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Most Helpful Customer Reviews
3 of 3 people found the following review helpful:
5.0 out of 5 stars
Ol School Baby,
By Juancao (San Antonio, Texas) - See all my reviews
This review is from: Tributo a Chano Pozo (Audio CD)
This is some ol school Cuban music and it is great. It is old music and it sounds like it but it is not overproduced and you can hear all the instruments perfectly. When you hear it you can't help but get a smile on you face and start moving. I don't know who all the supporting musicians are on this CD but they sound tight to me. I am no expert but it sounds good y tiene, corazon, alma, y algo diferente. Some really good different styles to get you going. I am thankful that I stumbled across this CD because I have really enjoyed it
1 of 1 people found the following review helpful:
5.0 out of 5 stars
That's more like it!,
By bluejim (Castro Valley, California United States) - See all my reviews
This review is from: Tribute to Chano Pozo (Audio CD)
Improved fidelity on this latest CD reissue takes this up to a five star release. Although nobody's ever gonna accuse Mr. Mangual, Jr. of singing on key, it's sort of in the chanting drummer tradition where you're allowed a little more leeway. This sounds like one of those Latin Percussion instructional albums come to life. And on Cuero Na' Ma, Salvador Cuevas drops one of those Eddie Gua Gua way up high to down low bombs en la bajo after the montuno has been going on forever. I love it!
5.0 out of 5 stars
AN INSTRUMENTAL MUSICAL MASTERY that showcases VERY SUCCESSFULLY what Latin percussion is all about! A VERY FAMOUS MUST-HAVE!!!,
This review is from: Tribute to Chano Pozo (Audio CD)
This May 1977 José Mangual Jr. recording is a tribute to Luciano `Chano' Pozo who was an Afro-Cuban percussionist, singer, dancer and composer who introduced the Cuban style of Conga-drumming into the Big-Band American Jazz format in 1947 with Dizzie Gillespie for what would be the very beginnings of the Afro-Cuban influence in mainstream American Jazz.Here the goal is not to showcase "Afro-Cuban Be-Bop", but to PROPERLY showcase what Latin percussion is all about since Chano was a musical role-model for many generations of Latin Percussionists, as well as a founding pioneer in the evolution of Latin-Jazz also through his co-compositions with Gillespie's band. 1.Manteca'77 here is a COMPLETELY different version of this tune which they originally interpreted 3 decades earlier in the American Be-Bop style of music with the Big-Band format doing the Mambo-Jazz horn arrangements driven by the traditional `Bass Tumbao' and the Afro-Cuban percussion back-up work of Chano on Conga-Drums. This "Manteca" version is an OUTSTANDING and MINDBLOWING Afro-Cuban Guaguancó percussion tune with the Piano in the background doing a continuous rhythmic pattern along with Milton Cardona doing a spontaneous and very well constructed Conga-drum performance all the way through till the end! This tune also offers a FANTASTIC 2nd part with an OUTSTANDING Montúno on Piano that features the entry of the Trumpets doing the Manteca main theme arrangement reminding us that it is indeed "Manteca" what we are listening to, with further Trumpet arrangements and a GREAT Jazzy Latin Trumpet solo!... (While Guaguancó'77 would have been the appropriate title, this is STILL an AMAZING instrumental tune with an EVEN MORE THRILLING 2nd part!...) 2.Down To Basics only displays the basics of Latin Percussion (Bongo, Conga-Drum, and Timbales) for the people who want to know what to do when learning to play these instruments. While I can clearly see the purpose, I would have preferred them to play a music tune instead! 3.Cuero Na'Má is one of the 2 MASSIVE-HIT TUNES from the album, and an ABSOLUTE MASTERPIECE of a 1970's N.Y Latin-Jam!... It all begins with a VERY CLASSY Timbale solo introduction by Jimmy Sabater (which my elder cousin has fairly managed to imitate over the years...) And then an OUTSTANDING, CLASSIC and TRADITIONAL Salsa Montúno pattern on Piano comes in for Sabater to show EVEN FURTHER his Timbale skills for what IS ONE of MY FAVOURITE solos from the 1970's! YES! BIG STATEMENT HERE, but this solo showcases CLASS, VIRTUOSITY, TECHNIQUE, IMAGINATION and STRUCTURE on how to construct COHESIVELY and PROPERLY a Timbale solo!... This solo SHOULD DEFINITELY serve as a REFERENCE AND MODEL to today's younger/modern Latin percussionists of how to put a bit of brains and feeling into their soloing rather than showing off technically by rushing/SPRINTING in as if they were on steroids!... Otherwise, this VERY INTENSE tune is ALSO VERY FIERY and VERY HIGHLY DANCEABLE!... 4.Soñando Con Puerto Rico (written by the late Bobby Capó) is in my opinion, a VERY NICE instrumental version of this very famous Bolero featuring here a VERY LOOSE and relaxed feel with José Feblés on Acoustic-Guitar, and Alfredo Rodríguez on Piano doing FINE back-up work while Luis Mangual follows nicely on Bongoes with an intervention at the end that I've ALWAYS LOVED and always TRIED to duplicate... 5.Guaguancó Chano is exactly an Afro-Cuban Guaguancó percussion tune where José sings his tribute in memory of the late Chano Pozo (assassinated on 2nd December'1948) with again, CRYSTAL-CLEAR percussion work by Cardona on Conga-drums and a very brief finish to the tune with the chorus saying in Spanish "To you Chano Pozo" before a 6/8 rhythm part comes in with a prayer to finish the tune off. While there's nothing wrong with this tune, a classic 2nd Rumba part would have done much better making it much more complete and satisfying... 6.Sambala is indeed a Brazilian Samba tune that features the Whistles and the small Cowbells in the rhythm with some feminine voices doing a (`Lá, lalala lá') Chorus. This tune also provides a space for Alfredo Rodríguez to start expressing himself on Piano with some Jazzy-Brazilian improvisations which I thought came out pretty nicely!... Despite that, this tune isn't really my thing and I find it a bit irrelevant in this album... 7.True Venture's Theme is a DELIGHTFUL Jazzy-Latin tune featuring a Cha-Cha-Chá rhythm pattern on Piano with the main introductory theme from Mambo A La Savoy on horns (which Machíto had performed in the 1940's/50's with the late José Mangual Sr. on Bongoes.) Here, this tune serves as a WONDERFUL Latin music "platform" for some very elegant and very well executed Muted/Flugelhorn Trumpet solos. ANOTHER MASTERFUL piece of music!... 8.Bomba Caríbe is a FANTASTIC Puerto-Rican Bomba rhythm tune with again, a SUPERB Montúno on Piano that I find SO ADDICTIVE (and that can STICK to my head for DAYS) with another EXCELLENT performance by Cardona on Conga-drums with the early-60's Rafael Cortíjo `Juan José' theme PERFECTLY integrated on horns with the harmony of the tune!... ANOTHER Latin Percussion MASTERPIECE that is also pretty danceable!... 9.Campanero is the album's 2nd MASSIVE HIT-TUNE, and ONE of MY TOP Salsa tunes from the 1970's! It's like the bonus gem or the icing on the cake featuring a non-instrumental classic Salsa set-up with José on vocals, a GREAT danceable quality, FINE arrangements again , and an unusual `Campana' (Cencerro-cowbell) solo by José around the end!... Total Play-time: 35.18 mins I just want to finish off by saying that this is a UNIQUE one of a kind recording that showcases a group of musicians who you can tell have PROPERLY rehearsed together to come up with SUCH a CRYSTAL-CLEAR musical performance like this one where nothing is EVER overdone in any way! I AM ALSO AWARE that few tunes here could've been avoided, but this is STILL a CLASSIC MUST-HAVE recording that is WELL WORTH the exceptional detour IF YOU CAN STILL FIND IT!... (Sound quality definitely sounds loud/sharp enough on my 1997 Velvet Records version)
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