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Chano elevated the status and reputation of rumbero to near mythic proportions with his swaggering attitude as he led his own comparsa through the streets and with increasing successes became a hero to Havana's poor people. In a few years Pozo was the most well-known and sought after rumbero in Cuba, with the most talented comparsas (local groups) vying for his services, and was regularly winning top cash prizes for his compositions. Mostly young, street-toughened drummers, rumberos were integral to each comparsa (something like a 'jam club'), since rumberos provided throbbing, sensuous rhythms regarded as the base for all Afro-Cuban music. They consisted of singers, dancers, musicians, and the ever-present rumberos. CarnivalĬhano's reputation grew among the people each year, not only because of his physical prowess as a dancer, drummer, and success with women, but for the compositions he wrote for Carnival, during the nightly celebrations of which neighborhoods formed highly competitive comparsas, or street troupes.
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Chano spent his free time dancing, singing, fighting, chasing women and playing his drums. He was rumored to have performed duties as debt collector or "leg breaker" for Suarez.
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His forceful nature and success in selling brought him to the attention of newspaper owner and influential businessman Alfredo Suárez, who hired Chano as his personal driver and bodyguard. In 1929 he took a job selling newspapers for El País, Havana's most influential publication, hawking papers on a number of street corners. Cecelio persuaded his son to practice his trade of bootblack, but Chano's temperament was not suited for this occupation and he quit after less than a year. Upon his release from Guanajay, Chano returned to his father's house in Havana. Barbara had associations with the color red, and for the rest of his life Chano would often carry a red scarf signifying his allegiance. Chano pledged allegiance to the Catholic Saint Barbara, identified widely with Shango, the Yoruba god of fire and thunder, and took him as his personal protector. Yoruba deities were identified with Catholic saints to fool the slave owners, as the Spanish colonialists had forbidden the practice of African religions. Developed among Afro-Cuban slaves, the religion began as a blending of these West African spiritual beliefs and Catholic doctrine. Also known as "La Regla de Ocha", this is an Afro-Caribbean religion derived from traditional beliefs of the Yoruba people of Nigeria. Santeríaĭuring this time he became a devotee of Santería. At the age of 13, Chano was sent to the reformatory in Guanajay, where he learned reading and writing, auto body repair, and honed his already exceptional skills playing a variety of drums. No official records document the crime he was sentenced for, though at least one account has him causing the accidental death of a foreign tourist, adding to a record of thievery, assault, and truancy. He spent his days playing drums, fighting, drinking, and engaging in petty criminal activities, the latter of which landed him a stint in a youth reformatory.
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He dropped out of school after the third grade and earned a solid reputation as a rowdy tough guy, big for his age and exceptionally fit. In this environment criminal activities flourished, and Chano learned the ways of the street as means of survival. The family lived for many years at El África Solar (Africa neighborhood), a former slave quarters, by all accounts a foul and dangerous place, where it was said even the police were afraid to venture. His mother died when Chano was eleven, and Cecelio took his family to live with his long-time mistress, Natalia, who was Felix's mother.Ĭhano showed an early interest in playing drums, and performed ably in Afro-Cuban religious ceremonies in which drumming was a key element. The family struggled with poverty throughout his youth. Chano grew up with three sisters and a brother, as well as his older half brother, Félix Chappottín, who would later become one of the great Cuban soneros. Luciano "Chano" Pozo González was born in Havana to Cecelio González and Carnación Pozo. He co-wrote some of Dizzy Gillespie's Latin-flavored compositions, such as "Manteca" and "Tin Tin Deo", and was the first Latin percussionist in Gillespie's band. Despite only living to age 33, he played a major role in the founding of Latin jazz. Luciano Pozo González (Januin Havana – Decemin New York City), known professionally as Chano Pozo was a Cuban jazz percussionist, singer, dancer, and composer.