Mike
Ramos and Freddie Rios Palladium Mambo Legends
The following interview is of Mr. Freddie Rios (on the right above). His partner, Mike Ramos was not available at the time of this interview
INTERVIEW
Rios:
I was born in Puerto Rico in a town called Vega Baja
Angel:
As a child, when did you begin listening to music?
Rios:
When I was young, I used to watch the Fred Astair, Gene Kelly, and The
Nicholas Brothers movies. I used to listen to the music of Perez Prado and
this all inspired me. Watching the Nicholas Brothers gave me the idea of
dancing in pairs (two people). From there I also came up with the idea of the
cha-cha taps.
Angel:
Do you recall your first dance steps as an adult?
Rios:
The first time for me was at a place called “The Tropicana” which
was located on Westchester Avenue in the Bronx. From 1951-52, I recall going
there and hearing Tito Puente playing a number called “El Baile del Pinguino”
(The Penguin Dance). There was also the popular “Babarabatiri”. I remember
that in those days you always found yourself dancing because of all the
percussion solos and the music just compelled you to dance. Today, there is a
lot of Salsa Romantic music. I learned how to dance by following the sounds of
the conga. (Freddie verbally sounds the tumbao rhythm). The dance at the time
was danced from the heart and you didn’t really need to count. Commercialism
brought about the counting that we hear these days.
Angel:
How did the name Palladium Mambo Legends come about?
Rios:
The idea was both Mike Ramos' and mine. The Palladium was really
happening and the name stuck.
(Rios teaching a mambo class 1999)
Angel:
What was it like listening to the music in the early days?
Rios:
There was a fever to go dancing. The Palladium was open Wednesdays
through Sundays. The days I didn’t go dancing, well, I would be upset
because it was a must to go dancing in those days. Everyone from all walks of
life would go to the Palladium to dance. Much like today, you found people
from all nationalities enjoying the music and the dance.
Angel:
Who were some of the artists playing at the time?
Rios:
The best were there. Machito, Tito Puente, Tito Rodriguez, Noro
Morales, Gran Combo, Joe Cuba. One of my favorites is Tito Puente.
Freddie
“cha-cha” Rios
Angel:
Who were some of the dancers you admired during the Palladium era?
Rios:
Cuban Pete, Anibal Vasquez, Andy Jerick, Augie and Margo.
Angel:
Who were some of the instructors back then?
Rios:
There was Joe Vega, Millie Donay, Killer Joe, Cuban Pete
Angel:
You’re dancing again with your partner Mike Ramos. When did you first
start dancing together?
Rios:
We started dancing together in 1958. Then Mike left a few years later
to dance for El Gran Combo for
several years. I went my own way and then in 1985, we got together again.
Angel:
Were there any other dance teams that either you or Mike belonged to?
Rios:
Yes. Mike was a member of the Mambo Aces (with Anibal Vasquez one of
the original Mambo Aces) and I was a member of the Cha-Cha Aces.
Angel:
Freddie, how do you feel about the Salsa community today and about the
way the mambo is danced?
Rios:
Naturally, it’s great to see that the dance has again generated
interest all over the world. There are many great dancers. I’m very happy to
see many people of different cultures experiencing the music and the dance. It
has made a lot of progress internationally. I would just like the next
generation of dancers to know that they should try to dance with more “feeling”,
“sabor” and “sentimiento”. All those turn patterns takes away from
genuine feeling of the dance.
Angel:
How did you hear about the now famous event called the “Bacardi
Congreso de La Salsa” (formally known as the World Salsa Congress)
Rios:
I heard it through Eli Irizarry (All Star Entertainment) Quetcy Olmo
and Angel Ortiz . They called me and asked me if I was interested. I sent them
a video. Angel Ortiz then asked me if I would be interested in performing as
part of the New York delegation to the event. He was choreographing a dance
number that would feature Mike and I. We gladly accepted.
Mike
Ramos, Al Pacino, Freddie Rios during the filming of “Carlito’s Way
Angel:
The 1998 World Salsa Congress was dedicated to the Palladium Mambo
Legends. How did you feel about that?
Rios:
It was a wonderful experience for us. It was an honor for us to be
there and be recognized that way. We received many positive comments and it
was great to be able to experience this in front of a world audience.
Angel:
Which TV shows have you appeared on?
Rios:
Ed Sullivan, Sabado Gigante, Cristina, Sabado Al Mediodia, Like it Is,
and various cable channels.
Angel:
What’s in the future for you and dance?
Rios:
I’d like to travel more to teach. I would like to establish a school
for the public to go to and learn the dance. I’m also interested in
establishing a series of video tapes.
Angel:
What are some of the types of dances people ask of you when you travel?
Rios:
I try to encourage people by introducing the Pachanga, Cha-cha-cha, and
the Mambo. People also should not forget about footwork, keeping the rhythm,
and technique. You should also know that you could take the cha-cha-cha and
learn this dance first as a precursor to the mambo. The cha-cha-cha is very
rhythmical and easy to learn. All the above dances were done back in the 50’s.
It wasn’t just mambo. On occasion, when I’m away on travel, some people
are surprised to see only footwork since they were probably accustomed to just
doing turn patterns.
Angel:
What’s your view on how the mambo is danced here in New York and in
different areas of your travels?
Rios:
I think that most people should remember to dance with feeling. That
seems to be missing in a lot of the young dancers here in New York. I’ve
also noticed that there are a lot of outside instructors who visit New York
and either take lessons or study with various instructors. For example, I have
served as an instructor to some of the NY instructors. It’s always a good
idea to study with a variety of instructors. There is always something a
person can learn. But for the most part, the mambo is danced with everyone’s
individual style. This is what is so great about the mambo. You can take the
same steps and incorporate whichever style you like.
Angel:
Looking at your resume, you’ve performed for various artists such as
Count Basie, Ella Fitzgerald, Dean Martin, Ed Sullivan, Johnny Mathis, and
Tony Bennett. What was that like?
Rios:
There’s the Apollo Theatre and the Paramount Theatre. We were
fortunate to perform for these individuals because most of them used to go the
Palladium and see Mike and I dance. The Palladium was culturally mixed and all
the famous celebrities used to go there (Sammy Davis, Marlon Brando). So Mike
and I were hired to open up shows. There were a lot of great dancers and each
had their own style.
Angel:
For those who are interested in studying with you Freddie, how can they
contact you? Are you teaching private, group lessons anywhere?
Rios:
At the moment, I’m teaching private lessons. You can reach me by
e-mailing at Salsamundo or contact me in New York at (718) 457-4312.
Angel:
In closing Freddie, what would you say to those out there interested in
dancing the mambo?
Rios:
When it comes to dancing the mambo, lots of dancers today are dancing
very well but some are missing “sabor” and “sentimiento”. Dance what
you feel and invent at the moment. Remove yourself from the norm and be
creative. Try to create your own style. Remember that turn patterns are only
one part of the dance. Incorporate body movements to create a more complete
picture and don’t forget, through it all, HAVE FUN!!!!
THE END
Freddie Rios - the early years-on the right
Additional
publications:
El
Diario
El
Vocero July 1997
2nd
Congress dedication 1998
San
Juan Star newspaper July 23, 1998
El
Nuevo Dia September 7, 1997 Congreso Mundial Caribe Hilton
El
Especial newspaper November 25, 1992
Down
Beat March 1997 article written by Larry Birnbaum Aaron Davis Hall concert
Catskills
performance
El
Diario, October 9, 1992
The
Ballroom Review
Aaron
Davis Hall December 15, 1996- a concert celebrating the sidemen of the
Palladium Era, hosted by Felipe Luciano featuring, Alfredo Armenteros,
Graciela, Jimmy Sabater, Ray Santos (conductor/arranger) Special Guest Tito
Puente
“The
dancers”