  |
|
|
 |
| Talkin' Verve |
| Willie Bobo |
első megjelenés éve: 1968
50 perc |
|
| (1997)
|
|
CD |
| 3.726 Ft
|
|
| 1. | Grazing in the Grass
|
| 2. | Lisa
|
| 3. | Black Coffee
|
| 4. | The Look of Love
|
| 5. | Dreams
|
| 6. | Evil Ways
|
| 7. | Night Song
|
| 8. | Mercy, Mercy, Mercy
|
| 9. | Roots
|
| 10. | Spanish Grease
|
| 11. | Shot Gun/Blind Man, Blind Man
|
| 12. | Stuff
|
| 13. | Night Walk
|
| 14. | Fried Neck Bones and Some Homefries
|
| 15. | Sham Time
|
Latin
Boogaloo
Latin Jazz
Salsa
Latin Folk
Recorded: Feb 4, 1965-Dec 23, 1968
Willie Bobo - Percussion, Timbales, Vocals
Aric Lach Morrison - Supervisor
Ben Young - Research, Restoration
Bert Keyes - Arranger
Bobby Brown - Sax (Alto), Sax (Tenor)
Bobby Rodriguez - Bass
Carlos "Patato" Valdes - Conga
Chico O'Farrill - Arranger
Chuck Rainey - Bass (Electric)
Chuck Stewart - Photography
Creed Taylor - Producer
Deborah Hay - Editing
Don Sebesky - Arranger
Esmond Edwards - Producer
Felix Wilkins - Flute, Vocals
Frank Gargiulo - Art Direction, Design
Jack Jennings - Percussion
Jim Phillips - Bass
Jimmy Owens - Trumpet, Vocals
John Hart - Bass
John Rodriguez - Percussion
Jon Hart - Bass
Jose Mangual - Percussion
Kenny Rogers - Sax (Alto), Sax (Tenor)
Melvin Lastie - Arranger, Cornet
Nichell Delvaille - Design Coordinator
Osvaldo Martinez - Bongos, Guiro, Percussion, Vocals
Patricia Lie - Art Direction
Pete Spargo - Producer
Peter Pullman - Editing, Liner Notes, Notes Editing
Phil Bodner - Flute, Sax (Alto)
Ray Avery - Photography
Richard Davis - Bass
Richard Seidel - Executive Producer
Robert Silverberg - Production Assistant
Sonny Henry - Arranger, Guitar
Stan Webb - Flute
Stanley Webb - Flute
Suha Gur - Mastering, Remixing
Teddy Reig - Producer
Victor Pantoja - Conga, Percussion, Vocals
Waits, Frederick - Drums, Vocals
Whatever the meaning of the word "talkin," this is still a most valuable release because it succinctly sums up Willie Bobo's Verve recordings, most of which have yet to see the light of the laser. By this time, Bobo had followed Mongo Santamaria into the marketplace as an energetic exponent of the Latin boogaloo, even scoring a minor hit with "Spanish Grease." But Bobo went even further than Mongo toward an accommodation with the '60s scene, adding the R&B-oriented electric rhythm guitar of Sonny Henry, dropping the piano, incorporating strings and even an occasional graceful vocal now and then. While there are a few covers of '60s standards here, like "The Look of Love" and "Grazing in the Grass" -- and he had the great sense to seek out and record a hip-shaking version of Eddie Harris' "Sham Time" -- Bobo's biggest contribution on these tracks was in providing the inspiration for the Latin rock boom to come. "Evil Ways" is almost an exact blueprint for Carlos Santana's career-launching hit version; "Spanish Grease" reappeared uncredited six years later as Santana's "No One to Depend On," and Santana also played Bobo's lowdown "Fried Neck Bones and Some Homefries" in the band's early days. With Bobo's galvanic congas and timbales swinging at all times, few CDs by a single artist capture the ambience of late-'60s jazz radio in the evening as well as this one.
---Richard S. Ginell, 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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
