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Who is Armando Peraza in Latin Jazz?
Armando Peraza (born ca. May 30, 1924 in Havana, Cuba) is a Latin jazz percussionist. Through his long associations with jazz pianist George Shearing, vibraphonist Cal Tjader and guitarist Carlos Santana, he has been internationally known from the 1950s through to the 1990s. Although primarily known as a bongocero and conguero, Peraza is also an innovative and accomplished dancer and composer. Peraza has been featured on classic recordings by Perez Prado, Machito, George Shearing, Charlie Parker, Tito Puente, Cal Tjader and Carlos Santana. Peraza's work with Shearing, Tjader and Santana brought him international fame. He has been inducted into the Smithsonian Institution's Hall of Jazz Legends and has had three official "Armando Peraza Days" by the City of San Francisco. Born in Lawton Batista, Havana, Cuba in 1924 (although the birth year is uncertain), he was orphaned by age 7 and lived on the streets, making a living selling vegetables. Peraza gained a reputation as a sportsman, and became proficient at baseball and boxing. At one time he was a boxing coach. A natural musician, a chance encounter at a baseball game led to his first professional gig with famous local bandleader Alberto Ruiz. He then made his reputation as drummer and dancer playing with the cream of Havana's small bands or "conjuntos", the most famous being Ruiz's Conjunto Kubavana. He left Cuba for Mexico in 1948 to tend to his sick friend, conga drummer Mongo Santamaría. They subsequently arrived in New York City in 1949, where after sitting in with Machito's big band, Peraza was personally requested by the great Charlie Parker to participate on a record date with Parker, Buddy Rich and many others. He also recorded with Slim Gaillard in New York in November 1949, a session that produced an exemplary virtuoso performance from Peraza on "Bongo City". He toured the entire U.S. with Slim Gaillard's band and ended up in San Francisco, where Gaillard owned the famous San Francisco nightclub named Bop City. After a period in Mexico, where he recorded with Perez Prado and also recorded many soundtracks for the Mexican movie industry. In 1954, while performing in San Francisco with pianist Dave Brubeck, Peraza met Cal Tjader, who was Brubeck's drummer at the time. The jazz writer Leonard Feather recommended Armando to Fantasy Records, along with Tjader to record an Afro-Cuban album, which was titled "Ritmo Caliente" and was groundbreaking in its use of Afro-Cuban rhythms with a Jazz sensibility and was followed up in 1957 with "Mas Ritmos Caliente". During this period, Peraza was introduced to British Peraza's extraordinary technique and expressive power as a hand drummer became a feature of Shearing's performances. He toured the world over with Shearing but it was in America where he experienced persistent and institutionalized racism. An example of this was an incident in Miami during dates with Shearing and Peggy Lee in 1959, Peraza and the other black members of the band were not allowed to stay at the same hotel as the white musicians. Shearing and Lee resolved the situation by threatening to pull out of the performance unless Peraza and the others were "allowed" to stay at their hotel. Shearing was one of the first racially integrated jazz groups, which was groundbreaking in its own right. While with Shearing, Peraza had the distinct opportunity to play with the classical symphonies of Boston, Philadelphia, New York and Oklahoma City. He also participated while with Shearing, in a command performances for Elizabeth II of the United Kingdom.