Matt Larry Harlow's third album was recorded in 1967 when Boogaloo was still in vogue as one of the most popular forms of Latin music. The vocalist Ismael Miranda makes his first performance with Orchestra Harlow and Larry had seem him sing with his brother Andy Harlow earlier in the year and being impressed had invited Ismael to sing for "El Exigente" his third album project with Johnny Pacheco one of the co-founders of the Fania Label contributing the musical direction. One thing though Larry still had that Cuban tradition behind him with two Guarachas and a Rumba in the mix between all this great Boogaloo and Shingaling. Ismael Miranda would go onto record another four albums with Orchestra Harlow including "Abran Paso" which is under his own name but this one "El Exigente" ( The Demanding One) was the first of them. NuYorcian, you bet is the vibe with that sound that accompanied it from a time back when this was still all new and here is one album for all you groove collectors with the obvious element great Latin grooves making this another of those records or cd that you will want in your collection. The cover with Larry looking hippy with the psychedelic theme was done by none other than Izzy Sanabria who I would have to say did some of the most interesting album covers in any form of music with the Willie Colon albums being some of his best which is just another great bonus for you to enjoy.

Sound of a train is the album starting point with the first great Boogaloo being the album title "El Exigente" with the band all adding some spoken introduction all at once and we are off with Ismael dropping Larry's surname at one point as the demanding one and a great loopy Boogaloo is the result with the coros singing "El Exigente" in constant repitition. "Las Luces" ( The Lights) is a Guaracha containing plenty of Cuban element but Larry adds that modern contempary touch to his take with this material with the brass section comprising trumpet and trombone bring great support with Ismael's vocals with a dance feel to the tune when the montuno commences mid-way and Larry slays us with his quick piano solo with the horns coming in all over it at the end. A Rumba is calling is next being "Rumba Llaman" but not in the traditional Cuban percussion method but Larry takes a full blown Orchestra approach with this number with the rhythm right under it and to be honest the result is really Son but does it matter when the timbales are being pounded in such a great solo."El Mejor" is another of those Harlow Guarachas that just come right out of the gate with that classic Cuban rhythm being the base for Ismael's vocals and they are sung beautifully as they all are right throughout the album for someone who was such a young singer of 18 at the time of this production .The Boogaloo gets underway from here on in for the rest of the album with "Mess Around" containing all the required great prequistes and the next "Groovin' To The Afro Twist" which is something you could twist too I suppose but myself I just like to groove along from my chair. "That Groovy Shingaling" is precisely that, groovy as only the sixties knew how to make. "Freak Off" is more pounding Boogaloo with Larry and his Orchestra and one often hears this is an album high point and although a great tune I think the name could be just as much an attraction in itself. "Be Free" is the last with it's percussion intro and the coros are singing "Who cares what they say, I'm gonna do it anyway" and hopefully it is with plenty of great music as the chorus sings "Be free come along with me, you can be what you want to be", ahh the sixties!, as I hear that train pull out again for the album close.

Fabulous stuff as all Larry Harlow albums usually are with plenty of bounce and great musicianship. One of his early albums and a great one at that. It is available on vinyl more readily than cd these days and most likely that would suit you if you are interested in this album anyway.

Matt One of the top Latin albums of all time which still sounds just as fresh today as it was when recorded in just two sessions on the 26th and the 27th of November in 1973. This is the album with "La Cartera" one of the all time latin hits and one Larry still plays today because simply it is that good. What about the other tracks? You need not worry as the title for the album is "Salsa" with some of the best interpretations ever recorded of two Arsenio Rodriguez songs, "La Catera" being one and the other is the son groover based on a Santeria chant "Popo Pa' Mi" but the others all have that wonderful magic that keep the standard at the highest level even the closer "Silencio" with its Yoruba intro will have you gripped when the son just keeps building intensity. Larry Harlow who is the pianist leads this crack band and production with Johnny Pacheco doing flute and the addition of Bata drums played by Milton Cardona and Gene Goldman. The lead vocalist is Junior Gonzalez who was still learning the correct style to sing son and charanga at the time when the rehearsals were done for the album but by the time of recording it was mission accomplished. He also plays maracas and guiro with the percussion line up as well being Pablito Rosario tapping bongos, paila and rubbing the guiro, Anthony "Tony" Jimenez on tumbadara ( congas) and Edwin Colon playing timbales.Three trumpeters are used in the brass with Charlie Miller playing flugelhorn and flute as well. There are two trombones but it is one if the them Lewis Kahn who also does the violins and gives the album that beautiful charanga addition to Larrys salsa. The violins and tres were actually overdubbed but the rest of the music was recorded as a band. The violins and flute are such an essential part of the music giving the album its own distinct style. Although this is salsa with superb instrumentals all taken from classic repertoire it rocks but still remains pure Cuban influenced, it is the way the intensity builds throughout various tunes with all that driving percussion underpinning the lot. Eddie "Guagua" Rivera is on bass and Harry Vigiano is adding tres and guitar with the addition of the superb coros of Yayo El Indio, Marcelino Guerra and Adalberto Santiago.

"No Quiero" is the first of the eight compositions contained within the album with the brass coming straight in and the percussion providing its own counterpoint on this straight up son montuno sung having a beautiful Cuban style feel with the tres of Harry and Charlies flute bringing to the song its great sound but the next one is "La Cartera" with the piano solo from Larry that garnered him the nickname "Judio Maravilloso" (Marvellous Jew) when Junior commented with Adalberto at the session. The drive is there from begining to end with this number with brass constantly kicking in the with violin addition all driven by the coros montuno and we have just arrived at the superb piano solo played by Larry with a great percussive approach with trumpet, trombone next and violin to follow and the vocals are still just gaining intensity to this absolute masterpice of Latin music created by Larry. What is amazing this song still does not overpower the album because the other songs are all distinct with their own charm. The follower "Popo Pa Mi" is more Cuban chant to the santeria but son and more son with montuno. The bass from Eddie Rivera gets a work out with in tumboa mode with Larry providing just a little tinkle underneath till the brass arrive and montuno is the way to the end with trumpet everywhere and is another Arsenio Rodriguez composition transformed."No Hay Amigo" is more up tempo salsa with plenty of drive, great percussion and of course stunning within the montuno from the coros. We do get a straight charanga being "El Paso De Encarnacion" with flute and violin being the lead but the trumpet is putting those licks in with the vocalists on this groover which just keeps intensifying throughout which seems to be the approach everywhere within the albums songs. The the album finsher is no exception and this is where you hear those bata drums in all their glory in another great intensified son monster.

You gotta have it, there is no other choice if you are into Afro Cuban music. Salsa is what this is all about but there is plenty of Jazz and although it is predominately straight Cuban compositions done Son/Salsa as I mentioned before it has this rock feel as well, due to the intensity in which the songs were recorded. My favourite Larry Harlow album hands down !