She commands her realm with a down-to-earth dignity unmistakably vibrant
in her wide smile and striking poise. The strong life force flows from
her center traveling through her hands. Her assurance defines her posture.
Her voice propels power. She is Celia Cruz.
The renowned Queen of Latin Music has traveled her four corners of
the earth delivering her message of joy to life. Her more than 50 recorded
albums are tribute to her talent, energy and perseverance. Her fans span
four generations breaking down racial, and cultural barriers. Her collaborations
include an eclectic list of musicians from Tito Puente to David Byrne.
While her style of Latin music vocalization has been compared to the scatting
of Sarah Vaughn and Ella Fitzgerald.
The timeless magic of this extraordinary performer has won her global
recognition, numerous tributes, a Yale University doctorate, the admiration
of her peers, a Hollywood star, a Grammy, a statue in the famous Hollywood
wax museum, movie and theater appearances, the key to numerous cities,
and the key to the hearts of music lovers everywhere.
In a field so powerfully dominated by male crooners and musicians alike,
Celia Cruz shines like a precious, polished diamond. Born in the humble
town of Santo Suarez in Habana, Cuba, she was one of 14 children. Her mother
however, knew that this was a special child telling Celia that she earned
her first pair of shoes by singing to a tourist who bought them for her.
At home, Celia's chores included singing the younger children to sleep.
Yet, like the pied piper, the adults would gather to listen, annoying the
young songbird who would close the door on them confusing their admiration
for surveillance.
Since then, those shoes have been prophetic in taking the vocalist
around the globe and into the most prestigious music and concert halls.
As a teenager, she began singing in school programs and community gatherings.
Her aunt would periodically take her and her cousin to cabarets and nightclubs
where the impressionably talented songsters got a first-hand view of the
local talent. Yet, while her family supported her musical abilities, her
father encouraged her to continue her studies and become a schoolteacher.
However, it was one of her own professors who told her to take a chance
with music because "You could earn in one day what it takes me a year
to make."
Celia Cruz began entering the local radio talent shows winning fancy
cakes and more opportunities to compete and sing with the popular orchestras
of the time. Her big chance came in 1950 when the regular singer with Cuba's
popular Sonora Matancera returned to her native Puerto Rico and the band
took on an unknown and slightly rough around the edges Celia Cruz.
Singing with Cuba's La Sonora Matancera was tantamount to singing with
the Duke Ellington Orchestra. The popular group was known and loved throughout
the country. Consequently, the public was not used to unknowns trying their
talents with the greats, and so it did not fare well for Celia at the very
beginning. The public began to call the radio station complaining about
the young singer. Executives in the industry also did not believe that
female singers could sell albums. But the band believed in Celia. She had
the feeling, the timing, and the inspiration. She had swing.
Her perseverance overcame the obstacles, and Celia eventually became
permanent "featured added attraction" of La Sonora Mantacera travelling
extensively throughout Latin America and Mexico with the orchestra while
accompained by a chaperone. Her golden era with the La Sonora spanned fifteen
years where she and the band became known as "Cafe con Leche" (coffee with
milk).
By 1960, Celia Cruz left Cuba permanently to pursue a career in the
States. She became a permanent citizen by 1961 with a contract to perform
in the Hollywood Palladium. It was during this time that she fell in love
with the tall, dark and dashingly handsome first trumpet of the orchestra.
His was the first friendly face she grew to search for. He was attentive,
caring about her feeling toward the arrangements, the timing and the music.
And for Celia, he was truly her knight in shining armor. Celia Cruz and
Pedro Knight married in 1962. By 1965, he decided to step back from his
own career to manage the wife he adored.
"Afro-Cuban music is the root of today's Salsa", Celia states.
"It is steeped in cultural indentity and embraces the folklore of every
town and province of the tropics. It is a source of pride, of happiness,
of being alive. It is what I bring to the people."
She combined forces with Tito Puente in 1966 recording eight albums
with him for Tico Records. However, the power of these two great musical
legends was too much for the public to handle and record sales did not
reach the music peak that these two giants inspired.
Celia Cruz signed with the Vaya label (a subsidiary label of Fania
Records), eventually teamed up with Larry Harlow accomplished pianist and
band leader who wrote the tune "Gracia Divina", for the Latin music operetta,
"Hommy" (adapted from the Who's rock opera "Tommy").
It was 1973. Young Latinos in New York hungered for identity; for roots
and for heroes. They discovered Celia Cruz.
She burst unto the Carnegie Hall stage wrapped in the flamboyant costuming
that has now become her signature style. She belted out the tune, divinely
gracing the public with the harbinger of her own ascendancy while driving
the crowd into a united, unprecendented rolling wave of human enthusiasm.
She was electrified, revitalized. She was back.
By 1974, Celia was riding a high tide of success. She hit the market
hard with a concept album where she teamed with Johnny Pacheco. His love
of Afro-Cuban and charange rhythms made him an innovator in producing updated
arrangements of classic tunes. The LP, Celia and Johnny went gold.
"Salsa" was re-born and Celia was on her way to becoming its most shining
star.
After two more record-breaking hits with Pacheco, Celia was featured
with the Fania All-Stars, a star studded ensemble composed of band leaders
signed with the label. She traveled on international tours with the group
that covered London, England, Cannes, France and Zaire, Africa. She has
travelled all of Latin America with a recent first time visit to São
Paulo and Brasilia in Brazil. She has recorded some twenty gold LPs and
more than 100 awards from various countries' institutions, magazines and
newspapers. She appeared in a special segment of the Grammies in 1987 where
she performed with her old time collaborator, Tito Puente.
Celia carved out her niche in the '80s on the strength of many other
collaborations joining forces with young and elders, cutting anniversary
recording with her first associates, La Sonora Matancera while appearing
in movies such as "Salsa", and in 1992 in the Hollywood feature film, "The
Mambo Kings". Her voice can be heard on the soundtracks of such films as
"Something Wild" and "Invasion U.S.A.".
Notwithstanding the music's 20 year on-again off-again romance with
American publics, Celia Cruz has survived the musical droughts and intends
to keep on singing until her very last note. She has managed to capture
the attention of the American press who, not having a point of reference
for comparison, insists on equating the inimitable Celia Cruz to jazz greats
trying to similarities between the Latin "soneo" (phrasing) and the jazz
scat.
Celia's style is incomparable. Rhymed/timed, rapid fire staccato bits
of witty wisdom, social commentary and general observations in tune to
tunes, are not easily attained by even the best of contemporary song stylists.
Celia Cruz cut her teeth on the music that has moved the world and
she has in the process carved out a special niche reserved only for her.
"Azucar" is her calling card and sugar is what she sprinkles over her audiences
wherever she goes. She is a monumental figure in a musical form reserved
once only for men.
She has seen the music grow from small, scattered areas in shops where
flamingo music was sold next to Xavier Cugat records to the special sections
now marked "Salsa". Despite her vast success, Celia Cruz remains a humble
servant of God, wanting only simple pleasures in life. She recently confided
that her ultimate wish is not a fancy car or mansion, or even her own lear
jet. What Celia most wishes for is to be able to return to her native Cuba
to visit her mother's grave.
"Music is the only gift I have that was given to me by God. Unless
He takes it away, I will continue to share my gift with everyone. It is
what gives me pleasure. It is what brings me happiness. And that is my
purpose in life. In a sense, I have fulfilled my father's wish to be a
teacher as, through my music I teach generations of people about my culture
and the happiness that can be found in just living life. As a performer,
I want people to feel their hearts sing and their spirits soar."
Biography courtesy of Duende Management. |