CÉSAR CONCEPCIÓN
ABOUT
July 28, 1909 — March 11, 1974
In the history of Puerto Rico’s popular music, César Concepción holds a distinguished and privileged place. He is remembered as a virtuoso trumpeter, a melodist of exquisite sensitivity who contributed more than a hundred beautiful boleros to Puerto Rico’s romantic repertoire, and as the innovator who elevated plena to “salon” status, introducing it to the most prestigious venues. He also stands out as the founder and leader of one of the most sensational orchestras that emerged in the 20th century.
the early yearS
1909 - 1933
This unique musician was the son of San Lorenzo native Tomás Concepción and Cayey native Margarita Martínez, both of very humble origins who, through great effort, managed to establish a small grocery store. He was the second of eight siblings—two sisters and five brothers—and, like them, completed his elementary education at the Luis Muñoz Rivera School. At the age of 12, he began learning the cornet under the tutelage of Comerio-born Professor Claudio Torres, who later incorporated him into the Cayey Municipal Band, which he directed. It was in this group that he developed a love for the trumpet, the instrument he chose, inspired by his brother Juan, also a trumpeter in the Municipal Band. At the age of 13, he joined a group that entertained silent movie screenings at the San Rafael Theater, owned by Don Emilio Martínez, in his hometown.
By the age of 14, César Concepción was considered such a competent musician that his popularity transcended the boundaries of his hometown region. In 1930, the renowned pianist Augusto Rodríguez Amador, brother-in-law of Rafael Muñoz, came looking for him to offer him a position in the orchestra he was organizing in San Juan: The Midnight Serenaders. With that organization, he formally began his professional career. In 1932, the Escambrón Beach Club was inaugurated, being the finest dance hall in the Antilles with its mirrored dance floor. Miguel Ángel “Don” Rivero organized the dance orchestra for that famous club, incorporating César as a trumpeter. There, he shared the stage with a young man who would become one of the best drummers of his time and his lifelong friend, José Pillado. It is important to note that during that time, he composed his first musical piece, “Besos,” which a few years later was recorded on the “Victor” label by the group La Perla del Sur.
new york city
1933 - 1945
The arrival in Puerto Rico in 1933 of the Cuban orchestra Hermanos Castro, under contract with the Escambrón Beach Club, led César to move to New York in search of a more favorable environment. At the end of that year, he decided to leave for New York, as, in addition to the fact that the Hispanic artistic movement in this metropolis was going through a period of great effervescence—with an increasing number of dance halls where rumba ruled and major record labels hungry for Latin American music—he could refine his trumpet playing with a specialist in the field. It is worth mentioning that before César left for New York, “the one who helped me the most with the instrument (trumpet) was Professor Muñoz. The preparation I had to go fight and earn a living in New York, I owe to him,” a humble acknowledgment expressed by César throughout his life, another indication of his character.
Fortunately, upon arriving in the Big Apple, he quickly found work, and after some time playing in dance halls, he joined Emilio de Torre’s orchestra at El Chico Bar, a restaurant, bar, and rumba dance hall owned by Spaniard Benito Collada, who was married to Puerto Rican singer and guitarist Rosita Berríos. In 1938, he joined the orchestra of Venezuelan pianist Eddie LeBaron, which at the time was the resident orchestra of the luxurious Rainbow Room cabaret. With LeBaron’s orchestra, his trumpet resonated in the most refined social centers throughout the United States. Enrique Avilés, the pianist in his orchestra, José Pillado, the drummer, and singer Johnny López were members of this band. Louis King Garcia, his colleague, was a star at the time in the United States. With LeBaron, he recorded pieces such as the successful “Por Corrientes va una conga” (by Ernesto Lecuona) under the Decca label, and other compositions by Cuban Eliseo Grenet, several of which received intense distribution, especially “Las rumbas cubanas” (Columbia, 1936). In most of these recordings, the wide and brilliant sound of his trumpet stands out.
His association with Eddie LeBaron’s orchestra lasted until 1942, when that enterprising musician moved to Los Angeles, where some time later he founded the majestic Trocadero’s Club cabaret, which came to be considered one of the most famous in the world. However, in the meantime, after that organization ended its contract with the Rainbow Room, César also collaborated in recordings and, in some cases, live performances with the orchestras of Xavier Cugat, Enrique Madriguera, Grupo Victoria by Rafael Hernández, Cuarteto Flores by Pedro Flores featuring Daniel Santos, Óscar de la Rosa, Don Maya, Moncho Usera, Roberto “Bobby” Quinton, and Nano Rodrigo, among others.
the GOLDEN ERA
1947 - 1968
César Concepción returned to Puerto Rico in 1944, hired to join the house orchestra of Jack’s Club in Santurce, directed by saxophonist and clarinetist Armando Castro, “Fajardito.” His stint with this group, known as Armando Castro & His Jazz Band, lasted until 1945.
During that period, he contributed several pieces to the orchestra’s repertoire, some of them being the bolero “Cómo Te Quieren Mis Ojos,” which later became his orchestra’s theme song, the bilingual rumba “La Rumbomba,” and the calypso/rumba—lyrics by César, music by Castro, and sung by Juan Ramón Torres “El Boy”—“Jack, Jack, Jack / Cu-Tú-Gu-Ru,” the first musical piece composed by Puerto Rican artists to be included in the Hit Parade of the magazine Hit Parader (now better known as Billboard).
After a year and a half with Ramón “Moncho” Usera’s official orchestra at the Escambrón Beach Club, this illustrious Cayey native set out to form his own orchestra, encouraged by businessmen Jorge “El Nene” Correa from Arecibo and his partner, José “Chichí” Soto Zaragoza. They motivated him to organize it to serve as the official orchestra of the luxurious New Yorker Club, which was to be inaugurated on the premises previously occupied by Jack’s Club near the Condado Lagoon in Santurce.
The opening of that venue and the debut of César Concepción’s orchestra, which also featured performances by international singers Elsa Miranda and Eddie Gómez, took place on Saturday, June 14, 1947. That historic night, the ensemble included: Juan Ramón Torres “El Boy” (singer); Luisito Benjamín (pianist); Tony Di Ricci and Berto Torres (second and third trumpets, respectively); Ángel Rafael “Lito” Peña (first alto saxophone); José “Acevedito” Torres (second alto saxophone); Rubén Rivera (tenor saxophone); Juan Antonio Bajandas (double bassist); José “Pepo” Talavera (timbalero); Jesús Cruz (conga player); and Francisco “Pacotón” Torres (bongo player). The grand event was broadcast live by WAPA Radio, narrated by prominent announcer Mariano Artau.
It is worth highlighting that the popularity of César Concepción’s orchestra was truly cemented through its daily participation in the program “La Ruleta Musical,” hosted by Artau on the aforementioned station. Additionally, shortly after its debut, “El Boy” ceded his position to the exceptionally talented Joe Valle, who would become the vocalist most associated with the orchestra in the public’s eyes. It was with Valle that the orchestra recorded César’s most iconic boleros, as well as the series of modern plenas dedicated to numerous municipalities.
It is important to emphasize that, until then, this deeply Puerto Rican rhythm had not been adapted for a large orchestra. César gave it a more refined tone that allowed it to conquer the most aristocratic stages and venues frequented by high society, while still maintaining its roots and bringing these melodies to towns across Puerto Rico, as well as to the diaspora in the United States and throughout Latin America. This contribution by César is one of the most significant to Afro-Caribbean popular music.
On Wednesday, March 31, 1954, just three days after the inauguration of Telemundo/Channel 2, César’s already famous orchestra made history by becoming the first to be hired for permanent performances on the emerging Puerto Rican television screen. Specifically, they appeared on the program “Coca-Cola Buscando Estrellas,” also hosted by Mariano Artau and Antonio Díaz Velázquez, which aired at 8:00 p.m. Later, from 1963 to 1966, the orchestra served as the official ensemble for “El Show del Mediodía,” produced by Tommy Muñiz and broadcast on WAPA TV/Channel 4.
During this era, César maintained his orchestra as a permanent or “resident” band at prestigious venues such as the Caribe Hilton (January 1950–1957), the Hotel Flamboyán (December 1957–1968), the Hotel San Juan, and the Americana Hotel. He accompanied all the international stars who graced those stages, including Sammy Davis Jr., Tony Bennett, Nina Simone, Nat King Cole, Diahann Carroll, Celia Cruz, La Lupe, Harry Belafonte, and many others.
the FINAL years
1969 - 1974
As the years passed, the music scene underwent changes (music became more intense and louder), and the younger generations gravitated toward those new sounds. César remained true to his style. By the late 1960s and early 1970s, his orchestra performed more frequently in Puerto Rico’s interior towns than in the capital, though they still held seasonal engagements in New York City.
No longer in his 40s but now over 60, César reunited with Joe Valle in New York, and they decided to record an album to revive their past glories. Under the Ansonia label, they recorded a long-play album of “Plenas Favoritas.” Times had changed, and the audiences that once cheered for César’s orchestra were now in the minority. The musical preferences of the new generation had shifted toward foreign music, ballads, salsa, or the frenetic sounds emerging from New York.
Even acknowledging this reality, César, with his indomitable spirit and iron discipline, remained stoic and steadfast. In 1972, he recorded his final album, “En Stereo,” with the Velvet label in New York, which included tracks such as “La Vida,” “Yabucoa,” “Cuando Cuba Cantaba,” and others.
On the night of August 9, 1973, “El Súper Show Goya” was broadcast on WAPA-TV/Channel 4, dedicated to César Concepción. The Puerto Rican people had the opportunity to see César, his orchestra, and his singers live and in full color. It was an hour filled with nostalgia. To close the program, César and Joe sang the bolero “Niña” by Johnny Nieto, a song they had performed together on countless occasions. This would be César’s last television appearance.
For 50 years, César had no rest. He lived intensely, pursued and achieved his dream of creating “the best and most popular orchestra in Puerto Rico.” In Elvira, he found the love of his life, a love he sang to with great tenderness. Born in the poorest neighborhood of Cayey, César Concepción, with his eternal smile, said goodbye to his people alongside Elvira, his great inspiration and love, on March 11, 1974, leaving behind his music as the legacy of a Puerto Rico.
Sources: “César Concepción.” Fundacion National Para Cultura Popular, https://prpop.org/biografias/cesar-concepcion/ and edited by Miguel Lopez Ortiz. Accessed 3 Feb. 2025.
