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| Willie Bobo's Finest Hour |
| Willie Bobo |
| első megjelenés éve: 2003 |
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| (2003)
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CD |
| 3.726 Ft
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| 1. | Grazing in the Grass
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| 2. | It's Not Unusual
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| 3. | Evil Ways
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| 4. | Sham Time
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| 5. | Sunny
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| 6. | Quieres Volver
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| 7. | Fried Neck Bones and Some Home Fries
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| 8. | La Bamba
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| 9. | One, Two, Three (1-2-3) (Uno, Dos, Tres)
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| 10. | Psychedelic Blues
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| 11. | Walk Away Renee
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| 12. | Juicy
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| 13. | Cute
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| 14. | Dichoso
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| 15. | Spanish Grease
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| 16. | Come a Little Bit Closer
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| 17. | Knock on Wood
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| 18. | La Descarga del Bobo
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Latin
Latin Jazz
Afro-Cuban Jazz
Latin Soul
Boogaloo
Willie Bobo - Percussion, Vocals
Alan Shulman - Cello
Bert de Coteaux - Arranger
Bert Keyes - Arranger
Bobby Brown - Sax (Alto), Sax (Tenor)
Bobby Rodriguez - Bass
Bryan Koniarz - Supervisor
Carlo Wolff - Liner Notes
Carlos "Patato" Valdes - Conga
Charles Libove - Violin
Chuck Rainey - Bass
Chuck Stewart - Photography
Creed Taylor - Producer
Don Sebesky - Arranger, Conductor
Ellen Fitton - Mastering
Esmond Edwards - Producer
Felix Wilkins - Flute
Harry Glickman - Violin
Hollis King - Art Direction
Isthetic - Layout Design
Jack Jennings - Mallets, Tympani [Timpani]
Jim Phillips - Bass
Jimmy Owens - Flugelhorn, Trumpet
John "Dandy" Rodriguez - Bongos, Cowbell
Jon Hart - Bass
Jose Mangual - Percussion
Ken Drunker - Selection, Sequencing
Kenny Rogers - Sax (Alto), Sax (Tenor)
Lewis Eley - Violin
Mark Smith - Production Assistant
Max Pollikoff - Violin
Melvin Lastie - Arranger, Cornet
Osvaldo Martinez - Bongos, Cowbell, Gourd
Pete Spargo - Producer
Phil Bodner - Clarinet, Flute (Alto), Horn (English)
Raoul Poliakin - Violin
Richard Anthony Davis - Bass
Richard Davis - Bass
Robert Appleton - Design
Seymour Barab - Cello
Sherniece Smith - Art Producer
Sonny Henry - Guitar
Stan Webb - Flute (Alto)
Sylvan Shulman - Violin
Teddy Reig - Producer
Tosha Samaroff - Violin
Victor Pantoja - Conga, Percussion
Waits, Frederick - Drums
There are compilations and there are compilations. Verve's Finest Hour series has, generally speaking, been consistent in producing collections with artists' best performances from the label -- with the possible exception of the Ramsey Lewis volume, which sucks. This set by Nuyorican percussion and arranging ace Willie Bobo is arguably the best collection of his work on the market. Virtually everything a fan would want on a single disc is here and, even more crucial, this is flawless as an introduction to Bobo's amazing contribution to Latin, popular, and jazz musics. Obvious cuts like "Grazing in the Grass" and "Fried Neck Bones and Some Home Fries" are here in their steamy glory, as are his incomparable versions of "Knock on Wood" and "Walk Away Renee." Bobo's "It's Not Unusual" is a complete reinvention of the MillsReed classic commonly associated with Tom Jones. What comes across so forcefully on the Bobo collection is that his ideas about music were progressive to the point of being oversimplified by others; Bobo saw all music as pop music and treated it as such on his records. His wish to make corner-bending sides for his friends in Harlem actually translates to the entire American populace very well, so well in their directness and emotional honesty -- as well sweet-grooving simplicity -- that sophisticated statements on race and class are played out in his pop music. For those who don't give a damn about this kind of analysis, it's safe to say that this set -- all 18 tracks of it -- constitutes one hell of a driving, partying, dancing, or goofing record straight from the heart to the street corner. This is amazing stuff.
---Thom Jurek, All Music Guide
Willie Bobo
Active Decades: '50s, '60s, '70s and '80s
Born: Feb 28, 1934 in New York, NY [Spanish Harlem]
Died: Sep 15, 1983 in Los Angeles, CA
Genre: Latin
Styles: Salsa, Latin Soul, Latin Jazz, Latin Folk, Afro-Cuban Jazz, Boogaloo
Willie Bobo was one of the great Latin percussionists of his time, a relentless swinger on the congas and timbales, a flamboyant showman onstage, and an engaging if modestly endowed singer. He also made serious inroads into the pop, R&B and straight jazz worlds, and he always said that his favorite song was Antonio Carlos Jobim's "Dindi." Growing up in Spanish Harlem, Bobo began on the bongos at age 14, only to find himself performing with Perez Prado a year later, studying with Mongo Santamaria while serving as his translator, and joining Tito Puente for a four-year stint at age 19. Mary Lou Williams gave Correa his nickname Bobo when they recorded together in the early '50s. After working with Cal Tjader, Herbie Mann and Santamaria with whom he recorded the evergreen Latin standard "Afro-Blue" -- Bobo stepped forward in 1963 with his first recording as a leader, with Clark Terry and Joe Farrell as sidemen. Recording for Verve in the mid-'60s, Bobo achieved his highest solo visibility with albums that enlivened pop hits of the day with Latin rhythms, spelled by sauntering originals like "Spanish Grease" and "Fried Neck Bones and Some Home Fries." In addition, Bobo played on innumerable sessions in New York, recording with artists like Miles Davis, Cannonball Adderley, Herbie Hancock, Wes Montgomery, Chico Hamilton and Sonny Stitt. In 1969, he moved to Los Angeles where he led jazz and Latin jazz combos, appeared on Bill Cosby's first comedy series (1969-1971) and short-lived 1976 variety show, and recorded on his own for Sussex, Blue Note and Columbia. One of Bobo's last appearances, only three months before his death from cancer, was at the 1983 Playboy Jazz Festival where he reunited with Santamaria for the first time in 15 years.
---Richard S. Ginell, All Music Guide |
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