egroj world: Ray Barretto • Latino

domingo, 30 de diciembre de 2018

Ray Barretto • Latino



Raymond Barretto Pagán (Nueva York, 29 de abril de 1929 - †Nueva Jersey, 17 de febrero de 2006), conocido como Ray Barretto, fue un percusionista estadounidense de origen puertorriqueño, y uno de los más destacados compositores e intérpretes de jazz latino. Sus congas se han podido escuchar en cientos de discos, tanto de Jazz como de música latina.

La trayectoria musical de Barretto muestra una gran inquietud y una amplia gama de influencias musicales, quizá en parte debido a que, al contrario que la mayor parte de los músicos de jazz latino, su aproximación a la música afro-caribeña y a la salsa fue a partir del jazz y no a la inversa. De hecho, en una ocasión afirmó que él aprendió a tocar al estilo swing antes de llegar a dominar los ritmos latinos.

Barretto empezó a tocar las congas mientras estaba en la marina en Alemania. Trabajó con músicos de jazz estadounidenses tras regresar a Nueva York, donde a finales de los 50 sustituyó a Mongo Santamaría en la banda de Tito Puente durante cuatro años. Barretto hizo su debut discográfico como líder de una banda en 1961 para Riverside, que fue un gran éxito no sólo dentro del campo del jazz (llegó a número 17 en las listas de música pop). Al año siguiente grabó para Tico "El Watusi", aprovechando la fiebre de este baile existente en el momento, que resultó un éxito fulgurante y suscitó decenas (sino cientos) de versiones y, más recientemente, de usos como samples por parte de raperos, como es el caso de la española Mala Rodríguez en su primer álbum.

Intentó modernizar el sonido de la charanga, dominante en la música latina de la época, reforzando la sección de viento y haciendo versiones de melodías provenientes del rock y del pop, como hicieron muchos otros artistas latinos.

Lo cierto es que Barretto logró sus mayores éxitos en los 60 como músico de sesión, acompañando a Gene Ammons, Cannonball Adderley, Kenny Burrell, Lou Donaldson, Red Garland, Dizzy Gillespie, Freddie Hubbard, Wes Montgomery, Cal Tjader y muchos otros artistas de jazz y pop.

Tras firmar con el sello Fania en 1967, Barretto comenzó a alcanzar reconocimiento como uno de los más importantes artistas de jazz latino y llegó a ser director musical de la Fania All-Stars. De esta época destaca su álbum Acid (1968). En los 70, siguió grabando álbumes bajo el sello Fania, cada vez con un éxito mayor. En 1973, varios de los músicos habituales de su orquesta deciden separase para conformar a Típica '73, lo cual hace que Ray Barretto decida producir el disco The Other Road, su primer acercamiento al Jazz. Continúa con la Fania hasta 1975, cuando firma un contrato con la Atlantic Records, donde graba discos de funk, música disco y rock sin mucho éxito. Sufrió un accidente que imposibilitó usar una de sus manos durante casi dos años, siguiente a la recuperación volvió a la Fania y lanzó Rican-Struction en 1979, como símbolo de la recuperación de ésta.

En 1980, grabó un muy aclamado álbum para CTI, La cuna, con Puente, Joe Farrell y Charlie Palmieri como intérpretes invitados. En 1991 estrenó un nuevo sexteto, New World Spirit, con él ha realizado al menos ocho discos de larga duración (sin contar recopilaciones) para distintos sellos discográficos. Curiosamente (y en contra del caso de otros artistas de música moderna), Barretto, ya en su etapa de madurez, llegó con este grupo a una plenitud creativa, alcanzando cotas nunca antes alcanzadas por él ni por ningún otro artista de jazz, latino o de cualquier otro tipo.

Como el mismo Barretto (que hasta poco antes de su muerte siguió actuando en directo) afirmaba, esta nueva etapa de su carrera no se basa en la fusión de elementos de música latina y jazz, sino en el empleo de instrumentos de origen afro-caribeño como la conga o, en raras ocasiones, temas de origen latino, pero con una concepción del jazz totalmente tradicional, lo que constituye una óptica probablemente nunca abordada por ningún otro músico ni grupo, quizá con la excepción del grupo cubano de jazz Columna B.

Barreto es conocido por los aficionados y coleccionistas de la salsa como uno de los más destacados ejecutores de la denominada salsa dura y por exponer uno de los sonidos más duros y clásicos dentro del género. Además destacó por atraer y presentar excelentes cantantes como Ruben Blades, Adalberto Santiago, Tito Allen y Tito Gómez.

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Ray Barretto (April 29, 1929 – February 17, 2006) was an American Grammy Award-winning Latin/Latin jazz musician of Puerto Rican ancestry.

Barretto (whose surname is really "Barreto"; a mistake at the time Ray's birth certificate was filed gave his last name its formal spelling) was born in New York City. His parents moved to New York from Puerto Rico in the early 1920s, looking for a better life. He was raised in Spanish Harlem and at a very young age was influenced by his mother's love of music and by the jazz music of musicians such as Duke Ellington and Count Basie.

In 1946, when Barretto was 17 years old, he joined the Army. While stationed in Germany, Barretto met Belgian vibist Fats Sadi, who was working there. However, it was when he heard Dizzy Gillespie's "Manteca" with Cuban composer/percussionist Chano Pozo that he realized his true calling in life.
Barretto plays for Charlie Parker

In 1949, when Barretto returned home from military service, he started to visit 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. Later, he was asked to play for José Curbelo and Tito Puente, for whom he played for four years. Barretto developed a unique style of playing the conga and soon he was sought by other jazz band leaders. Latin percussionists started to appear in jazz groups with frequency as a consequence of Barretto's musical influence.
Success with "El

In 1960, Barretto was a house musician for the Prestige, Blue Note, and Riverside labels. He also recorded on Columbia Records with Jazz flautist Herbie Mann. New York had become the center of Latin music in the United States and a musical genre called "pachanga" was the Latin music craze of the time.

In 1961, Barretto recorded his first hit, "El Watusi." He was quite successful with the song and the genre, to the point of being typecast (something that he disliked).

After recording a number of albums for the United Artists label, Barretto joined the Fania record label in 1967, and his first recording for the new label was the 1968 album Acid, an experiment joining rhythm and blues with Latin music. The album contained the song "A Deeper Shade Of Soul", which was sampled for the 1991 Billboard Hot 100 #21 hit "Deeper Shade of Soul" by Dutch band Urban Dance Squad. During this period, Adalberto Santiago was the band's lead vocalist. In 1972 Barretto's Que viva la musica was released. "Cocinando," a track from the album, opened the soundtrack of the Fania All Stars film Our Latin Thing in which Barretto had a role.

In 1973, Barretto recorded the album Indestructible, in which he played "La Familia", a song written by José Curbelo in 1953 and recorded by the sonero Carlos Argentino with the Cuban band Sonora Matancera; Tito Allen joined as new vocalist. After a number of successful albums, and just as his Afro-Cuban band had attained a remarkable following, most of its members left it to form Típica 73, a multinational "salsa" conglomerate. This left Barretto depressed and disappointed with salsa; he then redirected his efforts to jazz, while remaining as musical director of the Fania All Stars. In 1975 he released Barretto, also referred to as the Guarare album, with new vocalists Ruben Blades and Tito Gomez.

Barretto played the conga in recording sessions for the Rolling Stones and the Bee Gees. In 1975, he was nominated for a Grammy Award for the song "Barretto". From 1976 to 1978, Barretto recorded three records for Atlantic Records, and was nominated for a Grammy for Barretto Live...Tomorrow. In 1979, he recorded La Cuna for CTI records and produced a salsa record for Fania, titled Ricanstruction, which was named 1980 "Best Album" by Latin N.Y. Magazine, with Barretto crowned as Conga Player of the Year.

In 1990, Barretto won his first Grammy for the album Ritmo en el Corazón ("Rhythm in the Heart"), which featured the vocals of Celia Cruz. Also in the 1990s, a Latin agent, Chino Rodríguez, approached Barretto with a concept he also pitched to Larry Harlow. The idea was "The Latin Legends of Fania", and Barretto, Harlow, Yomo Toro, Pete "el Conde" Rodrguez, Junior González, Ismael Miranda, and Adalberto Santiago came together and formed "The Latin Legends of Fania", booked by Chino Rodríguez of Latin Music Booking.com. In 1999, Barretto was inducted into the International Latin Music Hall of Fame.

Barretto lived in New York and was an active musical producer, as well as the leader of a touring band which embarked on tours of the United States, Europe, Israel and Latin America.

Barretto died of heart failure and complications of multiple health issues on February 17, 2006 at the Hackensack University Medical Center in New Jersey. His body was flown to Puerto Rico, where Barretto was given formal honors by the Institute of Puerto Rican Culture; his remains were eventually cremated.







01. Manha de Carnaval (4:30)
02. Deleite de Azúcar (03:28)
03. Éxodo (05:26)
04. Descarga La Moderna (4:32)
05. Summertime (3:00)
06. El negro y Ray (6:01)
07. Mira que linda (2:35)
08. Cocinando suave (06:06)

Credits
Bass – Ricky Jackson
Congas [Conga Drums], Liner Notes – Ray Barretto
Flute – Joe Canoura
Guiro [Guido] – Wito Kortwright
Percussion – Rudy Calzado, Willie Rodriguez
Piano – Alfredito Valdez, Jr.
Tenor Saxophone – "Chombo" Sylva
Timbales – Ray Mantilla
Trumpet – "El Negro" Vivar
Violin – Mike Stancerone

Recorded At Plaza Sound Studios; New York City
Label: Riverside Records ‎– RM 3520
Released: 1963
Genre: Jazz, Latin
Style: Latin Jazz, Mambo, Cha-Cha, Bossa Nova










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4 comentarios:

  1. Hello Egroj, yo should be notified: the link to discogs is pointing instead to the download as preview. Take note, please. Happy New Year! Hope is will be as fruitful as 16-17-18.

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    1. muchas gracias por avisar, y espero tengas un excelente 2019!
      saludos

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