The Pete Terrace Quintet Plays Joe Loco Arrangements; Fantasy F-3234
Julio Andino, Bass
Bobby Flash, Bongos
Freddie Engel, Congas y Timbales
Pete Terrace, Vibes
Pedro Gutierrez (Pete Terrace) excelled at vibes, Latin, and Latin jazz despite his Anglicized name, which may have been a disadvantage. His talent was such that he recorded several albums for Tico, although he may be best known for a budget-label boogaloo session. His father was a disc jockey in New York and Miami, his brother Ray an accomplished drummer. After drumming in the Commercial High School and U.S. Army bands, Latin Pete attended Julliard. Following graduation in 1952, he switched to vibes and got his start with Noro Morales, Tito Puente, Pupi Campo, Buddy Rich, and Josephine Baker prior to joining Joe Loco.
George Goldner, A&R head of Tico (and later head of Cotique) saw enough potential to commit to a series of albums for the Pete Terrace Quintet. Terrace started his own New York City label, Mio International (Latin records and a few others, such as Hawaiian), after which he practiced medicine in Puerto Rico.
The first Pete Terrace albums on Fantasy feature Joe Loco band members and arrangements. The Tico albums are very rewarding, and the later boogaloo albums all have their moments. The two albums on Colpix are good, although Terrace does not play vibes on either.
Buying: Some Pete Terrace albums look mushy but have a few upbeat mambos and guarachas. All except the Strand LP are worthwhile.
7 Going Loco: Pete Terrace Plays Joe Loco Arrangements; Fantasy F-3203 (The Pete Terrace Quintet Plays Joe Loco Arrangements; Fantasy F-3234)
7 Pete Terrace Quintet: Invitation to the Mambo; Fantasy F-3215
7 A Night in Mambo Jazzland; Tico SLP-1023 (1st press has jacket w/liners w/photos; partly arr. by Charlie Palmieri)
7 Mambo-Jazz; Tico SLP-1028 (retitled The Nearness of You, same #)
7 Cha Cha Cha in New York; Tico SLP-1036
6 What a Night for the Cha Cha Cha; Tico SLP-1040 (= The Latin Boys "under the direction of Peter Gutierrez": Ask Me to Cha Cha Cha, same #)
7 Pete with a Latin Beat; Tico SLP-1050
7 My One & Only Love; Tico SLP-1057; 1959
6 Cole Porter in Latin America; Tico SLP-1063; 1960 (Forum SF-9041)
7 Baila Pachanga; Tico SLP-1082; 1962
6 Sabrosa y Caliente (Hot & Spicy); Colpix SCP-430
6 Viejos pero Buenos (Oldies but Goodies); Colpix SCP-432
6 Dance Percussion Around the World Cha Cha Cha; Strand SLS-1032
7 El Nuevo Pete Terrace; Scepter S-539
7 King of the Boogaloo; A/S SASR-1010; 1967 (live; Alshire/Somerset SF-31400)
7 P.T.; Mio International MCS-1004 (Latin jazz/Latin soul)
7 Latin Soul; Mio International MCS-1008; 1967 (7 cuts from King of the Boogaloo --not "Bang Bang"-- & 3 studio instrumentals)
7 Pete Terrace Quintet: Invitation to the Mambo; Fantasy F-3215
7 A Night in Mambo Jazzland; Tico SLP-1023 (1st press has jacket w/liners w/photos; partly arr. by Charlie Palmieri)
7 Mambo-Jazz; Tico SLP-1028 (retitled The Nearness of You, same #)
7 Cha Cha Cha in New York; Tico SLP-1036
6 What a Night for the Cha Cha Cha; Tico SLP-1040 (= The Latin Boys "under the direction of Peter Gutierrez": Ask Me to Cha Cha Cha, same #)
7 Pete with a Latin Beat; Tico SLP-1050
7 My One & Only Love; Tico SLP-1057; 1959
6 Cole Porter in Latin America; Tico SLP-1063; 1960 (Forum SF-9041)
7 Baila Pachanga; Tico SLP-1082; 1962
6 Sabrosa y Caliente (Hot & Spicy); Colpix SCP-430
6 Viejos pero Buenos (Oldies but Goodies); Colpix SCP-432
6 Dance Percussion Around the World Cha Cha Cha; Strand SLS-1032
7 El Nuevo Pete Terrace; Scepter S-539
7 King of the Boogaloo; A/S SASR-1010; 1967 (live; Alshire/Somerset SF-31400)
7 P.T.; Mio International MCS-1004 (Latin jazz/Latin soul)
7 Latin Soul; Mio International MCS-1008; 1967 (7 cuts from King of the Boogaloo --not "Bang Bang"-- & 3 studio instrumentals)
Partly Pete Terrace LPs
8 Ray Terrace: Baila, Baila (Dance, Dance); J/G-Jubilee JGM-7000 (w/Manny Roman; Pete Terrace arrangements)
6 Various: Basic Cha Cha Cha; Tico LP-1032
6 Various: Cha Cha Cha Carnival; Tico/Forum SF-9051 (Tico/Forum Circle FCS-9096)
6 Various: Tico Selector (Tico Gallery); Tico TS-1
6 Various: Basic Cha Cha Cha; Tico LP-1032
6 Various: Cha Cha Cha Carnival; Tico/Forum SF-9051 (Tico/Forum Circle FCS-9096)
6 Various: Tico Selector (Tico Gallery); Tico TS-1
Pete Terrace 45s
7 Pete Terrace & his Quintet--The King of Latin Jazz: Soon/Watch Your Step; Tico 45-352 (vibes)
7 The Latin Boys: La Mucura/Chocolate Cha Cha Cha (El Bodeguero; Tico 400 (A-side not on Tico LP 1040)
8 "Latin Pete" Terrace: Umo/El Jamaiquino; Colpix [Torchlite Series] TL-121 (smoking A-side, at least, is not on either Colpix LP)
8 Shot Gun/?; Pie ?ZN-25440; 1967 (on Various: Fizzy Soul Cocktail Vol. 2; Cheeky Money CMRLP002; part of the live set but not on the Alshire or Mio LPs)
7 Pete Terrace & his Quintet--The King of Latin Jazz: Soon/Watch Your Step; Tico 45-352 (vibes)
7 The Latin Boys: La Mucura/Chocolate Cha Cha Cha (El Bodeguero; Tico 400 (A-side not on Tico LP 1040)
8 "Latin Pete" Terrace: Umo/El Jamaiquino; Colpix [Torchlite Series] TL-121 (smoking A-side, at least, is not on either Colpix LP)
8 Shot Gun/?; Pie ?ZN-25440; 1967 (on Various: Fizzy Soul Cocktail Vol. 2; Cheeky Money CMRLP002; part of the live set but not on the Alshire or Mio LPs)
Especial Agradecimiento a Mi Socio Rumbero Anonimo !!
Autor: ©Max Salazar
Originalmente Publicado en:
Latin Beat Magazine, Septiembre de 1996
Reeditado en el libro: Mambo Kingdom, de Max Salazar, 2002
Versión al español de: Jaime Delgado Cartagena
Colaborador de Herencia Latina
La palabra castellana “Loco” llegó a ser el sobrenombre de un músico nacido en New York, debido a que él insistía que los clásicos del pop americano como “Blue Moon”, “Sweet and Lovely”, “Little Brown Jug” y “Love for Sale” podrían ser interpretados como mambos. El percusionista José Mangual agrega otra razón: “El rótulo de Loco estaba colgado en él hacia la mitad de los años 40s, luego de que Verne Records grabó su composición “Cada Loco con su Tema” para una sesión de Machito”. La esposa de Loco, Irma, decía, “Joe sufrió un daño en la cabeza luego de ser golpeado por un bus…Sus amigos comenzaron a llamarlo Loco”.
Cualquiera que fuera la razón para este sobrenombre, Joe Loco fue indudablemente uno de los músicos latinoamericanos mas venerados. Más de la mitad de sus grabaciones luego de 1951 fueron temas comunes del pop americano llevados a un formato latinoamericanizado. Loco, un orquestador experimentado, adicionó un típico sabor de mambo y cha cha cha cubano a sus arreglos de “Blues in the Night”, “Serenata in Blue”, “Too Marvellous for Words”, “In the Still of the Night”, “Gypsy in My Soul” y “How High the Moon”.
Él fue uno de los primeros músicos en seguir al trompetista de Machito, Mario Bauzá, en el desarrollo del latín jazz. Joe Loco produjo al menos doscientas composiciones y arregló temas exitosos para las orquestas de Machito, Marcelino Guerra, Chano Pozo, Polito Galíndez, Pupi Campo y Julio Andino. Por mas de treinta años, comenzando a finales de los años treinta, fue reconocido como el pianista de los pianistas, en honor a su arte en los teclados con las bandas de Montesino, Moncho Usera, Eric Madriguera, Bartolo Hernández, Machito, Polito Galíndez, Marcelino Guerra, Ramón Argüeso, Fernando Álvarez, Armando Castro, Pupi Campo, Tito Puente y Julio Andino.
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