Today's Latin Jazz & Salsa Playlist

[SimplySound]

Wow, can't believe we don't have a separate thread for this, but we do now! :thmbsp: Let's get our merengue on!

First up "Francisco Aquabella - Agua de Cuba", if you like drumming, this is the session for you!

From CD Universe...

"This CD starts out with "Dajomy Blue," which has such dense, complex, and exciting percussion work that it would not be surprising if the rest of the disc were anticlimactic. But with strong solos from trumpeter Ramon Flores, trombonist Isaac Smith, and Charles Owens (who is sometimes over the top) on tenor and flute, this set never loses its momentum. Aguabella, whose conga playing is joined in the rhythm section by Humberto Hernandez on timbales and Josey de Leon on bongos, plus an unidentified pianist and bassist, is in peak form throughout. Highlights of this highly recommended Afro-Cuban jazz set include "Watermelon Man," "Manteca," "Milestones," and Aguabella's "Salsa Latina." ~ Scott Yanow

Recorded on December 30, 1998 and January 3, 1999. Includes liner notes by Jose Rizo.

Straight Ahead Afro-Cuban Jazz

Personnel: Francisco Aguabella (congas, percussion, background vocals); Charles Owens (flute, tenor saxophone); Ramon Flores (trumpet); Isaac Smith (trombone); Ricardo "Tiki" Pasillas (drums, timbales, background vocals); Jose "Joey" De Leon (bongos, percussion, background vocals); Humberto "Nengue" Hernandez (timbales); Eddie Resto (background vocals).

Audio Mixer: Francisco Aguabella.

Recording information: Private Island TRAX (12/30/1998-01/03/1999).

Photographer: Jeff Bender.

Arrangers: Charles Owens; Charlie Otwell.

CMJ (4/19/99, p.33) - "...This album is ambition, hard-hitting, unstoppable Latin music, as pure and undiluted as it gets. Highly recommended."

1 Dajomy Blue
2 Sentimiento de un Latino
3 Watermelon Man
4 Agua de Cuba
5 Long, Long Summer
6 Here, There and Everywhere
7 Manteca
8 Salsa Latina
9 Milestones
10 Asi Son Bonco

 

[SimplySound]

Mongo Santamaria - Skins

Continuing the Afro-cuban Drumming theme. Just got done with this...

From CD Universe...

"This single CD has all of the contents of the two Mongo Santamaria Riverside albums originally titled Mongo Explodes and Go, Mongo! The music was last available as a two-LP set also titled Skins. The 1964 session, oddly programmed first, finds ... Santamaria on conga and bongos at the head of a ten-piece band also including trumpeter Marty Sheller, then-unknown flutist Hubert Laws (also featured on piccolo and tenor), Bobby Capers on alto and baritone, and a seven-piece rhythm section with five percussionists. Cornetist Nat Adderley guests on three of the ten numbers, which are all group originals, including four songs from Sheller. The early dates (Mongo's first as the leader of a fairly jazz-oriented Latin group) have Santamaria leading a completely different band, a nonet with just three percussionists. Most notable among the personnel are the young Chick Corea on piano and Pat Patrick, on leave from Sun Ra's band, as one of the two saxophonists. This time around, Mongo contributed four of the nine fairly obscure numbers. Although some of the songs on the 1964 date were put together in hopes of duplicating the commercial success of "Watermelon Man" (none succeeded), the music still sounds fairly fresh and lively. An excellent introduction to Mongo Santamaria's viable brand of Afro-Cuban jazz. ~ Scott Yanow

2 LP's on 1 CD.

Recorded between July of 1962 and the spring of 1964.

Personnel: Mongo Santamaría (congas, bongos); Carmen Costa (vocals); Jose DePaulo (guitar, percussion); Hubert Laws (flute, piccolo, tenor saxophone); Pat Patrick (flute, saxophone, alto saxophone); Alexander Abreu (flute, saxophone); Bobby Capers (alto saxophone, tenor saxophone, baritone saxophone); Marty Sheller (trumpet, percussion); Paul Serrano (trumpet); Nat Adderley (cornet); Chick Corea, Rodgers Grant (piano); Carmelo Garcia (drums, timbales); Jimmy Cobb , Ray Lucas (drums); Frank Hernandez, Julio Collazo (timbales); Julian Cabrera, Osvaldo "Chihuahua" Martinez, Wito Kortwright (percussion).

Liner Note Author: Orrin Keepnews.

1 Skins 3:31
2 Fatback 2:31
3 Hammer Head 3:25
4 Dot, Dot, Dot 5:07
5 Dirty Willie 5:25
6 Sweet 'Tater Pie 2:42
7 Bembe Blue 6:38
8 Dulce Amor 5:07
9 Tacos 2:34
10 Corn Bread Guajira 2:39
11 Tumba Le Le 4:15
12 Happy Now 3:08
13 Country Song 3:26
14 Congo Blue 5:45
15 Carmela 5:22
16 Hombre 3:33
17 Chombolero 4:37
18 Not Hardly 4:17
19 African Song 3:24

 

[SimplySound]

Tito Puente - El Rey

This is what I had for dinner tunes... sumptuous!

From CD Universe...

Fania had already gone the completist route with Tito Puente, compiling all of his earliest 78-rpm recordings from the '40s and '50s, but El Rey represents something else: an excellent career summation of the man who meant more to Latin music than anyone else during the last half of the 20th century. Mambo leader extraordinaire, father of salsa music, and standard-bearer for virtuoso Latin music through its eventual fusion with jazz during the '80s and '90s, Puente's personality and performances (in concert or on The Cosby Show) often obscured the brilliance of his recordings, but the 45 recordings heard here -- ranging from 1949 through 1981, all originally released on the Tico label and placed in chronological order -- put the focus back on what he set down with his excellent band. The set begins with his earliest and best mambos, "Ran Kan Kan" and "Mambo Inn" and "Abaniquito," then spends well over an hour focusing on his work of the '60s, when "Agua-Nile" and "Oye Como Va" and "Caribe" showed Latin audiences and a huge number of crossover fans that Latin music had both high energy and extraordinary finesse. The second disc shows Puente moving into the '70s, adding to his palette with records like 1973's Tito Puente and His Concert Orchestra (which gets several numbers here). ~ John Bush

Audio Remasterer: Alex Abrash.

Liner Note Author: Andrew Mason.

Photographers: Chuck Stewart; Joe Conzo.

Disc #1

1 Abaniquito * See All 15 2:49
2 Vibe Mambo * See All 17 2:58
3 Mambo Diablo, El See All 3
4 Mambo Inn * See All 16 2:31
5 Ran Kan Kan * See All 54 5:25
6 Stick on Bongo * See All 4 2:40
7 Caramelos * See All 6 2:18
8 Timbalero * See All 6 3:39
9 Agua-Nile * See All 3 3:35
10 Sambaroco * See All 4 3:29
11 Baba Mi * See All 2 2:44
12 Oye Como Va * See All 39 5:51
13 Tokyo de Noche * See All 5 2:33
14 Loco Bossa Nova * See All 4 2:17
15 Barbarabatiri
16 Kwa Kwa * See All 7 2:23
17 Ay Carino * See All 12
18 Cochise * See All 5 2:51
19 Caribe * See All 3 3:21
20 Mas Bajo * See All 6 3:13
21 Timbalito * See All 13 2:10
22 Jumpin' with Symphony Sid * See All 4 1:55
23 Corta el Bonche * See All 5 4:17
24 Guarachera, La
25 Oriente * See All 3 4:05

Disc #2

1 Algo Nuevo * See All 6 1:55
2 Chan * See All 3 3:08
3 Safari * See All 14 5:06
4 TP's Shing-A-Ling * See All 10 2:50
5 Hit the Bongo * See All 5 3:40
6 Observalo * See All 2 3:12
7 Batuka * See All 4 3:19
8 Nina y Senora * See All 6 4:31
9 Para Los Rumberos * See All 13 5:58
10 Rey del Timbal, El * See All 12 3:20
11 Picadillo * See All 25 2:42
12 Black Brothers * See All 7 4:18
13 Wata Wasuri * See All 5 3:22
14 Margie's Mood * See All 4 2:49
15 Tito's Odyssey/La Odisea de Tito * See All 3 5:45
16 Leyenda, La
17 Fiesta A La King * See All 10 5:48
18 Que Bueno Baila Usted * See All 7 8:57
19 Generacion del 80 * See All 4 5:13
20 Guaguanco Arsenio * See All 7 4:13

 

[szeppelin75]

I was playing some Hector Lavoe, Ruben Blades and Willie Colon the other day, got most of the LPs for a buck a piece, some sound VG to VG+, but there's a couple that are probably G, with a lot of surface noise. Nevertheless great music.

 

[Rome]

I don't have this CD, but listening to it via youtube:

Caribbean Jazz Project, Charanga si, si.

Love this tune,
Rome

 

[reggaenaut]

Yusa: YUSA

A guitarist and great vocalist out of Cuba.

Label: Tumi Music

 

[albowlly]

Tico '56

 

[chicks]

Cal Tjader
Soul Sauce

Verve (1964)

A classic.

 

[tomatamot]

COSTANZO, JACK - BACK FROM HAVANA - Cu-Bop LP

 

[Glen B]

Various Artists - Calle 54 (Chrysalis Records, 2000)

Sample Track: Michel Camilo - "From Within"

Sample Track: Tito Puente - "New Arrival"

 

[reggaenaut]

Some picture!

 

[szeppelin75]

Celia Cruz - Mi Diario Musical and Larry Harlow Orchestra - Salsa

 

[reggaenaut]

Al Di Meola: HEART OF THE IMMIGRANTS

A reflection and love of Argentina is here.

 

[reggaenaut]

Michel Camilo: LIVE AT THE BLUE NOTE

Telarc

 

[SimplySound]

Los Hombres Calientes - VOL. 3: NEW CONGO SQUARE

Wow... this album is COMPLEX! It is most assuredly an afro-cubano influenced Jazz Album, but man they pack some stuff in here. New Orleans flavored straight ahead jazz, african poly-rythms, some funk. You want gumbo, this is gumbo!

If you are looking for songs that all sound the same, this album isn't for you. You want rythms that just chern along, this album is DEFINITELY not for you! But if you want something that is ultimately entertaining with some players who have skills WAY beyond the average jazz band, this album is for you!

From CD Universe...

VOL. 3: NEW CONGO SQUARE was nominated for the 2002 Grammy Award for Best Latin Jazz Album.

"This is the third album from Los Hombres Calientes, and the first since the departure of the group's most famous member, drummer Jason Marsalis. His absence is conspicuous from the first glance at the album cover, which is graced only by the two remaining hombres, trumpeter Irvin Mayfield and percussionist Bill Summers. In small print reads, "Introducing Horacio 'El Negro' Hernandez," the new drummer, who needs no introduction to serious jazz fans, as he's become one of the most sought-after Latin and straight-ahead players on the scene. Because Los Hombres Calientes earned such tremendous critical acclaim with their previous record, a personnel change could be seen as threatening to their momentum. But Hernandez does a superb job filling the void left by Marsalis. Marsalis' departure, in addition, seems to foster more spotlight time for Mayfield, both as a player and composer. (It bears mentioning that Mayfield's writing for this group is more creative and independent-minded than the acoustic jazz he's released thus far under his own name.) The group's music has grown more ambitious, encompassing a wide variety of Latin and Caribbean influences as well as the heritage of its New Orleans home base. The intention of this album is in fact to illuminate the cultural connection between New Orleans and the other countries where the band recorded: Cuba, Jamaica, and the Dominican Republic. Putting real weight behind the maxim that music is the universal language, the band recruited a host of guest instrumentalists and vocalists from all these locales, revolving around a core band that includes bassist Edwin Livingston and pianists Victor Atkins and Ronald Markham.

While the recording locations are all listed, they are not matched with specific tracks -- and as the liner notes reveal, this was a conscious decision, a further attempt to blur national boundaries and engage the listener's imagination. PCMJ (4/30/01, p.25) - "...These 23 tracks are so hot that people are going to need a shower after they get through with this album..."

Los Hombres Calientes: Irvin Mayfield (trumpet); Bill Summers (bata drum, percussion, background vocals).

Personnel includes; Ronell Johnson (vocals, trombone, tuba); Ronald Markham (vocals, piano, keyboards); Horacio "El Negro" Hernández (vocals, drums, percussion, background vocals); Pedro Martinez (vocals, bata, timbales, percussion, background vocals); Issac Delgado, John Boutté, Phillip Manuel (vocals, background vocals); Cornell Williams, Phillip Frazier, Early Brooks, Derwin "Big D" Perkins, Kermit Ruffins (vocals); Kent Jordan (flute, piccolo); Irving Acao (tenor saxophone); Jamil Sharif, Irvin Mayfield, Julio Padron, Michael Ray (trumpet); Delfeayo Marsalis, Juan Carlos Marin (trombone); Victor Atkins (piano); Rick Sebastian, Tony Ruption (drums); Bill Summers (bongos, bata, ganza, pandeiro, shekere, surdo, timbales, bells); Freddy Prince, Eduardo Martinez (percussion).

Producers: Bill Summers, Delfeayo Marsalis, Irvin Mayfield.

Recorded between August and November 2000. Includes liner notes by Jonathan Tabak.

Recording information: Abdala Studios, Havana, Cu (08/2000-01/2001); Africian Symbol Studio, Montego Bay, Jamaica (08/2000-01/2001); Mama Yvettes Studio, New Orleans, LA (08/2000-01/2001); Streets Of Dominican Republic (08/2000-01/2001); Ultra Sonic Studio, New Orleans, LA (08/2000-01/2001).

 

[Rob.]

Im loving some Latin Jazz Bossa Nova.
Currently listening to Roberto Delgado (Horst Wende) - Ole (German pressing)

 

[SimplySound]

The Dizz y Machito

Picked this up this weekend on a whim... sure glad I did! :thmbsp:

Review by Richard S. Ginell

Here we have a summit meeting late in the careers of the pioneering titans of Afro-Cuban jazz: Dizzy Gillespie fronting the Machito orchestra on trumpet, with Mario Bauza as music director, alto saxophonist/clarinetist, and organizing force, and Chico O'Farrill contributing the compositions and arrangements. This could have been just a nostalgic retro gathering 25 years after the fact, but instead, these guys put forth an ambitious effort to push the boundaries of the idiom. The centerpiece is a 15-minute trumpet concerto for Gillespie called "Oro, Incienso y Mirra," where O'Farrill melts dissonant clusters, electric piano comping, and synthesizer decorations together with hot Afro-Cuban rhythms into a coherent, multi-sectioned tour de force. Gillespie, who had apparently never been in the same room with synthesizers before, is magnificent as he peels off one patented bebop run after another over Machito's band and in the gaps between. There is also an equally sophisticated suite of O'Farrill pieces grouped under the title "Three Afro-Cuban Jazz Moods," which mixes rock elements into the rhythms. Parts of "Pensativo" sound as if O'Farrill had been carefully listening to Santana, the teacher learning from the student, as it were. It adds up to a paltry 32 minutes of music, yet one can forgive the short length, this being all there is of a historic recording session.

Recorded in New York, New York on June 4 & 5, 1975. Originally released on Pablo (2310-771). Includes liner notes by Chico O'Farill.

Personnel: Dizzy Gillespie (trumpet); Frank "Machito" Grillo (Clavinet, maracas); Chico O'Farrill (arranger, conductor); Mauricio Smith (alto saxophone, piccolo, flute); Mario Bauza (alto saxophone, clarinet); Mario Rivera (tenor saxophone, alto flute); Jose Madera, Sr. (tenor saxophone, clarinet); Leslie Yahonikan (baritone saxophone, bass clarinet); Manny Duran, Raul Gonzalez Jr., Victor Paz (trumpet, flugelhorn); Jerry Chamberlain, Jack Jeffers, Lewis Kahn, Barry Morrow (trombone); Don Corrado, Bob Stewart, Brooks Tillotson (tuba); Jorge Dalto (electric piano); Dana McCurdy (synthesizer); Carlos Castillo (bass); Mickey Roker (drums); Julito Collazo, R. Hernandez (African drums); Mario Grillo (bongos, cowbell); Pepin Pepin (congas); Jose Madera Jr. (timbales).

TRACKS

1. Oro, Incienso y Mirra
Chico O'Farrill
15:38

2. Calidoscopico
Chico O'Farrill
5:05

3. Pensativo
Chico O'Farrill
5:20

4. Exuberante
Chico O'Farrill
5:48

 

[SimplySound]

Where would Salsa, Latin Jazz and the Afro-Cuban Sound be with out the Bolero. And nobody could sing a Bolero like the Godfather himself... Ibrahim Ferrer.

From CD Universe:

Why the whole world wasn't privileged with the voice of this angel-faced singer until he reached his 70s is open to debate. What is certain though, is that this first major solo outing shines a long overdue spotlight on one of the most wonderful Bolero/roots artists to ever emerge in Cuban music. Like the humble Parisian baker on the corner who makes stellar croissants out of what might otherwise be a banal commonbread, Ferrer performs these romantic standards with a divine usualness that makes them burst with love.

Whirling in the mid-20th century time warp that is Cuba, this stellar studio opus bears many similarities to that of the Grammy-winning BUENA VISTA SOCIAL CLUB. Many friends from that project are again on hand, including producer/slide guitar stylist Ry Cooder, Eliades Ochoa on guitar, pianist Ruben Gonzalez and the superb vocalist Omara Portuondo, although the gentle background harmonies by the women of Gemo Cuatro and sumptuous string arrangements are wonderful new additions. "Silencio" is surely one of the loveliest pieces here, with a heart-melting duet by Ferrer and Portuondo--the juxtaposition of Cuban guitar legend Manuel Galban's vibrato fills and Cooder's Hawaiian-style slide tastefully ornament the song's romantic imagery.

Recorded at Egrem Studios, Havana, Cuba.

Personnel includes: Ibrahim Ferrer (vocals); Teresa Garcia Caturla, Omara Portuondo, Jose Antonio Rodriguez (vocals); Manuel Galvan, Ry Cooder (electric guitar); Eliades Ochoa (guitar); Papi Oviedo (tres); Lazaro Ordonez Enriquez, Julian Corrales Subida (violin); Roy Avila Serrano (cello); Carlo Montenegro Ruiz (alto saxophone); Braulio Hernandez Rodriguez, Gil Bernal (tenor saxophone); Manuel Mirabal, Daniel Ramos (trumpet); Jesus "Aguaje" Ramos, Alberto Munoz (trombone); Ruben Gonzalez (piano); Olando "Cachaito" Lopez (bass); Joachim Cooder (drums, dumbek, udu drum); Roberto Garcia (bongos, guiro); Carlos Gonzalez (bongos, cowbell); Angel Terry (congas); Amadito Valdes (timbales); Ibrahim Ferrer, Jr. (clave); Lazaro Villa, Pio Leyva (background vocals).

TRACKS;

1. Bruca Manigua (son/afro) Ibrahim Ferrer 4:43
2. Herido de Sombras (bolero) Ibrahim Ferrer 4:11
3. Marieta (son) Ibrahim Ferrer 5:51
4. Guateque Campesino (son montuno/guajira) Ibrahim Ferrer
5. Mami me gusto (son montuno) Ibrahim Ferrer 5:04
6. Nuestra Ultima Cita (bolero) Ibrahim Ferrer 3:56
7. Cienfueges tiene su Guaguanco (guaguanco) Ibrahim Ferrer 5:20
8. Silencio (bolero) Ibrahim Ferrer & Omara Portuondo 4:39
9. Aquellos Ojos Verdes (son) Ibrahim Ferrer 4:51
10. Que Bueno Baila Usted (son montuno) Ibrahim Ferrer 4:35
11. Como Fue (bolero) Ibrahim Ferrer

 

[Tom in RI]

JP Torres, Trombone Man. Highly recommended, features such Latin luminaries as Hilton Ruiz, Paquito D'Rivera and Mario Rivera. A standout track is a mashup of Four and Como Fue.

 

[Tom in RI]

Edu Tancredi, a pianist from Uruguay. This a little big band with 8 or 9 players on each cut. I am not familiar with most of the players excepting Miguel Zenon, Jerry Bergonzi, and Jeff Galindo. This was recorded in Boston in 2000. His other titles are well worth searching out.