The Evil II, interview with Willie Colon

Hello friends, then I leave an interview with Willie Colon as part of the launch of its new production called “The Bad Vol II: Prisioneros del Mambo” where he pays homage Hector Lavoe and has several anecdotes. Hope you like … A bad-hearted No longer the skinny teenager who, in the sixties, reached wielding prestige a trombone bigger than him.Sitting Buddha which Hispanic, with eyes at once lucent and very black, like tar, impeccably dressed, and, wait for the first question. Smile, barely chewing crafty and malicious gesture that displays on the covers of several albums he recorded with Hector Lavoe. Around the smile you close a lock of gray hair brown. In a discreet lounge Howard Johnson Guayaquil, the press conference begins, and a swarm of reporters from the local celebrity totem hovers around salsa (several critics have mentioned, even as one of the very inventors of the genre, or, as he prefers to say, the concept). Some were asked to sing “that says: no talent but is very good-looking” ( !)… William Anthony Col n smiles again, comply with the request, takes a sip of water and settles on the chair, at ease, as the legend. It is the second consecutive year that the Governor of Guayas invites you to celebrate the holidays Julian, with a concert in the style of the most exuberant evening of salsa seventies: in the street, with a stage on the road, between dancers febrile barrumbada beer and barbecue on that line, slowly, strands of meat. Well could this be a description of a picture of the Bronx’s documentary Our Latin thing (1971), or “shock” to be assembled in Caracas neighborhoods, but it is Guayaquil, which has nothing to envy to any city to Square boast when rumba. Willie knows it and says: “Here, people familiar with the matter.” After the brief press conference, sits on a cabinet, near the edge. Most of the reporters are gone, only a handful pleasantly conversing in a corner.Suddenly, with that famous voice bright and clean metal Puerto Rican accent, trombonist and singer asks, “Well, how is it going “. I would like to clarify the impact it had on their feelings as an artist, as a chronicler of Latin American popular culture, a person: Antonia Painter. Ahhh!, To me she was the incarnation of Puerto Rico: sound, food, pronunciations, stories … My grandmother was my direct connection with the Puerto Rican spirit, even more than my parents … I speak more Spanish than my parents! Born and raised both in Manhattan, had to go to work and left him my raising this immigrant who never spoke English, then I had no choice but to learn their language … I think my grandmother Tona was a door through which to enter the Latin American essence. … But considering the youth of their parents, as her mother, Aracelys, was just 16 years when you were born, one might think that also had a close relationship with them … (Quiet for a moment, lost the look of opal) … No, no I do not really much to do with my parents. My grandmother was it. I once read, for there, a point raised by journalists who had taken a liking to Skinny Lavoe so easily because it features found her grandmother was a peasant, a farmer Puerto Rican immigrant, like Donna Tona, what is your opinion deserve a trial like that True, true … The Artist Antonia school prepared me to deal with Hector, to understand it, his tantrums, his sense of humor, where he came from … It was something like predestined … Lavoe is a classic example of humor as a form of intelligence as essential substance of popular art … Some really do not understand how brilliant it was.