Essentials
Frank Emilio Flynn: Amor & Piano
The name [and reputation] of the great Cuban composer and pianist Frank Emilio Flynn bears similarities to that of the Brasilian composer and saxophonist Moacir Santos. Each man is revered in the country of his birth, but almost unknown – certainly all-but-forgotten – outside them. But in Cuba – as in Brasil – music is not just in the soul of its people it IS the soul of its people. This is sometimes difficult to understand in countries like the US and in ours – Canada. Most of us are either ignorant of anything that exists outside our borders [sometimes even outside our own homes]; history is a subject not meant to be learned, or contemplated upon, certainly if it is not written and blessed by colonial history. That’s why African countries get referred to as “shithole” countries, Cuba as “the enemy” and Brasil as a “failed state” or a country of forest-loving, revellers to whom debauchery comes easily. The truth is far from that and the artistry of Frank Emilio Flynn [and Moacir Santos] tells us so.
If you’re “a Yankee” or even “a Canuck” and you are asked to think of Brasilian music and one of the first names that might come to mind is probably Antonio Carlos Jobim. Likewise with Cuba, many will say the Buena Vista Social Club; not Bebo Valdés, or even his son, Chucho; for Canadians, maybe Hilario Durán… But it’s highly unlikely that the name of Frank Emilio Flynn will be the first to roll off the tongue. And that is sad because Frank Emilio is a titan of music – yes, not just Cuban music, but all music. The pianist was born on the 13th of April, 1921. A tragic mishandling of the forceps by the gynecologist during his delivery damaged his eyes at birth. The death of his mother when he was 5 years old, the return to the US of his North American father meant that he had to be raised by an aunt and uncle. He lost his eyesight completely by the time he was in his late-teens, but not before he mastered the piano, winning an amateur contest in 1934, when he was just 13 years old. He turned professional during that period and joined the group led by Antonio Maria Romeu; but in 1938 he furloughed his professional career to complete his education at Cuba’s National Association for the Blind.
By the 1940s Frank Emilio’s musical career ascended in a steep arc. He became associated with the filin movement and the dazzling Jazz-influenced boleros became all the rage of the Cuban musical cognoscenti. In 1951 Frank Emilio founded what has come to be called Los Modernistas. featuring José Antonio Méndez on guitar, Justi Barreto on percussion and Francisco Fellové on vocals amongst others. Patrick Dalmace, in his French blog Montuno Cubano, notes that “the band played at Radio Cadena Habana and toured the island before disbanding. Flynn then joined a son ensemble, Alejandro y sus Muchachos, and in 1955 he recorded four songs with Arcaño y sus Maravillas.”
Throughout the 1950s and after his reputation soared via the Club Cubana de Jazz, then with the first incarnation of Grupo Cubano de Música Moderna with Tata Güines on congas, Gustavo Tamayo on güiro, Walfredo de los Reyes on drums [Guillermo Barreto replaced Reyes in 1959], and Orlando “Papito” Hernández on bass [Orlando “Cachaíto” López replaced Hernández in 1965]. Their brilliant descargas became famous within Cuba and news of this spread overseas too. By the time Frank Emilio added musicians such as violinist Elio Valdés, flautist Miguel O’Farrill, batá drummer Jesús Pérez, percussionist Angá Díaz, timbalero Changuito, güiro and claves player Enrique Lazaga, [later with bassist Carlos del Puerto and flutist Orlando “Maraca” Valle] he had become a legend in his lifetime. Los Amigos, as this band was known made their first recording for EGREM in 1982. This band also backed the great vocalist Merceditas Valdés. In 1996 Frank Emilio joined Jose Maria Vitier on Jane Bunnett’s classic album, Jane Bunnett and The Cuban Piano Masters.
Frank Emilio made one of his most iconic contributions to music by writing piano manuals in braille. But it is for his pianism for which he is best-known. He brought the mathematical precision of Bach together with the impressionistic brush-strokes of Ravel and the rhythmic mastery of Afro-Cuban and Afro-American jazz into a volcanic mix of music. Frank Emilio is also [along with Peruchín] the proverbial bridge between the old soneros and danzón masters such as Bebo Valdés and the modern musicians such as Chucho Valdés, Emiliano Salvador, Hilario Durán, Ernán López-Nussa, Emilio Morales, Roberto Carcassés and virtually every Cuban pianist who plays today, including the expatriates in the United States of America. In fact Chucho Valdés once said [and he still probably believes] that: “Frank Emilio is a pianist who has influenced every subsequent generation, and those to come, because he’s kept up to date. You can’t talk about Frank Emilio in the past because he’s still very much present.” That was in 1998.
It’s still true today although much of the world may seem to have lost its taste for the eloquent, the poetic and the eternal. Not in Cuba, however, which remains the strongest advocate for Cuban art – especially music. Those wonderful folks at Bis Music in Havana proved this [once again] with a breathtaking tribute to Frank Emilio entitled Amor & Piano. The original idea for this production came from Tony Pinelli, who also wrote booklet notes to the edition, helmed by Emilio Vega as director of music, with Alina Calleja acting as production executive. The genius of this production is quite elusive; none of the songs have been written by Frank Emilio, and yet his spirit seems to hover like a great muse through every rhapsodic phrase; in the harmonic conception and through the rhythmic extravaganza that laces the music of each of the ten songs.
The disc begins with a brilliant danzón, “Franchando”, written and performed by Emilio Morales. The tone for the entire programme is set right here. Listened to when the lights are turned down low this could easily be one of those seductive danzones that Frank Emilio played during his career. But this danzón blooms with the pure melodic ingenuity of the pianist Emilio Morales. “Pan con Timba” follows in which the young Aldo López Gavilán traverses with seemingly magic fingers across the keyboard. A myriad of styles collide in this masterful solo impression. “Lázara y Georgina” begins with a superbly toned, rumbling introduction on the contrabass by Roberto Riverón, before Orlando “Cachaito” López, grandson of the great Peruchín Justiz masterfully dissects the danzón form in the spirit of Frank Emilio.
Tony Pérez performs “Requiem para un pianista”, a 2001 work written to commemorate Frank Emilio’s passing. It is a solo performance that captures the bitterness of the loss of a great pianist. But the solo work also soars in its impromptu improvisation, ascending, if you will, with the soaring spirit of Frank Emilio. “La flauta mágica” is a gorgeous little miniature, referencing the music of Mozart. It was written by Frank Emilio’s first employer, Antonio Maria Romeu and is played here – again as a danzón – by pianist Lázaro Valdés, playing with spectacular angularity, accompanied by the mighty tresero Pancho Amat. It is music played deep in the tradition, as Frank Emilio often did; the masterful performance on flute by José Luis Cortés makes this music all the more memorable.
The inimitable Ernán López-Nussa follows that with an original impish composition, “Dinga, dongo, dunga”, his brilliant take on one of Frank Emilio’s iconic compositions – the wonderfully puckish “Gandinga, Mondongo y Sandunga”. Mr López-Nussa’s treatment of this music is truly orchestral, while also mixing in danzón, and he is joined in the festivities by trumpeter Mayquel González, tenor saxophonist Orlando Sánchez, and by contrabassist Jorge Reyes as well as the legendary percussionists Tata Güines, Changuito and Don Pancho Terry – each of whom is provided room to stretch, making for a breathtaking performance. But one of the finest tracks on this disc – probably its apogee, at least for me – follows with pianist Rolando Luna playing the elegiac music of José Antonio Méndez, entitled “Si me comprendieras”. Although the bolero is highlighted by guitarist Carlos Emilio, it is Mr Luna’s heart-on-the-sleeve performance that will make you catch your breath. It’s unlikely that you will have heard something so ethereally beautiful and climactic in a long time by a pianist to watch, who is said to have the harmonic touch of Bill Evans.
Roberto Carcassés follows Mr Luna’s performance with a classic chart from the legendary Cuban bandleader Ignacio Piñeiro. Mr Carcassés’ fingerwork speaks to his own brilliant pianism. His mastery of the rumba form is also evident as he plumbs the depths of Afro-Cuban music and dance forms; something Frank Emilio also did with uncommon genius. The penultimate work is “Scherezada”, a dazzling cha-cha-chá performed by another young Cuban piano master, Alexis Bosch. Here too, there is another highlight, and that is the brilliant playing of alto saxophonist César López, who seems to have the reflexes of a cat when it comes to rambling up and down the saxophone’s registers. If the ambience and mood ebbs and flows throughout this disc it certainly reaches its most magical climactic moments on a work by the great Tata Güines entitled “Pa’ gozá”. The pianist here is another masterful young Cuban virtuoso, Miguel “Miguelito” de Armas, who is also joined by violinist Lázaro Dagoberto González and the mighty rhythmic wall of Roberto Riverón, Tata Güines, Tomás “El Panga” Ramos and Changuito. You couldn’t ask for a better, more explosive end to a disc to die for.
Track list – 1: Franchando; 2: Pan con timba; 3: Lázara y Georgina; 4: Requiem para un pianista; 5: La flauta mágica; 6: Dinga, dongo, dunga; 7: Si me comprendieras; 8: La mulata rumbera; 9: Scherezada; 10: Pa’ gozá
Personnel – The Pianists – Emilio Morales, Aldo López Gavilán, Orlando “Cachaito” López, Tony Pérez, Lázaro Valdés, Ernán López-Nussa, Rolando Luna, Roberto Carcassés , Alexis Bosch, Miguel “Miguelito” de Armas. Special Guests – Tata Güines: tumbadora [6, 10; Carlos Emilio: guitar [7]; Changuito: pailas [6, 10; Jorge Reyes: contrabass [6]; Pancho Amat: tres [5]; Emilio del Monte [pailas [3, 5, 7]; Lazaro Dagoberto González: violin [10; Don Pancho Terry: chekere [6]; César López: alto saxophone [9]; Tomás “El Panga” Ramos: percussion [5, 7, 9, 10]; Mayquel González: trumpet [6]; Orlando Sánchez: tenor saxophone [6]; Roberto Riverón: contrabass [3, 5, 7, 9, 10]
At the time of writing this critique this recording will have been almost three years old. However, the music of the celebrated Brasilian artist Milton “Bituca” Nascimento is timeless. And so, indeed, is any music created and produced by the prodigiously gifted Clarice Assad, third generation of a fabled Brasilian musical family. So, the statute of limitations ceases to apply to this recording Window to the World – A Tribute to Milton Nascimento.
I would wager a guess that among living Brasilian musicians no musician has received more recorded tributes than the inimitable Mr Nascimento. The word ‘legendary,’ though often bandied about when it comes to Brasilian musicians – alive or no longer alive – has little meaning. Miles Davis rightly scorned the term saying that it only belonged ‘to dead cats.’ But few Brasilians alive today deserve it – even among such stellar lights as Gilberto Gil, Caetano Veloso, and Ivan Lins. Mr Nascimento [and perhaps Chico Buarque, Hermeto Pascoal and Egberto Gismonti – each for varied reasons, of course] are worthy of that term.
Mr Nascimento is part of the pantheon of Brasilians – along with Tom Jobim and Moacir Santos [both long gone] – who has left an indelible on music and musicians from those in Brasil as well as elsewhere – such as in the USA and Japan. The late Wayne Shorter, the vocalists of Manhattan Transfer and the musicians of the Japanese Choro Club have helped make him a household name in the latter countries, no small achievement. Add to that the fact that Mr Nascimento is worshipped and adored in his native Brasil, and it adds up to a fabled, enviable reputation.
Which brings us to Clarice Assad. As a composer she is non pareil – in Brasil as well as in the USA, Europe and further afield. Her music has attracted musicians from such vernaculars as jazz, classical, and she has composed works for stage, pianists, vocalists, and chamber consorts and larger ensembles. But her work – like her artistic persona – is chameleonic, which is to say that while there is no mistaking her artistic persona, each composition is brilliantly crafted to suit its purpose – to adorn forms that are popular or classical in nature.
But Miss Assad pours a little bit of each musical style into these interpretations of Mr Nascimento’s music. Her approach here is that of a composer who has reimagined the work of the latter. Mind you, Mr Nascimento is not Heitor Villa-Lobos, nor does he claim to be. But he defined an era in Brasilian music – like Mr Villa-Lobos, as surely as he does Mr Buarque, Mr Gil and others who revolutionised popular Brasilian music [MPB comes to mind] as well as Vinicius de Moraes, Dorival Caymmi, and Mr Jobim, João Gilberto, and the other titans of Bossa Nova.
The repertoire on this recording cannot cover all of the songbook that was created by Mr Nascimento, but it opens a new portal into his world – hence the title Window to the World. This, says Miss Assad is, according to her, the fabled world of “Bituca.” The recording is, of course, a judicious mix of little-known/performed songs by Mr Nascimento, and two classics, each in consisting of sensual arrangements that glorify the Nascimento canon. The album is built around two of his most famous compositions.
The first delves into the deeply spiritual world that Mr Nascimento inhabited. Appropriately Miss Assad turns in one of the most mystical versions of Milagre dos Peixes [the Miracle of the Fishes]. Hers is a version that combines fantastical flights of vocalastics interspersed into the song’s lyrics, which when put together result in an utterly breathtaking rendition of the song.
Suddenly the Biblical reference to one of Christ’s most notable works where he multiplied a few fish to feed thousands, has new meaning. And it is all in the rendering of the song, which is plaintive, miraculous, and quite breathtaking in a way that breathes a new – and different – life into Mr Nascimento’s song meant to elevate the poor in spirit to the heavens.
Miss Assad also reimagines another classic from the Nascimento canon: Clube da Esquinha nº 1 and 2. Her version brings to life the legendary corner where Mr Nascimento plied his craft, becoming the centre of gravity of a whole movement that grew out of his home town. In both these – as well as in the rest of the repertoire the music may be that of Mr Nascimento’s but make no mistake the mystical aura is indubitably that of Miss Assad’s. In lively – or profoundly heart-soft – rhythmic pulsations of her pianism she is technically astonishing.
As a voice artist she is brilliantly en pointe, sculpting long inventions without gratuitous vibrato. And yet with precision and eloquence she brings her lustrous voice to bear rattling off phrases with passion, grace, and fire. Best of all is the fact that her approach is composer-like. She digs into the meaning of each word and brings endless dynamics to each phrase. It would seem that songs speak to her in the secret of her heart.
This is inspiration for the rest of the performing cast – a stellar group that includes the Danish contingent of drummer Johan Dynnesen, and bassist Jesper Bodilsen, a terrific accordionist Francesco Calí and percussion colourist Keita Ogawa. Best of all she duets with her brother Rodrigo Assad and Muato – two vocalists who assist her in bringing to new life the fabled Clube da Esquinha of Milton “Bituca” Nascimento. Add all of this up and you have a truly memorable recording – one that elevates to the rarefied realm the music of Mr Nascimento as well as the incredibly special musical gifts of Miss Assad.
Deo gratis…
Music – 1. Medley – i: Caxangá, ii: Fé Cega, Faca Amolada, iii: Paula e Bebeto; 2. Canção do Sal; 3. Clube da Esquinha nº 1; 4. Janela para o Mundo; 5. Milagre dos Peixes; 6. Saudades dos Avioes Panair [Conversando No Bar]; 7. Nada Será Como Antes. 8. Clube da Esquinha nº 2; 9. Morro Velho.
Musicians – Clarice Assad: voice and piano, and co-producer; Jesper Bodilsen: bass; Johan Dynnesen: drums and co-producer; Francesco Calí: accordion. Guests – Keita Ogawa: percussion [1, 4]; Rodrigo Assad: voice [3. 8]; Muato: voice [1, 7].
Released – 2021
Label – Vectordisc [052]
[Vectordisc.com]
Runtime – 39:13
There is a reason why Tito Puente is, often, referred to as “El Rey” [The King]. Notice how that epithet stops short of defining the boundaries of his musical kingdom, which one might – in a rather restrictive way – speculate is Latin American Music, or as we now say: “Afro-Cuban” or “Afro-Caribbean” Music. Truth be told, his kingdom is music, one where he ruled with the greatest of creators in the art of contemporary music.
Mr Puente’s rule emanated out of El Barrio – Spanish Harlem – in New York City and began in earnest in the 1950s with a dynamism of his rhythms and stage presence that set dance halls aflame. Some of those were captured on record by RCA Victor [now merged into Sony Music Latin]. Arguably some of the best of these were Cuban Carnival [1956], Night Beat [1957] and Dance Mania [1958]. Those were halcyon days and the heady music – some may suggest – lost its sting in the 1960s with the advent of discotheque, strobe lights and a monotonous musical rhythm beat that many might characterize as hypnotic.
In 1974 Mr Puente recorded an album – Revolving Bandstand – the wisdom of which had many critics scratching their heads. On this album – which featured his orchestra playing alongside that of Buddy Morrow’s Orchestra – El Rey attempted to play popular standards with a view to facilitating a collision of sorts between his Afro-Cuban music and the kind of dance music made popular by big bands playing what was characterized as “swing”, [which was] in fact a pale imitation of the kind of genuine bluesy swing of the great dance bands of Duke Ellington, Count Basie and others. The verdict, at that time and after, was: The reign of El Rey was over.
But then in 1985 when all seemed lost [to every naysayer but El Rey himself] the great composer and percussionist extracted his brand of musical justice with Mambo Diablo, an album with his iconic Latin Ensemble – once again playing popular jazz standards including the great charts: Take Five by Paul Desmond and made world famous by the Dave Brubeck Quartet, Lush Life by the incomparable Billy Strayhorn and Lullaby of Birdland, by the legendary English composer George Shearing, featuring Mr Shearing on piano. The album not only served notice that El Rey had never abdicated his throne, but with this repertoire he introduced himself and that mesmerising Afro-Cuban dance form – Mambo – to a legion of new fans.
Side A of the album gets off to a flying start with the title song, one of Mr Puente’s most iconic compositions. The chart showcases Mr Puente’s vibraphone chops. Not for him an empty display of pyrotechnics or sentimental indulgence. Mambo Diablo is rigorous and driven by architectural activity. While Mr Puente may have arranged and directed the music here, the stars in his orchestra – pianist Sonny Bravo, conguero José Madera, bongosero Johnny “Dandy” Rodriguez and bassist Bobby Rodriguez – shine bright. But none brighter than the inimitable saxophonist Mario Rivera, whose playing sets alight this and every other chart that follows.
On Lush Life Mr Puente “tricks” listeners into thinking he’s going to turn Lush Life, Mr Strayhorn’s highly emotional piece into a mushy bolero, only to rock the cha-cha rhythm in the second half of the piece. Side B brings the listener an embarrassment of riches beginning with Lullaby of Birdland, a song that flows like liquid gold in a simmering river of fire. And like the songs that begin with a deceptively slow, meditative – often faux-predictable manner – Mr Puente soon injects his unique brand of rhythmic dynamism into each work provoking a volta face and forcing the heavyweight performers in his Latin Ensemble into a tumbling rhythmic groove. This is the mood throughout the album. It’s no wonder that the elegant and effervescent music of Mambo Diablo not only holds up today but sings sweetly as its mambo [and other] rhythms take us on a rollicking ride of our collective lifetime even today, decades after its original release – and why the reign of El Rey may not be ending any time soon.
TRACKLIST
SIDE A
1. Mambo Diablo
2. Take Five
3. Lush Life
4. Pick Yourself Up
SIDE B
1. Lullaby of Birdland
2. No Pienses Así
3. China
4. Eastern Joy Dance
CREDITS
Tito Puente – timbales, vibraphone and percussion
Sonny Bravo – piano
Jimmy Frisaura – valve trombone, trumpet and flugelhorn
Ray González – trumpet and flugelhorn
José Madera – congas and percussion
Mario Rivera – tenor and soprano saxophones and flute
Bobby Rodríguez – bass
Johnny “Dandy” Rodríguez – bongos and percussion
SPECIAL GUEST
George Shearing – piano on Lullaby of Birdland.
Released – 1985/2023
Label – Concord Picante / Craft Recordings
Runtime – Side A: 21:16 / Side B: 19:15
One month before his death, Ray Barretto was the recipient of the NEA Jazz Masters Fellowship, the highest honor that our nation bestows on jazz artists. Despite that, he is mainly remembered as a percussionist, bandleader, and Salsa trailblazer.
As Barretto’s biographer, Robert Téllez, points out, “To examine Ray Barretto’s musical origins, it is necessary to refer to jazz rather than Latin music. That is one of the main differences between his career and other notable Latin percussionists. Most of them started in Afro-Caribbean music and turned to jazz, but in Barretto’s case, it was the opposite.”
Various factors laid the groundwork for Barretto’s passion for jazz. In a 2003 interview with Latin Beat magazine, Barretto was asked, “What type of music did you listen to on the radio (as a child)?” “It was mostly jazz and the era’s popular music,” replied Barretto, “but mostly jazz music.” He cites the big band sounds of Harry James, Benny Goodman, and Duke Ellington as “part of his everyday life.” In addition, he listened to Daniel Santos, Bobby Capó, Trío Los Panchos, Frank ‘Machito’ Grillo and his Afro-Cubans, Marcelino Guerra, and Arsenio Rodríguez, among others.
According to Robert Farris Thompson, “While serving in the US Army in 1952, Barretto happened to hear a record by (Dizzy Gillespie) and Chano Pozo, perhaps the most important Black Cuban drummer of the century.” That, says Ray Barretto, “turned my life around.” After that, he never looked back. When Barretto returned home, he visited clubs and participated in jam sessions, where he perfected his conga playing. On one occasion Charlie Parker heard Barretto play and invited him to play in his band.
In 1960, Barretto became a house musician for the Prestige Records, Riverside and Blue Note labels and appeared on albums with Gene Ammons, Red Garland and Sonny Stitt among many others, including Lou Donaldson, Kenny Burrell, Eddie ‘Lockjaw’ Davis, Jimmy Forrest, Yusef Lateef, Eddie Harris, Johnny Lytle, Herbie Mann, Johnny ‘Hammond’ Smit, Art Farmer, and Clifford Jordan.
As these things go, Barretto’s name got around, and he was offered Latin gigs, and the rest is history. His success as a Latin percussionist, bandleader, and member of the Fania All-Stars is well-documented. Between 1961 and 1973, Barretto released twenty recordings as a leader, including Charanga Moderna, Acid, Hard Hands, The Message, and Que Viva La Música, among others.
In 1973, an unanticipated turn of events created an opportunity for Barretto to take The Other Road. As the story goes, “In 1973, about half of my band left to form Típica ’73, and once again, I had to readjust and reconstruct my band. It took me about a year to get the band in form and working again. But in the meantime, I convinced Jerry Massuci (the head of Fania Records) to let me record a jazz project, and one night, from midnight to 6 AM (at Good Vibrations Sound Studios, 1440 Broadway, NYC) we recorded the album, The Other Road.”
YouTube Playlist – Ray Barretto: The Other Road
This brings me to the players, who Barretto describes in the liner notes as “young disciples from various mother countries wanting to be heard.” Trumpeters Roberto Rodríguez, Joseph Román and Manny Durán, pianist Edy Martínez, bassist Guillermo Edghill, timbal player Ray Romero, bongo player Tony Fuentes, flutist Art (Artie) Webb, and drummer Billy Cobham. All of whom rise to the occasion!
The repertoire consists of Thelonious Monk’s Round Midnight (aka Round About Midnight), Edy Martínez’s The Other Road, Manny Duran’s Lucretia the Cat and Oración (The Prayer), Ray Barretto’s Little Ting and a remake of Abidjan (which initially appeared on the album, Hard Hands) titled Abidjan Revisited. It is worth noting the title track was composed by Edy Martínez, who composed the song for his sister, who tragically died in a car accident. The original LP features photos of the sessions, but there are no specific details about the session.
When The Other Road was released in 1973, it was a commercial failure for several reasons. Jerry Masucci (Fania) had no interest in jazz, as demonstrated by his admonishing Barretto for making that album and ordering him never to make a jazz album again. Also, Barretto’s Salsa fan base rejected it. Some went so far as to claim it wasn’t Ray Barretto!
The same year Barretto came roaring back with Indestructible, which is widely considered a classic and one of the most potent Salsa albums of all time. In 1990, dissatisfied with how Salsa was evolving, Barretto recorded Soy Dichoso, his farewell salsa album. Shortly after, he announced the formation of the jazz ensemble New World Spirit, which combined Jazz and Latin music, the two worlds he loved. Barretto led New World Spirit from 1992 until he died in 2006.
YouTube Video – Ray Barretto’s New World Spirit: United
In 2016, the Colombian journalist, radio show host, and producer Robert Téllez released the first and only Ray Barretto biography titled Ray Barretto Giant Force. Téllez does an admirable job of documenting Barretto’s career and discography, but an in-depth book about Ray Barretto, the son, brother, husband, father, colleague, mentor, intellectual, activist, poet, and renaissance man, has yet to be written.
Musicologist, editor and lecturer Max Salazar on Ray Barretto: “Barretto was the most intelligent musician, bandleader I ever encountered. He was like a sponge, always absorbing everything around him. He could have been anything that he wanted to be: A doctor, a lawyer, an engineer, but he opted to be a musician. Barretto’s music was always groundbreaking, whether he was playing jazz or Latin music. He was a true giant of our music.”
REFERENCES
- Barretto, Ray – The Other Road Liner Notes
- Ray Barretto – Latin Beat Magazine (April, 2006)
- Ray Barretto – Living By the Beat of the Drum (Latin Beat magazine, May 2003)
- Téllez, Robert – Ray Barretto Giant Force (English Edition, 2021)
- Thompson, Robert Farris – Aesthetic of the Cool – Afro-Atlantic Art and Music (Periscope Publishing, Ltd, 2011)
- YouTube – Ray Barretto Band Live (Zycopolis Productions)
-
25 Most Read Posts13 years agoJuan García-Herreros “Snow Owl” – Normas
-
25 Most Read Posts14 years agoEdy Martínez, the Music Architect Behind the Piano
-
25 Most Read Posts16 years agoRaphael Cruz Reaffirms His Commitment To Latin Jazz!
-
25 Most Read Posts11 years agoRubén Blades con Roberto Delgado & Orquesta: Son de Panamá