|Origin||New York City, New York, U.S.|
|Years active||Late 1973-1982 (Unofficially reunited in 1995)|
|Members||José Alberto "El Canario" (vocalist), Sonny Bravo (a.k.a. Elio Osacar - Piano, Musical Director), Alfredo de la Fé (violin), Nelson González (tres), Rene Lopez Sr. (Trumpet), Joseph "Joe" Manozzi (Piano/Trumpet), Nicky Marrero (Timbale/Bongo), Dave Perez (bass), Leopoldo Pineda (Trombone), Johnny Rodriguez (Band Leader/Bongos), Adalberto Santiago (vocalist), Orestes Vilato (bongo, timbales)|
Típica 73 was a popular New York Cuban charanga and salsa band in the 1970s and early 1980s, formed with a number of musicians from Ray Barretto's band. The term típica refers to the "typical" configuration of a Cuban charanga with violin, and 73 to the year of founding the group.
Típica 73's music was notable for its experimental style, and was the first US-based salsa orchestra to record in Cuba with the album Típica 73 En Cuba Intercambio Cultural. Tipica 73 featured several salsa musicians who would go on to become famous as solo artists, including vocalist Adalberto Santiago, José "El Canario" Alberto and violinist Alfredo de la Fé.
In the nascent and thriving New York Latin jazz and salsa scene in the early 1970s, the group began with Johnny "Dandy" Rodriguez Jr and four of Ray Barretto's original band including Adalberto Santiago (who all left Barretto simultaneously to start Tipica 73 in 1972), and, after combining the conjunto percussive style (congas, timbales, and bongos) with a horn section the band became one of the biggest stars of the salsa movement in the US. However, the band's lineup ended up with an almost different cast by the start of the following decade, with several of the original members having left after differences in the late 1970s regarding whether the band would continue to play tipica music, with Santiago and three others leaving to form Los Kimbos. Rodriguez Jr was the only constant in the band, and he and remaining members would split in 1982, but not without a tribute to the charanga style, the 1980 release Charangueando con la Tipica 73, which included standout versions of Tito Puente's "A Donde Vas" and Cachao's "Chanchullo", among others. According to Greg Prato of All Music Guide Magazine, in 1995, Tipica 73 reunited for a successful concert in Puerto Rico, which led to a series of shows four years later.
- Tipica 73 (1973)
- Tipica 73 (1974)
- La Candela (1975)
- Rumba Caliente (1976)
- The Two Sides of Tipica (1977)
- Salsa Encendida (1978)
- Típica 73 En Cuba Intercambio Cultural (1979)
- Charangueando con la Tipica 73 (1980)
- Into the 1980s (1981)
- Claudio Iván Remeseira Hispanic New York: A Sourcebook 2010 p378 "In the mid-1970s vocalist Adalberto Santiago, percussionist Vilato, and guitarist González all left Típica '73 to start new bands. ... The Two Sides of Típica '73, released in 1977, showed the band flexing its varied musical directions, flowing ..."
- César Miguel Rondón The Book of Salsa: A Chronicle of Urban Music from the Caribbean 2008 p311 "Típica 73. Los dos lados de la Típica 73. Inca Records,"
- Rebeca Mauleon The Salsa Guidebook 2011 "Sonora Ponceña, Sonora Puerto Rico Allstars Revé, Orquesta Ritmo Oriental, Orq. Rumbavana, Conjunto Sensación, Orquesta Septeto Nacional, Sexteto Boloña, Sexteto Habanero, Son 14, Conjunto Sublime, Orquesta Típica '73, Típica Ideal (US) "
- Umi Vaughan Rebel Dance, Renegade Stance: Timba Music and Black Identity in Cuba 2012 p21 "For example, in the late 1970s and early 1980s, there were visits made to Cuba by the Fania All-Stars, Típica 73, Dimensión Latina, and Óscar D'León. Also, Nuyorican bandleader Willie Colón and the Panamanian Rubén Blades—both ...
- Pablo Yglesias Cocinando!: Fifty Years of Latin Album Cover Art 2005 p115 "For Típica '73's La Candela, he enlisted his family and friends in the weaving of a tapestry with the album's typography (it was intended as a gatefold). "It took forever, I was freaking out. "