as something he called “sculpture graphics” which were unique three-dimensional art objects that were then photographed for cover designs. Occasionally he came up with a title for an album, which was often inspired by the artwork he provided for it. Many times he was given sole responsibility to invent a cover concept, so technically he was also art director on many of his jobs for record labels. In the Latin music industry Rosario was known as a designer and illustrator who thought “outside the box” and many label presidents and A&R staff turned to him when they wanted something distinctive or out of the ordinary. 

As an acquaintance or friend of many musicians, promoters, producers and bands, and as the son of Pablo Rosario, Sr., a singer and musician, and a sibling to Pablo Rosario, Jr., a noted percussionist with musicians from Larry Harlow to David Bowie, Charlie Rosario often had an inside connection to the albums he worked on through his personal links to the industry. Rosario also designed concert flyers and posters and did some set design for performances, including for The Tico-Alegre All Stars at Carnegie Hall in 1974 (with his cousin Yogi Rosario)and photography for Larry Harlow’s salsa opera Hommy when it was performed there the same year. 

In the 1980s, after moving to Puerto Rico, Rosario dedicated his artistic endeavors to fine art, producing a large body of colorful paintings and sculptures, many of which were inspired by his love of Mesoamerican, Pre-Colombian Indigenous cultures like those of the Aztec, Taíno, and Incan peoples. 

Rosario also worked with themes around African and Afro-Caribbean drumming as well as social issues affecting black and brown communities at home in Puerto Rico and in New York City. All of this was informed by Rosario’s many experiences growing up in New York with Latin music, having come from a musical family, as well as his many years as a rumbero callejero (street drummer) and spoken word poet. 

Rosario is probably best known for his two iconic album covers done for Eddie Palmieri: The Sun of Latin Music (Coco, 1974) and El Rumbero Del Piano (RMM 1998). 

His work has been featured in several museum and gallery exhibitions (¡Viva La Música!, Exit Art, NY, NY, 2006; American Sabor, Experience Music Project, Seattle, WA, 2007 / The Smithsonian Latino Center, Washington, DC, 2011;Rhythm & Power, The Museum Of The City of New York, NYC, NY, 2017; Visual Clave, various venues including The Jordan Schnitzer Museum Of Art, Eugene, OR, 2019; Drums & Dreams, Bronx Music Heritage Center, Bronx, NY, 2015) as well as in the book Cocinando: 50 Years of Latin Album Cover Art, Princeton Architectural Press, 2005) and as part of the visual presentations during the free Latin dance music concert series ¡Vaya! 63at The Lincoln Center Atrium, NYC, NY (2016 - 2020).

This is Charlie's discography on Discogs: https://www.discogs.com/artist/2766011-Charlie-Rosario-2

 

The true story of Guararey

                Photo of Roberto Baute Sagarra from Casa del Changüí in Guantanamo

The true story of the salsa anthem “El Guararey de Pastora” (the Shepherdess’ Complaint) and changüí, the genre that inspired many bands (from Orquesta Revé to Los Van Van, Ray Barretto to Típica ’73 and Guararé), begins in the poor, mountainous south-western region of Guantánamo, Cuba when the tres guitar player, itinerant troubadour and purveyor of the traditional music form known as the changüí, Roberto Baute Sagarra, composed the piece in relative anonymity in the early part of the 20^th century. Sadly it was not registered or copyrighted, as was often the case in those times, which allowed the work to become part of the repertoire of his countryman Pedro Speck, who was another purveyor and carrier of the tradition of changüí. Speck was leader of the Grupo Changüí that released a record on Cuba’s state label Siboney in 1983, ¡Ahora Sí! (Speck, on vocals and maraca, was 75 at the time or the recording). Interestingly enough, in the midst of this beautiful “traditional” recording of very elemental guitar and percussion music that sounds unchanged from Colonial times, you can hear Speck on this record frequently using the Anglo expression “Yeah, yeah!”—which may come from the influence of the U.S. Naval base at Guantánamo or theBeatles, it’s hard to tell but it’s plainly there. “El Guararey de Pastora” does not feature on that record, though a later CD does have it.

Grupo Changüí Guantánamo at the Festival Nacional de Agrupaciones Folklóricas, La Habana 1962. From left to right: Arturo Latamblé (bongosero y director), José “Nino” Olivares (marímbula), Pedro Speck (cantante y maracas), Carlos Borromeo Planche “Cambrón” (guayo y cantante principal), y Reyes “Chito” Latamblé (tresero). 

(Photo: Archivo Centro Inciarte)

                                  

And so Pedro Speck and Roberto Baute Sagarra both performed the song from the 1940s until the 1970s, and it was never recorded for posterity by local radio or a state label at the time, as sometimes was the case with other rural folk music of the era. That might have been the end of it if the tune had never left the region, but in the 1970s, the story became complicated, when Juan Formell, director of the Havana-based Cuban dance orchestra Los Van Van, took this composition and added it to his “songo” repertoire of the ‘70s, where it acquired immense fame, being recorded in 1974 for the band’s third long play (Areito ‎– LDS-3471). 

Formell has said he learned the song from Pedro Speck, who was passing through Havana in the early’70s; the tune stuck in Formell’s head for a time before he came up with the spare and funky organ/flute arrangement that all Cuban dancers subsequently made their go-to party anthem. Soon after, in 1975, Ray Barretto’s pianist Gil Lopez made his own mutated no-violins charanga arrangement, adding the hard-core Nuyorican touch, becoming a massive hit in it’s own right (Barretto, Fania Records ‎– SLP 00486). Very few if any American Barretto fans had heard the original Van Van, and probably none knew of its rural roots in Guantánamo. Probably learned from a Van Van record acquired while on tour in Venezuela, Barretto made it the lead track on his 7^th LP of the ‘70s. While Rubén Blades, himself of half Cuban ancestry, was one of the two vocalists on the song (the other was Puerto Rico’s Tito Gomez who took the lead), the composer was simply (as was so often the case) listed as some guy named “D. R.” aka Derechos Reservados, or Rights Reserved (ha ha).

                         

Since then of course the tune has traveled the world. And although the composition for a long time was attributed to Pedro Speck, there was eventually a legal suit brought in the Guantanamo Provincial Court in 1976, ruling in favor of its real author Roberto Baute Sagarra. In defense of the creator an exceptional witnesses was brought forth, Petronila Rouseaux, former wife of the musician, and with her testimony authorities learned an unexpected fact: the ‘pastora’ (shepherdess) in the song was none other than Pastora Yuani Sayú, better known to Latin music fans as “Pastorita” (who died in 2013 at the age of 97). The testimony of Petronila Rouseaux, at the time 94 years old, put an end to the dispute over the authorship of the song. But that wasn’t all.

Photo of Pastorita

According to Michelle White on Timba.com, “Pastora had a daughter who had caught the eye of Roberto Baute Sagarra, the  tresero of Changüí Guantánamo. He began a romance with her and Pastora was not happy with his attentions towards her daughter because Roberto, also known as Chito, was already married and 20 years older than the object of his affection. This was the source of Pastora’s guararey (anger) with her friend Chito and the inspiration for the song.”

Pastora Lluany Chauyous aka Yuani Sayú (b. 1916), the lady who inspired this changüí. (photo: Archivo Centro Inciarte).

Throwing a little more light on the subject, Martha Reyes Noa, in a post from Herencias Culturales, mentions that Pastora admitted “that at first, as every mother feels suspicious in these relationships, she suspected” Baute Segarra of having unclean motives “but in the end those” feelings were “dissolved” when she realized her daughter simply loved the changüí and wanted to learn “how to dance at the parties that were ranging” back then, some for “up to a week, from house to house.” Of course, Baute was there at almost all those changüís (a term that means lower class dance party), performing with his tres guitar and giving dance lessons, so Pastorita soon realized nothing more than that was going on.

Contradicting Noa’s telling slightly, White goes on to relate:

“At the time the song was written, Pedro Speck was the director of Changüí Guantánamo and he registered the rights to the song under his name. It wasn't until the popularity of Van Van's version that the subject of authorship became an issue. In June 1976 the court ruled in favor of Roberto Baute when Pastorita herself testified on his behalf. [Noa says it was Baute’s widow, Rouseaux]

Previously attributed to Speck or simply listed as DR, the song is now correctly attributed to Roberto Baute, although it was not officially registered with ACDAM under his name until 21 April 1981. However, I was told in Guantanamo that neither Speck nor Baute ever received any income from the recording or performances of other versions of the song.”

So many countless “traditional” authorless “folk” songs from “Wimoweh” (“The Lion Sleeps Tonight”) to “Guantanamera” turn out to have real composers (Solomon Linda and Joseíto Fernández respectively) who were inspired by real events. The story behind “El Guararey de Pastora” and its author, Roberto Baute Sagarra, puts a face and name to the song that has inspired countless dancers, singers and musicians over the decades.

By Pablo E. Yglesias with help from Martha Reyes Noa and Michelle White, as well as the article "DEL CHANGÜÍ A LA SALSA Y MUCHO MÁS. GUANTÁNAMO EN LA ORBITA MUSICAL DEL CARIBE" by José Cuenca Sosa from Herencia Latina.

Elio Revé Matos, leader of Orquesta Revé (from which Formell "graduated to create Van Van),the man who converted the 'toques' (beats/hits) of the 'bongó changüisero' to the timbales (pailas). (photo: Archivo Centro Inciarte).

VISUAL CLAVE comes to The Bronx and Brooklyn, Summer 2015!

VISUAL CLAVE

50 Years of Latin Album Cover Design

Visual Clave documents the little known evolution of ‘Salsa Graphics’ and the expression of Latino identities through the prism of album cover art over half a century of music packaging and graphic design.

This exhibit explores the evolution of Latin music album cover art over the last 50 years,paying critical attention to issues of identity and aesthetics through depictions of Hispanic people and cultures, with an emphasis on historical context and the unsung graphic artists who helped present Latin music — and its attendant socio-cultural themes — to the world. Visual Clave’s premise is that the record jacket is not just an ephemeral mass-produced object to be relegated to the trash heap of a bygone era, but rather a unique 12 by 12 inch window onto a culture’s soul. 

The concept of “clave” is essential to understanding Afro-Antillean popular music forms and the dance culture that surrounds it, and is therefore a perfect metaphor for describing Latin album cover art. Clave is the African-derived 2-3 or 3-2 beat used in almost all genres of Latin music. In addition, the claves are the wooden percussion sticks used to mark these syncopated time signatures and as an instrument date from the time of slavery and colonialism. Therefore both the beat and the instrument can be seen as a potent symbol of Hispanic cultural identities and practices. Clave as a concept is the ‘key constant’ through all these different genres of music and different national narratives, and this exhibit is the vibrant visual manifestation of this cultural heritage, full of variety and consistency at the same time, just like Latin music itself.

ONE EXHIBIT, TWO SHOWS

New York City, especially the area of Spanish Harlem and the boroughs of Brooklyn and The Bronx, are all locations central to the type of Latin music known as salsa so it is fitting that Visual Clave is being exhibited in two of these locations. Each gallery features original album art (paintings, photographs, sculpture, and layouts) as well as LP covers from the golden era of Latin vinyl. But each show is also unique and concentrates on different facets of the music and history, with an emphasis in each on the particular location of the gallery. Be sure to see both! Openings feature DJs playing rare Latin records followed by special events: live music, lectures, and discussions.

Here are some pics from the Bronx opening:

Classic work by Charlie Rosario

Bobby Sanabria and Izzy "Mr. Salsa" Sanabria

Izzy and his Dalíesque painting for Ray Barretto

                                  

Bobby Sanabria and Orlando Marín

Lee Marshall (rt) talking about photograhing for Fania

Benjy Meléndez of The Ghetto Brothers

Charlie Rosario with his work

The Ghetto Brothers (2 generations)

Izzy saved this painting from the closet at Fania HQ.

And here are some shots from the Brooklyn opening:

Izzy "Mr. Salsa" Sanabria

Audience watching Izzy Sanabria's presentation

Yogui Rosario, Charlie Rosario, Jason Youvert

                       

Charlie with the sculpture he made and set on fire for Orquesta Cimarrón.

Charlie Rosario shows off his covers all in a row.

Yogui points to one of his collage pieces (Uptempo by Tito Rodriguez).

Chico Álvarez and Jason Youvert

Johnny Pacheco by Jorge Vargas

Album cover section titled "Raíces / Roots" (inkjet on roll)

Izzy "Mr. Salsa" Sanabria with former Latin New York magazine staffers

Héctor Aponte, Chuckie López (RIP) Pablito Rosario, Jason Youvert (RIP)

Pablito directs the "Brooklyn Salsa All Stars" descarga session

Chembo Corniel

Bongohead and Jose Conde

Brooklyn Salsa All Stars

John Zervos, Charlie Rosario and Karen Joseph

For more information go to: www.bronxmusic.org and www.pf-gallery.com or visit: peaceandrhythm.com or visit them on Facebook.

VISUAL CLAVE: BRONX

BRONX MUSIC HERITAGE CENTER LAB

1303 Louis Niné Boulevard, Bronx NY 10459

OPENING: June 5, 2015 - 5:00 PM

Featuring a Multi-Media presentation by “Mr.Salsa” Izzy Sanabria, and DJ Turmix, Andujar and Bongohead playing classic Latin vinyl.

Also:  August 14, 6:00 PM: 

Lecture on the history of Fania Records by Joe Conzo, Sr. 

August 14, 7:00 PM: plus concert by salsa orchestra (TBA).

Exhibition dates: June 5 - August 15

Gallery hours: 

 Monday – Tuesday – Thursday: 4:00 – 7:00 PM;   Saturday: 1:00 – 5:00 PM


VISUAL CLAVE: BROOKLYN

PICTURE FARM GALLERY

338 Wythe Ave., Brooklyn NY 11211

OPENING: June 6, 2015 - 5:00 PM

Featuring MC “Mr.Salsa” Izzy Sanabria and live music by Ola Fresca “Unplugged” with Jose Conde, followed by Pablito “El Indio” Rosario and the Brooklyn All-Stars, plus DJ Turmix, Andujar and Bongohead playing classic Latin vinyl

Also: June 13, 7:00 PM: 

A Multi-Media Presentation by “Mr.Salsa” Izzy Sanabria, performance by Charlie Rosario and Los Rumberos Callejeros and guests

Exhibition dates: June 6 - July 5

Gallery hours: 

Monday – Friday: 11:00 – 6:00 PM; 

Note: week-night viewing hours can be scheduled per need, supervision and office availability.

All events are FREE and open to the public. 

Made possible by The Bronx Music Heritage Center and Picture Farm Gallery.

Izzy "Mr. Salsa" Sanabria

Pablito "El Indio" Rosario

Jose Conde

Charlie Rosario