The Fania All Stars Salsa around the world made popular in 1970. You could fill stadiums and arenas were everywhere. They played an important role in the success of salsa in 1970. Below, I give you my favorite recordings Fania All Stars I suggest you add your own music collection.
Fania All Stars live recordings first:
The Fania All Stars soon "live" recordings, some of their best work, with the exception of her forgettablefirst recording (1968) "Live At The Red Garter". Some people loved the album that uncontrolled jams, which were probably the only appearances in the Fania All Stars Tito Puente and Eddie Palmieri said. However, there was no visits lasting out of it.
The "Live at the Cheetah" Record (1971) was a whole different thing. Fania applied, what the scholars of the first recording, and it came with a full range of stars, ready to rock the Cheetah. This is my opinion, was theirbest work ever. The music sounded as powerful as it is always a showcase, the sauce should sound. The agreements, made the most of Bobby Valentine were great. The musicians were really a star Everyone, had battery Ray Barretto (congas), Orestes Vilato (drums) and Roberto Roena (Bongo). For the following albums Orestes was replaced by Nicky Marrero, and an extraordinary musician. But Vilato be played by the soul in this recording, and you can almost hear his drum Highlightevery song. You could say that he and Ray Barretto's band mates were, how they play into each other perfectly and improvised solos during the song cuts. Barreto is not to keep, and make him feel the conga at every opportunity. What about Roberto Roena and Bongo in the "Bell" (bell), I have only two words, "Ponte Duro", amazing!
The rhythm section was the piano Larry Harlow (Richie Ray, he played in "Ahora Yo I come" to accompany his singers Bobby Cruz), Bobby Valentin on bass, andYomo Toro on guitar Puerto Rican "cuatro". He was twenty Barretto Roberto Rodriguez, Dominican Hector "Bomber" Zarzuela and Larry Spencer and trumpet Barry Rogers, Reynaldo Jorge, Willie Colon and the trombone! You could not assemble a better ventilation in the Latin American music (except perhaps the addition of Panama trumpeter Victor Paz, who attended the first registration and would welcome back), and it shows. They sound so smooth and powerful,You would think that they have played together for the second class.
The singers were the best of what divides out there, especially the group-singer has begun to occur. Pete "El Conde" Rodriguez, Hector Lavoe, Ismael Miranda, Adalberto Santiago, Cheo Feliciano, Santos Colon, and Bobby Cruz. All winning designers, but in my opinion, Pete "El Conde" and Cheo Feliciano, where the lights, with their performances of songs "Macho Cimarron" and "Anacaona" respectively, and their "soneos" onall the singers of songs like "Estrellas de Fania" and "You Quit".
I can not think of one song off this album. All the songs are a joy to listen to, even the intro and closing themes, and all the radio hits, although they are much longer than the regular season were 3-4 minutes on the radio. The audience at the Cheetah was very into it, dancing and "clubs" in a couple of songs.
I think it's obvious that this is my personal favorite record of the Fania All Stars, and nottrue lover sauce should be without this 2-CD set (or LP, as the case may be) in their collection. In my opinion, this record is one of the outstanding recordings of classical music salsa hit.
"Latin-Soul-Rock" (1974) was followed by the registration Cheetah. Talking about it is so high, so low. Here are the Fania began to show its intention to crossover and do more than "Salsa Dura". A good product that was the version of "El Raton" Cheo Feliciano with Joe Cuba Sextet sings his hit, with Jorge"El Malo" Santana (Carlos Santana's brother) on guitar. This was the song that sold more to this recording. Fania brought as a guest, saxophonist Manu Dibango African, fusion and had a few songs of interest there, but this was not waiting for that "Salseros" were in the next shot Fania All Stars'.
The Fania All Stars made the ground lost with the double album "Live at Yankee Stadium" (1976), another "home run" with "deleting" with"Latin-Soul-Rock." The funny thing about this album is that most of it is not taken at Yankee Stadium, but at the Coliseo Roberto Clemente in San Juan. Yankee Stadium concert was poorly designed and brought to a cause of the initial melee, the severe destruction of the stadium and forced the cancellation of the concert. Emus, the company that bought the rights to the Fania collection a few years ago, who recently published the original recording "live" concert in San Juan in 1973. Theircan confirm the original recordings, some songs have been "retouched" in the recording studio with some songs "touched up" more than others. Hector Lavoe "Mi Gente" was more or less as was originally stated, where, as Ismael Miranda "Que Rico Suen Wed Tambor" more "soneos" re-done, had a good reason (the original "soneos" were very repetitive ).
All in all, this is a recording Yankee Stadium is well received by the Fania All Stars. The final product had a good songgood agreements. Richie Ray and Bobby Cruz to start showing their religious devotion "Hermandad Fania", while the addition of veteran Celia Cruz, Justo Betancourt, Eddie Palmieri, Ismael Quintana were welcome additions of star singers' line-up. This meant, Cheo Feliciano, not too much opportunity to sing on this recording. Nice shot, but still much more "script" that the Cheetah. The music still sounds powerful, but not thrilling. This recording is not the magic of the Cheetah,and not all songs are so strong. You can listen to the album Cheetah double back-to-back, and finally to feel like starting from scratch. When you play at Yankee Stadium double album back-to-back, start hint of boredom at some point to hear. Much of the music sounds the same. The music was Cheetah changes in tempo or style (for guajira son montuno Rumba, back to the child), every song has "fresh."
I still recommend buying this double album "Live Yankee Stadium." It ishave some great songs, with the excellent "My People", where the public is not "chorus" of Hector Lavoe (with headphones or a home theater sound, a feeling of being in the middle of the concert in this song) and the solos trumpet Barry Rogers, Willie Colon, add the cherry on top. Other noteworthy tracks are "Pueblo Latino" Pete "El Conde", "Bemba Colora" by Celia Cruz (a little 'too long for my taste), and I like Justo Betancourt "eChat pa'lla". There is also the "Descarga", "Congo Bongo" withMongo Santamaria and Ismael Quintana "I Debilidad".
Fania All Stars - Studio Recordings:
The Fania All Stars, then decided to do some studio recordings. Their first, my second favorite is
Fania All Stars record is "Tribute to Tito Rodriguez" (1976). In this recording Fania found the "original formula" again. This recording has a powerful sound, the rhythm of the song mixed, and brought the full all-star line-up singer, with then-newcomer Ruben BladesCompilation of Celia Cruz. The young Panamanian is outstanding in his debut with the Los Fania All Stars' Muchachos de Belen, "a very strong Mambo is anchored by the trombone section, Barry Rogers, Reynaldo Jorge, and Willie Colon. Soneos Reuben is right, sings from the soul singing and axes. The rest of this excellent well-received albums, is released. It begins with a "Bolero" by Tito Rodriguez Medley 3 favorites, "Inolvidable," Que Usted Mismo a Lo "and" Tiemblas "sung by Cheo Feliciano, Chivirico Davila, and Bobby Cruz, respectively. Cheo Feliciano is a master of bolero and offers exceptional "Inolvidable" Chivirico back after their appearance on the Red Garter with Armando Manzanero of "Lo Mismo Que a Usted," and Bobby Cruz, another master of the bolero, shines in "Tiemblas". Ismael Miranda makes a good yield of "El Agua de Belen", and I like Justo Bentancourt yield excellent "Cara de Payaso," Hector Lavoe, the developmentVocals on "Cuando, Cuando, Cuando" and Ismael Quintana fresh interpretation of "Fue en Santiago." Then all the singers come together to pay tribute to Tito Rodriguez in "Vuela la Paloma".
"Tribute to Tito Rodriguez" is another shot that should not miss in your collection. It has great songs, great performance, powerful sound Fania All Star, and did a great job in the recording studio for a clear sound quality.
"Havana Jam" (1979) was the last stroke of the Fania All Stars'70 's. This was a live concert in Cuba, where the Fania All Stars shared the stage with other American artists, like Billy Joel, Rita Coolidge, Kris Kristofferson, and with the participation of Cuba, Irakere Orquesta Aragon, and, in what is called "cultural exchange classified".
The Fania All Stars Crossover:
Beginning in late 1970 and 1980, the Fania All-Stars worked hard at the crossroads of Latin jazz, jazz and even rock, to gain a widerPublic. Most of these crossover recordings have been forgettable. These recordings began in the late '70 's with "Rhythm Machine" (1977) and "Spanish flu" (1978). The album "Cross Over" (1979) was actually not a cross over the recording, but the pure first album, "Salsa", because a Tito Rodriguez. Why is it called a "crossover" hits me, but it's a decent recording level, with Salvador Cuevas Bass duties taking over for Bobby Valentine.
The year 1980 was mostly dedicated to the crossRecordings, with some exceptions of "lo que pide people" and Hector Lavoe "El Rey de la Puntualidad" where Hector became notorious slowness of his appearances to deride highlighted. One of my favorite albums of photographs from this cross was "Rhythm Machine". Apart from the fact that Ruben Blades super-hit "Juan Pachanga", the others are pretty decent jazz, anchored by the trumpet (and agreements) of the Puerto Rican master Luis "Perico" Ortiz. Perico is a natural for jazz, jazz is one of theShe loves music, and it shows in this recording. Perico agreements usually tend to both elements of jazz and "big band" to have. His band has had a major "big band" sound, with very jazzy arrangements.
The case of the Fania All Stars:
1980 and evidence of the cross, the Fania All Stars weakened, in particular, and the salsa music in general. The cross-over tests were understandable, given the popularity and commercial success of rock and disco were with during thisPeriod. Fania was the wave of commercial success may in any way to drive it. The strategy did not work. Maybe it would be best to keep the original concept and developing the sound (as with the album Tito Rodriguez).
The prestige of the Fania All Stars were never dead. At this time, the musicians who played with the Fania All Stars, like a gold star on their resume. The Fania All Stars traveled all over the world, including shootingAfrica (for the Muhammad Ali-George Foreman fight in Zaire) and also in Japan and Europe, visited Cuba and South America. They spread the gospel of salsa, and people were receptive. For this reason, listening to salsa and danced all over the world.
My favorites (summary):
The shots are good Fania All Stars in the first half of the '70s, as I said above. If you listen real salsa or the like, my best recommendation is "Live at the Cheetah" and"Tito Rodriguez Tribute." You can not go wrong with these recordings, with the "Live at Yankee Stadium" in a close third. When it comes to some of the crossover album, so make sure you reset your expectations before buying.
I also recommend two films by Fania All Star, since that show more than just music. One, when "Our Latin Thing," which opens with the theme Barretto "Cocina," a lovely "Latin jazz" melody, which was very popular at the time. The film highlights the concertthe Cheetah, but also shows life in the district of New York, and the role of Salsa in the neighborhood to play in those years.
The other movie I recommend is "Salsa". This documentary tells the story of salsa Gerardo Rivera, the first influence in the Latin music scene in the United States, the Fania All Stars, El Gran Combo. Good documentary information that are not so much music ("My People" by Fania All Stars, and "Julia" El Gran Combo, theMusical events).
The Fania All Stars were a game-changer for salsa music, salsa music, and perhaps its duration shall be the solid foundation of this group during the crucial years of the early 1970's provided. This group has written many pages of gold in the history of salsa.
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