Jimmy Sabater
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Jimmy Sabater
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Jimmy Sabater (April 11, 1936 – February 8, 2012) was an American musician of Puerto Rican ancestry. A three-time winner of the ACE Awards, he was a singer and timbales player. He gained international fame thanks to his work with the Joe Cuba Sextet in the 1960s and '70s, and later became the lead singer of various groups including Charlie Palmieri's Combo Gigante. His son, Jimmy Sabater Jr., is a trumpeter and bandleader.

Life and career

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Early life

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Sabater was the son of Néstor Sabater and Teresa González of Ponce, Puerto Rico. Born Jaime Sabater in Harlem Hospital, New York City,[1] he grew up in East Harlem, the Spanish Quarter of New York City known as "El Barrio". Like most teenagers in the neighborhood, he played stickball, flew kites, and harmonized the tunes of the popular R&B groups and vocalists of the day such as Nat King Cole.

He was inspired by percussionists such as Willie Bobo, Uba Nieto, Papi Pagani, Monchito Muñoz, and Willie Rodríguez. With encouragement from many of these same drummers who were from "El Barrio", Sabater practiced playing the timbales, the standing drum kit made famous by the "Rey del Timbal", Tito Puente. It was during a 1951 stickball game between the Devils and the 112th Street Viceroys that Sabater's life would make a historic turn. A young man named Gilberto Calderón of the Devils met Sabater and invited him to a party. The two became fast friends. They had a lot in common. Both wanted to be musicians after being influenced by the music of Machito, Marcelino Guerra, Noro Morales, Tito Puente and Tito Rodríguez.

Joe Cuba Sextet

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1954 saw the Joe Panama Sextet as one of Spanish Harlem's most popular music groups. When Panama's conguero, or conga drummer, left the group, Sabater recommended his friend Gilberto for the job. Soon after, bandleader Joe Panama fired his sidemen and replaced them with others. The now unemployed musicians, which included vocalist Willie Torres and pianist Nick Jiménez, formed a group which included bassist Roy Rosa, vibraphonist Tommy Berríos, Sabater, and conguero Gilberto Calderón (who had been selected by the musicians to direct the band).

One evening, the group appeared at La Bamba Club in midtown Manhattan under the name of "The Joe Panama Sextet". When Panama's mother threatened to sue Gilberto if he continued using the name, promoter Catalino Rolón recommended that the group change its name to "The Joe Cuba Sextet". They played gigs in the clubs of "El Barrio", as well as upstate New York venues such as The Pines Resort.

The popularity of Cuba's sextet began to rise when José "Cheo" Feliciano joined the group. This occurred when José Curbelo's vocalist Santitos Colón replaced Gilberto Monroig in Tito Puente's band. Willie Torres then left Joe Cuba's Sextet, and replaced Santitos in Curbelo's orchestra. This opened the door for Cheo with Joe Cuba. This worked out perfectly for Cuba. Feliciano was selected to sing songs with Spanish lyrics, while Sabater was selected to sing songs with English lyrics.

From the late 1950s and into the early 1960s the Sextet recorded on the Mardi Gras label, constantly increasing their popularity. In 1962, Seeco Records recorded Joe Cuba's album "Steppin' Out". This album would become a "monster hit", and Sabater would become part of history, as on the album he sang "To Be With You", by Willie Torres, and also wrote and sang the song "Salsa y Bembe", which may be the first known reference to "Salsa" as a music genre. Nick Jimenez composed the melody, but Cuba's decision to have Sabater sing the lyrics thrust him into almost immediate international recognition.

Cuba's sextet signed with Tico Records in 1964. By showcasing the smooth vocal style of Sabater, the group had achieved tremendous fame, both in the United States and around the world. In 1966, they recorded two albums, We Must Be Doing Something Right, and Wanted Dead or Alive. …Something Right scored big because of the hit composition "El Pito (I'll Never Go Back to Georgia)". Wanted… was a landmark recording because it was the first "boogaloo" style album to sell one million records. This happened largely because of another smash composition of Sabater and Jiménez called "Bang Bang". Throughout the 1970s and 1980s, Sabater also had a flourishing career as a soloist, releasing the albums The Velvet Voice of Jimmy Sabater, El Hijo de Teresa, and Solo.

New projects and solo work

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In 1977, Sabater left the Joe Cuba Sextet. From 1977 to 1981, he was the lead vocalist for Al Levy. In 1980 Sabater recorded Gusto on the Fania Records label. In 1982, he co-led "El Combo Gigante" with Charlie Palmieri until the latter's death in 1988. On November 12, 1997, Sabater became the recipient of an award from the City of New York for his contributions to the quality of life in the city, and in appreciation of his work since 1956. He was also the recipient of the "Outstanding Musician of the Year" award from the Comptroller of the City of New York, Alan G. Hevesi.

In 1998, Sabater became the lead vocalist of the Latin Septet "Son Boricua", led by Maestro José Mangual Jr. Their first album, called Son Boricua, was the winner of the ACE Award as best new Latin release of that year. A second, and recently, a third ACE Award were awarded for the albums Homenaje a Cortijo y Rivera and Mo!. Later albums were Clasicos 60s, released in 2002, and Fabulosos 70s, released in 2004, which included renewals of salsa classics songs, originally by José Mangual Jr., Eddie Palmieri and others. Actually, in 2002 Sabater recorded two versions of the classics "Mama Guela" – one with his band Son Boricua, and one as a guest singer with Spanish Harlem Orchestra.

Death

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Sabater died in February 2012, aged 75. The cause was complications of heart disease, according to his son, Jimmy Sabater Jr.

Discography

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  • The Velvet Voice of Jimmy Sabater (Tico, 1967), with Joe Cuba
  • Solo (Tico, 1969), with Ray Barretto
  • El Hijo de Teresa (Teresa's Son) (Tico, 1970)
  • Mano a Mano Melódico (Tico, 1971), with Bobby Cruz
  • To Be With You (Mucho Love & Lotsa Boogie) (Salsa Records, 1976)
  • Gusto (Fania Records, 1980)
  • Mo! (Cobo, 2001) with José Mangual Jr.

References

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Grokipedia

Jimmy Sabater

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Jimmy Sabater was an American singer, timbales player, and songwriter of Puerto Rican descent known for his smooth, romantic vocal style and his central role in the development of Latin soul and boogaloo music during the 1960s. [1] [2] His "velvet voice" blended English-language soul and doo-wop influences with Latin rhythms, helping to bridge the gap between R&B and Afro-Cuban sounds and earning him recognition as one of the most revered vocalists in Latin music. [2] [1] Born Jaime Sabater Cruz González on April 11, 1936, in New York City to parents who emigrated from Ponce, Puerto Rico, Sabater grew up in Spanish Harlem amid a rich musical environment that included neighbors such as Tito Puente and Willie Bobo. [1] [3] He began his career as a timbales player before joining the Joe Cuba Sextet in the late 1950s, where he served as a primary vocalist for more than two decades and contributed to the group's crossover success with hits like "To Be With You" and "Bang Bang." [1] [2] The sextet's fusion of Latin rhythms with R&B elements on albums such as Wanted, Dead Or Alive helped define the boogaloo craze and influenced the emergence of salsa. [1] In addition to his long tenure with the Joe Cuba Sextet, Sabater pursued a solo career, releasing notable albums on Tico Records including his debut solo album Solo and El Hijo de Teresa, which showcased his versatility across proto-salsa, Latin jazz, and soul-infused tracks. [1] [3] He later recorded with Fania Records and collaborated with prominent figures in the New York Latin scene. [1] Sabater continued performing into his later years and left a lasting legacy as a foundational figure in New York's Nuyorican music community. [4] He died in New York City on February 8, 2012, at age 75. [2] [3]

Early life

Childhood and family

Jimmy Sabater was born Jaime Sabater on April 11, 1936, at Harlem Hospital in Manhattan, New York City. His parents, Néstor Sabater and Teresa González, had migrated from Ponce, Puerto Rico, to New York. He grew up in East Harlem, known to residents as "El Barrio," a vibrant neighborhood that was home to a large Puerto Rican community during his childhood. This Nuyorican environment formed the foundation of his early life in New York City.

Early musical influences and beginnings

Jimmy Sabater's early musical influences were shaped by the diverse sounds of his upbringing in Spanish Harlem, including R&B vocal groups, the smooth singing of Nat King Cole, and doo-wop harmonies, alongside Latin percussion traditions and orchestras. He drew inspiration from percussionists such as Willie Bobo, Uba Nieto, Papi Pagani, Monchito Muñoz, and Willie Rodríguez, as well as bands led by Machito, Marcelino Guerra, Noro Morales, Tito Puente, and Tito Rodríguez. As a child, he lived next door to percussionist Willie Bobo, who taught him to play timbales using empty oatmeal containers as makeshift drums.[5] Sabater met Joe Cuba while playing stickball in Harlem, leading the two to join the Joe Panama Sextet, marking his entry into professional performance in the mid-1950s.[6] He soon began playing and singing with bands at local nightclubs in Spanish Harlem and at the Palladium Ballroom, immersing himself in the lively New York Latin music scene.[5] This initial involvement with the Joe Panama Sextet served as his stepping stone before transitioning to Joe Cuba's ensemble.[6]

Career

Joe Cuba Sextet (mid-1950s–1977)

Jimmy Sabater joined the Joe Cuba Sextet in the mid-1950s as a vocalist and timbales player, remaining an integral member for more than two decades until his departure in 1977. [5] [2] He shared lead vocal duties with Cheo Feliciano, singing English-language material in a smooth, crooner style that complemented Feliciano's Spanish-language performances and created the group's distinctive bilingual dynamic. [7] This vocal pairing helped define the Nuyorican sound emerging from New York's Latin scene, blending Latin rhythms with R&B influences. [1] Sabater played a key role in pioneering boogaloo, a hybrid style fusing Afro-Cuban elements with soul and funk that broadened the sextet's audience beyond traditional Latin listeners. [5] He also contributed as a songwriter, including on major hits. [2] The group achieved major crossover success in the 1960s, becoming one of the era's most commercially prominent Latin acts by reaching English-speaking, Latino, and Black audiences through stripped-down arrangements emphasizing vibraphone, piano, and bass. [5] Among their notable recordings during this period were "To Be With You" from the 1962 album Steppin' Out, which became Sabater's signature bolero hit. [7] [2] That same album featured "Salsa y Bembe," an early track using the term "salsa" in its title. [1] Later highlights included "Bang Bang" from the 1966 album Wanted Dead or Alive, a major boogaloo anthem Sabater helped develop from dance-floor ideas, along with "El Pito (I’ll Never Go Back to Georgia)" and "Sock It to Me Baby," which further solidified the group's impact on the Latin soul and boogaloo movements. [5] [8] Sabater left the Joe Cuba Sextet in 1977 following a falling out with bandleader Joe Cuba over issues of credit and royalties for some of the group's hit songs. [5]

Later career and collaborations (1977–2011)

After leaving the Joe Cuba Sextet in 1977 following a dispute over songwriting credits and royalties, Jimmy Sabater pursued an active career as a solo performer and collaborator in the Latin music scene. [5] He released several solo albums, including Solo (1969, Tico), El Hijo de Teresa (1970, Tico), To Be With You (1976, a disco remix of an earlier composition), Gusto (1980, Fania), and Mo (2002, credited to Jimmy Sabater con Son Boricua). [3] [1] From 1977 to 1981, Sabater served as lead vocalist for Al Levy. [9] In 1982, he co-led El Combo Gigante with pianist Charlie Palmieri until Palmieri's death in 1988. [10] He also collaborated with figures such as trombonist Jimmy Bosch and the Spanish Harlem Orchestra. [6] Additionally, Sabater featured as a timbalero on various recordings and performed with other artists in the Latin music community. [2] Beginning in 1998, Sabater joined Son Boricua, a Latin dance orchestra founded and led by percussionist José Mangual Jr., where he served as lead vocalist and performed regularly until 2011. [5] His work with the group included contributions to recordings such as the 2002 album Mo (credited to Jimmy Sabater con Son Boricua). [3] Sabater remained an active performer in New York's Latin music circuit throughout this period. [1]

Musical style and contributions

Boogaloo and Latin soul development

Jimmy Sabater was a pivotal architect of boogaloo, the 1960s hybrid Latin style that fused R&B, soul, and funk elements with Latin rhythms, particularly through his long tenure as lead vocalist with the Joe Cuba Sextet. [1] His contributions helped launch and define the Latin boogaloo craze, blending American urban musical forms with Afro-Cuban influences to create a vibrant crossover genre. [2] Known as the "velvet voice" of Latin soul, Sabater's smooth and intimate delivery drew from uptown doo-wop street harmonies and the hushed crooning style of Frank Sinatra, establishing a distinctive English-language vocal presence that contrasted with traditional Latin vocal approaches. [2] [11] This velvety, romantic singing style became a near-platonic ideal for boogaloo vocalists, influencing subsequent artists in the genre. [11] Sabater's bilingual vocals in English and Spanish reflected the Nuyorican urban identity of New York's Puerto Rican community, merging English-language R&B sensibilities with Spanish-language Latin traditions in a way that resonated with diverse audiences. [1] [2] His performances symbolized the cultural fusion of post-war East Harlem, where Puerto Rican heritage met American soul and rhythm & blues. [2] The boogaloo sound associated with Sabater and the Joe Cuba Sextet featured a stripped-down ensemble emphasizing vibraphone, piano, and bass, achieving broad crossover appeal across Latino, Black, and mainstream pop audiences while helping define New York's Latin dance scene through the late 1970s. [1] [12] This accessibility and fusion contributed to the genre's commercial peak and cultural significance in bridging communities during the era. [11] Key tracks like "Bang Bang" exemplified this impact, though the style's broader influence extended through Sabater's sustained contributions to Latin soul. [11]

Notable songs and recordings

Jimmy Sabater gained lasting recognition for his lead vocals and co-writing on several defining tracks in boogaloo and Latin soul, many recorded with the Joe Cuba Sextet during the 1960s. Among these, "Bang Bang" stands out as his most prominent contribution; co-written with Joe Cuba and released in 1966, the song emerged from an impromptu idea Sabater pitched to the bandleader during a performance at Palm Gardens Ballroom, where he supplied the key tumbao rhythm to pianist Nick Jiménez and the audience immediately responded with the signature "beep beep" hook.[8][13] It became Joe Cuba's biggest-selling record, crossing over to international pop charts as a defining boogaloo hit.[8] The track's enduring appeal is evident in its frequent licensing for film soundtracks, including The Departed (2006), The Wolf of Wall Street (2013), Chef (2014), Sleepers (1996), and others.[14] Sabater also sang lead on "To Be With You," featured on the Joe Cuba Sextet album Steppin' Out in 1963, which later received a disco remix treatment in 1976 as part of his solo work. Another early notable recording is "Salsa y Bembe" from the same 1963 album, co-written and sung by Sabater, marking one of the earliest uses of the term "salsa" in a song title. In 1966, he delivered the lead vocal on "El Pito (I’ll Never Go Back to Georgia)," a hit composition from the Joe Cuba Sextet album We Must Be Doing Something Right that has appeared in film soundtracks such as Crooklyn (1994).[14] Sabater performed "Por Primera Vez," which was featured in the film Donnie Brasco (1997). Other recordings associated with him include "Sock It to Me Baby," reflecting his contributions to the energetic, crossover style of the era. These tracks continue to represent his vocal range and influence in Latin music's evolution into broader popular culture.

Awards and recognition

Personal life

Death

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