[TR24][OF] Ray Barretto - Barretto (Remastered 2025) - 1975/2025 (Jazz | World)
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Ray Barretto Barretto (Remastered 2025) • Формат | Источник записи: [TR24][OF] • Водяных знаков: Нет • Год издания релиза: 2025 • Жанр: Jazz | World • Продолжительность: 00:43:27 • Источник: • WEB релиз: ссылка • Контейнер: FLAC (*.flac) • Тип рипа: tracks • Наличие сканов: front • Разрядность: 24/192 • Количество каналов: 2.0 • Формат: PCM • Треклист •✧ 01 - Guarare (00:05:38) ✧ 02 - Vine pa' Echar Candela (00:05:48) ✧ 03 - Eso Es Amar (00:04:17) ✧ 04 - Ban Ban Quere (00:05:33) ✧ 05 - Vale Mas un Guaguanco (00:04:22) ✧ 06 - Testigo Fui (00:05:00) ✧ 07 - El Presupuesto (00:04:31) ✧ 08 - Canto Abacua (00:08:15) • Лог DRM •foobar2000 1.6.11 / Dynamic Range Meter 1.1.1 • Ray Barretto •Salsa pioneer Ray Barretto was just in his mid-40s in 1975, but by then, the conguero had already lived more than his fair share of musical lifetimes. Returning to New York City after an early '50s stint in the Army, Barretto quickly established himself in the burgeoning Latin jazz scene and also became a sought-after session musician, playing conga with artists like Charlie Parker, Tito Puente, and others. And then there was "El Watusi," his massive 1961 crossover hit, not to mention that, a few years later, he was one of a handful of artists closely associated with the rise of boogaloo, a particularly Nuyorican blend of R&B, soul, and Latin rhythms. Throughout all this, Barretto's group, Charanga Moderna, became legendary for its tight arrangements and innovative fusion of musical styles, notching success upon success until, in 1973, nearly the whole band left Barretto to form Tipica 73. This was a remarkable turn of events—especially as the sound of New York's Latin jazz and salsa scene was so prevalent during the era—that left Barretto understandably devastated. By 1975, he had not only recovered emotionally but had also built a new band, powered not just by phenomenal players—including Little Ray Romero (timbales), Gil López (piano), and Louie Colón (bass)—but also two incredible new vocalists, Tito Gómez and Ruben Blades. Both Gomez and Blades were only 26 when they joined Barretto's band, and their youthful energy (as well as Blades' considerable compositional skills) injects a real fire into the proceedings on Barretto. One of its most iconic tracks is "Guararé," a slowed-down, danceable version of a changüí originally composed by Roberto Baute Sagarra. The song not only became a defining number for Gómez—whose warm and expressive vocals anchor the piece—but also became the nickname for the album (Barretto is often referred to as "The Guararé Album"). Another highlight is "Canto Abacuá," a Blades-penned piece that begins with a sparse, dramatic percussion dialogue before bursting into a full rumba and then morphing into a high-energy mambo. At over eight minutes, this closing track is the album's most ambitious, pushing salsa into bold new territory with an arrangement that allows for quite a bit of improvisation, including standout flute and piano solos. Blades also contributed the bolero "Eso Es Amar," which provides a moment of romantic introspection amid the album's more energetic numbers. © Jason Ferguson
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