College professors are preoccupied constantly with getting Tenure. In order to get tenured and for salary promotions, they are required to publish. Their reading audience is other academics. As a result of trying to impress their peers, they construct sentences with as many multi-syllabic words they can find. It becomes a pretentious exercise. Get my drift? Regarding culture (art, literature, music), they have a tendency to give these topics a socio-political or philosophical treatment. This unnecessary, dense study of popular culture makes for very challenging reading, as is the case here. Prior to his recent death in December 2014, I was fortunate to consult with author Juan Flores. Regarding his book, I raised this observation. He received my assessment graciously. Moreover, Professor Flores acknowledged its validity with an accepting wink and a hearty laugh.

For my money and time, the 33-page Chapter 5 was the most relevant and valuable section of the book. Titled “Cha-Cha With a Backbeat,” this survey on the origins and development of Boogaloo was the most thoroughly researched and illuminating I had come across. To date, it is still the best review of the genre. The chapter had its origins in an earlier published article, which Flores expanded for inclusion in the book. It analyses key players and songs, such as Lookie, Lookie; I Like It Like That; Boogaloo Blues; etc. With the songs, Flores is able to flesh out a number of components of the genre. In his examination of the hit record Bang Bang, Flores was able to list the various elements common to much of the genre – handclapping, emotive outbursts, boisterous chorus, use of English and Spanish words, repeated Latin-R&B/Funk fusion vamps, overall party atmosphere, etc.

Chapter 5 is greatly enhanced with the observations of key players from relevant bands amongst others, singer Willie Torres (Joe Cuba Sextet) and percussionist Benny Bonilla (Pete Rodríguez y su Conjunto). It is chock full of nuggets, including the one regarding Ray Barretto’ hit recording, El Watusi. Here, I discovered that Willie Torres sang on this recording. His vocal “character” was the subject of the song – a fact not widely known. I consulted Flores on several points and included his work in the sources section for my book, The Willie Torres Discography. (See my Goodreads author profile for more info). A minor quibble: The classic Latin-Soul recording of To Be With You was listed as included on the “1967” Joe Cuba Sextet album Steppin' Out. In actuality, the album and tune were recorded five years earlier in 1962.

Despite my earlier qualms regarding language and treatment, Flores was an excellent researcher. Also, he was a very decent person. I last spoke with him a few months before his untimely passing. Happy and excited, he was wrapping up work on a biography of Latin pianist Eddie Palmieri. Let’s hope it emerges in book form someday. Recommended for: academics on the one hand; Boogaloo fans on the other.
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