![]() ![]() It was also at this time that I met Antonio Fuentes who had just started his label Disco Fuentes. 'It was a new style … we could not play traditional Cuban rhythms because some combinations simply did not work with the accordion … it was then that my trademark style emerged: the Guaracha de Anibal Velazquez. Anibal was on fire and was entering his most productive period. The interest for Anibal's new innovative sound started growing and recording offers were pouring in. This - combined with Anibal's powerful accordion - was to become a sensation, generating a much harder and drier sound than the traditional leather skin drums.Īnibal's new Guaracha style was infectious, fast and furious, often leading his crowds into a state of frenzy. He would break the rules and replaced the traditional bongos used in Cuban Guaracha and Rumba with a traditional Colombian drum called 'La Caja' which he modified by adding 'radiografias medicas' (x-ray film) over the drum. Jose himself began experimenting by incorporating new instruments and re-inventing old rhythms. Then in 1960 Anibal formed a new group together with his elder brother Juan, a gifted musician in his own right, and his younger brother Jose who would soon become his right hand man, enabling Anibal to add a new dimension to his playing style. ![]() He remained with Disco Eva until the end of 1950s working closely with the great Costeno master Lucho Campilo. Without a band, Anibal was forced to take a job as a session musician for Barranquilla-based label Disco Eva working for a group called El Conjunto Colomboy. Unfortunately soon after, in 1955, band-mate Robertico died and Los Vallenatos de Magdalena had to disband. Four songs were recorded including a track called 'La Gallina', which became a huge hit and really spread the costal sound toward the interior of the country.' I made my first recording with that band in 1952. It was with Robertico Roman that I formed my first band called Los Vallenatos de Magdalena. We both had a deep love for Cuban music and he would often come to my place where we jammed. One of the turning points was a chance encounter with Robertico Roman, a musician from Cartagena. Barranquilla has always been a musical city, but when I started to play the accordion, the instrument was not very popular, it had not become part of Costeno (Colombian Caribbean coast) culture as it was considered a second-class instrument, a bit foreign and awkward, used primarily by campesinos (peasants) in rural towns off the banks of the Rio Magdalena - but we've changed that. In those days music was everywhere - people would come together and dance to cumbias and mapales … it was all very spontaneous. Anibal remembers: 'I knew already how to handle the clarinet, the Guacharaca and other instruments, that's a talent I must have received from my father. ![]() His father was an accomplished musician but his biggest influence was his older brother Juan who first introduced him to the secrets of the accordion. Known affectionately by his fans as 'El Mago' (the Magician), Anibal has been one of the most prolific musicians of Colombia's Musica Tropical movement.Īnibal was born into a musical family in Barranquilla in 1936. Nobody embodies Barranquilla's rich musical heritage more than the master accordionist Anibal Velasquez. With scores of LPs arriving from Cuba, the Dominican Republic, Mexico, Puerto Rico and the United States, the city also soon became a bastion for musicians and vinyl enthusiasts from all over the world. Its port-city status has allowed its citizens to remain up-to-date with the latest grooves coming out of the Caribbean basin. Home to the country's biggest cultural celebration, El Carnaval, and the birthplace of Colombia's radio and recording industry, Barranquilla has always been a city deeply rooted in musical traditions. Hailed by its locals as Colombia's 'Puerto de Oro' (Golden Gate), Barranquilla has served as a gateway for 'Caribbean Tropical Sounds' for almost a century. Nestled between the Caribbean Sea and the Rio Magdalena, lies the city of Barranquilla. This coupled with the fact that many of the tracks presented here have become essential during Analog Africa DJ sets and have set fire to more than one dance-floor, means this new release has all the hallmarks of becoming another Analog Africa classic. In fact, when not crate-digging in Africa, Analog Africa founder Samy Ben Redjeb can often be found in Colombia. Having built its reputation on releasing long-forgotten gems from 70s Africa, especially Benin (including two releases by Orchestre Poly-Rythmo de Cotonou), Analog Africa is moving its focus to another continent altogether for release number 7: 'Mambo Loco' is a compilation of tracks by Anibal Velasquez, the legendary accordionist from Barranquilla in Colombia. ![]()
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