ORQ. DEE JAY: BOOGALOO MGM#10002 ('70) PA'ALANTE: HEAR

$

41

ARTIST : ORQUESTA DEE JAY

TITLE : PA 'ALANTE CON LA ORQUESTA DEE JAY

REMARKS: SUPER GREAT COLLECTOR ITEM!!! HEAR SOUND CLIP #1 GREAAATTTTT!!! ALL THE TRACKS SUPER!!!

A FELLOW SELLING THIS LP IN $180.00 (IT'S WORTH REALLY) MENTIONS THAT APARENTLY IT WAS RELESED ONLY AS A DJ COPY. WRONG...I JUST ACQUIRED 2 COPIES, ONE A DJ THE OTHER A REGULAR STOCK COPY!!!

A GREAT EXAMPLE OF A GREAT LATIN BAND THAT SIGNS WITH A RECORDING LABEL GIANT (MGM, RCA, CAPITOL, DECCA, ETC) AND DUE TO THEIR ENORMOUS OUTPUT DO NOT GIVE THE PROMOTION ($$$) AND THE GREAT RECORD GOES UNNOTICED...LIKE THIS CLASSIC!

ORQUESTA DEE JAY: Finally after 35 years out of print, for the first time on CD, the swinging orquesta that performed all over New York City including The Village Gate, Hunts Point Palace...La  Orquesta Dee Jay.

Bandleader and founder George De Jesus began a rock band in the mid 1960’s called The Ravens that had a similar style of music much like the Beatles. Latin music especially in the Salsa genre was becoming more popular in the late 60’s.

As a result, in 1968 George started one of the most swingin’ Latin bands with some of the youngest musicians in the Latin Music industry called Orchestra Dee Jay. They had the crowds swingin’ and dancing to their vibrant New York sound. The band performed in all the famous NYC nightclubs including The Cheetah, The Psycho Room and “The Village Gate” which only featured headliners. In addition to their great performances on the New York Club scene, the group also appeared on the Miguelito Valdez TV show. While in the army, George’s fellow soldiers had difficulties pronouncing his last name “De Jesus” so they nicknamed him Dee Jay. Cuban Latin music producer Ralph Lew who spoke English came on board and formed a Spanish name for the group “La Dee Jay” which was derived from “La Orquesta Dee Jay.” Musicians from top performing bands such as Alfredo (Chocolate) Armenteros called them “La Dee Jay”. Although most of the band members with the exception of George De Jesus were born in New York City they loved the idea of keeping the group name in Spanish even though they could not speak Spanish well. The band was not into the Boogaloo craze and wanted to keep their music as typical as possible. In order to conform to record companies’ request, “Black Shadow” was created and this was the only Boogaloo tune recorded by this hard-hitting Salsa band. One may not notice Black Shadow’s opening has a slight arrangement from the theme song to the science fiction movie “2001 Space Odyssey.” Their first LP recorded in 1970 on MGM Latino “Pa 'Alante Con La Orquesta Dee Jay” (Straight Ahead with Orq. Dee Jay) was a big hit for the group.

Approximately a year later, another masterpiece album was created called “Forget it” on Lewgas Records. The sweet Latin Soul tune and the title track of the LP “Forget it” written by Armando Manzanero and sang by the late trombonist and vocalist “Joe Rivera” never peaked to a top ten position on the Latin American Hit Parade Billboard. However once you listen to the sweet velvet sound of Joe Rivera with his stunning English soulful lyrics, backed up with La Orquesta Dee Jay’s Latin ballad arrangement, one can not imagine why this single “Forget it” never peaked to number one or made it to the top ten. Orquesta Dee Jay was a unique band who did not put any of their music on paper. Their music was original and arrangements were created from jam sessions they had before rehearsals in the basement of De Jesus Bridal shop. “If it sounds good and it’s swingin’, the heck with it, let’s record it” said George De Jesus. Orquesta Dee Jay only recorded two smashing hit albums in the 1970’s. Thanks to the research and promotions done by Jerry Hernandez on the Internet with various salsa web sites such as The LatinSoulShow.com & La Voz del Mambo.com, this remarkable band once again is starting to gain popularity with the Dance and Classic Salsa community in South America, Europe and other parts of the globe with their swingin’ classics. Will we ever in our generation witness a reunion of this incredible Salsa Dura Band known as “La Orquesta Dee Jay?”

1- CAMAGUELA
2- YE-MA-YA
3- TE TRAIGO
4- LA JARA

PERSONNEL:

BASS & LEADER: GEORGE (DEE JAY) DE JESUS Jr.
PIANO: MARIO MARRERO II
CONGA: EMILIO "TATO" BARRETO
TIMBALES: HARRY FERMAINT
TROMBONES: JERRY HERNANDEZ & JOE "BELLY" RIVERA
PERCUSSION: MIKE "FUMECO" RUIZ
BONGO: ANDREW "GRAVE DIGGER" BOURROUGHS
VOCALIST: RAFAEL "CHULETA" DE JESUS

PRODUCED BY THE GREAT RALPH LEW (Born in Cuba of Jewish heritage, Ralph, or rather Rafael Levd, as he was named, began dancing as a young man, with the sounds of clave luring him onto the nightclub dance floors much to his mother's disapproval. His great "ear" led him to produce records with such musical luminaries as Eddie Palmieri, Tito Puente, Machito, Miguelito Valdes and others. HIS EARLY 60s COTIQUE Productions (Boogaloo, Latin Soul, Salsa were unique!)

WEB REMARKS:

Back in the late '60s I was busy watching my New York sports teams (the Mets, Knickerbockers and Jets) getting ready to make history in 1969/70 by winning individual championships for the first time. It was also in my high school years that I listened to night time radio DJs playing all the latest Latin dance music that would soon be labeled "salsa." Little did I know that there were close to one hundred bands all over the boroughs (more specifically, Brooklyn, Bronx and Manhattan) trying to make a go of the new sounds being created and popularized.

Jerry Hernández was a dancer-turned-trombonist (from the lower East Side's Smith Projects) who got turned on to the 'bone sound of Barry Rogers when he heard Eddie Palmieri's Molasses; while George (Dee Jay) De Jesús Jr. was from Brooklyn's Manhattan Avenue, where his parents owned one of the many bridal shops on the strip that were so common during the mid-'60s. George fixed his basement with the latest fads and neon lights to look like a small club, and this was the place where the roots of the band known as Orquesta Dee Jay evolved.

In 1968 De Jesús brought in Jerry Hernández, Joe Rivera and vocalist Rafael De Jesús (known to his friends as Chuleta), and thus began the history of a band that was organized without any formal musical training. Many of the band members' friends and relatives became an entire traveling entourage that followed the band and fueled its swing as well as guaranteed a huge crowd to promoters. The popularity of the band began at the Psycho Room, billed with Willie Colón, when Hernández was only eighteen years old. As the group continued to grow, efforts to get signed by a label were met with the same negative response: "If you don't have any boogaloo, we can't sign you."

Well, the band did put together that needed soulful track titled Black Shadow, and began to play it in their gigs. Along with its first hit, Malas Lenguas, the band continued to gain success, despite the record labels' lack of interest.

Orquesta Dee Jay was featured with every major Latin N.Y. artist, including names like Eddie Palmieri (the one they learned the most from), Orchestra Harlow, Willie Colón (who drew big crowds), the Lebrón Brothers (who also hada huge following), Ray Barretto, and Tito Puente, at the best clubs of the era (The Corso, St. George, Cheetah). This lasted from 1968 through 1974. With each passing year, the engagements were bigger and better and kept landing them at the best clubs throughout various boroughs.

Promoter Ralph Lew saw their names on billboard posters all over the city and decided to check them out. He was amazed that not only could the band move the crowds with its vibrant sound but they also traveled with a crowd. He began to produce the band and reached a deal with MGM Latino that gave birth to Orquesta Dee Jay's first release Pa'lante con la Orquesta Dee Jay. The band was comprised of bandleader George De Jesús Jr. (bass), Mario Marrero II (piano and organ), Emilio "Tato" Barreto (congas), Harry Fermaint (timbal), Jerry Hernández and Joe "Belly" Rivera (trombones), Mike "Fumeco" Ruiz (percussion), and Rafael De Jesús (vocals, no relation to the leader).

Malas Lenguas (the tune that tells the story of the envious ones in the industry) was heard at all of their gigs, in addition to the soulful Black Sbadows and the other originals--Campesino, La ]ara, Yemayá, Cuba, Camaguela, and Te Traigo.

For a two-year period, the band worked six days a week, not to mention the frequent rehearsals that drew 50-60 people to dance and watch them in action. The second LP, Forget It, issued on Ralph Lews' label LEWGAS (re-issued by Mango in 1993) was a huge hit on the Internet program at www.thelatinsoulshow.com and generated the hit Forget It, sung by trombonist Joe Rivera but it was also an enormous success for the band with the tracks Mi Son, Maniatica, Buena Suerte, Yemayá y Obatala, Calunga and Dile Que Vuelva.

After watching the members of Roberto Roena's Apollo Sound all decked out in uniforms at the Village Gate, the Orquesta Dee Jay's mates were convinced that they would have to do the same for their debut at the Gate. Since George owned a bridal shop, he and Jerry Hernández went to tuxedo manufacturers that hooked them up with raspberry tuxedos and white pants and bowties that helped make the Gate event one of the most memorable ones. It was the only time Symphony Sid came on stage to congratulate a band.

Like any good thing happening with a band, the wear and tear of playing so much actually caused a few members to leave, while others wanted to branch out on their own. The sound was never again the same, not even with new and better musicians, so in 1975, Orquesta Dee Jay dissolved. 

For many collectors back in the '70s, this was the record many would pass on unless they saw them live. Today, their vinyl goes for huge bucks on the Internet and in my opinion, there is no doubt that this was one of the heaviest bands of the late '60s and early '70s and I am so glad I met these guys via Andrés Padua. Their CDs are now available through "The Latin Soul Show" network and are worth the price for these historic recordings.

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Record Grading: Standard guidelines for grading records comes down to a subjective judgment that may vary from person to person. We grade records and LP covers visually AND (when possible) play-tested. We make every effort to give full disclosure (remember that the LP has at least 12 tracks and the grading may vary between each other)  and your satisfaction is guaranteed. Don't assume that our vinyl determination of "Very Good+" is the same as yours!

RECORD OR COVER GRADED VG or LESS WILL BE "SOLD AS IS"

MINT: Unplayed, still sealed.
 

NM RECORDS: are shiny, with no visible defects, they might have one or 2 minor superficial scuff and they should play without any noise. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must not be present; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.)

NM COVERS:

have no creases, ring wear or seam splits of any kind.

Picture Sleeves: should look as if they never housed a record. This is a great reason to remove your 45s from their picture sleeves and keep them separate. Just keeping the 45 inside the sleeve will cause damage than can reduce the grade of the sleeve.  

VG++ (Excellent) RECORDS: 
Barely noticeable play wear and background noise. May have surface scuffs and/or superficial marks, which will be inaudible or indiscernible from the background, no scratches. Very nice, flaws noted.
VG++ COVERS:
Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.  

VG+ RECORDS:

may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable.

VG+ COVERS:
should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.

VG+ PICTURE SLEEVES:
might show some very light creasing where it is obvious that a record once resided (or still does reside). A VG+ picture sleeve might have some very minor seam wear or a split (less than one inch long) at the bottom, the sleeve’s most vulnerable location. 

VG RECORDS:

They have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches  may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise. Minor writing, tape, or a sticker can detract from the label. Many collectors who have jukeboxes   will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG COVERS and PICTURE SLEEVES:
will have many signs of human handling. Ring wear  in the middle or along the edges of the cover where the edge of a record would  reside, is obvious, though not overwhelming. Some more creases might be  visible. Seam splitting will be more obvious; it may appear on all three sides,  though it won’t be obvious upon looking. Someone might have written or stamped  a price tag on it, too.

RECORDS GRADED VG OR BELOW WILL BE "SOLD AS IS"

Items are to be paid within 7 days (if not paid by that time it will be subject for relisting) of auction close and will be shipped within 48 hours of receipt of payment. Paypal is the preferred method of payment.
 
Carlos A. Flores 25830 Crippen Dr. Land O' Lakes, FL  34639