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 Talented
multi-percussionist George Delgado was born in the Bronx, New York
on July 19, 1965. His Puerto Rican father introduced him to congas when he was four and by age six he was playing timbales as well. He
added bongos as a teenager.
When George was fourteen his family moved to Puerto Rico, where George
began performing with local groups. In 1978 he got his first big break
playing timbales with Tito Rojas’ El Conjonto Borincano.
Returning to New York City in 1983, George quickly got busy playing
with such artists as Kimy Solis, Tito Allen, Menique, Santiago Ceron,
and Tipica 88. A stint with Manny Oquendo's Libre gained him recognition
as a conguero. Since then George has gone on to play and record with
artists including Celia
Cruz, Tito Rojas, Manny
Oquendo’s Libre,
Steve Turre, Sonora Matancera, Oscar de Leon, Tony Vega, Eddie Palmieri,
Tito Puente, and The Latin Giants.
In 2005 George released a solo CD called Mi Ritmo Llego (My
Rhythm Is Here). “It’s based on my admiration for all the
artists I’ve worked with,” says George. “It’s
mainly a dancers’ album, in a hard-core salsa style. I did percussive
stuff on it, but not to feature myself. One day I’d like to do
a Latin jazz CD that showcases my playing a little more. Sometimes
I think people have me labeled as just a salsa player. They don’t
know the full range of percussive skills that I have.”
George credits that range to his multi-cultural background. “I
had the best of all possible worlds,” he says. “I got involved
in music when I was very young in New York City. I spent my teenage
years in Puerto Rico being immersed in the music there. Then I moved
back to New York, where I heard Jamaican reggae, Afro-Cuban music,
Latin jazz, pop, and rock. So I captured every essential way of playing
the instrument, with influences from both places. Along the way I was
inspired by great artists like Jose Mangual Sr., Manny
Oquendo, John
Rodriguez, Jimmy
Delgado, Eddie
Montalvo, Nicky Marrero, Tito
Puente, Ray Barretto, Orestes Vilato, and Yeyito Iglesias.
As a conguero, George favors LP’s 28” Salsa models for
the deep, warm sound that they create. “I prefer wood drums for
recording,” he says, “because of their more controlled
overtones. I also like LP’s Original fiberglass drums for live
gigs because of their increased projection and durability. Road drums
have to take a beating.”
Besides congas, George is also skilled on bongos, timbales, bata
drums, and all the traditional
hand “toys. George is currently a member
of the Spanish Harlem Orchestra—a Grammy-nominated group whose
success has taken George all over the world. He also performs frequently
with Mambo Legends (which evolved from the Tito Puente Orchestra).
As an educator, he’s been teaching at East Harlem’s highly
regarded Harbor Conservatory since 1992. He also conducts clinics and
master classes, as well as teaching privately.
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