History
Vincent Montana Jr.: A Vibraphone Virtuoso and Orchestral Innovator
Early Life and Musical Beginnings
Vincent Montana Jr. was born in the working-class neighborhood of South Philadelphia. Growing up in an environment reminiscent of a "Godfather" film, Montana found his calling in music, steering clear of the neighborhood's more colorful characters. His musical journey began at the age of six, inspired by his father who was also a drummer. A pivotal moment occurred when a grade school teacher recommended he play the orchestra bells for a school play. Despite initial hesitation, the teacher's patient instruction ignited a passion in Montana, leading him to dedicate himself to intensive musical study.
Mastering the Vibraphone and Beyond
Montana's dedication led him to master several instruments, including the drums, vibraharp, orchestra bells, chimes, marimba, and timpani. However, he is most celebrated for his mastery of the vibraharp, often referred to simply as "vibes." This instrument, characterized by its 36 aluminum bars struck with mallets, features resonating pipes and a foot pedal for sustain, positioning it within the percussion family alongside the xylophone and marimba. Montana's skill with the vibes, often played with two or four hand-wrapped mallets, was a rare and captivating sight for those who witnessed him perform in his studio.
The Influence of Early Music and Orchestration
Montana often reflected on his early musical experiences, emphasizing the importance of early exposure to arts and music for children. He shared his collection of vintage music books, delving into music theory and charts. A particular highlight was viewing sheet music from the Salsoul Orchestra's hits, which he brought to life by humming the melodies. His discussions extended to the intricacies of orchestral instruments like the violin, viola, and cello, illustrating the complex physics of sound waves and the rich harmonics produced by multiple instruments playing in unison. Montana's aim was to create a unified orchestral sound with unique overtones that would engage the listener's senses.
Collaborations with Jazz Legends and Session Work
During his teenage years, Montana sought real-world musical experience by performing in Philadelphia jazz clubs. At just sixteen, he had the extraordinary opportunity to play alongside jazz luminaries such as Charlie "Bird" Parker and Sarah Vaughan. A bold request to "sit in" with Charlie Parker's band proved to be a catalyst, opening doors to collaborations with numerous other esteemed musicians of the era.
In the 1950s and early 1960s, Montana toured the United States with various bands, eventually spending time in Las Vegas. Upon returning to Philadelphia, he established himself as a sought-after session musician, recording with artists like Chubby Checker and other Cameo-Parkway Records artists throughout the 1960s. The early 1970s saw him join the Michael Douglas Show as a band member, securing the spot as the final musician to audition.
The Birth of the "Philly Sound" and Salsoul Orchestra
While the Michael Douglas Show offered exposure, it limited Montana's creative freedom. He returned to the Philadelphia music scene, becoming a key figure in the development of the "Philly Sound." His earlier work with Cameo/Parkway and his collaborations with influential producers like Thom Bell, Kenneth Gamble, and Leon Huff, with whom he worked for seven years, were instrumental in this. Montana's vision for a unique blend of Latin Salsa, Soul, Classical, Big Band, and Rock influences led to the creation of the Salsoul Orchestra. The "rainbow" in the Salsoul logo symbolized this harmonious fusion of diverse cultures and sounds.
The inception of Salsoul Records was a collaborative effort. Montana initially approached Ken Cayre of the Caytronics label with a concept for a Puerto Rican musical group. While this was initially rejected, Joe Bataan, overhearing the conversation, encouraged Montana to share his disco orchestra concept. This led to a meeting with Joe Cayre, who, along with his brothers, embraced the idea, seeking a distinct "Philly style" sound. The initial funding for three songs, including the hit "The Salsoul Hustle," was a significant moment, with Montana receiving a $10,000 check that left him and his wife speechless.
The name "Salsoul" itself emerged from a conversation between Montana and the Cayre brothers, drawing from Joe Bataan's song title and representing the fusion of Salsa and Soul. The Salsoul Orchestra, featuring 37 musicians, achieved international acclaim, performing at prestigious venues like Radio City Music Hall and receiving accolades such as Billboard's Top Disco Orchestra of the Year for three consecutive years (1975-1977). Critics lauded the album, with Vince Aletti of Record World predicting its lasting impact.
Notable Salsoul Orchestra releases include "Magic Bird Of Fire," inspired by Igor Stravinsky, and the 1976 album "Nice 'N' Nasty," featuring tracks like "It's Good For The Soul" and "Ritzy Mambo." In 1978, the orchestra released "Up The Yellow Brick Road," a rendition of "The Wizard Of Oz" that included "Ease On Down The Road" and medleys from "West Side Story" and "Fiddler On The Roof." The iconic Salsoul track "Runaway," with vocals by Loleatta Holloway, became a frequently sampled classic. Montana also highlighted the contribution of vocalists Barbara Ingram, Evette Benton, and Carla Benson, known as "The Sweethearts of Sigma."
Artistic Differences and the Formation of The Montana Orchestra
While acknowledging similarities with contemporary disco orchestras like M.F.S.B., Montana emphasized the Salsoul Orchestra's distinct string-based sound compared to M.F.S.B.'s more Big Band orientation. The production of Salsoul Orchestra's music was a complex process, especially before the advent of modern technology, involving meticulous mixing of up to twenty-four tracks to capture the live energy of the performances. Montana also clarified that Kenny Present, rather than Tom Moulton, mixed most of his original Salsoul tracks.
A notable release was the 1976 Christmas album, which initially courted controversy due to its provocative cover art. The album's cover was later altered to appear more seasonally appropriate. Despite the success, creative and financial disagreements, particularly concerning royalty payments, led to legal proceedings and Montana's departure from the Salsoul organization. He maintained that he *was* the Salsoul Orchestra, and subsequent attempts to replicate its success without him were unsuccessful.
Following his split from Salsoul, Montana formed The Montana Orchestra and signed with Atlantic Records in 1978. Early releases included the LP "I Love Music" and the 12" single "Warp Factor II." He also contributed to the 12" single "1 Dee Jay" by Goody Goody, featuring his daughter Denise Montana.
Philly Sound Works and Contemporary Influence
By the early 1980s, Montana established his own record label, Philly Sound Works (PSW), to release his own music. The track "Heavy Vibes," a sought-after groove for DJs, originated from a satirical song about the 1982 NFL strike. Its instrumental version became a club hit, with "Heavy" referencing the vibraharp's substantial weight.
Montana's innovative writing and arranging skills continued to be recognized by contemporary artists and producers. He contributed to projects for artists like The Braxtons, Incognito, and Masters At Work, arranging the Nuyorican Soul album, which featured collaborations with Tito Puente, George Benson, and Roy Ayers. He also worked on India's "To Be In Love" and arranged and provided creative input for Pet Shop Boys' hit "New York City Boy."
Embracing modern technology, Montana utilizes Apple Macintosh computers and music software like Encore to compose, a stark contrast to the laborious hand-written scores of his past. He expressed that such tools would have significantly enhanced his ability to produce music for the Salsoul Orchestra. He continues to compose and arrange music on his portable Apple G3 PowerBook, often working in intense creative bursts.