Mario Rivera - R.I.P.

[Lois Gilbert]

Saxophonist Mario Rivera has just passed. A very sad day for us and the world; he was a national treasure both musically and personally.

[Lois Gilbert]

On Tuesday, June 5, 2007 jazz club Birdland hosted a benefit for renown musician, Mario Rivera. Mario became ill with cancer and had a hip replacement as a result of this disease. For this event both the Afro Latin Jazz Orchestra led by Arturo O'Farrill and the Latin Jazz Giants performed. There were many guest musicians lending their support. Some of the many artists that played were Paquito D'Rivera, Eddie Palmieri, Giovanni Hidalgo, Candido, Papo Vazqouez. Mario Rivera played a solo on soprano sax. The house was sold out for all three sets.

[Scott Yanow]

Another giant.

[Lois Gilbert]

This is from Bobby Sanabria

One can not begin to speak of Mario in terms of his career in just a
posting. A virtual series of volumes has to be written. Like so many musicians who are Latino and have been an integral part of the jazz
world and the world of their own native culture, their contributions
have been long overlooked by those who write the history of both genres.

If you looked up the term multi-instrumentalist in a dictionary, Mario's
face would immediately come to mind. Forever the inquisitive practicer,
he could playover 20 instruments at a very high level. His"tertulias" at
his apartment as Ben Lapidus can attestwere virtual centers of activity
for his lengthy practice sessions and if there were other players around
there would certainly be a jam session in progress.

He could play all of the family of saxophones on a virtuosic level as a
soloist and section player and was one of the very few saxophonists who
was also a master of the flute in the Cuban charanga style. But he was
most known for his mastery of the tenor saxophone.

According to Scott Yanow's book, Afro-Cuban Jazz, he was born July 22,
1939 in Santo Domingo, The Dominican Republic. After he arrived in NYC in 1961, he worked with Puerto Rican vocalist Joe Valle. His most
significant musical associations through the years include Tito
Rodriguez (1963-65), The Machito Orchestra, Sonny Stitt, Charlie
Palmieri, Eddie Palmieri, Tipica 73, The George Coleman Octet, Dizzy
Gillespie's United Nation Orchestra, Slide Hampton's Jazz Masters, the
Afro Blue Band, Giovanni Hidalgo, Chico O'Farll's Orchestra and
especially Tito Puente's Orchestra and Latin Jazz Ensemble with whom he
worked for on and off for decades. In addition Mario occasionally lead
the Salsa Refugees, a respite from his work in the Latin field, where he
could explore his voice as a jazz soloist.

He was a true musical soldier. By that I mean he was the ultimate
sideman. He was there to facilitate and enhance whatever musical
situation he was called upon to do. Whether it was a movie soundtrack,
jingle date, small combo to big band date or just a guataca jam session,
Mario's versatility and most of all, presence, were always welcomed.

Although having appeared on virtually hundreds of recording, perhaps,
thousands, Mario to my knowledge recorded only one disc as a leader
named after his sobriquet, El Comandante. It has fine examples of
combinations of the native rhythm of his homeland, merengue from the
Dominican Republic and jazz improvisation. Indeed it can be considered
not only a tribute to his homeland and his mastery of jazz harmony but
an homage also to one of his inspirations and yet another unsung hero,
fellow Dominican saxophone master, Tavito Vasquez.

I got to know Mario well when I was part of the United Nations Big Band.
Like his inventive playing, Mario had a uniquely creative sense of
humor, which many here who had the pleasure of working with him can
attest to. Nadie se escapaba (no one escaped) and one looked forward to
Mario's zingers, because like his playing, they were the epitome of
timing and creativity.

Because there are several members of this list serve who had an even
more personal and musical relationship with him, I look forward to
reading their recollections of Don Mario. He will be missed, but of
course never, ever forgotten. Especially when I hear a tambora and
guira, a good saxophone mambo, or Giant Steps being played in all the
keys.

Rest In Peace nuestro Comandante.

Mucho ibiano y ache',
Bobby Sanabria

[gonzo]

i got to see mario a couple of times with puente. an excellent player who will be missed by the latin and jazz communities. my condolences to his family and friends.

[Mike Schwartz]

A seriously BAD dude!
Wonderful on numerous saxes and flutes

RIP and thanks for all the great music...........

He's great on Brian Lynch's most recent CD, "Simpatico"

[Bill Barton]

My condolences to his family and many friends. Another great loss to the music world... I had the pleasure of hearing him in performance with the United Nation Orchestra and with Eddie Palmieri.

[Ron Thorne]

I never had the pleasure to hear Mario in-person, sadly.

Condolences to his family and friends.



R.I.P., Mario Rivera~

[gonzo]

i've always wondered if he was saxophonist/percussionst mark rivera's father?

[Chazro]

Descansa En Paz Maestro.

[Mike Schwartz]

August 10, 2007/NY Post

Mario Rivera 1939 -- 2007

Posted by Javier L. Orellana on August 10, 2007 02:10
PM

Today we lost a Latin musical legend Dominican
multi-instrumentali

st Mario Rivera. Rivera was a
gifted musician, composer and arranger that played 13
instruments, which included piano, vibraphone, drums,
trumpet, timbales, congas, flute, and piccolo. But
Rivera was known for how he kissed and caressed the
tenor, soprano, alto and baritone saxophones.

Rivera came to NYC in the early 1960's for his love of
music and jazz. Rivera was a musician that was able to
play straight-ahead jazz and hardcore Latin with the
precision of a master sharp shooter. Because of the
mastery of his craft Rivera was one of the most
popular sidemen in the music business. He has played,
toured, and recorded with legendary musicians like
Tito Puente, Matchito, Tito Rodriguez, Dizzy
Gillespie, Eddie Palmieri, George Colman, and many
others.

Even though Rivera was one of the most hard working
sidemen in the jazz and Latin music business he also
lead two groups of his own "Salsa Refugees" and "The
Mario Rivera Sextet," and released and album titled
"El Comandante" where he experiments with merengue
jazz.

Back on Tuesday June 5, 2007 I attended a benefit
tribute for Rivera at Birdland that was hosted by
pianist Arturo O'Farrill together with Mario Rivera's
son drummer Phoenix Rivera. On that day Birdland was
packed with a who's who of Latin and jazz musicians
who were all there to pay tribute and homage to the
musical man that they loved, respected, and was apart
or helped in the development of their musical careers.

When I asked Conga king Candido Camero what Mario
Rivera meant to him he said, "For me I'm very proud,
lucky, and honored to have known Mario Rivera for many
years. And for me he is a genius, a friend, and a
great musician that I admire, respect, and love very
much."

Cuban saxophonist Paquito D'Rivera in regards to the
importance of Mario Rivera said, "He is one of the
most important people in the development of Latin jazz
musicians in the United States. Mario is very
important to us and is an icon for us Latin musicians,
which I don't think he himself knew, until tonight."

Pianist Eddie Palmieri who talks about his friend who
he recorded "The Sun of Latin Music" album with says,
"Mario Rivera recorded some classic music with me and
is a dear friend and one of the most incredible
musicians we have in our genre. We are all here to
dedicate the night to him, because he deserves it and
more."

Longtime friend and band mate of the Tito Puente
orchestra who performed that night; Jose Madera says
about his friend and mentor, "Having worked with Mario
Rivera for the better part of 37 years, it is a
pleasure for us to be here and play for him. Because
this band is really his, a lot of his interpretation
of playing the saxophone is prevalent in the sax
section, so it was just a pleasure to do this to help
Mario."

When the musical performances were finished for the
night I spoke with Phoenix Rivera, Rivera's son and
asked him what the night meant to him and his father.
his response was, "This night meant that everything
that he strived for and everything that he worked for
and all the things he has put aside whether it be
family or his own life just to enhance the music, that
it was all worth it. In other words he is a bad
motherf-----."

Before the night was over as the musicians were
packing up to go and saying their goodbyes, Mario
Rivera said to me, "I am surprised to see so many
people here but I am not at the same time. Because you
know as a musician sometimes you don't realize that
people know about you, so it was a great surprise for
me to see all these people here." The master saxophone
player continues to say, "This was a big special night
for me and I'm very happy that it happened and I could
be here to enjoy it."

Rivera's final words to the people that went and
showed their love and support that night were, "I love
them very much and thank them for their support
because all artists need this kind of support from the
people and vise-versa. I loved it and I'm glad that
they all came. Thank you."

Rivera passing is being felt very hard in the Latin
music and jazz community and he will be sorely missed.
But I'm glad that we have his stories, music
recordings, photos, and videos to remember this grand
musician because what he left us makes him truly
immortal.

There are some great video clips of Mario Rivera's
performance at the Bern Jazz Festival on:
http://blogs.nypost.com/tempo/archiv...a_19.html#more

[bigtiny]

I was fortunate to hear Mr Rivera once with the United Nations Big Band with Dizzy. As I recall the personnel was:

Diz
Flora Purim

Paquito d'Rivera
Mario Rivera
James Moody

Slide Hampton
Steve Turre

Jon Faddis
Claudio Roditi

Giovanni Hidalgo
Airto
Ignacio Berroa

Ed Cherry
John Lee

What a band. This was 25 years ago and since then I've noticed Mr Rivera's name on all kinds of recordings and such....

bigtiny

[Hot Ptah]

I saw him live a few years ago as a member of the Brian Lynch/Conrad Herwig group, which was playing Miles Davis songs in a Latin style. He MADE that concert. Each of his solos was passionate and inspired. With him, the group had an authentic sound and style.

I saw the Lynch/Herwig group performing Miles Davis and John Coltrane songs in a Latin style within the past year. Mario Rivera was supposed to play with them but was too ill to appear. The concert was not nearly as good as the one at which he did appear with them. Without Rivera, it sounded like a post bop band playing with extra percussionists.

[Lois Gilbert]

SERVICES FOR MARIO RIVERA WILL BE HELD AT THE FOLLOWING:



Frank E Campbell
81st & Madison Ave
WEDNESDAY, 8/15 and THURSDAY, 8/16
2-9PM

[Lois Gilbert]

Mario Rivera Memorial
Monday, August 27 2007, at 7PM
at St. Peters Church, 54th and Lexington
212-935-2200
http://www.saintpeters.org/

The Afro Latin Jazz Orchestra will Perform
special guests include Paquito D'Rivera,
Chocolate Armenteros, Pablo Calogero,
Arturo O'Farrill,
Phoenix Rivera,
Members of the Latin Jazz Giants
and many others.

[Mike Schwartz]

from Brian Lynch's October newsletter......


MARIO RIVERA 1939-2007
The music world lost one of its true greats this month when El Comandante, Mario Rivera passed away on August 10th. Mario was my mentor, my teacher, my colleague, my friend; his impact on my life in music was incalculable. As like with so many others, mysteries of music were revealed to me in the course of epic hanging out/listening/playing sessions at his crib. I remember well that one favored side at chez Mario was the Roost LP "Stitt Goes Latin" - an amazingly swinging (in the ritmo Latino sense) affair with Stitt, Thad Jones, a young Chick Corea, Al McKibbon, Willie Bobo, Patato, and Chihuahua Martínez. This was a favorite for Mario to play for the cats as a bridge between straight ahead and Latin. He'd play it about 10 times in a row, and by the second or third time he and the rest of the musicians in the room would be noodling, then full-on jamming along with the LP. It was ALWAYS about music with Mario. The last time we were on a gig together was last year right around this time in Carolina (Puerto Rico) with Conrad Herwig's "Latin Side" project. We did a clinic at the Conservatory the afternoon of the gig, in the course of which Mario floored me by demonstrating his skills in scat singing bebop lines while using fixed do solfege syllables! Musicians in the house know that this is a quite awe inspiring feat of pure musicianship.

Bye, my teacher and friend! I'll be thinking of you often.