Joe Cuba Sextet – Bustin' Out (1972)

The Joe Cuba Sextet
“Bustin’ Out” (1972)
Vampi Records CD 019

Whereas Joe Cuba’s 60s output was prolific to the point of flooding the market with boogaloo, his releases in the 1970s were spaced pretty far apart. This one catches the Sextet somewhere between their 60s sound and a new sensibility taking cues from Eddie Palmieri and the Harlem River Drive band. The single from the album was Pud-Da-Din b/w Ooh! Ya, and the track “Do You Feel It” with its almost-social-commentary-rap has made it to a few Latin soul compilations. While the shorter cuts are certainly groovy and all, my favorite on this is Joe Cuba’s Madness Parts 1 & 2 (actually separated by silence, presumably for another 7-inch release). Instrumental jamming co-authored with Charlie Palmieri, Cuba’s long-time musical director.

01 – What a Baby
02 – Pud-Da-Din
03 – Ain’t it Funny What Love Can Do
04 – Ooh! Ya
05 – Do You Feel It
06 – A Thousand Ways
07 – Joe Cuba’s Madness Part 1
08 – Joe Cuba’s Madness Part2

Produced by Joe Cain. Original release on Tico Records.

Ray Barretto – The Message (1972) 320kbs

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Ray Barretto
“The Message”
Released 1972, Fania Records
Release Date Jul 17, 2007
Studio/Live Studio
Mono/Stereo Stereo
Producer Ray Barretto
Engineer Irv Greenbaum
Recording Time 35 minutes
Personnel Ray Barretto – congas
Orestes Vilato – timbales
Andy Gonzalez – bass
Roberto Rodriguez – trumpet
Johnny “Dandy” Rodriguez – bongos
Rene Lopez
Joseph “Papy” Roman
Louis Cruz – piano

From Dusty Groove
One of Ray Barretto’s hardest-hitting salsa albums of the 70s — a raw set of grooves that’s got Ray moving away from the playfulness of the Latin Soul years, into a more righteous mode that’s easily guessed at from the title of the set! The vibe here is very straightforward — with Ray coming down hard on conga, and working with a group that features Adalberto Santiago on lead vocals, plus Orestes Vilato on timbales, Andy Gonzalez on bass, and Luis Cruz on piano. The sound is spare and raw — and titles include the wonderfully echoey tune “O Elefante”, with some great elephant-like work on trumpet — plus “Con El Cimarron”, “Se Traba”, “Arrepientete”, and “Te Traigo Mi Son”.

Review by José A. Estévez, Jr.

Bandleader/conga player Ray Barretto continued to assert himself as one of the premier mainstream salsa catalysts of the early ’70s with one of his most celebrated albums. Barretto, bass player Andy Gonzalez, pianist/arranger Louis Cruz, timbales master Orestes Vilató, and bongo player Johnny Rodríguez contribute to the band’s tough rhythm section; of course, vocalist Adalberto Santiago is a knockout on tunes like the hilarious “Se Traba” and the memorable “Alma Con Alma.” One of Barretto’s top albums of the 1970s and another example of what made New York salsa so special.

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Ray Barretto looking curiously like Al Franken….

Ray Barretto – The Message (1972) 320kbs em pee three

Ray Barretto – Acid (1968) VBR

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{2001 French pressing with bonus tracks}

RAY BARRETTO – Acid (1968)VBR

Psychedelic salsa? Not quite, except for the occasional Austin Powers-isms like “yeah, baby” and “sock it to me”. But this is a landmark record and needs to be in the collection of any fan of salsa or Latin soul. The closing track is the most ‘out’ of any of them and for me is worth the price of admission all on its own.

Tracks (of the original LP)
1. El Nuevo Barretto (Barretto) – 5:50
2. Mercy, Mercy, Baby (Barretto) – 2:44
3. Acid (Barretto) – 5:05
4. Deeper Shade of Soul (Barretto) – 2:46
5. Soul Drummers (Barretto) – 3:48
6. Sola Te Dejare (Barretto/Lopez) – 3:49
7. Teacher of Love (Barretto/Cruz) – 2:27
8. Espiritu Libre (Barretto) – 8:27

Players
Ray Barretto – Percussion, Congas, Vocals
Big Daddy – Bass
Rene Lopez – Trumpet
Roberto Rodriguez – Trumpet
Adalberto Santiago – Vocals, Bells
Orestes Vilato – Timbales
Pete Bonet – Vocals, Guiro

BONUS TRACKS ( I do not know where Sony got these tracks from.. No information in the booklet. Production sounds like early 70s. Anyone with session/line-up data feel free to comment and enlighten me!)

9. Guarare
10. Vina Pa’Echar Candela
11. Vale Mas Un Guaguanco
12. Canto Abuaco
13. Eras

REVIEW from John Ballon at ‘allaboutjazz dot com’
By the time 1968 rolled around, Ray Barretto was a celebrated studio session player whose hard-driving conga rhythms could be heard all over the records of Dizzy Gillespie, Cal Tjader, Cannonball Adderley, and countless others. Once he dropped Acid onto the music world, Barretto firmly established a reputation for himself as an innovator in his own right.

Like the drug itself, Acid had a mind-expanding influence on everyone, allowing for a far more adventurous and eclectic edge to slip into New York’s Latin music scene. A lot less psychedelic than its title and cover might lead you to believe, Acid remains one of the most far-out fusions of Latin and soul music ever conceived.

Catchy as hell, the records four original Latin/soul numbers (”Mercy, Mercy Baby”, “The Soul Drummers”, “A Deeper Shade of Soul” and “Teacher of Love”) are obscure classics loaded with plenty of vintage ’60s soul references—punchy James Brown and Stax Records sounding horns, thickly grooving bass lines, fat-back drums, and cliché soul catch-phrases such as “What I say,” “Lord have mercy,” “Come on, come on baby” and “Sock it to me!”

El Nuevo Barretto (The New Barretto)” opens the album on familiar ground, with its high-energy boogaloo-styled salsa sung passionately in Spanish. With the second track, “Mercy, Mercy Baby,” the sound shifts dramatically as soul gets a serious drenching in hot sauce. The band chants “Mercy, Mercy Baby” behind Memphis-styled horns, catchy lyrics, timbales, and Barretto’s kicking congas. The title track, “Acid,” opens up sparsely with a lazy hypnotic bass and percussion groove over which stretches the muted trumpet sounds of Rene Lopez (who was soon to be drafted and shipped off to Vietnam). After a rock-steady timbales solo by Orestes Vilato, the band begins calling out “Barretto, Barretto,” and master Ray steps forward, obliging them with one of his most fiery and intense conga solos ever. The lyrics on “The Soul Drummers” totally sums up the record: “Have you heard them cooking / The Soul Drummers / well they play so cool / Soul Drummers / so hard to resist / Soul Drummers / with the African twist.”

The album’s most psychedelic soul sounds can be heard on its closing track, the appropriately titled “Espiritu Libre (Free Spirit).” This instrumental opens with some pretty far out-there trumpet statements that sound as if they could’ve come straight off of Bitches Brew—pretty advanced stuff for a 1968 Latin record! The track builds into a full blown drum-heated jam flavored with odd rhythmic time-signatures, passionate brass, and feverish bass lines, bringing the album to a satisfying peak that leaves you in bad need of a smoke.

Acid turned on a lot of important players with its irresistible blending of Latin and soul music, significantly helping to bring about the rise of the Afro-Latin funk revolution.