He really gets around. I was watching this video and when he started jumping around like somebody set fire to his shoes I realized he's the "bedroom" player from a few weeks ago.

I'm assuming he's playing a Genos and I'm imagining he's putting out a really big sound.

I like his singing. I like his patter though I wish I knew what he was saying. If I had to guess, he's giving the weather report for every country on the planet.

What's the difference between Jose and almost every American demo arranger player? Almost every American demo arranger player doesn't use his machine like this fellow does. They just leave the rhythm running and play over it. Look how he comes in and out with the sound at 06:43. Plays it as he feels it.


Jose may not be the best technical keyboard player but he certainly is an emotional keyboard player.

Jose plays wells. Jose sings well. Jose talks well!

I love this Guy.

Jose Juan Y sus teclados

Mark, you are listening to the Don Mason of the Latino world. It is his nature; he was born into the feel. He is Latino.

I tried singing Latino songs and had to stop, the Latino lyric had an Italian accent. (he he)
John C.

I'm thinking he does a good enough job (I'll let Paul be a judge of that), but even with his jumping up and down, his percussionist had to go out to get people on the floor.
As for the difference between Jose and almost every American demo arranger player? Almost every American demo arranger player doesn't use his machine like this fellow does. They just leave the rhythm running and play over it, would the public be more impressed with a keyboard if the demo person was jumping up and down like this? I think there is a vast difference between giving a demo and playing a live party ...
I will be 79 years of age (I purposely did not say years OLD !) next month and I'm not jumping up and down, but I still have people coming up to me after a performance and comment on the 'energy' I put into it ...
JMHO, but what do I know?
PS, I've had the pleasure of seeing Don Mason perform live, and I don't remember him jumpingup and down ...

As for Jose, I wish him well.

Don Mason always sits and plays.. 4 hrs standing sux.

I can get down with the best of them. It's the trying to get back up that hurts. Monday I couldn't get out of my chair without help; down in the back. It's much better now though.
Thanks for kind words guys.

Tony, I think you misinterpreted what I said. Or maybe I left it open to misinterpretation. I wasn't focused on him playing hop-scotch behind the keyboard or whether they had to drag the audience onto the floor.

One of my peeves that I don't talk about is those who call themselves OMB's and neglect to use all the options at their disposal. The obvious start and stop within a song using the sync start being one of them...also using the style itself as the lead and playing around it, playing two sounds at once (as you already noted I do), changing a style in the middle of a song, using any sound other than the standard piano or electric piano patch, using a looped "fill" or even an "ending" running for 8-16 measures as an alternative rhythm, etc

Simply playing a running rhythm style behind you while you tap out your notes is NOT a OMB to me. It's a man who "leaves the machine running while he taps out his notes."

Since I started playing arrangers I've always looked for ways in my playing to simulate an actual band. That if someone closed their eyes and listened, that's how it would come across.

I've seen lots of demo players play way better than I ever will, but I have yet to see a "demo" man work at sounding like an actual band. Jose, to me, is at least aware there's more you can do with an arranger than just belt out the notes!

I'm going to post a song that I did (Hello Dolly...years ago) where I made it a point to play the trombone and the trumpet close enough to each other that you wouldn't know the sound was coming from one person. What I may lack in playing skills I feel I more than make up for it in using creative playing ideas. That's why I picked up on that "start-stop" he was doing. I said to myself: "at last, someone is using their noodle."

I'm convinced that if more arranger players were to, what I call, "work the machine" that there would be more interest in arranger keyboards.

I’m a fan of José too, and I’m going to look him up when I visit my aunt and uncle in Mexico City later this year. I’d pay to be his roadie for a day!

Mark, I see your point, and yes, demo players should incorporate some of these techniques into the demo ...
Obviously, some of the things you mention - such as changing styles in the middle of a song - are dependent upon the venue and the audience ... I would not change a Latin style to a Swing style if people are dancing, but I do it when playing "Green Dolphin Street" in a restaurant setting, or playing Louis Prima's "Buona Sera", or other songs that lend themselves to it ...
And as for using some of the other variables such as Intros and Endings within a song, because I'm doing it, I would think other OMB performers are also ...
But I guess there are those who just turn the machine on, select a style, and sing or play over it ... They had better be a great vocalist or player, otherwise I just don't know how much work they get ...