Fruko, El Bueno – Ayunando (1973) Fruko y Sus Tesos

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FRUKO, EL BUENO
“Ayunando”
Released 1973
Disco Fuentes (LP 200748)

01 – Fruko Power
02 – Ayunando
03 – Tu Sufriras
04 – Yo Soy el Punto Cubano
05 – Lamentdo del Campesino
06 – Mosaico Santero: A Santa Bárbara – San Lázaro – A la Caridad del Cobre
07 – El Ausente
08 – Canto a Borinquen
09 – Pa’ Teso Yoi

Vocals: Joe Arroyo and Wilson Saoko
Trumpets: Jorge Gariria, Salvador Pasos
Trombones: Gonzalo Gómez, Freddy Ferrer
Timbales: Rafael Benitez
Conga – Fernando Villegas
Bongo: Jesús Villegas
Electric Piano: Luis Felipe Basto
Bass, arrangements: Fruko

Executive Producer: Jose Maria Fuentes E.
Produced by: Mario Rincon P
Musical Director: Fruko
Recording Engineer: Mario Rincon P.

Vinyl -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, some isolated clicks removed using Audition -> dithered and resampled using iZotope RX Advanced. Tags done with Foobar 2000

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Anyone who has heard the compilations from the likes of Soundway Records or VampiSoul covering cumbia, salsa, or Latin funk sounds has no doubt had the tracks from Fruko jump right out at them. His band went through a variety of sounds over the 70s and I haven’t heard anything I didn’t like yet. Here we see him in a humorous counter-spin on the campy ‘bad boy’ image he had been using (modeled somewhat after Willie Colon’s album covers) on his earlier album art, by becoming the benevolent “Fruko the Good”!

Fruko’s discography is so huge, and I am familiar with such a small portion of it, that it’s difficult for me to say anything of much profundity. However, he is known to a lot of us non-Colombians for some of the funkier stuff he recorded as well as his bad-ass cumbias. But on this record, the only thing funky is the rather creepy and slightly nauseating album cover (thank the stars for the strategic use of glass decanters…) featuring Fruko in his best Bacchus impersonation, and there is no cumbia to had. This is pretty much a straight salsa album with strains of Latin Soul via the Nuyorican scene. Although I prefer Joe Arroyo’s vocals slightly over Wilson Saoko, Wilson definitely knows how to kick it on the more ‘soulful’ bits, and his singing on the wonderful “Lamento del campesino” is fantastic. The idea of having two lead singers in his band — both of them great, really – is just one of the things that makes Fruko and this record special. That, and the disturbing album cover. Check out the electric piano (Wurlitzer, I believe) work on this album too, in place of the more traditional acoustic piano. There isn’t a bad tune in the bunch, with some of my favorites being the title cut, “Mosaico Santero”, “El Ausente” (which has appeared on some compilations), and the tribute to ‘my people’ in Puerto Rico, “Canto a Boriquen.”

Oddly enough there are not just song samples but entire songs from this album available from the website of COLOMBIAN NATIONAL RADIO

I would like to say that personally I find my own vinyl rip much more satisfying to the ears…

flac button

24bit

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password – palavra chave – senha – magickal invocation – ponto cantado e ponto riscado can be found in the COMMENTS

Cachao y su Ritmo Caliente – Descargas: Cuban Jam Sessions (1957)

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Cachao y Su Ritmo Caliente
Descargas – Cuban Jam Sessions (1957)

Originally released by Panart as “Descargas: Cuban Jam Sessions In Miniature”. Reissued by Vampi Soul (Spain) using this title and adding extra tracks in 2005

THIS CD PRESSING: EGREM (Cuba) 1996

1. Descarga Cubana
2. Goza Me Trompeta
3. Cogele el Golpe
4. Trombon Criollo
5. Malanga Amarilla
6. Pamparana
7. Oye Mi Tres Montuno
8. Controversia de Metales
9. A Gozar Timbero
10. Sorpresa en Flauta
11. Estudio en Trompeta
12. Guajeo de Saxos

These tracks are all massive, amazing, landmark recordings. Israel “Cachao” López pretty much singlehandedly invented the Cuban upright bass by transposing the tumbao rhythm to the instrument. This pre-Revolution recording session is not only amazing 33 minutes of music but also very important historically, as it is one of the earliest examples (maybe THE earliest example) of taking themes from Cuban popular and folk musics and using them as a springboard for out and out jazz improvisation, a technique that would have reverberations far outside the island itself. According to the stories, this record was recorded almost spontaneously in the wee hours of the early morning after the musicians had finished their night’s work playing in the popular clubs and casinos of the day. (One myth even says this album was recorded after-hours at the Tropicana club, which is ridiculous – crystal clear fidelity and wide dynamic range is proof this was recorded at an actual recording studio.)

I have not heard the VampiSoul pressing of this with the extra tracks, and it seems to be out of print. They are a cool enough label but I often find their mastering to be a bit on the loud side — plus, since I know of a few cases where they have been tied up in legal wrangling over royalties, I am doubtful about what master tapes they are using sometimes. This is not a slag against VampiSoul, really: they have made all kinds of extremely rare recordings available that I would otherwise have never heard (several of which have already been featured here). But they don’t give the same kind of TLC to their releases that other reissue labels (like Soundway or Analog Africa) give with their exceptional liner notes, photos, research, and generally great sound.

This pressing was mastered in Cuba in the mid-90s and sounds quite nice to my ears. It makes no real attempt at noise reduction so you get lots of warm tape hiss when things get quiet. Me likes.

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