
Vocalist Joe Quijano’s career took flight at Junior High School PS 52 in the Bronx in 1950 when he joined a group of amateur musicians featuring Orlando Marin (Timbales), Eddie Palmieri (Piano), Larry Acevedo (Congas), and Albert Ramirez (Bongos).
When the group played their first gig at the Hunt’s Point Palace in the Bronx, the repertoire consisted of three tunes, “Abaniquito,” “La Toalla,” and Rafael Hernandez’s “El Cumbanchero,” which they played ad nauseam. One year later, the group added three trumpets, which evolved into The Orlando Marin Conjunto. When Marin was inducted into the Army, Quijano took Marin’s place.
While studying commercial art at Manhattan’s High School of Industrial Arts, Quijano worked part-time for the Translux Corporation near the original Palladium Ballroom. Quijano’s boss and dear friend, Douglas Sterling Paddock, allowed him to take his lunch hour whenever an orchestra was rehearsing around the corner.
During a working vacation in 1956, Quijano went to Cuba, where he met some of his favorite bands and musicians, such as Beny More, Roberto Faz, Miguelito Cuni, Jose Fajardo, and Celia Cruz. He was particularly enamored with the sound of The Senen Suarez Group and made a few sales while he was there. Quijano returned to New York with stock arrangements, instruments, and a concept that combined two trumpets, a flute, and a rhythm section with a Charanga feel. After a few months, Charlie Palmieri developed an instrumental version of the “Amor” tune, and The Conjunto Cachana was conceived.
After a stint with Tico Records, Quijano went to work for Good One Stop, a wholesaler distributor servicing retail stores and jukeboxes. He convinced his bosses, Al Deutsch and Artie Schrift, to finance two (45 RPM) tunes on the AQA label titled “Rumba En Navidad” and “Descarga Charanga.” Thanks to Paramount Vending, the records were in every jukebox in New York.
Afterward, Quijano was approached by Jack Goodman of Panoramic Records, and the LPs “A Catano” and “Volvi a Catano” were recorded. Both were massive hits in South America, but Quijano roamed the halls of CBS seeking a recording contract. The “someone” was Ernie Altshuler, who interviewed Quijano, Johnny Mathis, and Tony Bennett on the same day. In the summer of 1960, Joe Quijano y Su Conjunto performed at the Spring Rock Country Club with Altshuler and his wife in attendance, and Quijano was offered a contract.
Afterward, he recorded three LPs with Columbia: “La Pachanga Se Baila Asi,” whose lyrics, according to Max Salazar, “cleared up the confusion between Charanga vs. Pachanga.” Also, “Everything Latin,” “Yeah Yeah,” and “Latin Jo.” Also, Quijano’s three LPs featuring his rhythm section backing Eydie Gorme and Trio Los Ponchos were international hits.
In the early 60s, Quijano started his own company. Being an amateur Jai-Alai player, he called the company Cesta Records (a Cesta is a basket used in the game) and recorded the album “The Fiddler On The Roof Goes Latin.”

Great education about this legend & one of my hero’s. I had the privilege of dancing to his music several times as a youngster while I grew up in The Bronx at The Hunts Point Palace. What memories!