JOE CUBA SEXTET’S LONG-OUT-OF-PRINT CLASSIC VAGABUNDEANDO! (HANGIN’ OUT!)

Celebrated conguero, bandleader, and “Father of Latin Boogaloo,” Joe Cuba (1931—2009) was a foundational figure in New York’s Latin soul scene. A native of Harlem, the Puerto Rican artist (born Gilberto Miguel Calderón) learned to play the congas as a teenager while recovering from a broken leg. Before long, the young percussionist was booking gigs across the city and, in 1954, founded The Joe Cuba Sextet. Playing alongside such stars as Tito Puente, Machito, and Tito Rodríguez, Cuba and his bandmates quickly gained a following with their swaggering showmanship and stood out from their peers with their unique instrumentation choices—including adding a vibraphonist and doing away with horns (which was unheard of at the time).

The group also found a broad appeal with their blend of Spanish and English lyrics—performed, respectively, by timbalero/singer José “Cheo” Feliciano (who replaced Willie Torres in 1958) and crooner Jimmy Sabater, with backing by vibraphonist Tommy Berrios, bassist Jules Cordero, and pianist Nick Jiménez. The sextet’s enticing style served as the foundation for salsa music, as well as for boogaloo—a hugely popular movement that would take hold in the mid-late ‘60s, reflecting the melting pot of New York City with its blend of R&B, soul, and Afro-Cuban rhythms. While Cuba would widely be credited for the creation of boogaloo with his 1966 crossover hit, “Bang Bang,” he was laying the groundwork with Vagabundeando! (Hangin’ Out!), two years earlier. 

The 1964 album marked the band’s debut on Tico Records—one of the era’s most powerful players in the Latin market. As the label sought to reach a younger audience, amid the changing times, Cuba and his band were among a fresh line-up of talent poised for stardom. Vagabundeando! (Hangin’ Out!), produced by one of the most important jazz producers of all time, Teddy Reig, reflected the new era with a vibrant blend of Afro-Cuban rhythms, jazz, and soul, including such energetic dancefloor numbers as “Quinto Sabroso,” “Oye Bien,” and “Nina Nina,”—all performed in Spanish by Feliciano. Sabater also shines in English-language tracks like the soulful “I Need You” and the joyful “Trip to Mamboland.” Another highlight is the Feliciano-fronted “El Ratón,” a captivating ballad that remains one of the group’s most popular and enduring tracks—thanks in part to samples by such acts as Black Eyed Peas, plus high-profile interpolations by the likes of Santana and Willie Bobo, among others. 

In the album’s original liner notes, Tico’s Pancho Cristal writes, “‘Hangin’ Out’ is reserved for the young…. It means simply to stay out with the boys and have fun.” He continues, “Joe Cuba and his boys…do this with that youthful gusto and verve that marks all their appearances and performances.” Indeed, this energy would help Cuba build a massive following, as he scored hit after hit on the charts through the next decade and become one of the most successful Latin artists of his generation. Cuba, who continued to record until the late ‘90s, was a celebrated figure in New York throughout his life. In 1999, he was inducted into the International Latin Music Hall of Fame.