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| Vincent Montana Jr. |
| and The Salsoul Orchestra |
| Born on February 12, 1928, Vince grew up in the depression-era South Philly part of Philadelphia. His musical career started at the age of six when he first banged on a drum. Through hard work, and inspiration from a gifted teacher, he mastered some of the six plus instruments that would guide his career. By 1944 he had worked up the courage and musicianship to land spots with jazz legends in and around Philly's smokey jazz scene. His first, albeit innocent, jam session was with the legendary Charlie "Bird" Parker. As his reputation rose, so too did the opportunities. He was backing such artists as Sarah Vaughn, Buddy DeFranco, Stan Getz, Clifford Brown, and Red Garland by the early 1950's.
In the 1950's Las Vegas was the place to be. Besides gambling it was noted for it's draw of the cream of the crop of entertainers and performers. Having made a name for himself in his hometown, Vince moved to Las Vegas, playing at the Freemont Hotel, the Golden Nugget, and many others. Near the close of the decade Vince returned to South Philly. Once home Vince quickly formed his own band from the talented pool of musicians and began playing the dance circuit. To supplement his income he started picking up sidework as a session musician for local record labels Cameo-Parkway and Chancellor Records. He can be heard on hits by Chubby Checker, Bobby Rydell, Frankie Avalon, Fabian, and countless other Philly recorded hits. In the early 1960's Montana became the last member hired for the house band of the nationally syndicated TV talk show "The Mike Douglas Show," which was produced in Philly. Douglas would engage in light banter with Montana, giving Vince his first real taste of national exposure. Montana's creative talents were stiffled by the daily grind of the show and it's routines. After only one year he left the show and became active in the burgeoning Philly soul sound, contributing vibes, arrangements, percussion, and production skills to a slew of hits that originated from the City of Brotherly Love during the 1960's and 1970's. Among them were the Delfonics' "La La Means I Love You" (number two R&B for four weeks, number four pop, around March 1968), the Stylistics' "Betcha By Golly Wow" (number two R&B for two weeks, number three pop, spring 1972), the Spinners' "Could It Be I'm Falling In Love" (number one R&B, number four pop, late 1972), and the album of the same name. From roughly 1967 to 1974 he became an integral part of what is now referred to as the "Philly Sound." His magic can be heard on recordings by such diverse artists as The O'Jays, Johnny Mathis, Eddie Kendricks, Billy Paul, Harold Melvin And The Blue Notes (featuring a young Teddy Pendergrass), The Intruders, The Trammps, Blue Magic, Lou Rawls, The Whispers, Wilson Pickett, Cissy Houston (Whitney's Mother), Vic Damone, Englebert Humperdink, Deniece Williams, The Jacksons, Brenda And The Tabulations and Barbara Mason. Vince also produced M.S.F.B. and was the vibraharpist on the "Love Is The Message" album as well as vibraharpist on Electric Indian's 1969 million-selling "Keem-O-Sabe" album. His work during this prolific time brought him a phenomenal 50+ Gold and Platinum Awards. By 1974 the Cayre brothers, Ken, Stan and Joe, had become quite well-off with their clothing business.The extra cash had afforded them the opportunity to branch off into the recording business. The small label devoted to latin music, Caytronics, was probably more-or-less viewed as a tax ploy, especially considering that the Cayre's were neither latin nor musically inclined. Joe Bataan, already an established latin performer, had crossed paths with Vince on several occasions at Sigma Sound. During one of their conversations Montana told Joe of his desire to form an orchestra which could fuse polished soul and brassy funk with Latin percussion and live strings. Joe, signed to Caytronics, introduced Vince to the Cayre brothers in early 1974. Montana pitched his vision to Ken and his brothers, with their blessing (and financing), Montana spent months recruiting dozens of musicians from the streets and studios of New York — including more than a half-dozen percussionists alone. He searched the barrios of NYC and Philadelphia's Spanish Harlem for the spicy congas, bongos, and timbales. Percussionists, the likes of Andy Gonzales, and Manny Oquendo, both of Grupo Folklorico y Experiemental Nuevayorquino, Larry Washington, Peter Choki Quintero and Roy Armando were recruited for the Latin-Afro rhythms and flavor. The collective recorded three tracks, "Dance A Little Bit Closer," "Salsoul Hustle" and "Nice Vibes," which impressed Bataan and the Cayres so much that they decided to form a new label — named Salsoul for its connotations of salsa and soul — to release a full-length album. This 1975 album introduced to the world to the slick, yet groovy, instrumental stylings of the Salsoul Orchestra. Since many of the musicians also participated in the recordings of MFSB, it’s not a big surprise that "The Salsoul Orchestra" explores a similar vein of orchestral soul. The difference between the two is that the Salsoul Orchestra explores a more Latin-oriented style with a heavy emphasis on congas and other forms of exotic percussion. This style is neatly encapsulated in the lead-off single “Salsoul Hustle,” which is built on a contrast between a dreamy, string-led melody and a series of funky instrumental breakdowns spiced with conga tattoos. Other highlights in this style include the follow-up hit “You’re Just The Right Size,” which layers sweet orchestrations and a female chorus cooing the title chant over a synthesizer-layered groove while “Salsoul Rainbow” glides forth on a fusillade of congas and wah-wah guitar riffs. A third hit, "Tangerine," propelled the album to the top of the charts and all eight tracks became instant club favorites. On their second album, 1976's "Nice 'N' Naasty," the Salsoul Orchestra enhance the appeal of their string-heavy soul sound by marrying it to a series of tight, hook-laden tunes. The album contains of two of the Salsoul Orchestra’s best-ever uptempo tracks: “It Don’t Have To Be Funky” moves forward at a double-time speed thanks to a combination of frenetic drumming and an infectious rhythm guitar riff while “Don’t Beat Around The Bush” layers the rhythmic, sexy chant of the title over a huge-sounding, thickly-layered drum beat. Another uptempo highlight is the double-sided 12" hit of the title track backed with “Salsoul 3001,” a dance floor stormer that brings “Thus Sprach Zarathustra” into the disco age. "Nice 'N' Naasty" also improves on the group’s debut album by downplaying the easy listening excesses that marred that album: even on soft tracks like “Nightcrawler,” the musicians add a rhythmic touch that keeps the album’s overall groove moving forward. One of disco music's most essential albums. Released one month after their second album, "Christmas Jollies" offers up a slew of standard Christmas hits in the now-famous Salsoul Sound. This was a landmark album for club-goers, it was the first time Christmas music was given a 'disco' treatment. Vince and his 37-piece orchestra offer up classics like: "The Little Drummer Boy," "Sleigh Ride" and "Silent Night" in their trademark sound. Also included is a pair of medleys, the first celebrating Christmas and the second New Year's Day; the latter comprises an eclectic mixture of songs including "Auld Lang Salsoul," "I'm Looking Over A Four-Leaf Clover," "Alabama Jubilee," "Oh, Dem Golden Slippers" and "God Bless America." The album also contains one of my all-time favorite holiday tunes. "Merry Christmas All" was written by Vince and is sung by his daughter Denise. Denise was often the voice you heard on many Vince led recordings, although never receiving upfront credit. A quarter of a century later this is still a holiday club staple thanks to it's reissue on compact disc. The Salsoul Orchestra's forth album, 1977's "Magic Journey" features two of their most enduring hits. "Runaway" was originally to be sung by Denise, but when she took ill Loleatta Holloway was called in at the last minute to provide her classic vocals. "Magic Bird Of Fire" transforms musical themes from "Stravinsky's Firebird Suite" into a thrilling and hard-grooving slice of orchestral soul that pulsates with frantic percussion and swirling strings. The Salsoul Orchestra also manages to transform the Latin standard "Guantanamera" into a credible mid-tempo dance track layered with a classy string arrangement and "Getaway" is a high-octane instrumental retooling of the Earth, Wind & Fire classic. The strangest inclusion is a cover of "Short Shorts" that forsakes disco entirely for a 1950's nostalgia feel and goofily rewrites the lyrics to mention the members of the band. Despite it's uneveness "Magic Journey" does contain classic Montana material and is well worth owning. By the spring of 1978, with "The Wiz" a hit on Broadway and coming soon on the silver screen, Vince and The Salsoul Orchestra cashed in on the hoopla by releasing "Up The Yellow Brick Road." Although this, their fifth release, only contained the title track from the musical/movie, the album was a tribute to some of the best movies and musicals. The title track was the only cut that received any club play. Medleys from "West Side Story" and "Fiddler On The Roof" consumed the majority of the album, the former was a wonderful take on the Sondheim/Bernstein classics, the latter a dismal collection of tunes that one could never imagine being heard in any respectable club. The final two tracks were thrown in due to their recent movie successes, "Evergreen (Love Theme From 'A Star Is Born')" and "Sgt. Pepper's Lonely Hearts Club Band," the former was an excellent cover of the title track, the latter was as boring and uneventful as the film. This was to be the last official album by Vince and the Salsoul Orchestra. Later that year Vince released "How Deep Is Your Love" under the banner of The Salsoul Strings. The album beautifully highlighted Don Renaldo's collection of top notch string players. The album had almost all the same players as the Orchestra albums but decidedly featuring the string section. The album covers a variety of 1970''s pop classics. Besides a cover of the Young-Heyman standard "Love Letters" and the inclusion of "Evergreen" from the previous Salsoul Orchestra album, the album had some real gems. Witness Montana's take on the Bee Gees classics "How Deep Is Your Love" and "More Than A Woman," both feature piano solos by "Cotton" Kent. Two schmaltzy songs are given respectable treatments which make them a bit more palatable, "You Light Up My Life" and a medley of "Feelings/We've Only Just Begun." The final piece of craftmanship is the Billy Joel tune "Just The Way You." If you happen upon this LP purchase it, it is truely a collector's item, it was pressed in a small amount and has been out of print since it's initial run nearly 26 years ago. Although this album is dominated by orchestrally oriented instrumentals, "Street Sense" is different from the other Salsoul Orchestra's albums. Gone is Vince Montana Jr., a handful of the 'original' orchestra members are present and it was recorded at Sigma Sound, but the 'Sweethearts Of Sigma Sound' are replaced as well. Instead this album was produced by disco remix legend Tom Moulton and arranged by Munich Machine session man Thor Baldursson. The end result is an album that is much jazzier and more electronics-oriented than past Salsoul Orchestra albums. The big highlights of "Street Sense" are its title track, a dancefloor stormer that marries rhythmic chants from a group of singers with pulsating strings to create a track with a strong Euro-disco feel, and "212 North 12th," a funky instrumental workout that layers its churning, bass-driven groove with soaring strings and some trippy electronic effects. Note that the latter tune became a cult favorite with hardcore disco fans and was a favorite at the Loft, New York City's famous after hours club. Released promotionally as a 2-12" package for for D.J.'s only, this is still a collector's item and worth owning, despite it's absences and uneven material. So what happened to Vince you might be asking? Well originally Vince was to have become a business partner in this venture, but relations between Vince and the Cayre brothers began to deteriorate over royalty payments. This ultimately led to legal proceedings and Vince leaving the Salsoul organization. Obviously he was not happy with the outcome, but nonetheless says that the Cayre brothers were the ones who gave him the opportunity to expose the world to his music and for that he will always be grateful. The Salsoul Orchestra's next album release was in 1979. "How High" was a collective effort, tracks were produced by Bunny Sigler, Ron Tyson, Ron Baker, and the title track by Steve O'Donnell and Colin Horton Jennings. "How High" was originally released as a Cognac 12" single, but with its inclusion on the album it was re-released as a Salsoul Orchestra featuring Cognac 12". The standout tracks are "My Number's Up," a groove heavy pumper that was equally at home in the gay clubs as it was it the black clubs. And "Resorts International," before 'Club Med' there was 'Resorts International,' this is a campy send up in hommage. With even less of the original orchestra members on this album, the bright spot was that the 'Sweethearts' were back, but it still wasn't a Vince Montana production. The Salsoul Orchestra had their final release in 1982. By then Patrick Adams had assumed the helm for "Heat It Up." The stellar tracks were of course "Seconds" featuring Loleatta Holloway and "Take Some Time Out (For Love)" featuring Jocelyn Brown, both on 12" singles. A final 12" single was released in 1983 of "Ooh, I Love It (Love Break)" which was a remix of a 1975 Vince Montana recording. As for Vince...he formed an alliance with Atlantic Records in 1978. His first release was "A Dance Fantasy (music inspired by Close Encounter Of The Third Kind)." That same year he recorded his eldest daughter, Denise, as the vocalist for Goody Goody. Under that banner Montana hit big with "#-1 Dee Jay." Moving into the 1980's he released "Merry Christmas" and "I Love Music" under the Montana name for his own Philly Sound Works label. A 12" single of "Heavy Vibes" scored him another top ten club hit in 1982. In the 1990's and into the new millenium Vince has remained an active force in the music world. Vince’s unique writing and arranging qualities have been sought out by today’s most well-known artists and producers. He has worked on many projects such as The Braxtons, Incognito and Masters At Work with Little Louie Vega/ & Kenny Dope. He arranged the Nuyorican Soul album which featured Tito Puente, George Benson, Roy Ayers and India on a splendid cover of "Runaway." Vince also had a hand on India’s "To Be In Love," which sold well over 500,000 copies. Most recently Vince has worked with David Morales arranging and providing creative input on the retro sounding hit "New York City Boy" for the Pet Shop Boys. Vince has been the receipent of numerous awards: Montana received a Grammy nomination for his arrangement of "Getaway." Billboard Top Disco Orchestra of the Year in 1975, 1976 and 1977. Billboard Top Arranger of the Year in 1977. Record World 1977 International Latin Awards "Top Orchestra Arranger of the Year." People's Award to Best Disco Orchestra First Annual Big Apple Disco Music Awards, 1977. Billboard #1 Pop Album - Instrumentalist Group of 1977, Sal Soul Orchestra, Sal Soul Records. D.M.A. Best Disco Orchestra - Sal Soul Orchestra Latin New York Music Awards 1976. Black Music Association October 18, 1985 Philadelphia Music Makers commerce and culture for excellence in the area of recording Vincent Montana Jr. Trophee Disco Canadien 1977 LAss. Des Discothecaires Du Canada Decerne A SalSoul Orchestra Meilleure Orchestre International 1977 Canadian Disco Award Presented by the Canadian Record Pool to Sal Soul Orchestra International Orchestra February 1st 1997 Billboard Hot Dance Music Club Play #1 Artist "The Braxtons" The Boss. We are happy that Vince is still with us and still a vital musical force. Our deepest respect to a genius that shaped the disco generation....we love you! |
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