ALFREDO DE LA FÉ — Triunfo (review)

Album · 1982 · Afro-Cuban Jazz

4.5/5 · 2011-06-02
Matt

Alfredo De La Fe first played professionally at 12 years of age whilst playing with Fajardo the famous Cuban flautist and bandleader and like Jose Antonio Fajardo, Alfredo was born in Cuba and moved to New York where he studied violin and in 1972 joined Eddie Palmieri's band but it was not long before Alfredo became a member of Tipica 73, who recorded some of the most exciting Jazz inflected Salsa to come out of New York with each album pushing just that bit further throughout the bands discography and not only was Salsa the primary component it had that Charanga mix with the electric violin played by Alfredo De la Fe where he took the instrument to new heights with his solos and contributions throughout the bands classic time in the seventies to the early eighties. As well as playing with Tipica 73 Alfredo was busy recording at Sar Records being involved in over thirty productions as well as squeezing out two solo albums "Para Africa Con Amor" and "Alfredo" in 1979 on two other labels. It was not until 1982 that Alfredo De La Fe's next solo album arrived being titled "Triunfo" and although the label is Toboga it is Sar Production through and through with those glorious extended numbers so there is plenty of room for the varoius musicians to improvise on in this complete Charanga envoirment contained within the albums structure. Alfredo Valdes Jnr. is the pianist and Art Webb is playing flute and both are outstanding with their contributions but this is where also you will also hear Alfredo play his violin with a style that he has created with an almost Jimi Hendrix approach at times to some of his solos but this album is all Charanga, Alfredo style.The notes that accompany the album are practically nil with only the songs composers mentioned with Alfredo writing four of the six but good chance the musicians were all regulars at Sar but it is the music that is what makes us buy an album and not the notes and this album will definitely give you your moneys worth.

Flute and violin are the intro for "La Candela Soy Yo" with the vocalist following for two verses and Alfredo Valdes Jnr is first on piano but listen how Alfred De la Fe bridges things with his violin allowing the vocals and Art Webb's flute back in to this Cuban groover which opens the album. "Somos Los Reyes Del Mundo" or We are the Kings of The World, translated has Alfredo stretching that electric violin beautifully for a solo intro and then it is perfect Charanga with flute dancing in between the coros singing a list of Latin nations and when the lead comes in on vocals the song only improves with an absolute beautiful Cuban piano solo from Alfredo Valdes Jnr which throughout the album he consistently performs everytime as the flautist Art Webb continually does with his contribution and solos. Still though, as in the following "Un Nuevo Amanecer" with its swinging style seventies intro there is change throughout the album that keeps your interest and always Charanga is the primary vibe but there is one song that is slightly from the normal and that is the Danzon, "Alemdra" which is the 2nd last one on the album and Alfredo on his violin just shines throughout with that Classical approach that he takes to the first half of the tune and some great plucking is done as well as play on that violin of his throughout which slowly develops to a more traditional son rythmn and here is where you hear him play that violin exquisitely with that distinct style that he has made his own on this all instrumental number. The hit off the album is the last track "Oyela Tocar" with its up tempo time and vocals and flute are the main but listen again to Alfredo De la Fe pluck his violin with the time between his bowing and he finishes the track with another one his exciting electric violin solos with just that touch of effect coming through his sound.

Absolutely fabulous album that grows with every play. The albums appeal being, it is drenched in tradition with a modern contempary touch from 1982 and one of Alfredo De La Fe's best.