The motive used to be pneumonia, mentioned a son, Elis Pacheco. He additionally had Parkinson’s illness.
Mr. Pacheco, who used to be dubbed the “godfather of salsa,” used to be a Juilliard-trained musician and bandleader, however his largest contributions could have been as an impresario.
In 1964, he and a industry spouse, Jerry Masucci, introduced Fania Data, which quickly changed into the label of selection for main musicians and singers of Latin American heritage, together with Ray Barretto, Mongo Santamaria, Eddie Palmieri, Willie Colón, Héctor Lavoe and Rubén Blades.
Mr. Pacheco used to be the skill scout, bandleader and manufacturer who supervised the recordings, which he and Masucci first offered from their vehicles. Mr. Pacheco freely blended musical kinds, combining components of the mambo from Cuba, the bomba from Puerto Rico and the merengue from the Dominican Republic with American jazz and rock to create an altogether new style of track referred to as salsa (Spanish for “sauce”).
On the studio, Mr. Pacheco introduced the musicians in combination, regularly enjoying the flute or percussion tools himself. He changed the violin sections of conventional Cuban track with trumpets and trombones from big-band jazz. He added the electrical bass and amplified keyboards from rock track, after which layered the melodies over thunderous rhythmic patterns of drummers, conga, bongo and timbale gamers.
“Our best purpose used to be to make other folks dance,” Mr. Pacheco advised the Los Angeles Instances in 1999.
In lots of instances, he selected the musicians for the recordings, together with a landmark pairing of Cuban singer Celia Cruz and Puerto Rican percussionist Tito Puente for the 1966 album “Cuba y Puerto Rico Son.” Cruz recorded an album with Mr. Pacheco, “Celia & Johnny,” in 1974.
Salsa used to be a dance-driven genre of fusion track that can have been created best in New York. The lyrics of the most commonly Spanish-language songs — lots of them written via Mr. Pacheco — mirrored a difficult, new city sensibility, regularly relating cultural pleasure and racial injustice.
“Again then, there used to be no musical genre with which Latinos may determine,” Mr. Pacheco advised the Los Angeles Instances in 1999. “Once we began the label . . . we brought about an explosion of types. We had an overly gifted roster and paid a large number of consideration to the collection of subject matter.”
Probably the most Fania musicians, together with percussionist Barretto and pianist Palmieri, have been virtuosos who regularly gave the impression with famend jazz musicians. Colón used to be an impressive trombonist and bandleader who, at Mr. Pacheco’s advice within the early 1970s, employed Lavoe, a tender singer from Puerto Rico. With songs similar to “Mi Gente” (“My Other people,” written via Mr. Pacheco), Lavoe changed into referred to as “l. a. Voz” — the Voice — of salsa. 2nd-generation salsa singer Marc Anthony starred with Jennifer Lopez in “El Cantante,” a 2006 biopic about Lavoe, who died at 46 in 1993.
Mr. Pacheco additionally matched Colón with Blades, a Panamanian singer-songwriter. They made 4 albums in combination, together with 1978’s “Siembra,” which used to be Fania’s best-selling recording.
In 1968, Mr. Pacheco started to prepare his label’s most sensible musicians for live shows of what he referred to as the Fania All Stars. He directed the live shows, which briefly outgrew nightclubs and native neighborhoods. A 1972 live performance documentary, “Our Latin Factor,” directed via Leon Gast, showcased the dynamic track and the individuals who made it.
“To start with we didn’t assume we have been the rest particular,” Mr. Pacheco advised NPR in 2006, “till each position we went, the traces have been fantastic.”
In 1973, Mr. Pacheco and Masucci rented Yankee Stadium for a salsa live performance of the Fania All Stars, rejecting recommendation that in addition they guide rock or soul acts to fill the stands. The efficiency, carried out via Mr. Pacheco in his in most cases animated genre, ended early when one of the crucial greater than 40,000 frenzied spectators left their seats and stormed the degree.
Mr. Pacheco took his musicians, together with singer Cruz, to Zaire (now Congo), the place they carried out sooner than greater than 100,000 other folks all through the accumulation to the 1974 heavyweight boxing championship bout between George Foreman and Muhammad Ali.
Fania Data launched its ultimate album in 1979, and Mr. Pacheco offered his passion within the industry a yr later. In a 2003 interview with the Allentown (Pa.) Morning Name, he regarded again at the 15 years when Fania used to be flourishing and mentioned, “I sought after to have an organization that handled everyone like circle of relatives, and it got here true.”
Juan Azarías Pacheco Knipping used to be born March 25, 1935, in Santiago de los Caballeros, Dominican Republic. His father used to be a musician and bandleader, his mom a homemaker. The circle of relatives moved to the Bronx when Johnny, as he changed into identified, used to be 11.
He realized to play the accordion, clarinet, saxophone and violin, after which studied percussion tools on the Juilliard Faculty in New York. All through the 1950s, he labored in different bands acting what used to be regularly referred to as Latin track and likewise used to be a part of the NBC studio orchestra.
He shaped his first workforce, Pacheco y Su Charanga — charanga is a Cuban time period for a musical workforce — in 1960. His first album offered 100,000 copies, spurred via the recognition of a dance fad referred to as the pachanga. He later made a number of recordings for Fania Data, which he and Masucci began with an preliminary funding of $2,500 each and every. (The title derives from a Cuban tune.)
Within the 1980s, the 2 companions had an extended, sour dispute over unpaid royalties that used to be now not resolved sooner than Masucci’s dying in 1997. Fania’s catalogue is now owned via the Brotherly love track workforce.
Mr. Pacheco, who lived in Citadel Lee, N.J., persevered to accomplish neatly into his 70s, drawing new generations of listeners in Venezuela, Colombia and somewhere else. His track gave the impression in film soundtracks, together with “The Mambo Kings” (1992) and “Carlito’s Approach” (1993). He won a Lifetime Success Award from the Latin Academy of Recording Arts & Sciences in 2005.
His marriages to Carmen Pacheco and Mona Rothman led to divorce. Survivors come with his 3rd spouse, the previous Maria Elena Sarabia, of Citadel Lee; two daughters from his first marriage; two sons from his 2d marriage; and 6 grandchildren.
After starting his occupation essentially as a percussionist, Mr. Pacheco later changed into identified essentially for taking part in a wood Cuban-style flute.
“When I used to be nonetheless drumming — and I used to be a gorgeous excellent drummer — some other musician used to be going to present me a trip,” he mentioned in 2003. “I began packing up my drum package however the man used to be in a rush. He took his flute case, put it below his arm, and mentioned he used to be leaving. I noticed that and I mentioned, ‘That’s my subsequent device.’ ”