Carnaval

構成数 : 1枚
合計収録時間 : 01:06:01
Personnel includes: Ray Barretto (bongos, congas, timbales); Mike Stancerone (violin); Frank Mercado, "Chombo" Silva (tenor saxophone); Jose Canoura (flute); "El Negro" Vivar (trumpet); Alfredito Valdez, Jr. (piano); Ricky Jackson (bass); Wito Kortwright (guiro); Ray Mantilla (timbales); Willie Rodriguez, Rudy Calzado (percussion). Recorded at Plaza Sound Studios, New York, New York on January 1 & 2, 1961 and September 20, 1962. Includes original release liner notes by Ray Barretto & liner notes written in 1973 by Solomon Strong. Digitally remastered by Phil De Lancie (1993, Fantasy Studios, Berkeley, California). Composer: Hector Rivera. Personnel: Ray Barretto (congas, bongos, timbales); Mike Stancerone (violin); Jose Canoura (flute); Frank Mercado, Chombo Silva, Jose Silva (tenor saxophone); El Negro Vivar (trumpet); Alfredito Valdez, Jr. (piano); Ray Mantilla (timbales); Rudy Calzado, Willie Rodriguez (percussion). Audio Remasterer: Phil DeLancie. Liner Note Author: Ray Barretto. Recording information: 06/01/1961-09/20/1962. Photographer: Tony Lane. Unknown Contributor Roles: Alfredito Valdez, Jr.; Mike Stancerone; Wito Kortwright; Frank Mercado; Chombo Silva; Jose Canoura; Ray Barretto; Ray Mantilla; Rudy Calzado; Willie Rodriguez. 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 is very much Latin jazz 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
録音 : モノラル／ステレオ (Studio)