If you dig rhythm and are unfamiliar with percussionist-bandleader Ray Barretto, jeepers creepers are you in for a substantial series of treats. And in a sweet turn of events, Craft Latino, the Craft Recordings subsidiary that specializes in reissuing prime Latin heat from numerous labels including Fania (the imprint’s logo a reliable sign of quality), has just returned Barretto’s 1972 LP Que Viva La Música to print after a long overdue absence. The exquisite blend of fire and finesse is available now on 180 gram vinyl and hi-res digital.
Raymundo “Ray” Barretto Pagán was one of the greats of Latin music, though in fact his considerable rep is further distinguished through his extensive jazz background prior to his mastery of the salsa style, and with pachanga and boogaloo along the way; “El Watusi” was a sizable pachanga hit in 1963 and the man’s Acid LP was a considerable boogaloo breakthrough in ’68.
While no single musician is responsible for salsa’s development, Barretto was a major contributor to its growth, and as the opening title track of Que Viva La Música makes obvious, by the early 1970s his band’s artistry was in full blossom, with Barretto responsible for arranging (on this album alongside pianist Luis Cruz) in addition to hitting the congas and leading the group.
The trumpets soar via a three horn line featuring René López, Joseph Roman, and Roberto Rodriguez, as Adalberto Santiago’s vocals are warm and expressive, Luis Cruz’s piano adds dimension to the whole, and the rhythms, courtesy of Barretto, Johnny Rodriguez on bongos and congas, Orestes Vilató on timbales and percussion, and Santiago doubling on guiro, are in full effect. Bassist David Perez strengthens the foundation with panache.
“Bruca Maniguá” is a showcase for Santiago’s voice, the dancefloor powder keg grooves and the touches of big-band-like jazzy flair; the trumpets really wail on this one. The recipe is similar in “La Pelota,” except that the percussion totally rips throughout and the collective intensity grows ever more torrid as the track progresses.
As said, the finesse levels are impressive across the LP, but particularly in “El Tiempo lo Dirá,” which is a bit more restrained in its thrust. Along the way, the rhythms, which are wonderfully not-simple, and the band’s sense of control are only magnified. But it’s not as if “El Tiempo lo Dirá” is a laid back affair. Neither is “Cocinando,” which finds Cruz switching to electric piano as the track spreads out to over ten minutes.
There’s beaucoup percussion natch, but also muted trumpet, and Cruz’s playing helps to situate the track somewhere between non-crap early fusion and psychedelia. From there, “Triunfó el Amor” dishes one for the slow dancers as Santiago shifts into crooner’s mode and the dial gets turned up on the big-band action. And then, “Alafia Cumaye” is a cooker delivering the album’s finale.
While a case can be made for Acid as the proper intro to Ray Barretto’s non-jazz career, Que Viva La Música is a brilliant example of the guy’s talent, and it’s right there for the buying right now.
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