āTssst!ā
āWhat is that?ā
āTssst!ā
āWhat are you doing?ā
āIām just doing thisā *He eases his foot off of the hi-hat pedal, just a little bit, and taps the cymbals with the stick before closing the two cymbals tightly once again*
āThatās called a hi-hat sizzle.ā
To this day, I donāt actually know what the technical term is for āTsst!ā in drumming. All I know is, if you ease your foot off and loosen the tension between the two cymbals a littleā¦you can get this subtle sizzleā¦itās like aā¦crude low-end crackle of white noiseā¦
Recently, at a gig, I ran into the man who taught me this technique and I recounted this story in the comedic, self-deprecating manner I recount almost anything in lifeā¦and I got choked up.
What I felt, after a minute or two of analysisā¦was gratitude. I know this entire story seemsā¦opaqueā¦greyscale matter. Inconsequential. I would normally agree butā¦once recounted and, frankly, relived, I realized that there was such a blessing and providence in this memory. There was charity in it. Robbie was probably ten years older than me. He had more pressing concerns: Girlsā¦likeā¦all of the girlsā¦He was well-spoken, had a velvety voice and easy smile to go with his easy nature and he was a teen with girls on the brainā¦but he took time, and gave me something.
It was smallā¦probably a secondaryā¦tertiary thought to him, but it opened a whole world for me.
When you sit and talk to Tony Moranā¦when you stop and listen to every word he has to sayā¦you start to realize that his entire life is a collection of these small trinkets, small gestures, chance encounters that pull him forward into monumental breakthroughs; all while being simply dedicated to whatever the task was at hand. Itās not enough to say that heās humble. Tony is grounded, rooted, and centered. Tony is here because someone took the time. Without ego or predication, Tony just moved in his world casually, searching for playmates āsearching for his tribe. It almost doesnāt really matter that some of that tribe happens to be Donna Summer, Cher, Deborah Cox, Nile Rogers, Gloria Estefan, the King of Pop himself, Michael Jacksonā¦thatās not the point. The point is Tony builds communities through as many touches as possible. Itās all so innocent and childlike in the way that he approaches ānetworkingā āapproaches the music itself. He emphasizes trust. Trust. When youāre with him in the studio, the execs with their timelines and insensitivity to the creative process rolls away. Heās not trying to wrangle another coin out of your pocket or put himself in front of the camera so he can buy one more car to shepard in his last three cars that he doesnāt even drive.
Have you ever heard someone describe their career as what they would do even if they didnāt get paid for it? Thatās Tony. The payment is the connection, the stories, the heartfelt music, the story of an album. The money is just a means to keep him alive this long. Even in his preparation for the Roseland Reunion show in NYC, on Sunday, September 24that Amadeus in Queens, heās been preparing not only his body and mind but also preparing the audience āthinking of how to take an audience on a journey and giving himself the time and space to do so.
Born in Brownsville Brooklyn, the reality of stereotypical life in the projects took a backseat to the world his parents (and really, the proverbial village surrounding him) kept him engaged in.
āI was very lucky. I had a great mom and dad. We had a great sense of strength in family and other people in the neighborhood were very ābirds of a featherā…They all made sure we made it home safe. They did their best to give us a full childhood and have a chance to just be kids. Humble beginnings but there was a lot of optimism for all the family members no matter what path they chose to take.ā
I was taken aback by the wholesome nature of this opening. No fault of any human living, or posthumous, but a childās innocence can be lost in the hustle and bustle of a fast-moving, grind culture, Gary Vee straining the muscles in his neck, kind of world. Our guardians can end up dumping their fears and concerns on you, out of aā¦need to just vent āout of a lack of handed-down options as to how one deals with the clutter of lifeās constant poking and prodding; and the emotions and insecurities that haunt the inner recesses, like lecherous demons seizing on every little moment to remind you of your smallness. And that smallness then becomes the childās smallnessā¦and generational smallness becomes the all too familiar curse of people of color.
Tonyās circle prepared a very different place for him:
āYou know, whatever you go through in life, as impossible as it would be to explain, whatās important is knowing people got you. At various times, Iāve been around people whoāve had all sorts of challengesā¦but itās important to have an anchor in your life. It could come into your life as of now. When it comes, seize that. Itās more than a relationship. Youāre given an opportunity to evolve in relationships and develop trust. Great things can happen when you can trust and extend trust.ā
With these foundational pieces in place, Tony was free to be inspired. He didnāt need much. He went to the park jams; he listened to the music being played in the neighborhood; he worked himself down to a nub to afford a boomboxā¦heād hear DJ Red Alert and Tony Humphries on weekend showsā¦he could resonate, he could dance and feel free, and feel like this was really a birthright for him.
Tony often uses the phrase ābreak freeā when describing how this music would make him feel. I probably couldāve asked further into what he meant but, I kind of glossed over it during the interview. I felt I knew exactly what he meant. My childhood was dotted with these important artists that helped me break free fromā¦really everything. Itās not exactly a measure of bondage or hardships. No, this is about living in a world completely created, and inhabited, by your own imagination. A song comes on and everything disappearsā¦even the positive things. Thereās color, tone, passion, lightness. Your cells are on fire. Thereās nothing else. Iāve gone to this place a few times in adulthood and forgotten to eat for 12 hours straight. The music had a monopoly on my time and attentionā¦Maybe itās an escapist in nature, at times unhealthyā¦who cares? Itās beautiful, nearly holy, when you find it; and when you talk to Tony, this is exactly what he sounds like: an apostle.
Even his chance encounters that lead to the creation of the Latin Rascals feels like biblical allegory.
āSo, as I was DJing and doing block parties and go to school, I was working at Lord and Taylorāsā¦and I would frequent a record store in downtown NY near the World Trade Center. Iād go there with whatever I made and leave with no money to go home. My mom would give me two tokens to come home because she knew Iād leave broke. Iād go there and listen to records and I would just touch a promoā¦just touch itā¦even if I couldnāt buy it. I would just stand there. This was a time with boutique stores that would play various domestic songs and also carried imported songs that hard distinctive sounds that were related to hip hop!
āSo people would feel sorry for me and Frankie Ramos, the owner of Downtown Records, said āWhy donāt you just work here, pack boxes and weāll work out a deal so you can have the records you want?ā So, I was doing my mixtapes, and Kenny Carpenter would come in. He was playing at Bonds. This was pre-Devilās Nest, pre-Roxy, pre-Heartthrobsā¦and Larry Levan would come inā¦I never really got a chance to work with him, but he was pivotal to the underground sceneā¦all these major names would come into the store to hunt down music.ā
āEventually, the store let me play music on the turntable to sell to people! And I just got so into it! Then I would overhear conversations that people on radio stations were required to record on a reel-to-reel. So, as I was working at the record store, another DJ from Harlem would come in and apparently, we were living parallel lives. He was using the pause button on a cassette deck to edit. I was too but I was using different skills. His name is Albert Cabrara! So, he would come in and was like āHey, can I play you my mixtape?ā and Iām like āOF COURSE!ā and I would play him my mixtape. His stuff dropped my jaw. I said āWe gotta connect!ā So, we got together and heād remix and re-edit my stuff. We were just feeding off each other and we created our own sound. We were so into what the other one was doingā¦and it just grew from there. Once we started doing stuff together, things started moving. I would show people 15 min of my mixtape to almost every customer at the record store. One customer was the program director of WKTU in NYC at the time āthe late, great Carlos DeJesus. He helped introduce electronic music into commercial formats like freestyle, and pre-freestyle music. House and disco were electronic as well but still had a lot of acoustic instruments, so they didnāt stand out specifically as purely electronic. He was commercializing that more electronic sound.ā
āSo, when I played my stuff for Carlos, he was likeā¦ ācut it down to 45 min and bring it to the radio station tomorrow. Weāll play it.ā So, Albert and I edited it all night to cut it down. So, we brought it to the radio station on a reel-to-reel we found in a junkyard. The radio station played it on their lunchtime program, hosted by DJ Paco Navarro (the late and great). He played our first tape and after he played it, they got thousands of phone calls to play it again. They had requests for days and days in a row. He actually gave us our name. He said āYou know what? They did it again! The Latin Rascals!ā We actually recorded when Paco said that and used his snippet as the overdub for all of our tapes. Thank God he didnāt say the Glow Stick kids or somethingā¦ā
āEventually, it all just caught on to the point I had to quit my job. You know, sometimes youāre just ready for the next move. So, we just started taking songs we wanted to play and we werenāt just mixing differently, we were editing the songs the way we wanted them. And apparently, music producers like Arthur Baker, Mark Kamins (producer go Madonnaās āBorderlineā, Bobby O (producer of Pet Shop Boys and Divine and Kurtās Blow (legendary pioneer of Hip Hop) were listening to our tapes. Arthur called the station and was like ‘Who the fā just edited my Cyndi Lauper remix?!ā and I mean heās a big deal. Heās done Planet Rocket, Hall and Oatesā¦everyone. So, he ended up getting my motherās number and set up a meeting with myself and Albert. That very day, we ended up working for Diana Ross, on the song āSwept Awayā which brought us into working on the majority of the BEAT STREET movie soundtrack produced by Harry Belafonte that almost all freestyle music related.
And as much as that story may come off as a whirlwind, to speak to Tony felt as though thatās exactly how it was all perceived. Like, step one on the yellow brick road leads you directly to the wizard by page 3. Maybe thatās the perception when youāre more enveloped in the wonder of the art itself. I mean, Tony is inside every bit of 80o count threads of music. Techniques, time stamps, signature sounds, even the science as itās perceived by the human ear all interests Tonyā¦seemingly more than the accolades or āarrivingā.
āYou know, thereās something about the waves and frequencies on the radioā¦Like the difference between AM and FM, thereās a different kind of compression. FM makes everything sound wider or LARGER.ā
Who else notices that?
But this is the world of Tony Moran. The details are the entire landscape of the thing. Tony lives in the blind spots.
And like this, Tony and Albert began to take off as the Latin Rascalsā¦and much like The Wizard of Oz, the right cast of characters showed up and carried them forward.
Characters like Andy Panda, whoād already landed some amazing opportunities writing and mixing for Nayobe. He pushed Tony to be comfortable at the microphone when he was making the āBach to the Futureā tape, in a way that is beyond comical and disarming.
Together with Sa-Fire, DJ Little Louie Vega, and a very young Marc Anthony, this group supported each other for a decade plus as their individual and collective stars rose.
John āGungieā Rivera became an integral part of Tonyās life as well.
āI became eligible to join a record pool. It was a music promotions club, where record companies could go once a week to a place, bring promos of music, play music, and give opportunities to people of various genres to network. IDRC was the premier place to network music and John Gungie Rivera himself was a DJ, so was Little Louie Vegaā¦and all of us packed and unpacked boxes for people who were at a higher level than us. As we were contributing and evolving, all those people that were around us were rooting for us. Gungie was at the heart of it. He was finding his own pathā¦mixes of his own, producing music, and eventually stratospheric levels of music promotion and event promotions.ā
I meanā¦imagine: This is your team. Need vocal coaching? Visit Marc Anthony at his house. Need promotion? John Gungie Rivera is a phone call away. Need encouragement? Whereās Andy? āThis is so stupid!ā, Andy Panda would say in an almost Little Italy āPaisanā, Gotti in Zegna era accent, as Tony would tell it.
Tony used their energy, their encouragement, and their love to feel like it belonged among these amazing stars, all throughout the freestyle era.
Tony took the same way of working with the big pop stars he found himself eventually working with like Luther Vandross, and Celine Dionā¦he did his homework, more homework than the next guyā¦but he was never rigid.
āThatās how I found myself working on an album project with Gloria Estefan, where she chose to use a DJ to produce her entire album, called āGloriaā. I was nominated for two Grammys for two of those songs I recorded for her. Thatās how I went from remixing one song with Luther to producing three songs. That’s how I went from remixing songs for Michael Jacksonās collection of the history album to helping collect and give my professional take on remixes done by multiple famous people to be put togetherā¦it was like an advisory role in a focus group.ā
All of this, he did in strideā¦he took calculated risks but avoided being stubborn. Tonyās approach to working with artists is as much a science as it isā¦making your motherās Sancocho: This aināt in a recipe book. You have to season and taste as you go. Everyone is different, and Tony doesnāt force his world onto others. Heās still that kid, saying āYou want to hear my mixtape?ā and thatās that. He starts there and remains flexible.
āI donāt have bad memories. Whatever challenges I had to faceā¦itās part of the dream. Not a struggle. If you want to be a great basketball player, you have to go to practice 5 times more than everyone else. You have to focus your energy at the right time. You have to preserve energy. You have to be aware. Itās about how you accept who you want to be! Mistakes and all! You donāt have to beat yourself up or explain yourself.ā
Tony continues to work and collaborate and be the most valued ear and shoulder in the industry because of this love and respectā¦and discipline in regards to his craft.
When I asked him what ās been doing recently, it was much the same. Heās still in the halls of the giants, inspiring people and crafting classics. Heās also crafting a show for the Roseland Reunion Show that John Gungie Rivera and Lucho are putting on in New York āa revue and renewal of the iconic sounds of the freestyle era. Tony outlined his outlook on the way he wants to approach the show and his fans.
āI want people to feel the same energy that they felt when they heard it the first time. I got calls to do 10-minute showsā¦small thingsā¦and it was so dissatisfying to think I can genuinely express myself with such limited time. I donāt want to come back to this music and do a drive-by. So when I spoke to Charlie Rodriguez, the producer and promoter, I told him I wanted to do a full set so I could talk, breathe, sing, and warm up the crowd. I need more time. Youāre paying me to touch these people. This is me taking the time to do that.ā
Itās a real service to him. It reminds me to do this in my own artistic pursuits: Whatās going to light them up the way music lights me up?
When I asked Tony what he would like to be his advice to musical aspirants orā¦really anyone reading this piece, he dropped a gem that just about sums up his entire journey thus far:
āI want people to realize that your mind is open to discover more. Itās not about the opportunities. You can go from mopping the floors of a building to owning it, and every part of the experience was important. Who I am has come from me knowing that I wasnāt running toward the thing that was cool. I was just following my heart. People have been very patient with that. Iām dipping my feet back into Freestyle because of my relationships with Gungie, with Luchoā¦Iām not trying to live up to being something I was when I was 21. Iām just doing my best right now. Iām just grateful.ā
I took a beat. I sighed a sigh of deep relief after Tony said this, and I said,
āIā¦I donāt know. Youāre speaking my language.ā