Charles Socci Dot Com

On the worst of days I will find a moment and live there—in a precious place unto itself neither present nor past.

I had a moment today on the fourth beat of the 28th bar of Tito Puente’s’ Oye Como Va.

So far I’m going on many words to express the singular special-ness of this one beat.

It is no secret I like music, all kinds, and I spent the day at my desk listening to a mixture of Bach, Bird, Mozart and Bill Frisell. On my way home, to Washington Heights, I hungered for el sabor latino.

I recently downloaded the Anglo-Saxon Salsa for Dummies collection from iTunes - everything from cheesy 90’s’ synth pop dance numbers, to classic clave (clah-vay) tappin’ - drop everything else - this is the best time I ever had being human - and when can I book my next flight to San Juan, kind of music.

I queued up my salsa playlist and first up was Mr. Puente and crew from the Mambo Birdlandalbum. Everyone has heard Oye ComoVa a hundred times or more. Santana covered it. Its in the drug store, market, elevator, la bodega, everywhere. Its a simple cha-cha really, and the words roughly translate to “Listen to my rhythm girl, it is good for partying”

The moment for me lies in the last bar of that 28 bar intro. There’s a pause, a guttural “HOO!”, and then the fattest horn hit ever, “BAP!”

You feel that horn hit coming, you know it is inevitable but somehow it’s different when it arrives. It lands heavy on the beat like a fat man sitting down to eat lunch.

After the intro’s repetitive on the beat/off the beat riff, the click-click cha-cha squarely on the beat, and the riffing flute: those horns squash that last beat of the intro soundly in place.

I can live in a moment like that. My rhythm is ready for a party.

HOO!