SABU MARTINEZ — Sabu's Jazz Espagnole (review)

SABU MARTINEZ — Sabu's Jazz Espagnole album cover

Album · 1960 · Afro-Cuban Jazz

5/5 · 2011-03-11
Matt

Sabu Martinez who's actual christian name was Louis was named Sabu by none other than Dizzy Gillespie after he replaced Chano Pozo on congas in Diz's band. In 1957 Sabu recorded three albums with his own Quintet and also worked with Art Blakey and contributed heavily to his percussion extrvaganza "Orgy In Rythmn". In 1960 things were not great and when Sabu arrived in New York he did not even have a band. Al Santiago who was one of the co-founders at "Allegre Records" approached Frankie Malangre to borrow his band for the session. What a band, all were young and nearly all have gone on to distuingished careers in Latin and Jazz music. Louie Ramirez is on timbales in this session and he also arranges which is not to bad for a 22 year old. He would go on to be one of the main men at Fania records and work and write for them all as well releasing his own material. The trumpet player, Marty Sheller is only twenty but he would go on to a long career primarily with Mongo Santamaria and musical direction and arranging would become his art. On Alto Saxophone is Bobby Porcelli, who also is an absolute wiz on flute as well but playing just alto for this production. Bobby is still playing today and in demand on the Latin scene and you must remember that this production was recorded nearly 51 years ago in 1960. Three other musicians with Arty Jenkins on piano, Bill Salter on bass both went on in Jazz and Ernie Newsum doing percussion. Perhaps he is the gong player in "Delilah".All instrumental and Latin Jazz or Hard Bop is the primary elements used with a mixture of both as the composistions are played in a Hard Bop style with a theme and musicians doing respective solos but the rythmn is Afro Cuban being the technique employed by the horn players and Arty Jenkins on piano who actually plays latin piano style solo's but can swing back to a straight Jazz approach as in "Enchantment" the 3rd last track with "Nica's Dream which follows, going straight back to Latin. One thing missing is montuno, as not a tune has one and things are pretty much in a straight jazz set up but the rythmn is Cuban all the way. A Septet or a Conjunto? Whatever you choose for the bands description you would not be wrong either way.

"Intro" is actually the first track and it is very short with just Sabu on conga and his named is called. As the album was released in LP format we have another three quick conga solo's for tracks and they opened each side of the album and closed it, giving the production a distinct rootsy Cuban rumba feel but on every other track the band is in full Latin swing. "The Oracle" is really the first one and it is a rip roaring descarga with Marty on trumpet playing beautifully in a high manner. Bobby Porcelli on alto can play anything and although famous in Latin music he could have mixed with the best in Jazz with this quick changer being a prime example.With Sabu belting congas and Louie whacking timbales all to time, we get Arty for his turn on piano in this barn stormer. "I Remember Carmen" Bobby is first on alto with this up tempo tune and Marty follows with Arty finishing off and all played with that gusto which just keeps coming with every track. A gong is used for the opening and closing of the slow groover "Delilah" with just Arty on Piano and Marty primarily throughout with one lovely sleazy rythmn. The following "Breakin' It In" could be just as easily be on an Art Blakey album with its more Hard Bop approach. The flip or side two of the record continues on with the same wonderful and original approach that was taken to the production and one must not forget the arranging was done by Louie Ramirez who instilled that Latin touch but still maintained a modern jazz influence from that time. "Woody 'N You" would be my stand out from side two, being the most up tempo and a descarga which is not surprising from me.

Released in 1961 but recorded the year before and although Sabu's name is the leader it was Louie Ramirez who was the main driver in this classic for the genre which still sounds fresh today because of the hard hitting approach taken by Sabu on conga and Louie Ramirez on timbales. No vibraphone was used by Louie in this early session from him. This is one of those albums that is a great starting place to hear Latin Jazz with its Hard Bop mix. Still would have liked a montuno at least once in this masterpiece.