Review by Richie Unterberger
As with his previous album Spanish Grease, the toughest and most memorable track is the one Bobo original, "Fried Neck Bones and Some Home Fries." Its creeping Latin soul groove was, like "Spanish Grease," an obvious inspiration for Carlos Santana. But on most of the rest of the recording, Bobo coasts through interpretations of period hits like "Michelle," "Goin' Out Of My Head," and Jay & The Americans' (!) "Come A Little Bit Closer," with some jazz and pop standards as well.
https://www.allmusic.com/album/uno-dos-tres-1-2-3-mw0000903454
Biography by Richard S. Ginell
Willie Bobo was one of the great Latin percussionists of his time, a relentless swinger on the congas and timbales, a flamboyant showman onstage, and an engaging if modestly endowed singer. He also made serious inroads into the pop, R&B and straight jazz worlds, and he always said that his favorite song was Antonio Carlos Jobim's "Dindi." Growing up in Spanish Harlem, Bobo began on the bongos at age 14, only to find himself performing with Perez Prado a year later, studying with Mongo Santamaria while serving as his translator, and joining Tito Puente for a four-year stint at age 19. Mary Lou Williams gave Correa his nickname Bobo when they recorded together in the early '50s. After working with Cal Tjader, Herbie Mann and Santamaria with whom he recorded the evergreen Latin standard "Afro-Blue" -- Bobo stepped forward in 1963 with his first recording as a leader, with Clark Terry and Joe Farrell as sidemen. Recording for Verve in the mid-'60s, Bobo achieved his highest solo visibility with albums that enlivened pop hits of the day with Latin rhythms, spelled by sauntering originals like "Spanish Grease" and "Fried Neck Bones and Some Home Fries." In addition, Bobo played on innumerable sessions in New York, recording with artists like Miles Davis, Cannonball Adderley, Herbie Hancock, Wes Montgomery, Chico Hamilton and Sonny Stitt. In 1969, he moved to Los Angeles where he led jazz and Latin jazz combos, appeared on Bill Cosby's first comedy series (1969-1971) and short-lived 1976 variety show, and recorded on his own for Sussex, Blue Note and Columbia. One of Bobo's last appearances, only three months before his death from cancer, was at the 1983 Playboy Jazz Festival where he reunited with Santamaria for the first time in 15 years.
https://www.allmusic.com/artist/willie-bobo-mn0000688804/biography
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Reseña de Richie Unterberger
Como en su anterior álbum Spanish Grease, el tema más duro y memorable es el original de Bobo, "Fried Neck Bones and Some Home Fries". Su rastrero ritmo de soul latino fue, como "Spanish Grease", una inspiración obvia para Carlos Santana. Pero en la mayor parte del resto de la grabación, Bobo se acerca a través de interpretaciones de éxitos de la época como "Michelle", "Goin' Out Of My Head" y "Come A Little Bit Closer" de Jay & The Americans, con algunos estándares de jazz y pop también.
https://www.allmusic.com/album/uno-dos-tres-1-2-3-mw0000903454
Biografía de Richard S. Ginell
Willie Bobo fue uno de los grandes percusionistas latinos de su tiempo, un incesante bailarín de congas y timbales, un extravagante showman en el escenario, y un atractivo aunque modesto cantante. También hizo serias incursiones en el mundo del pop, R&B y el jazz hetero, y siempre dijo que su canción favorita era "Dindi" de Antonio Carlos Jobim. Creciendo en el Spanish Harlem, Bobo comenzó con los bongos a los 14 años, sólo para encontrarse actuando con Pérez Prado un año más tarde, estudiando con Mongo Santamaría mientras servía como su traductor, y uniéndose a Tito Puente por un período de cuatro años a la edad de 19 años. Mary Lou Williams le dio a Correa su apodo de Bobo cuando grabaron juntos a principios de los 50. Después de trabajar con Cal Tjader, Herbie Mann y Santamaría con quienes grabó el estándar latino siempre verde "Afro-Blue" -- Bobo dio un paso adelante en 1963 con su primera grabación como líder, con Clark Terry y Joe Farrell como acompañantes. Grabando para Verve a mediados de los 60, Bobo alcanzó su mayor visibilidad como solista con álbumes que animaron los éxitos pop del día con ritmos latinos, deletreados por originales como "Spanish Grease" y "Fried Neck Bones and Some Home Fries". Además, Bobo tocó en innumerables sesiones en Nueva York, grabando con artistas como Miles Davis, Cannonball Adderley, Herbie Hancock, Wes Montgomery, Chico Hamilton y Sonny Stitt. En 1969, se trasladó a Los Ángeles donde dirigió combos de jazz y de jazz latino, apareció en la primera serie de comedia de Bill Cosby (1969-1971) y en el efímero espectáculo de variedades de 1976, y grabó por su cuenta para Sussex, Blue Note y Columbia. Una de las últimas apariciones de Bobo, sólo tres meses antes de su muerte por cáncer, fue en el Festival de Jazz de Playboy de 1983 donde se reunió con Santamaría por primera vez en 15 años.
https://www.allmusic.com/artist/willie-bobo-mn0000688804/biography
A1 - Boogaloo In Room 802 2:30
A2 - Come A Little Bit Closer 3:05
A3 - Goin' Out Of My Head 3:15
A4 - I Remember Clifford 2:03
A5 - Rescue Me 3:05
A6 - Michelle 3:00
B1 - No Matter What Shape (Your Stomach's In) 2:45
B2 - Fried Neck Bones And Some Home Fries 2:50
B3 - Old Man River 3:05
B4 - 1-2-3- (Uno, Dos, Tres) 2:34
B5 - Night Song 2:40
B6 - The Breeze And I - From Suite "Andalucia" 3:12
Alto Saxophone, Tenor Saxophone – Bobby Brown
Arranged By – Arturo O'Farrill (tracks: B5), Clarence Henry (tracks: A2, A3), Mel Lastie (tracks: A1, A4 to B2, B4)
Bass – Bobby Rodriguez, Jon Hart
Bongos, Guiro – Oswald Martinez
Congas – Carlos Valdes
Cornet – Mel Lastie
Guitar – Sonny Henry
Percussion – Jose Mangual, Victor Pantoja
Design [Cover] – Acy Lehman
Engineer – Rudy Van Gelder
Engineer [Director Of Engineering] – Val Valentin
Photography By [Cover] – Charles Stewart
Producer – Creed Taylor
Recorded January & April 1966 at Van Gelder Studio,
Englewood Cliffs, New Jersey.
Label: Verve Records – V6-8648
Released: 1965
Genre: Jazz
Style: Latin Jazz
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