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| Latin Soul Man |
| Ray Barretto |
| első megjelenés éve: 2007 |
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| (2007)
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CD |
Kérjen
árajánlatot! |
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Latin
Salsa
New York Salsa
Boogaloo
Despite his Clark Kent looks, Ray Barretto's '60s recordings revealed a Superman of groove-based Latin salsa and soul. His early novelty hit "El Watusi" may have had the most success, but when Barretto began recording for Fania with the 1967 classic Acid, he unleashed some of the brassiest, grooviest, and most powerful tracks ever heard in Latin music. Latin Soul Man is a 17-track compilation of his early career, spanning the years 1964 to 1972, and including material originally recorded for Tico, UA Latino, and Fania. After a brief time at Riverside in the early '60s for his debut as a leader, Barretto headed off to Tico and scored his biggest hit with 1963's "El Watusi," which showed off his excellent arranging chops and the power of his early flute-led charanga. Then there was another brief stay, at UA Latino, which is heard here with another novelty, "Señor 007," as well as one of the best boogaloos ever recorded, "Do You Dig It." After that came Acid and a parade of great material for Fania, which saw Barretto stretching out on free-form material while still pumping out plenty of tight cuts with brassy charts for the heavy dancers crowd in New York. Therein lies the lone concern with this collection. While it extends into the '70s with great tracks from his other Fania classics -- 1968's Hard Hands, 1970's Together, 1972's Barretto Power -- there's a heavy emphasis on Barretto's great popcorn and boogaloo material, while completely ignoring the longer, extended grooves like the title track to Acid (probably his career highlight) as well as "El Nuevo Barretto." Extending the running time another 20 minutes would have been easy, and that would have made Latin Soul Man a priceless pickup.
---John Bush, All Music Guide
Ray Barretto
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Apr 29, 1929 in Brooklyn, NY
Died: Feb 17, 2006 in Hackensack, NJ
Genre: Latin
Styles: Salsa, New York Salsa, Latin Jazz, Afro-Cuban Jazz, Boogaloo
While Ray Barretto's congas have graced more recording sessions than virtually any other conguero of his time, he has also led some refreshingly progressive Latin jazz bands over the decades. His records often have a more tense, more adventurously eclectic edge than those of most conventional salsa groups, unafraid to use electronics and novel instrumental or structural combinations, driven hard by his rocksteady, endlessly flexible percussion work. This no doubt reflects Barretto's wide range of musical interests and also the fact that he came to Latin music from jazz, rather than the usual vice versa route for Latin-descended musicians. Indeed, he has said that he learned how to play swing-style before he came to master Latin grooves. Puerto Rican by extraction, Barretto took up the congas while stationed in Germany during an Army hitch. He began working with American jazz musicians upon his return to New York, eventually replacing Mongo Santamaria in the Tito Puente band for four years, beginning in the late '50s. Barretto made his debut as a leader for Riverside in 1962 and scored a crossover hit (number 17 on the pop charts) the following year on Tico with "El Watusi" (in tandem with a dance craze of the time). He tried to modernize the charanga sound with injections of brass, covering rock and pop tunes of the time as several Latin artists did then. However, Barretto made his main mark in the '60s as a super session player, playing on albums by Gene Ammons, Cannonball Adderley, Kenny Burrell, Lou Donaldson, Red Garland, Dizzy Gillespie, Freddie Hubbard, Wes Montgomery, Cal Tjader, and several other jazz and pop albums. In moving over to the Fania label in 1967, Barretto began to achieve recognition as one of the leading Latin jazz artists of the day, eventually becoming music director of the Fania All-Stars. In the '70s, he was incorporating rock and funk influences into his music -- with only limited success -- while recording for Atlantic, and in 1981, he made a highly regarded album for CTI La Cuna, with Puente, Joe Farrell, and Charlie Palmieri as guest players. He became music director of the Bravisimo television program and took part in the multi-idiom, all-star, anti-apartheid Sun City recording and video in 1985. In 1992, he unveiled a new Latin jazz sextet, New World Spirit, which made some absorbingly unpredictable albums for Concord Picante.
---Richard S. Ginell, All Music Guide |
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