js In the late 60s many Cuban musicians residing in New York City began to combine Afro-Cuban jazz with North American soul music and RnB creating some of the most appealing groove music ever invented. Often called boogaloo, this music is near perfect in the way that it combines rhythm, tonality and syncopated melody to make an irresistible natural force that is hard to sit still to. Having just switched from the United Artist label to Fania in 1967, Ray Barretto decided to embrace this new style and mix it up with some salsa for his hot 1968 release, “Acid”. The first five tracks on this album are about the best you will find in this Cuban/soul crossover style, Barretto’s rhythm section is relentless and the double trumpet melodies of Rene Lopez and Roberto Rodriguez Jr ride perfectly on top. Although there are a few solos, most of the instrumental breaks on here consist of arranged syncopated trumpet melodies that drive the rhythm even harder.

The remaining three tracks are all good, but they don’t have quite the same focus as the openers. The closing cut, "Espirtu Libre", gets fairly avant-garde, which might help explain the album’s title and cover, which might otherwise seem misleading to some because by late 60s standards, this album is not particularly ‘psychedelic’. As already mentioned, “Acid” is a shining example for a genre that has so much going for it in the first place. When I listen to these cuts I’m reminded of other musical concepts that feature a similar perfect balance; James Brown’s early 70s funk, King Tubby’s first dub recordings, The Meters possibly.

Matt Back to the jungle for the album "Mysterious Instinct"? Not quite but "El Watsusi", Ray Barretto has paired up here with vocalist Brock Peters of Senegalese descent. Brock will always be known more so for his acting as Tom Robinson in "To Kill A Mockingbird" as well as a list of acting credits that follow including even working with Fess Parker in "Daniel Boone" during the sixties television show. Brock Peters was also an accomplished singer and was there adding background vocals to Harry Belafonte's "Banana Boat" (Day-O) as well as performing with the Duke Ellington's concert of Sacred Music. The majority of the songs are traditional African, spiritual and slavery songs with three Bobby Scott originals and the first song "Sing A' Man" being the only ones not concerning the subject. Brock sings in formal manner but can sing with a more African dialect approach but that formal training still remains within which brings a a wonderful clear clarity to his vocals. Brock has a voice similar to James Earl Jones but not quite as deep as Brock also did the speaking sections for the radio version of Star Wars playing Darth Vader showing not only his singing abilitys but he also has a lovely deep voice for narrations which is what we get between the compositions with Brock giving a description before a few concerning the African traditional numbers.

This is one strange album for Ray Barretto being nothing like any of the innumberable others that he released over time and if Salsa and driving Latin Jazz are what you are chasing, there is not a bit here but a more Exotica influence throughout. Although the material could be thought as way out it is not all that much with a more traditional feel always kept concerning those particular African songs but still providing that western take for this style of music from this period being recorded in 1965 near the tail end for Exotica. Two conga players are included with Ray Barretto and Chief Bey the other. George Duviivier is on bass, Stick Evans plays tympani and Al Leas provides flute to great effect throughout the album with Brock Peters singing the vocals and narrating between the odd tune.

The notes on the album are not all complete as we have no mention who the backing vocalists are but most likely just band members who like coros are singing usually singing the chorus in repitition as with the first number "Sing A' Man which has a bit of an up tempo beat. That beat though quickly dissipates for the next composition "Wide Dark Troubled Waters" being a spiritual and sung in a formal style with a slow time and Brock Peter's voice bringing that deep sound within but things do get more interesting for the next traditional African number "Papa Zimbi" and the flute from Al Leas brings a beautiful old time African feel. "Go Round The Wall" is closer to a Cuban rumba but no matter with the voices sung in chorus and Al's flute darting in and out between the twin congas it is one of the delights from the album. Talking about album delights, strangely the following slow timed spiritual "Way Yonder Far" with Al Sears flute gets a special mention within the albums notes as one but I do prefer his other contributions myself. "Way Yonder Far" just does not quite crack it here for me as it gets just a little dreary but things do pick up for the following "The Gambler". The actual narration sequences and the more distinct African feel is all within the following three numbers being "Igama La Bantwana, Mysterious Instinct and Water Bird" with the first two being only percussion backed and right here we have something very close to traditional African with great backing percussion, stunning African dialect vocals with the neccasary yips in between and the last of the three "Water Bird" has a beautiful old time African Zulu chant with Al's flute being the choice for the album here with just those short bursts in between the chants and percussion. The last three numbers are the Bobby Scott compositions which brings us back more to that spiritual theme with "Sorrow Valley" and two more songs to wind up the album being "Or Three Farm" being an African slavery style number that were often sung and written in desperation for better times and the strange selection of "Gonna Leave You Baby" to wind it up.

Essential not really. Interesting to a degree but will you play it? Sometimes for me, but I do prefer Ray Barretto doing what he does best Afro Cuban Jazz with lashings of improvision within. Collectors only and although there are some good sections and there are some where I could drift of for quite a nice sleep.

Matt How would you feel,the band that you had were all crackers of musicians and the majority got up and said "Ray were off, forming our own band" which was to become Tipica 73, as that was the year they left. Ray still had Roberto Rodriguez (lead) with Joseph (Papy) Roman on trumpet but he needed some fellow percussionists so "Little" Ray Romero was the new man on timbales and can he slam them with Tony Fuentes playing bongo and cencerro (handbell) both being veterans with plenty of experience. The new man on piano was Edy Martinez with a great Jazz technique, Artie Webb was added on flute with another trumpeter Manuel "Manny" Duran who also had a great jazz blowing style. They all recorded one night previous to this album "The Other Road" which was all Jazz but was not a big seller for Fania and all the fans wanted Ray of old back doing Salsa. Ray still needed a bass player though and Julio Romero joined on baby bass but a new vocalist was also added who was Tito Allen with this album putting him right out into the public eye. The coros are quite a cut with Hector Lavoe, Menique and Willie Colon making one appearance, Roberto the lead trumpeter and Felo Barrio having a turn on coros for one song as well. Ray needed a comeback album and the title "Indestructible" was given to Izzy Sanabria who has done some of the best album art work and lay outs and the cover for this one with Ray as Superman is an all time classic.

"El Hijo De Obatala" is a Yoruba composition and maybe it did come from the Cuban gods with one great explosion of percussion and rythmn driving it all along in this wonderful song. Edy Martinez comes in on piano with Ray's congas all over it with Tito's vocals but when this comes to an end it is a veritable explosion with Roberto Rodriguez screaming those high notes out on his trumpet.Tito Allen is one of those vocalists that makes remarks,introductions and even noises throughout his vocals giving the tunes even more drive. Son is next with "El Diablo" and Tito is laughing before he starts his vocals with a great Son rythmn but it is the montuno where things get really going with superb contributions from all the band and vocalists with Roberto on trumpet, Ray congas and Edy's piano solo all in that order with a return to the montuno and still Roberto is screeching with anorther burst of those beautiful high notes from his trumpet. It is a bolero with some cha cha for "Yo Tengo Un Amor" with some great flute from Artie Webb. Hector Lavoe with Menique's assistance on coros gives the next one the drive darting around Tito's vocals as with the usual hard approach from the band on this guaracha."La Familia". More cha cha but a bit more up tempo is the main ingredient for "La Orquestra" and penned by the lead trumpeter Roberto Rodriguez."Llanto De Cocodrillo" is another great guaracha and the son is back for "Ay No" with more great Latin drive with Edy doing another piano solo with that superb technique and we get timbales from Little Ray and of course you sure know Roberto Rodriguez is still there when he starts his trumpet licks all over the end. The title "Indestuctible" is the album closer with the best being saved for last and if you think Little Ray was good with his quick timbale solo on the previous get ready for this one which is one extended driving monster in this slamming guaracha which will have you jumping and singing with the coros in the montuno on this absolute classic penned by Ray Barretto and Joseph Roman.

Ray was back better than ever with one of his best albums he recorded and today it is regarded a Latin classic with that old school or Salsa Dura approach that we use to describe a great full on Latin album. This one and his earlier album "Acid" are two compulsory albums for your Latin collection from the Conga master Ray Barretto. One other note Tipica 73 went on to be a very popular band with Fania.

Matt Born April 29//4/1929 in New York. Ray was Puerto Rican and he soon discovered the music of "Chano Pozo" (Legendary Cuban Conga Drummer) and "Dizzy Gillespie" and his ambition to be play Conga's was cemented.He was soon working as a Side man on jazz recordings with the likes of "Jose Curbelo" and "Tito Puente". Ray soon formed his own Charanga influenced band and had a hit with "El Watusi". Boogaloo was the new Latin style to emerge around 1966 and Ray embraced the music and formed his own Conjunto and now we have arrived at "Acid"

First up is" El Nuevo Barretto", Son is the style and what a jumper.You should be on your feet in a snap and dancing with the blazing opening trumpet it is one great number with some fabulous drive and solos.Track 2 we get "Mercy Mercy Baby" sung by Pete Bonet which is one little groover but the tile Acid is up next at 3 and Latin Jazz heaven to say the least concerning this one.Recorded in one take with one Cuban rythmn guiding underneath by some great funk Bass. A great Trumpet solo is done by "Roberto Rodriguez" and then Ray quietly commences but by the time he is near the end he hammers the Congas. "Deeper Shade of Soul" follows along in the number four slot and is a Boogaloo number followed along by "Soul Drummers" contining along with another great snappy Boogaloo.Eight tracks in all on the album and the finisher is one ripper with the opening exchange of "Orestes" playing Mallets on the Timbales and Ray on Conga with a muted trumpet. Percussion comes to the fore with this,if poly rythmn is what you are after try this exchange between "Timbales,Congas,Bells,Jawbone,Bass and of course piano as well and "Orestes" soaring Trumpet over the lot.The name of the track is "Espiritu Libre"

Ray Barretto was with Fania Records now in 1967 when this was recorded and Latin Jazz and Salsa would quickly become his main stays.This album is a Latin Jazz masterpiece with a New York and Cuban influence and one that anybody who likes Ray Barretto will say "this is one of the best".One other note there are no over dubs in this recording.