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Kérjen
árajánlatot! |
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| 1. | Manha de Carnaval [Theme from Black Orpheus]
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| 2. | Sugar's Delight
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| 3. | Exodus
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| 4. | Descarga la Moderna
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| 5. | Summertime
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| 6. | Negro y Ray
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| 7. | Mira Que Linda
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| 8. | Cocinando Suave
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| 9. | Pachanga Oriental
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| 10. | Barretto en la Tumbadora
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| 11. | Cumbamba
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| 12. | Paso
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| 13. | Linda Mulata
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| 14. | Oye Heck
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| 15. | Cueros
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| 16. | Pachanga Suavecito
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| 17. | Ponte Dura
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| 18. | Pachanga Para Bailor
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Jazz / Latin / Afro-Cuban Jazz / Latin Jazz / New York Salsa / Salsa
Recorded: Jun 1, 1961-Sep 20, 1962
One of the many budget-priced Fantasy mid-'70s repackages to get a '90s CD issue (rather than simply releasing the original LPs with their original titles and artwork), Ray Barretto's Carnaval combines two 1962 sessions, Pachanga With Barretto (his Milestone label debut as a leader) and Latino!. Both sets feature Barretto's first band, Charanga Moderna, with trumpeter El Negro Vivar and tenor saxophonist Jose Chombo Silva added to the front line for the latter LP. The first album (confusingly the latter on the CD reissue, comprising tracks nine-18) is very much a Latin jazz album of its time, with all ten tracks designed for dancing the briefly popular pachanga, a dance that was simply too manic and difficult to catch on widely. The pachanga-friendly tempos on these ten brief cuts (most under three minutes) make the album sound rushed and nervous to ears unfamiliar with the dance fad. The far-better Latino!, recorded in nearly the same session, is a good old-fashioned jam session, with more leisurely tempos and extended playing times that give all the soloists -- especially Vivar, Silva, and flutist Jose Canoura -- plenty of room to stretch out. These two albums are very different, but hearing both of them in proximity reveals much about the state of the New York City Latin jazz scene in the early '60s.
---Stewart Mason, 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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