MANNY OQUENDO
January 1, 1931 – March 25, 2009
Bandleader, percussionist Manny Oquendo passed away March 25, 2009 of a heart attack. A self-
taught musician, Oquendo was a senior statesman of the Latin percussion instruments of
timbales and bongos before founding and co-directing the critically acclaimed Latin music
band, Conjunto Libre for more than 35 years.
A member of the seminal recording “Grupo Folklorico Experimental Nuevayorquino” Parts I & II,
Manny Oquendo was known for his understated yet aggressive solo improvisations on both the
timbal and bongos. His was not a race as to who could play the fastest, or who could do the most
paradiddles, excessive drum rolls or “contra-clave,” Manny Oquendo’s style was a school in and
of itself. “The Timbalero must always keep the beat,” he emphasized in interviews. “Never
overplay,” was his most consistent rule.
His style was found in the roots of Cuban bands such as Arcaño’s or Orquesta Aragon, never
flashy, never overstated. For influence and inspiration he looked to the drummers of the
vintage Cuban bands such as bongocero, Ramón Castro, who played with the Orquesta Casino
de la Playa and later with Pérez Prado or Conjunto Casino’s Yeyito Iglesias or Papa Kila (Antolín
Suárez) who played with Arsenio Rodríguez or Sonora Matancera’s Manteca (José Rosario
Chávez). Manny Oquendo was known by what he said on the timbal, not how many things he
could do to it.
For more than 60 years, Manny Oquendo’s said many things through his percussive strength and
musical vision. His profound yet understated sounds were part of the Latin New York music
scene from the ‘40s until today.
Born José Manuel Oquendo on South Fourth St. Brooklyn, he was called "Manolo" before he
became "Manny" in his teens. The family later moved to East Harlem in 1939 where Oquendo was
captivated by the sounds of music. “Music was everywhere,” he recalled.
East Barrio’s first Latin music record store “Almacenes Hernandez” (originally located at 1600
Madison Avenue and opened in 1927) was just one flight down from the Oquendo family's
apartment. The swinging big bands of Machito, Jose Fajardo and Orquesta Aragon became the
soundtrack of his childhood. "There was music constantly coming out of that store, and that was
my education," he recalled.
His first set of drums were a pair of “tom toms” with the skin on both ends. Played with sticks
from a wooden hanger, Manny played along to records from his parents’ victrola. Spanish
language radio stations were always on in his home. Later, when Oquendo visited his parent’s
roots in Ponce, he discovered the cuatro through his grandfather.
After the “tom toms,” Oquendo got a pair of wooden timbales and began playing with Sexteto
Sanabria but not before taking a few drum lessons at a school on 125th Street at 25 cents per
lesson. Later on, he studied privately with Sam Ulano, a well-known percussion teacher. Jazz
drummer Max Roach also studied with Ulano alongside Manny. Whenever they’d run into each
other they’d reminisce on their school days. Oquendo always kept his set of trap drums.
By the 1940s, the Oquendos moved to Kelly Street in the South Bronx unknowingly joining a
community of likeminded musicians. Pianist, Noro Morales lived down the street from Manny on
Stebbins Ave.; Joe Loco was by Horseshoe Park; Tito Rodríguez was on Rogers Place; Tito Puente
on 163rd Street, while Arsenio Rodríguez and Ray Coén both lived on Kelly Street.
Oquendo began playing with New York's top orchestras. He played with the Carlos Medina
Orchestra, the Charlie Valero Band and Xavier Cugat’s former singer Luis del Campo before
playing with the legendary Marcelino Guerra Band.
From here Oquendo played with trumpeter Frank Garcia and his vocalist, El Boy, where he met
Chano Pozo who performed with Miguelito Valdes at a local show and stayed to play with the
fledging timbalero. Chano remained with the small group until he got a better paying job.
Oquendo moved on as well, joining pianist Jose Curbelo’s orchestra where he performed on a
full array of drums owing to their diverse repertoire that included tangos, sambas and American
swing music. “It gave me the feeling of being a complete drummer.” He mentioned in an
interview to Frank Figueroa over Latin Beat.
From here, Manny Oquendo joined Pupi Campos’ band playing many venues on Long Island
alongside Tito Puente and his Picadilly Boys. Since they were both working in the same area,
Tito and Manny would ride together to their respective gigs with Manny playing in Tito’s band
as he waited for his own show to begin. When Tito’s regular bongocero Chino Pozo left to tour
with Katherine Dunham, Tito asked Manny to take over that chair. When Little Ray Romero
took a job with Eartha Kit, it was Manny Oquendo who Tito Rodriguez called to fill his bongo
chair.
Manny had his Afro-Antillian chops chiseled under the bands of Tito Puente, Tito Rodriguez,
Johnny Pacheco and others. He had hung with the legendary Chano Pozo, taking the Musician’
s Union cabaret license test for him enabling Pozo to work in New York clubs during his stay
between 1946 –’48.
By the 1960s, everything Cuban was forbidden. Manny listened to the Mozambique sounds of
Pello El Afrokan over short wave radio and on pirated records. Back in his apartment on Kelly
Street in the Bronx, he’d practice hitting the timbal with the left and playing the rhythm on the
right until he nailed the Cuban genre so well he made it his own.
In 1963, Manny Oquendo joined "La Perfecta," the conjunto organized by pianist Eddie
Palmieri. Alongside congüero, Tommy Lopez, Manny crystallized the Mozambique sound
creating a powerhouse rhythm section alongside Palmieri’s improvisational infrastructure.
In 1974 Oquendo and bassist Andy Gonzalez left Palmieri to move in their own direction.
Leaving the traditional structures behind, the duo incorporated jazz, Afro-Cuban, Afro-Puerto
Rican rhythms while exploring alternatives. The goal was to “free” the music from restrictive
content and Libre was born. During 1976 to 1981, Oquendo became a musical historian of the
tipico sound he'd perfected with Palmieri. Libre's first albums included classics by composers
Ignacio Pineiro, Rafael Hernandez and Nico Saquito, as well as a traditional Puerto Rican plena
by Manuel "Canario" Jimenez.
At the same time, the group attracted a creative crop of innovative young artists in Latin music.
The Gonzalez brothers, Andy and Jerry Gonzalez are founding members; Alfredo de la Fe is
featured on various incendiary violin solos with singer Herman Olivera making his recorded
debut over a Libre recording while flautist Nestor Torres was also a featured guest. At various
times, Barry Rogers, Jose Rodrigues, Angel "Papo" Vazquez, Jimmy Bosch, Reynaldo Jorge, Dan
Reagan and Steve Turre held down the trombone line, while Oscar Hernandez, Joe Mannozzi,
and Marc Diamond rocked the piano chair.
Last year, Puerto Rico’s Radio Station, Z93 dedicated its National Salsa Day to Manny Oquendo.
Manny Oquendo is survived by four sons and two sisters.
According to Manny Oquendo's wishes, there will not be a viewing. We will post any information
regarding a memorial in the future.
January 1, 1931 – March 25, 2009
Bandleader, percussionist Manny Oquendo passed away March 25, 2009 of a heart attack. A self-
taught musician, Oquendo was a senior statesman of the Latin percussion instruments of
timbales and bongos before founding and co-directing the critically acclaimed Latin music
band, Conjunto Libre for more than 35 years.
A member of the seminal recording “Grupo Folklorico Experimental Nuevayorquino” Parts I & II,
Manny Oquendo was known for his understated yet aggressive solo improvisations on both the
timbal and bongos. His was not a race as to who could play the fastest, or who could do the most
paradiddles, excessive drum rolls or “contra-clave,” Manny Oquendo’s style was a school in and
of itself. “The Timbalero must always keep the beat,” he emphasized in interviews. “Never
overplay,” was his most consistent rule.
His style was found in the roots of Cuban bands such as Arcaño’s or Orquesta Aragon, never
flashy, never overstated. For influence and inspiration he looked to the drummers of the
vintage Cuban bands such as bongocero, Ramón Castro, who played with the Orquesta Casino
de la Playa and later with Pérez Prado or Conjunto Casino’s Yeyito Iglesias or Papa Kila (Antolín
Suárez) who played with Arsenio Rodríguez or Sonora Matancera’s Manteca (José Rosario
Chávez). Manny Oquendo was known by what he said on the timbal, not how many things he
could do to it.
For more than 60 years, Manny Oquendo’s said many things through his percussive strength and
musical vision. His profound yet understated sounds were part of the Latin New York music
scene from the ‘40s until today.
Born José Manuel Oquendo on South Fourth St. Brooklyn, he was called "Manolo" before he
became "Manny" in his teens. The family later moved to East Harlem in 1939 where Oquendo was
captivated by the sounds of music. “Music was everywhere,” he recalled.
East Barrio’s first Latin music record store “Almacenes Hernandez” (originally located at 1600
Madison Avenue and opened in 1927) was just one flight down from the Oquendo family's
apartment. The swinging big bands of Machito, Jose Fajardo and Orquesta Aragon became the
soundtrack of his childhood. "There was music constantly coming out of that store, and that was
my education," he recalled.
His first set of drums were a pair of “tom toms” with the skin on both ends. Played with sticks
from a wooden hanger, Manny played along to records from his parents’ victrola. Spanish
language radio stations were always on in his home. Later, when Oquendo visited his parent’s
roots in Ponce, he discovered the cuatro through his grandfather.
After the “tom toms,” Oquendo got a pair of wooden timbales and began playing with Sexteto
Sanabria but not before taking a few drum lessons at a school on 125th Street at 25 cents per
lesson. Later on, he studied privately with Sam Ulano, a well-known percussion teacher. Jazz
drummer Max Roach also studied with Ulano alongside Manny. Whenever they’d run into each
other they’d reminisce on their school days. Oquendo always kept his set of trap drums.
By the 1940s, the Oquendos moved to Kelly Street in the South Bronx unknowingly joining a
community of likeminded musicians. Pianist, Noro Morales lived down the street from Manny on
Stebbins Ave.; Joe Loco was by Horseshoe Park; Tito Rodríguez was on Rogers Place; Tito Puente
on 163rd Street, while Arsenio Rodríguez and Ray Coén both lived on Kelly Street.
Oquendo began playing with New York's top orchestras. He played with the Carlos Medina
Orchestra, the Charlie Valero Band and Xavier Cugat’s former singer Luis del Campo before
playing with the legendary Marcelino Guerra Band.
From here Oquendo played with trumpeter Frank Garcia and his vocalist, El Boy, where he met
Chano Pozo who performed with Miguelito Valdes at a local show and stayed to play with the
fledging timbalero. Chano remained with the small group until he got a better paying job.
Oquendo moved on as well, joining pianist Jose Curbelo’s orchestra where he performed on a
full array of drums owing to their diverse repertoire that included tangos, sambas and American
swing music. “It gave me the feeling of being a complete drummer.” He mentioned in an
interview to Frank Figueroa over Latin Beat.
From here, Manny Oquendo joined Pupi Campos’ band playing many venues on Long Island
alongside Tito Puente and his Picadilly Boys. Since they were both working in the same area,
Tito and Manny would ride together to their respective gigs with Manny playing in Tito’s band
as he waited for his own show to begin. When Tito’s regular bongocero Chino Pozo left to tour
with Katherine Dunham, Tito asked Manny to take over that chair. When Little Ray Romero
took a job with Eartha Kit, it was Manny Oquendo who Tito Rodriguez called to fill his bongo
chair.
Manny had his Afro-Antillian chops chiseled under the bands of Tito Puente, Tito Rodriguez,
Johnny Pacheco and others. He had hung with the legendary Chano Pozo, taking the Musician’
s Union cabaret license test for him enabling Pozo to work in New York clubs during his stay
between 1946 –’48.
By the 1960s, everything Cuban was forbidden. Manny listened to the Mozambique sounds of
Pello El Afrokan over short wave radio and on pirated records. Back in his apartment on Kelly
Street in the Bronx, he’d practice hitting the timbal with the left and playing the rhythm on the
right until he nailed the Cuban genre so well he made it his own.
In 1963, Manny Oquendo joined "La Perfecta," the conjunto organized by pianist Eddie
Palmieri. Alongside congüero, Tommy Lopez, Manny crystallized the Mozambique sound
creating a powerhouse rhythm section alongside Palmieri’s improvisational infrastructure.
In 1974 Oquendo and bassist Andy Gonzalez left Palmieri to move in their own direction.
Leaving the traditional structures behind, the duo incorporated jazz, Afro-Cuban, Afro-Puerto
Rican rhythms while exploring alternatives. The goal was to “free” the music from restrictive
content and Libre was born. During 1976 to 1981, Oquendo became a musical historian of the
tipico sound he'd perfected with Palmieri. Libre's first albums included classics by composers
Ignacio Pineiro, Rafael Hernandez and Nico Saquito, as well as a traditional Puerto Rican plena
by Manuel "Canario" Jimenez.
At the same time, the group attracted a creative crop of innovative young artists in Latin music.
The Gonzalez brothers, Andy and Jerry Gonzalez are founding members; Alfredo de la Fe is
featured on various incendiary violin solos with singer Herman Olivera making his recorded
debut over a Libre recording while flautist Nestor Torres was also a featured guest. At various
times, Barry Rogers, Jose Rodrigues, Angel "Papo" Vazquez, Jimmy Bosch, Reynaldo Jorge, Dan
Reagan and Steve Turre held down the trombone line, while Oscar Hernandez, Joe Mannozzi,
and Marc Diamond rocked the piano chair.
Last year, Puerto Rico’s Radio Station, Z93 dedicated its National Salsa Day to Manny Oquendo.
Manny Oquendo is survived by four sons and two sisters.
According to Manny Oquendo's wishes, there will not be a viewing. We will post any information
regarding a memorial in the future.
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