September 28 - Show #62

Theme: Chin chon chow – Louie Ramírez

Song-Artist-Album-Label

Welcome to the party – Har-You Percussion – Compilation The New Latinaires – Ubiquity Recordings

Watermelon man – Mongo Santamaría – Compilation Latin Soul, Descarga & Boogaloo –
Manzana Producciones Discográficas

Camel walk – The Latinaires – Compilation The Bad Boogaloo Ny Yorican Sounds 1966-1970 – Fania

Dame un tipi – Frankie Dante & Orquestra Flamboyan – Compilation Playtime, Latin Soul Boogaloo – Hy&Fly Records

Hey mama – Johnny Zamot – Boogaloo Frog – J. Z. Productions

Every Monday – Manteca – Tremendo Boogaloo – Freestyle Records

Mini skirt – Mambo Zombies – Mambo Zombies – Self-produced: www.mambozombies.com

Hippie tune (Song for Josh) – New Cool Collective – Soul Jazz Latin Flavours
Nineties Vibe – Club 802/Challenge Records

Soul limbo – Cándido – Thousand Finger Man – Blue Note

The opener – Latin Percussion Jazz Ensemble – Just Like Magic – Latin Percussion Inc.

McCanna – Les McCann Ltd. – Compilation ¡A Gozar! – Blue Note

Tupac Amaru – Gato Barbieri – Fenix – Flying Dutchman/RCA Victor/BMG France

El arriero – Gato Barbieri – Fenix – Flying Dutchman/RCA Victor/BMG France

Bert’s bossa nova – Bert Kaempfert & His Orchestra – Compilation The Bossa Nova
Exciting Jazz Samba Rhythms Vol. 5 – Rare Groove Recordings

Bossa per due – Nicola Conte – Bossa Per Due – Eighteenth Street Lounge Music

Sai das trevas – Jazzamor – Compilation Sinners Lounge: The Latin Sessions – Confort Sounds

Criança das ondas – Intuit – Compilation Sinners Lounge: The Latin Sessions – Confort Sounds

Brazil nuts – Alex Valentin – Compilation Latin Vibes: Club Selection – Kinkysweet


Highlights of the show:

Latin Soul dedicated a set to one of the favorites artists and album ever played in the show. This is, Gato Barbieri and his 1972 album ‘Fenix’. An awesome musical gem that naturally deserves to be the highlight everytime is played on the air. Next, you may find a review on this album.





Gato Barbieri´s “Fenix” is an album from 1971 that could have been released today, 40 years later, and it would keep the freshness and cutting-edge than from back then. Well, we don´t talk about some electronica effects or something alike, but the pattern-free melodic evolutions in it. Greatly inspired by the free jazz movement of earlier seventies, this album will resemble to legendary saxophonist such as Pharoa Sanders or Ornette Coleman. The presence of the raw saxophone sound all over guiding the tune at its discretion is the distinctive feature of the earlier years of Gato Barbieri, and this album in particular earned him popularity becoming quite well known among jazz connoiseaurs or those seeking the new and non cannonical jazz style at the time. Regarding the content of the album, it is a fact in Mr. Barbieri´s first part of career to have a conception of jazz like a panamerican source of musical representation. This is, through this compositions, he wants to follow the jazz standards, adding nonetheless those instruments from the Southamerican music tradition. So, instruments from the Andean cultures wouldn´t surprise in this productions. In “Fenix”, the approach is more to the Brazilian music school, and instruments like the birimbau and conga and bongo drums are present all ove the album, at times getting engaged with samba rythms as well. The six tracks of the album are superb, offering a great listening experience along the forty minutes it lasts. Tunes which are a must to review from time to time: “Falsa bahiana”, “Bahia” which are clearly Brazilian inspired, and “El arriero”, in the best Gato´s tradition of saxophone raw power, cheered up vocally boosted tune, which is so typical of him. Definitively a gem of a very personal way to understand Latin jazz, easy to fall under the spell work of art.