Latin Jazz Music

A couple years ago I found "The Best of Paolo Conte" in a box of free CD's a friend of mine acquired from an outlet. I picked it up because it was Italian and looked interesting. I fell in love with Paolo! Man! Musically, lyrically, he is hard to beat.

I bought "900" because it contained one of my favorite songs from The Best of Paolo, "Gong-Oh." I have listened to the whole CD now over and over. I don't think there is a song I don't like. All the songs are in the same vein as "Gong-Oh," if you are familiar with it--lots of accordion, bongo-type drums, horns, fun rhythms, et cetera. The title song "Novecento" is especially good.

If you already like Paolo Conte, you must get this one too. If you have yet to be introduced to Paolo, then this would also be perfect. The songs are catchy enough for even the uninitiated ear. Ciao.

Why Mario Bauza is still a relatively forgotten figure in the latin-jazz mainstream is a mistery to me. This CD is one of the best showcases of latin-jazz's raw power. It's not 'over the top', like Arturo Sandoval or some of Chucho Valdes' records, and it's not 'bare-bones' like some of the albums by Munyequitos de Matanzas. It's just right.

Mario Bauza is one of the founding fathers of latin jazz, starting to experiment with Afro-Cuban music in the forties, together with Machito amongst others. Recognition came very late for him and he was able to record very little under his name. This is his third album in a row for the Messidor label (the first one "Tanga" is also a masterpiece), the last one just less than two months before he passed away in 1993 around the age of eighty! Still there is nothing in this album that sounds aged, on the contrary: this is some of the most sparkling fresh energizing and honest Afro-Cuban jazz ever made! And if you consider that the band consists of 4 trumpets, 3 trombones, 5 saxophones, 5 people in the percussion department, 3 background vocals and two lead vocalists, then you probably understand that it sounds really BIG! Sparks fly on this record and be sure that your feet and body will move once you hear this music. Just listen to my favorite cut "Zambia".

First let me say that Jazz is *not* my first love (or even my second or third love), so take my review for what it's worth. That said, Prieto's compositions are almost never boring, but sometimes I feel they are overly complex, and really demand more attention or musical insight than I have. But still, I can get my head into most of the tracks on this CD, and I listened to it a couple-dozen times, eventually coming to really enjoy what he's created. I think Jazz-lovers will probably really like it.

That's about the CD. Now let me tell you about seeing (and hearing) Prieto live: I've seen him 3 times, once with Arturo O'Farrill and twice with his own sextet. --- Oh My God. --- I don't think I've ever seen anyone drum like that, ever. To say he's incredible is a gross understatement. If you like percussion (in any musical genre), you just *must* see Prieto play live. His CDs cannot really capture what he does. So sure, buy the CD, but then find out where he's playing, grab some music-loving friends, and go see something amazing.

This album is out of this world!! (as is his follow up album)

Dafnis' drumming is otherworldly but what most impressed me about this record was how thoughtful and inspired his compositions turned out to be. When I first started listening to the record I was so hypnotized by the tunes themselves that I forgot I had originally bought the record to listen to Dafnis play drums.

This is spirited and beautiful music played with an amazing amount of virtuosity! That combination is not always easy to find. If you like good music, get this!!!!!!!!

Had the chance to see Dafnis Prieto perform with Michel Camilo(an excellent pianist btw) at the Blue Note in NYC, and I was blown aways by his drumming. Dafnis definitely deserves all the accolades he has been receiving. This album is worth every penny!

Dafnis Prieto is no stranger to Latin Jazz. Long associated with that marvelous Canadian honorary Latinista, Jane Bunnett, and anchor to such notable outfits as The Caribbean Jazz Project, The Columna B Group, The Edward Simon Trio, The Michel Camilo Trio, and The Chucho Valdez Quartet, the hard-swinging drummer and percussionist here steps out with a smokin' first disc as leader.

What initially strikes the listener is the breadth, power, and scope of the soundscape. It helps, of course, to have a killer band to lead: the altogether fabulous Yosvany Terry (leader of the group Columna B) on soprano, alto, and tenor sax; hard bopper Bryan Lynch on trumpet and flugelhorn; Hans Glawischnig on bass; and the fast-rising Latin star Louis Perdomo on piano. But the major responsibility for the thrumming engine driving this music rests squarely on the man occupying the drums chair and leading this session.

And Dafnis Prieto has certainly learned his lessons from the masters who've employed him. Indeed, he's pretty much surpassed them on his initial release: There's, simply, such a deeply delved, hard swinging vibe on display here as to subdue all but the most hortatory of the Latin jazz masters.

Signaling the arrival of a new generation of Latin jazz masters, About the Monks will surely go down as a landmark achievement from one of the music's brightest rising stars

Mr Ray
Un Cigarillo La Lluvia Y Tu
Lullaby of Birdland
Alonzo
Ya No Me Quieres
Two Friends
Delia Bonita
Joe's Songo
Guachi Guara
About Time

Actually, this CD is the same CD as "Xavier Cugat--el rey del Mambo" a much more colorful and attractive cover on the CD jewel case. This CD above has a few more songs on it. However, both CD's are great. I like ALL the songs. There isn't one that I don't like. Thank you.

Cugat's versions of the popular latin tunes that became standards in the U.S. in the 40s and 50s are among the lushest and most refined. Cugat's best qualities are on display here -- hot rhythms and sweet melodies. If a few of the arrangements tend a little bit to the sacharine, "Siboney," "Quizas, Quizas, Quizas," the hotter tunes like "Tequila" and "Carioca" more than compensate. The highlight is the stunning version of Ari Barroso's "Bahia," from Disney's "Three Amigos." Another strong point is the excellent bio by Alexander Gelfand. A big minus is the lack of recording information about the individual tracks.