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CYBER-INTERVIEW:
Eddie Q
-By Patricia McGowan
Introduction
Eddie Q (Edward Quiros) was born in Manhattan, NY. His parents came to NY at an early age from Puerto Rico. He began studying music with the piano at the age of 10 years old and later, at the age of 12, Eddie switched to the guitar and has evolved into an accomplished jazz guitarist. Eddie formed and was director of his musical group, Progression, with the fusion of elements of be-bop, funk, Latin jazz and R & B. Some of the musicians that played along side Eddie Q in Progression were the likes of such greats as, Arturo O’Farril on piano, son of the late, great composer, Chico O’Farril, and also on piano, Igor Atalita (who has played and recorded with all the major bands in the New York Metropolitan area). Also, Dr. William Jimenez on sax, Johnny Soto on bass, Santi Vasquez on drums, Eddie Vasquez on drums and percussion, David Soto on drums, Raymond Rivera on trombone, Jose Claudio on trumpet, Yolanda Hernandez on vocals, and David Deliz on conga.
Eddie Q started dancing in ’95 at Sandra Cameron Dance Center. Even though the studio (SCDC) failed to supply adequate instructors and support for Mambo, Eddie was an avid believer that true progress for the dance would come through consistency in practice. Two years later, Eddie was invited to teach Mambo at SCDC. Eddie brought incredible energy and insight of the dance and the music to his six-year tenure at SCDC. During his tenure he taught beginner, intermediate, and advanced salsa breaking on the one and on the two, and also taught beginner, intermediate and advanced club cha-cha.
Even though knowledge of music does not guarantee the ability to produce a great dancer, Eddie Q does attribute his musical background as being a major force in his ability to capture the rhythmic understanding of this dance. As a result he capably teaches New York style on 2, Palladium 2, breaking on one, breaking on three, breaking on four, and cha-cha on two as well as on one.
Eddie has also taught at Dance Mosaic in White Plains, NY, Salsa International on 47th Street in Manhattan, a salsa program at Forest Park Center in Glendale, Queens, a salsa program at the Student Center at SUNY Downstate, Brooklyn, and numerous salsa workshops (all levels) at the SCDC.
Currently, Eddie Q holds classes on Fridays at CAP21 Studios, 18 W.18th Street, in Manhattan, NY. There he teaches New York Style on 2 to beginner/intermediate and advanced students.
Cyber-Interview: Eddie Q
PM: I would like to take this opportunity to thank you, Eddie Q, for taking the time to talk to me today. Eddie, what would you consider to be an important factor for the initial development and growth of a mambo dancer?
Eddie Q: I am a firm believer in strong basics. The first thing you have to do is to explain to them how the music works. How to associate their footwork with the timing in the music. The style of Salsa/Mambo that they are going to dance to, how many beats they are dancing to and, the main thing is, they have to hear their “one”. They will not hear any other beat, in their dance pattern, unless they find the “one”. Once you find your “one” you can find any other beat. If they don’t know where their “one” is they won’t know where their “two” is and they won’t know where anything else is. You need to be a stickler for proper dance technique from the beginning. I’ve seen “so-called” advanced mambo dancers that have never really developed strong basics nor good techniques – whether it be form, spins, basic footwork, or leading techniques. Unfortunately, these dancers can’t hide their shortcomings on the dance floor. My motto is “you have to pay your dues” meaning: You have to practice. I am directing my comments to the person that wishes to develop into a strong salsa/mambo dancer. Even though the harsh reality that I became aware of is that probably 80% of the students at SCDC were there just to socialize and did not take the dance seriously. This seems to be the trend at larger studios that offer many different kinds of dances. Part of the development of the dancer should include trips to dance socials that are geared to this specific type of dance and clubs that feature great dancers on the floor. You can learn a lot by watching. One of the benefits of attending either a dance social or a club is that some of the top mambo instructors/dancers in the NYC area also frequent these venues and it gives the up and coming dancer a chance to see their unique interpretation of this dance in action on the dance floor.
PM: What about a dancer catches your eye?
Eddie Q: Great technique accompanied by great groove. Some old school dancers have great groove but lack great technique as well as some newer dancers have great technique but lack a strong groove. If you possess these two elements, it does not matter what style of Salsa you dance. Another element of dance that catches my eye is when a dancer has reached a level where he or she has mastered the ability to improvise and not lose their sense of timing pertaining to whatever style of Salsa/Mambo that they are dancing to. Unfortunately, this type of dancer is few and far in between. Most dancers only dance what they have been taught and very few have the ability to take what they have learned to the next level where they can make it their own and improvise, especially rhythmically. Last, but not least, having fun and enjoying the entire dance experience. Also, the smile of a dancer. I have a personal acquaintance who is also an instructor, David Negley, who always has a smile when he dances and even when he walks through the dance floor.
PM: What do you mean by groove or rhythmically? What would you consider a good groove dancer?
Eddie Q: A dancer that does not have to think numbers anymore but has an exceptional sense of the timing to which he/she is dancing on. A dancer that can incorporate mastery of time accompanied by improvisational abilities and good body movement.
PM: Who were some of your influences in dance?
Eddie Q: First I would like to say that I wish to give credit where credit is due. Many times, I have read interviews of other dance instructors/dancers and they have failed to mention some of their influences because of pride. I strongly believe that anyone that has been a contributing factor (however small or large), whether knowingly or unknowingly, in shaping you as a dancer or dance instructor is worthy of recognition. For me, Freddie Rios was an influence when it came to groove and rhythm. Just by spending time with him was a lesson and an eye-opener in groove for me. Granted, there are more technically versed dancers than Freddie Rios, but he is definitely a unique presence on the dance floor. Eddie Torres has been an influence to most dancers and instructors in the last 10 to 20 years; whether it be through actual lessons with Eddie Torres or an instructor that has been influenced by him. My experience with Eddie Torres has been such that he has always been a consummate gentleman and a class act. Not only have I been influenced by watching one of Eddie’s many performances, but also by watching his dance company perform. I would like to add that I truly enjoy his constantly evolving creativity as a choreographer which is continuously evident in his dance company’s ongoing performances. I have had the pleasure of watching some of New York’s premier dance instructors on the dance floor. I’ve learned a great deal by simply watching; for example, Delille Thomas, who has great groove and technique; Jimmy Anton, Mario Diaz, one of the first guys that I saw on the floor that grooved was Oscar Soto and Angel Figueroa who not only is one of the best dance technicians but a sight to see on the floor. One of those that caught my eye was a fellow by the name of Pedro Fernandez who I think has exceptional technique and groove. Ann Marie Parasole who, just by dancing with her, taught me about groove and Raul Avila who had a certain finesse about his dancing. Indirectly For those of you that think that white dancers can't groove, a fellow by the name of Jojo Saltpeter who just by watching is a lesson in groove. I continuously try to keep my dance evolving through practice, improvisation, creativity and constant influences from other up and coming dancers.
PM: What places would you recommend for dancers to get their “fix”?
Eddie Q: Dance socials are a forum for new dancers to explore and work out their kinks. They can be intimidating for new dancers but my advice is – stick it out. You usually get all levels of dancers at socials and it is a good learning ground. Currently there are about 3-4 socials that run on alternate Sundays beginning from the first to the fourth and sometimes fifth, Sunday of the month. At times, certain DJs do not have a good sense of the music and fail to adequately mix. Some of the DJs tend to play consecutively 3 to 5 super-fast numbers. When looking across the dance floor, some dancers are racing through sloppy turn patterns and some dancers are off time and ignoring their dance slot. But on the other hand, it is a good place to observe other dancers and get a good cardiovascular workout. Take at least one to two changes of clothes. The Copa on Tuesdays (good floor, good music). and Club Cache on Thursdays (good bands, great DJs), and Westgate Lounge in Nyack on Saturdays.
PM: What has been the most gratifying factor in teaching for you?
Eddie Q: Getting compliments on my teaching style pertaining to my focus on timing from musicians that have taken my class. Seeing my students having fun and dancing, and knowing that I was responsible for some of that, is gratifying. Through the years, I have received letters, cards and mementos from students who have been affected in a positive way by their experiences in my dance classes.
PM: What do you feel is one of your frustrations that you have experienced when teaching a beginner’s class?
Eddie Q: I wouldn’t say that it is frustrating as you have mentioned, but rather that it would be nice if the student took the time during the week to practice what he/she has learned in class therefore ensuring a steady flow of the class. Because not only do you have to review last week’s lesson and hopefully build on that, but you have a certain amount of time to cover certain material. Some people do practice and it is not fair to them because now the flow of the class is affected.
PM: What are your thoughts on mambo performances?
Eddie Q: Kudos to the performers. It is not easy to memorize an entire dance performance and execute it under pressure before a live audience. One of the performances that I had the distinct pleasure of viewing was the off-Broadway production, “Latin Madness” which featured some of our most talented mambo dancers. I was entertained through humor, and the level of dancing was inspiring. I truly appreciate the efforts of the performers. My only critique of some salsa/mambo performances that I have witnessed is that the performers concentrate only on tricks and lifts and are lacking in the presentation of the dance that they are representing, which is salsa/mambo. In witnessing some performances, I have noticed that some performers are better social dancers than they are performers.
PM: What is your preference in dancing? On the one or on the two?
Eddie Q: Personally, I prefer the Palladium 2 only because that is what I feel when it comes to the 2, which is 2, 3 4, 6, 7, 8. I can dance and teach all the other styles, but I feel this particular style the most. If you watch Eddie Torres, who has made the 1, 2, 3 5, 6, 7 style of on 2 famous, you will notice that he, when social dancing, will revert back to the Palladium 2, naturally. I would like to add that I truly respect every style of salsa/mambo since I have seen them all done well.
PM: Do you enjoy other styles of Latin dance?
Eddie Q: I truly enjoy dancing Cha Cha. It gives me an opportunity to play.
PM: What musical artists stimulate you on the dance floor?
Eddie Q: First, I would like to say, that I am stimulated by great arrangements and great musicians. Unfortunately, some of the salsa or mambo that we have has either sub par musicians/lousy arrangements or have been poorly mixed in the studio, prior to release. In some of the recordings that we listen to, either the horns are out of tune, or the bass is sometimes out of tune. That will affect my ability to dance. Once, at the Copa while dancing I had to stop and ask the bandleader to please have his bass player tune his bass. Some of the artists that I enjoy are Ray Barreto, Tito Puente, Eddie Palmieri, Alfredo de la Fe, Los Soneros del Barrio, with the great pianist Ricky Gonzalez, Sonora Ponseña with the great pianist Papo Luca, Fania All Stars, Manny Oquendo y conjunto libre, Willie Rosario and too many more to mention.
PM: When going out social dancing, do you have any issues with finding a partner to dance with or thoughts about the female dancers that are out there?
Eddie Q: My opinion is that at the socials some of the females concentrate more on chachi moves and the styling part of the dance and technically they are lacking. They also lack the ability to stay on time. My philosophy regarding timing is – the essence of the dancer is timing. They can’t really go through some of the patterns. It is essential that you have a good understanding of time, groove and the ability to move on the dance floor. Although, I do cater the level of dance to the person that I am dancing with at the moment, I have seen inexperienced male dancers ask a female to dance who has limited dance abilities, and the male is totally oblivious to the female’s lower level of dancing and is trying to put this female through turn patterns after turn patterns and the female looks like she is totally hanging on for dear life. I have also seen male dancers as well as female dancers that only dance on 2 dance with partners that do not dance on 2 and they fail to adjust the timing.
PM: How do you think dancers should respond to attitudes and cliques on the dance floor?
Eddie Q: I happen to be a Caucasian looking Puerto Rican and I have gotten major attitudes from women in clubs who do not know me. They automatically assume that I cannot dance because of my skin color but during the first 30 seconds of the dance, they feel my groove. Guys, if one female rejects your invitation to dance, move on to the next female and do not take it personally. When you encounter a clique, try to infiltrate it by simply asking for a dance in a gentlemanly or ladylike manner. If either rejects, be persistent and ask again at a later time. Some dancers take their dancing very seriously, and will only dance with the better dancers. But people, if you are asking a good dancer to dance, whether it be female or male, at least try to have some of your stuff together. If you are going to ask a person that is with a partner to dance, acknowledge and ask the person for permission to dance with their partner. I have experienced and have seen that some people lack the basic knowledge of the rules of etiquette on the dance floor. An example is walking through the middle of the dance floor bumping into those people dancing. Granted, at times, a dance floor can get crowed. If you happen to bump into someone on the dance floor, politely apologize and smile – that will go a long way.
PM: How do you feel that salsa/mambo has evolved in the last couple of years?
Eddie Q: The dance has taken on more technical elements of other dances, such as hustle, west coast swing. I encounter old time dancers that are sticklers for their particular way of dancing and refuse to accept and bad mouth where the dance has gone. On the other hand, you have the newer dancers that are into turn patterns only and fail to get the essence and authenticity of the dance. I have benefited from the original form of salsa/mambo as well as the current more technical style of salsa/mambo. It’s all good!
PM: What do you think about the barrage of dance videos that are coming out?
Eddie Q: In this day and age it is incredible how much information is available at your fingertips. This was not the case just a couple of years ago. I think it’s a great means of getting information from so many different sources.
PM: Any final thoughts?
Eddie Q: I truly thank God for allowing me to have experienced the journey of dance. It has been an instrument which through the hills and valleys of life has aided in deriving balance in my life. Make your dance experience one to cherish regardless of whatever level you choose. But, beware of the Salsa/Mambo Police – they will come for you if you misbehave on the dance floor! Just kidding!
PM: Thank you, Eddie Q for your esteemed opinion and thoughts on salsa/mambo. Eddie Q can be contacted for further information on his group classes, private lessons or workshops at
EddieQsGroove@yahoo.com or (646) 263-8839.
Eddie’s website (currently undergoing development) can be viewed at www.FindYourGroove.net It is being launched to serve the New York salsa/mambo community.
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