Amilisom When it was released back in 1978, "Siembra" became the best selling salsa album in history and would stay that way for over twenty years (only to be topped by "Cuenta Conmigo" by Jerry Rivera in 1992). According to Wikipedia, almost all of its songs would eventually become hits in different Latin American countries.

I'm not sure exactly why the album cover has pictures of babies suspended over brightly drawn flowers, but I should say it makes for a pretty unique design.

Overall I think this is a fantastic album. Not only does it contain a variety of songs that are unique in themselves, but they each work together to give the album a sense of completion. The songs themselves are not only catchy, but have well-written arrangements for an accompanying piano, brass, and percussion that extend the lengths of the songs to a point that none of them become too repetitive.

First-time listeners will be thrown off by the introduction to the first song, "Plastico", where a string arrangement with a strong electric bass riff clearly indicate a disco feel. The song quickly transitions to salsa and fortunately stays for the rest of the album. The strong disco electric bass sound returns, however, later in the track "Plastico" as well as in "Maria Lionza", the sound bringing an excellent addition to the brass arrangements. The strings return as well in tracks such as the title track "Siembra". The powerhouse track of the album is "Pedro Navaja" which, inspired by the famous tune "Mack the Knife", is about a murderer. It became such a hit that a movie was made in Mexico in 1984 based on it.

Overall I greatly recommend this album for any fans of Latin. However, I wouldn't approach this album with expectations of many jazz influences. The amount of improvisation here is minimal, if any.

Matt "El Malo" was still out there, that horrible trombonist and it looks like he is really in the soup this time but the gangster image was just that for Willie Colon, this being his sixth release and what another classic album he created with the formidable Hector Lavoe who many will argue was the greatest Salsa singer of all time. Johnny Pacheco the Fania Label co-founder was behind the scenes directing the recording and Izzy Sanabria created this unforgettable cover that was stuck up all over parts of New York and garnered a bit of attention with the company being asked to tear them down by the FBI and they had to remove the agency's name of the album cover but if one looks close down near the signature you will see the acroymn stood for "Freaks Bureau of Investigation" but the poster did say that his trombone could kill people with the rythmns produced. Willie had released his Christmas album previously, "Asalto Navideno" but the last proper gangster album had been "Cosa Nuestra" and the next after "La Gran Fuga" would be the brilliant "El Juicio" and it is no understatement concerning these albums that all are classics from this period in the late sixties and early seventies when Willie Colon and Hector Lavoe worked together in their late teens and early twenties bringing that excitement and change that youth brings with many of Willie Colon's albums containing his predominately twin trombone line up and being regarded today as templates in modern Salsa from this period. That so many great albums were created is due to the fact that the core band stayed the same throughout with Willie Campbell usually providing 2nd trombone with the addition of Joe "Profesor" Torres on piano and Santi Gonzalez's bass, Milton Cardona, congas, Louie "Timbalito" Romero on timbales and Jose Mangual whacking bongos giving us that Bronx Latin street sound influence which became such an integral part of the bands music.

"Ghana' E" is the first co-written by Willie and Hector with a distinct Bomba influence and of course Hector is is in top form with his vocals and the two Willies trombones are riding along in this quite catchy tune but in the background listen to the brilliant percussion and it is the cowbell and chimes that just add that spice throughout. That slow Son groove is what comprises "Pa' Columbia" but at the break for the chorus when the trombones kick in it becomes pure magic and the space or silence if you prefer is perfect with some great piano from the Profesor included. Bolero is the style for "No Camblare" which is another Willie and Hector composition with quite a nice little twist added for Willie Colon's laid back trombone solo. I love tunes that have just these solo percussion with vocal intros as one really seems to feel tradition but the chorus for "Sigue Feliz" with the band will have you singing with those coros quick, while the percussion just keeps coming in this great little catchy tune and the quality just gets better as with "Barrunto" that follows with all its swing and an even more catchy chorus than "Sigue Feliz" being be the best song on the album. Joe "Profesor" Torres could sure play one wicked Latin piano and one fine example is contained right in this song "Barrunto" and yes the standard just keep coming right up with the homage if you like for Hector's and Willie's grandmothers "Abuelita" but it is Hector who is singing about his which only his vocal delivery and ad-libs could bring to any tune and it is the congas that get the workout for this ones instrumental break. The groove keeps coming with that slow Afro rythmn for "Panamena" and the albums closer is pure Puerto Rican with all the punch and carnival of "Cancion Para Mi Suegra" with the a hoos and yahs from Hector and the coros but it only lasts for 59 seconds.

Essential music with one of the all time best covers that actually was quite cheap to do by Izzy Sanabria but what a great idea. Variety is everywhere with a mix of styles and rythmns containing that street NuYorcian touch that Willie Colon gave to his classic gangster albums with this being right up there with his next Latin masterpiece to follow "El Juicio".

Matt Hector Lavoe had not recorded anything since "Que Sentimiento" in 1981 but Willie Colon was at the other end of the spectrum with five albums within that time alone with the last being a movie soundtrack with Ruben Blades titled "The Last Fight" and went straight on to another soundtrack with " Vigilante" but the release had to be delayed because of the previous productions imminent release. With the title of "Vigilante" it is of course a revenge flick in the Charles Bronson style, albeit Charles was not in the cast unfortunately but the gangster was back with one more album with Hector Lavoe which would be the last that Willie and Hector would do together and although Hector was not in exactly great shape at the time with his drug problems he still puts in one great effort to the songs. Willie Colon takes a back seat with trombone and does not play at all throughout but leaves the duty in the capable hands of Leopoldo Pineda on lead with Lewis Khan and we also have Luis Lopez playing trombone only on the title "Vigilante".Willie does not do any arrangements either but his presence is still felt as Willie provides lead vocals on the title and assists with coros throughout but he did produce and mix the album with Jon Fausty. Hectoe Lavoe was in the doldrums with his career during this period and it was Fania that reunited him with Willie and although this album is not rated as one of their best it yielded two singles with the hit being "Juanito Alimana" in the best gangster fashion with the story to go with it which put Hector Lavoe back in the spotlight for the Fania Label's sales. Yomo Toro the cuatro wiz is present on the title song and the closer "Pase La Noche Furmando". Milton Cardona is on congas and coros, Johnny Almandra whacking timables and Jimmy Delgado slapping bongos with Prof. Joe Torres being the pianist with Sal Cuevas on bass and all were with Willie's band at the time but with the title "Vigilante" we have the addition of Morris Goldberg on soprano saxophone, George Wodenius playing electric guitar and Harold Kohan's Ensemble providing the seventies string sweep for the the tune.

Only four tracks were recorded for the album but two are over eleven minutes in length with the title actually going for twelve and a half but it is one of the shorter ones which opens the album "Triste Y Vacia" and Hector sounds great in this hard luck story concerning a woman's fortunes with the typical Willie sound of those trombones adding in between Hector's voice with that smooth delivery that he had that just seemed to meld within the sound from the band with one great montuno to finsh this great opener off. The song "Vigilante" is often not praised as it should be as this is one absolutely great Jazz number more so than Salsa which was penned by Willie himself and for me the absolute highpoint of the album with its intro you might think you are in for a bolero but Willie narrates the intro and things gradually increase throughout and with the songs structure you could say that it is written in the fashion of a suite with the changes that are present throughout the song with the addition of the three female coros it has its own distinct sound and actually is a great soundtrack theme but still one great number to listen too with the strings behind and with the solos from the soprano sax of Morris Goldberg and when George Wodenius comes in on electric it only puts the icing on the cake to this exquisite tune with Willie singing the lead and the female coros chanting "Vigilante" behind. The following was the big single taken from the album "Juanito Alimandra" with a straight salsa approach ala Willie Colon and Hector sings gangster concerning this song with a funeral announced within by Hector during some great ad libbing with one great snappy montuno with great piano work from Prof' Joe Torres and although he does not solo he provides a wonderful feel to the songs structure with the addition of the percussion band members. The last one is another lenghty Willie composition being in a mid tempo range with a wonderful cuatro solo from Yomo Toro but sometimes it seems to drag a tad but still there is some wonderful input from the band in this primarily old time son timed tune named "Pase La Noche Furmando"

From a hard line Salsa perspective thing may have been a little better but from the jazz side it is not the case with the highlight being the title. This did rejuvenate Hector Lavoe's career at the time and Willie Colon shows what a great composer he was and he was not afraid to step out of his comfort zone with something different and although the album is not rated as one of his tops, perhaps if we had a couple more tunes within the album it could have been sitting up with the other classics that he recorded with Hector.

Matt Willie Colon's eighth album which was released in 1972 with six of the eight compositions written by Willie and not only that he produced and arranged the album with Johnny Pacheco as the recording director. Crime and gangsters are still Willie's theme and another classic latin album cover designed by Izzy Sanabria. Hector Lavoe is singing lead and he has been on every album with him from the start with his first " El Malo" in 1967. There are only eleven personnel in the band with three including Hector doing vocals, four on percussion which only leaves four being Santi Gonzalez on bass, Joe Torres, piano with Eric Matos playing trombone with Willie Colon, who also plays flute and sings as well. No trumpets or any other brass instruments are present but that does not matter one bit because the sound is full with a real street Salsa feel. One of his most popular albums and for good reason as Hector Lavoe is in top form but the track "Timbalero" is every percussionists dream with timbales and conga in a brilliant drum solo. Hard hitting salsa is what the contents of this album contains with Hector doing one bolero only in amongst this mixture of latin styles that Willie has used in composing with Son montuno, Bomba, Bolero, Afro Cuban, Folkloric and of course improvision giving us that Jazz. Hector Lavoe on vocals is as good as any Jazz singer because he improvises within his vocals and when Hector makes a call or spoken insertion it just drives the tune to another level as the calls and insertions within "Timbalero" being one great example. Tragic life was Hector's turn of the cards and things did not improve for him but always he will be remembered as one of the greats if not the greatest of latin singers by many for his technique and delivery. Near the end he sang from a wheelchair after he fell or jumped from a window but it was the heroin that did kill him because he contracted AIDs from his earlier use of the drug which also created huge problems for him throughout his career and was the cause for Willie Colon having to sever his partnership they had for so many albums which are still my favourites with Hector singing but Willie still helped Hector after he left with his solo albums but although the story goes that Hector was shattered with the news when it came from Willie he understood that you cannot run a band with that problem and they remained friends. Hector Lavoe still went on though and had many a hit throughout the seventies and eighties with "El Cantante" which Ruben Blades wrote, becoming his signature tune from 1977 and that appeared on his album "Comedia"

"Ah-Ah/O-No" is the album opener with Hector singing on this catchy tune with its refrain and Hector even runs with the la la's wthin his vocals and it all just conveys that tropical feel to this little joyous opening. With "Pirana" which is the follower things move a little up tempo with a very tasty latin piano solo from Joe Torres with Hector of course having a comment about smoking banana skins while Willie and Eric come in on trombone with Hector vocals to finish the tune off. "Seguire Sin Ti" a bolero is next and Hector could sing them beautifully and this one is no exception. The album absolute highlight is "Timbalero" which is over eight minutes in length with one of the most exciting percussion solo's recorded with the composition having three changes throughout with Son, Bomba and Salsa and Hectors interjections as well as his call and response with the coros is sublime but things get even better when Louis Romero starts hammering the timables with Milton Cardona following on congas and this is one absolute feast of top notch latin improvision.The sounds of the jungle are the opener on "Aguanile' which is a great follower on the album for that tune and with a call to the Afro Cuban gods we are off but the tune is folkloric and still that drive is there as this keeps building with this rendition and the coros providing that call and response with great effect and when the trombones kick in things keep building with another percussion extravaganza behind and up front for the whole tune. Finally we get to hear Willie give us one on his trombone in this track "Sonando Despierto" with those sweet trombone chords Willie blasted out. Willie does a little of the singing for the next "Si La Ves' but Hector is the main man on this samba which just develops into one of those son swingers with the coros just repeating in the rythmn but near the end we have Willie playing an old tune in his solo but straight after back to the son swing. The last is "Pan Y Agua ( Bread and Water)" and is an instumental with Willie stretching out over this slow groover.

One of the top Fania albums and a great addition to any Latin music aficionado's collection or for that matter any ones collection as this is a wonderful album that Willie Colon recorded right in his hey-day when Hector Lavoe was the singer in his band.

Matt Symphonic Salsa would be the best description for this wonderful and different album Willie Colon wrote and created with a band the size of an orchestra and was conducted by Marty Sheller The album is divided into 2 parts or suites if you prefer and with this one s a new path Willie Colon has created in Salsa and Latin Jazz which is the major component in this album symphony and all. Special mention must go to the presence of 'Yomo Toro" ( guitar,cuatro),"Alfredo De La Fe"(one awesome violinist),Alphonse Mouzon provides trap drums,Bob Porcelli (alto sax and flute),Victor Paz(trumpet) and the list goes on.There are no vocals used, just superb instumental music.

"Angustia Maternal" gets things underway with Strings and Synth which slowly becomes one multi drum solo overiding the top.Next up we have "Camino Al Barrio" with its distinct chorus of horns and Victor Paz on trumpet all over it.The tune is repeated again on "Para Los Viejitos" from the 2nd part of the album which is just as enjoyable.Track 3 'Son Guajira Del Encuentro" we drop the orchestra and a Conjunto format for this one with Yomo Toro laying doing superb playing on Cuatro."Angelitos Negros" is the Theme and a brief interlude with Yomo which leads to the track "Cuatro Por Tres" The album contains a lot of short tracks which interlink and by the time we have reached seven we have a reptition of the theme. Track 9 "Apartmento 21" has a great swinging feel with piano interspersed with plenty of horns and a real tasty trombone solo."8th Avenue In The Park" follows along and with a typical Latin approach with a myriad of drums,whistles and with horns blazing over the lot which is again repeated on the last track (an extension) "8th Avenue in The Park" ( El Fin) ."El Baguine" comes in 2nd last on the album and is one nice rolling along Latin tune with trombone.

Willie Colon is one of the Greats of Latin music and one only has to look at his past work if he was not solo he was usually with Hector Lavoe or Ruben Blades,and the list goes on.A time from straight Salsa was needed but unfortunately this really was not accepted at the time of its release but the reason was ,"Yep",Willie was ahead of his time and one fabulous album was created. Also another great cover.