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HARVEY AVERNE

11/22/2014

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Productor veterano de los dos primeros álbumes ganadores de Grammy Latino: el de Eddie Palmieri con la voz de Ubaldo "Lalo" Rodriguez, "El Sol de la Música Latina" y el álbum "Unfinished Masterpiece"

Veteran producer of the first two Latin Grammy winning albums: Eddie Palmier with the vocals of Ubaldo "Lalo" Rodrïguez, "El Sol de la Música Latina"  and the album "Unfinished Masterpiece"

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El 22 de noviembre del año 1936, nace Harvey "Arvito" Averne en Nueva York; productor veterano de los dos primeros álbumes ganadores de Grammy Latino: el de Eddie Palmieri con la voz de Ubaldo "Lalo" Rodriguez, "El Sol de la Música Latina" y el álbum "Unfinished Masterpiece".   Además colaboró en la produccion del álbum "Machito Orchestra"  también con "Lalo" Rodríguez.  Igualmente fue productor de unas obras de Ray Barretto, La Lupe, Wilkens, Harlow con Ismael Miranda, Willie Colon, Hector Lavoe, Fajardo, Ismael Quintana, Cortijo con Ismael Rivera entre muchos otros.

Harvey como el barrio más duro de la ciudad. Su padre había emigrado de Georgia, Rusia. Su madre nació en los EE.UU., y era de herencia polaca. Los primeros años de vida de Harvey no fueron fáciles, pero sus padres trabajaron duro y lograron evitar la pobreza. A los diez años, comenzó a tomar clases de música con el primo de su madre, un profesor de violín. Odiaba estas lecciones apasionadamente, y rompió el violín, sabiendo que fue la única manera que se le permitiría parar.  

Sus padres le compraron un acordeón, y comenzó lecciones con el hijo del capataz de su padre. Para su sorpresa, tenía un tino natural para el instrumento. Tanto así que a los 13 años, ya tocaba en quinceañeras, bodas y Bat Mitzvah.  Además empezó a trabajar fuera de casa durante los veranos, en el Catskill Montañas. 

Harvey trabajaría en las Catskill durantes los próximos años, pero su música experimentaría un cambio profundo, impulsado por dos eventos por separado pero conectados.  Su padre comenzó a trabajar con unos inmigrantes recién llegados de Puerto Rico, y llegó a casa cantando sus canciones en español. En las Catskills, mientras se ganaba algo de dinero extra por la limpieza de la piscina, Harvey vio a un lavavajillas latino cantando y tocando su guitarra bajo un árbol. Se enamoró de esas canciones y su síncopa único. Entonces le convinció al dueño del hotel que dejara que Pedro entrara en la casa de juegos todas las noches para que pudieron los dos tocar música latina genuina.  Lograron un éxito instantáneo. Pedro le enseñó a tocar las melodías correctamente en su acordeón. Fue la primera vez que tocó la música cubana 

Fue el comienzo de la carrera de Harvey en la música latina. Reunió a un grupo llamado Aarvito and His Latin Rhythms, hacía presentaciones en los hoteles, y además tenía una residencia en la discoteca Boulevard en Rego Park, en Queens. El cuarteto de música latina tocaba casi exclusivamente para un público blanco.


Renombrado Arvito and His Latin Orchestra, el grupo dio un paso adelante cuando Harvey se hizo cargo de la dirección de una banda con problemas formada por el pianista Larry Harlow. Con Harvey en el vibráfono y Larry en el piano, el nuevo combo Arvito era un equipo más completo. Gestionado por DJ Dick "Ricardo" Sugar, el grupo trabajó constantemente, tocando en hoteles, resorts y bailes en la meca de la música latina:  el Palladium.  .

El debut de la banda en el Palladium fue junto a Tito Puente, cuyo libro de canciones y arreglos eran una fuente principal para la banda Arvito. Harvey estaba muy nervioso. Habló con Puente sobre las muchas canciones que había copiado de él. Un hombre generoso, Puente le dijo que no se preocupara. "Tengo un montón de canciones", dijo. "Sólo dime cuáles vas realizar, y no voy a tocar esas esta noche." Los dos se hicieron grandes amigos y Tito fue mentor de Harvey durante casi toda su carrera.

El torbellino constante de 'guisos' continuó a lo largo de los años 50 y los 60, pero las cosas iban a cambiar a principios de 1964, cuando los Beatles conquistaron América. De repente, cuartetos de rock estaban de moda y los blancos dejaron de escuchar la música latina.

Todavía había trabajo, pero Harvey se concentró en el trabajo del día que le había ocupado desde el comienzo de los años 60. Había invertido en la industria de la construcción, disfrutaba de un éxito e había hecho una fortuna.  Tenía su propia limusina con chófer, un apartamento muy cómodo con todos los adornos. Sin embargo, a finales de 1966, estaba desilusionado. Al año siguiente, conoció a Jerry Masucci través de Larry Harlow.

Larry le dijo que había firmado un contrato con una empresa nueva, un sello discográfico llamado Fania Records y sugirió que conociera al abogado, Jerry Massuci, que era dueño de la empresa junto con Johnny Pacheco. Harvy lo hizo y Jerry le dijo que necesitaba a alguien hacerse cargo del sello por él y quería que lo hiciera Harvey, trabajando en sus despachos de abogados.  Harvey lo pensó durante semanas, y finalmente decidió aceptar.

En Fania, Harvey trabajó en todos los aspectos del negocio. A pesar de que nunca había estado en un estudio de grabación antes, comenzó a producir álbumes. Llamó a Marty Sheller, que había tocado la trompeta en la banda Arvito y se las arregló para hacer éxitos para Mongo Santamaría y otros.  Produjo álbumes importantes como Acid de Ray Barretto y El Exigente de Larry Harlow.  También grabó su propio material para el sello.

Era el punto cumbre de la manía del boogaloo. Con arreglos de Sheller, la voz de Kenny Seymour Sr. (ex integrante de Little Anthony and the Imperials) y la letra en inglés de Harvey quien no hablaba muy bien el español, sus grabaciones encajaban naturalmente en el movimiento del boogaloo.

La entrada de Harvey en el mundo de las grabaciones produjo dos sencillos.  Estos sencillos fueron el punto de partida para el álbum Viva Soul; un álbum que fue lanzado por el sello Atlantic.  Harvey sintió que los contactos de Fania eran demasiado orientados hacia los latinos y que su material era adecuado para un sello de la corriente principal. El buscavidas musical, Jack Hook, opinó que este era el tipo de álbum que a Jerry Wexler le gustaría y tenía razón. .

Al año siguiente, los sencillos de Harvey aparecieron tanto el sello Fania como el sello Uptite que había sido creado para impulsar el material R & B del sello.

En el verano de 2009 se cumplió el 60 aniversario de Averne en el negocio de la música. A sus años avanzados está tan entusiasta y ecuánime con respecto a su participación en la música como siempre. El alcance de su carrera es notable. Comenzó a tocar en los hoteles en los Catskills después del final de la Segunda Guerra Mundial. Ganó los dos primeros premios Grammy en la recién formada categoría de música latina con sus producciones de álbumes clásicos de Eddie Palmieri. También fue responsable de las primeras grabaciones de demostración de una joven Madonna, y de la contratación de ella en su primer contrato discográfico.

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English

On November 22, 1936 is born Harvey "Arvito" Averne en New York; veteran producer of the first two Latin Grammy winning albums: Eddie Palmier with the vocals of Ubaldo "Lalo" Rodrïguez, "El Sol de la Música Latina"  and the album "Unfinished Masterpiece". Additionally, he collaborated in the production of the album "Machito Orchestra" also with "Lalo" Rodriguez.  He was also the producer for some workds of Ray Barretto, La Lupe, Wilkens, Harlow with Ismael Miranda, Willie Colon, Hector Lavoe, Fajardo, Ismael Quintana, Cortijo with Ismael Rivera finds many others.

Harvey grew up in Brooklyn, New York, which he himself describes as the toughest neighbourhood in the city. His father had migrated from Georgia, Russia. His mother was born in the U.S., and was of Polish heritage. Harvey's early life was not easy,  but his parents worked hard and managed to avoid poverty. At the age of ten, he began music lessons with his mother's cousin, a violin teacher. He hated these lessons with a passion, and broke his violin, knowing that it was the only way that he would be allowed to stop.

His parents bought him an accordion, and he started lessons with the son of his father’s foreman. Much to his surprise, he had a natural talent for the instrument.  So much so that at 13, he was already playing sweet sixteen parties, weddings and Bat Mitzvahs.  Also, he started to work away from home during the summers, at the Catskill Mountains. 

Harvey would play the Catskill resorts over the next few years, but his music would experience a deep change, prompted by two separate but connected events.  His father started working with some newly arrived Puerto Rican immigrants, and came home singing their songs in Spanish. At the Catskills, while earning some extra money by cleaning the pool, Harvey saw a Hispanic dishwasher singing and playing his guitar under a tree.  He fell in love with those songs and their unique syncopation. Then he convinced the owner of the hotel to let Pedro go into the playhouse every night, so that they could play some 'real' Latin music. They were an instant hit. Pedro taught him how to play the tunes properly on his accordion. It was the first time that he played Cuban music.

It was the start of Harvey’s career in Latin music. He assembled a group called Aarvito and his Latin Rhythms, playing the hotels, as well as a residency at the Boulevard nightclub at Rego Park in Queens. The Latin quartet played to a crowd that was almost exclusively white.

Renamed Arvito and his Latin Orchestra, the group took a step forward when Harvey took over the leadership of a troubled band formed by pianist Larry Harlow. With Harvey on vibes and Larry on piano, the new Arvito combo was a more complete outfit. Managed by top DJ Dick “Ricardo” Sugar, the group worked constantly, playing hotels, resorts and dances at the mecca of Latin music:  the Palladium.

The band's Palladium debut was alongside Tito Puente, whose songbook and arrangements were a prime source for the Arvito band. Harvey was extremely nervous. He asked Puente about the many tunes that he had copied from him. A generous man, Puente told him not to worry. "I have a lot of songs," he said. "Just tell me which ones you are going to perform, and I won't play those tonight." The two became great friends and Tito was Havey's mento for almost his entire career.

The constant whirl of gigs continued throughout the '50s and into the '60s. Things would change in early 1964, when The Beatles conquered America. Suddenly, four-piece rock groups were the rage and whites stopped listening to Latin music.

There was still work, but Harvey concentrated on the day job that had occupied him since the beginning of the '60s. He had invested in the construction trade, enjoyed success and made a fortune - he had his own, chauffeur-driven limo, a very comfortable apartment with all the trimmings. By the end of 1966, however, he was disillusioned. The following year, he met Jerry Masucci through Larry Harlow.

Larry told him that he had signed a contract with a new company, a record label called Fania Records, and suggested that he meet the lawyer, Jerry Massuci, who owned the company together with Johnny Pacheco. Harvy did so and Jerry told him that he needed someone to run the label for him and he wanted Harvey to do it, working out of his law offices.  Harvey thought about it for weeks, and eventually decided to accept. 

At Fania, Harvey worked on every aspect of the business.  Even though he had never been in a recording studio before, he began producing albums. He called Marty Sheller, who had played trumpet in the Arvito band and arranged hits for Mongo Santamaría and others.  He produced important LPs like Ray Barretto’s Acid and Larry Harlow’s El Exigente. He also recorded his own material for the label.

It was the height of the boogaloo craze. With Sheller's arrangements, the voice of Kenny Seymour Sr. (formerly of Little Anthony and the Imperials) and Harvey's English lyrics ("I didn't speak Spanish that well"), his recordings were a natural fit for the boogaloo movement.

Harvey’s entrance into the recording world produced two 45 rpm singles. These singles were the starting point for the Viva Soul album; a record that was eventually released on Atlantic. Harvey felt that Fania’s contacts were too Latin oriented and that his material was suited for a mainstream label. Music business hustler Jack Hook suggested that this was the kind of album that Jerry Wexler would like and he was right.

The following year, Harvey’s singles appeared on both Fania and the Uptite label that had been set up to push the label's R&B material.

The summer of 2009 marks Averne's 60th anniversary in the music business. At his advanced age he is as enthusiastic and level headed about his involvement in music as ever. The scope of his career is remarkable. He began playing at hotels in the Catskills following the end of World War II. He won the first two Grammy awards in the newly formed Latin music category with his productions of classic Eddie Palmieri albums. He was also responsible for the first demo recordings of a youthful Madonna, and for signing her on her first record deal.




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