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You can try using the. You may try to continue using the Dusty Groove website, and if you have any trouble placing your order online we suggest you make a list of the items you wish to buy order by phone at Monday through Friday, 10am–4pm, Central Time. A great return to form for the legendary Cachao – and a session that seeks to recapture the Cuban Jam Session energy of his recordings from a few decades before!
Production is by Andy Garcia, and is somewhat more sentimental than in the old days – although certainly still free from any sort of Buena Vista Social Club cliches that would come in later years – and overall, the lineup of players stays nicely faithful to the classic 60s sound, but perhaps expands it with a bit more fullness. Cachao is on bass and a bit of vocals – and other artists include Francisco Aguabella on percussion, Justo Almario on tenor, Chocolate Amenteros on trumpet, Paquito D'Rivera on clarinet, and Nestor Torres on flute. Titles on this second volume include 'Los Tres Golpes', 'Descarga A', ' El Timbalero Travieso', 'Africa Suite', 'Cunde Echa Un Pie', and 'Bemba E Cuchara'. A fantastic set of 70s salsa – recorded with vocals by Angel Canales, and pretty much the same lineup that appeared on the Sabor recording from the year before, also on Alegre (hence the title 'Mas Sabor'.) The album sports an excellent batch of tracks written by Mark Dimond – complicated groovers with some great instrumental breakdowns, and a jazzier approach to salsa than many of his contemporaries. Tracks include ' El Barrio', 'Yo No Tengo Pena', 'Tiene Sabor', 'Aguardiente', 'Mi Irmita', and 'Brujeira'. Possibly the greatest album ever from Angel Canales – a 70s salsa classic through and through, and one with great links between the New York scene and Canales' Puerto Rican roots! The tunes are wonderfully heartfelt throughout – sung with a youthful sense of soul that's far different than some of the more emotive modes of previous generations of Latin singers – in a way that really scored big with the younger generation at the time, and which makes Canales one of the key forces helping to change the sound of the music in the 70s.
Instrumentation is nice and tight – acoustic small combo work with two trombones, trumpet, baritone sax, flute, piano, bass, and percussion – under musical direction by Juan Torres. Titles include 'Lejos De Ti', 'Perico Macona', 'La Hiedra', 'Sol De Mi Vida', 'Sabor Los Rumberos Nuevos', and ' El Cantante Y La Orquesta'.
Possibly the greatest album ever from Angel Canales – a 70s salsa classic through and through, and one with great links between the New York scene and Canales' Puerto Rican roots! The tunes are wonderfully heartfelt throughout – sung with a youthful sense of soul that's far different than some of the more emotive modes of previous generations of Latin singers – in a way that really scored big with the younger generation at the time, and which makes Canales one of the key forces helping to change the sound of the music in the 70s. Instrumentation is nice and tight – acoustic small combo work with two trombones, trumpet, baritone sax, flute, piano, bass, and percussion – under musical direction by Juan Torres.
Titles include 'Lejos De Ti', 'Perico Macona', 'La Hiedra', 'Sol De Mi Vida', 'Sabor Los Rumberos Nuevos', and ' El Cantante Y La Orquesta'. Stunning stuff – and one of the best-ever Latin soul albums of all time! Despite the fact that Eddie Cano's earlier albums are more in a Latin easy mode, this late 60's side for Dunhill is totally smoking – and probably his greatest album ever! Forgive the superlatives, but we're totally serious on this one – as the set's a firey batch of Latin instrumentals, with a slammin' boogaloo groove all the way through – filled with mad percussion, jazzy piano riffs, and a non-stop groove that's totally great. The set was recorded live at PJ's nightclub, and it's a non-stop Latin Soul party that includes massive originals like 'Slip Slip', 'Brown & Blue', 'Miro Como Es', and 'Don't Ever Change' – plus smoking covers of ' El Pito' and 'Louie Louie'. The set screams with excitement, and is as great as the album is rare!
LP, Vinyl record album. Wild early work from Willie Colon – a record that's equally poised between the Latin Soul and later salsa era, and which features great lead vocals from Hector Lavoe! The album's got some very strong tracks that percolate in Willie's dark trombone-led groove – like the mighty 7 minute 'No Me Den Candela', which steps about majestically in a slow and soulful groove; or the great instrumental cut 'I Wish I Had a Watermelon', a nice mini-descarga with some really great piano! Other tracks include ' El Titan', 'Oiga Senor', 'Guisando', and 'Te Estan Buscando'. Great stuff all around! A well chosen sampler of 70 salsa by the great Willie Colon – Willie's entry in Fania's Historia De La Salsa Series! Historia De La Salsa plays a bit better as a key to the Fania salsa movement than it does a representative compilation of the individual artists, but with that said, this is great little starting point of classic Colon.
Includes tracks from the Lo Mato, Cosa Nuestra, Solo, Fantasma, El Juicio and other excellent Fania LPs. 10 tracks in all: ' El Dia De Suerte', 'Borinquen', 'Che Che Cole', 'Juanito Alimana' with Hector Lavoe, 'Si La Wes', 'Todo Tiene Su Final', 'Guaracha' feat Hector Lavoe & Yomo Toro, 'Sin Poderte Hablar' and more. A wonderful 2CD overview of the best years of the legendary Willie Colon – one that traces him from his boogaloo roots in the late 60s, to salsa superstardom in years to come! The package is a really thoughtfully-done collection that features key tracks from all aspects of Willie's career at the time – sides recorded for both Fania and Vaya Records, showcasing the full range of all of his different projects and concepts over the years. Vocalists include Hector Lavoe, Ruben Blades, Ismael Miranda, and Willie himself – and the package also features track by track notes on each tune! Titles include 'Fuego En El Barrio' – Willie's very first single on Futura Records – plus ' El Malo', ' El Titan', 'The Hustler', 'Calle Luna Calle Sol', 'Pirana', 'Apartmento 21', 'Juancito', 'Biata', 'Siembra', 'Chinacubana', 'Toma Mis Manos', 'Corazon Guerrero', and 'MC2'. One of the last classic efforts from the team of Willie Colon and Ruben Blades – a subtle but effective set of tracks that showcases both Blades' increasingly political concerns and the growing pan-Latin sound of Colon!
The core approach is still mostly salsa, but you can hear plenty of other influences in the mix as well – all carried out with a sound that's simpler, and almost rootsier than some of Colon or Blades' more high-concept records at the end of the 70s. Tracks are all longish, with some good instrumental moments, and titles include 'Tiburon', 'Te Estan Buscando', ' El Telefonito', 'Y Deja', 'Ligia Elena', 'De Que', and 'Madame Kalalu'. One of the last classic efforts from the team of Willie Colon and Ruben Blades – a subtle but effective set of tracks that showcases both Blades' increasingly political concerns and the growing pan-Latin sound of Colon! The core approach is still mostly salsa, but you can hear plenty of other influences in the mix as well – all carried out with a sound that's simpler, and almost rootsier than some of Colon or Blades' more high-concept records at the end of the 70s. Tracks are all longish, with some good instrumental moments, and titles include 'Tiburon', 'Te Estan Buscando', ' El Telefonito', 'Y Deja', 'Ligia Elena', 'De Que', and 'Madame Kalalu'. Contemporary Latin from the New York scene – and a set with plenty of funky undercurrents too!
Jose Conde is American born, but with Cuban roots – and he works here with a batch of younger players in a style that links together older modes from Havana with evolutions of the Latin sound in New York over recent decades. Despite a modern production style, the overall sound is still quite lean and clean – nicely snapping on the percussion, and punctuated with plenty of great horn bits throughout. Ziggy Modeliste plays guest drums on a few numbers, but the core percussion sound of the group is already great enough – and titles include 'Descarga Inez', 'Oshiri Pan Pan', 'Ride La Ola', ' El Titere', 'Despelote', ' El Chacal', 'Llego La Ola', and 'Ritmo Y Sabor'.
CD features 3 bonus tracks too – 'Mi Musica', 'Summertime', and 'Pititi Y Titi (Spanish)'. A very tasty little set from this 60s Mexican combo – a lively rhythmic group with lots of bass and percussion at the bottom of their groove, topped off by male harmony vocals on most numbers! There's some really jazzy piano that sets a mood that makes the album differ from other Latin sides of the set – working in a bit of a cha cha groove, but also picking up some more mainstream jazz influences that makes for a really nice little sound! Titles include 'Pita Camion', 'Quisiera Ser', ' El Chivo', 'Yum Bambe', 'Soy El Chinguenguenchon', 'Ay Pero Besame', and 'Viver Asi'. LP, Vinyl record album. Killer combo work from the legendary Cortijo – and just the kind of set to show why he was easily one of the sharpest Latin leaders of the 60s!
The emphasis here is on heavy rhythms – the sort that set the dancefloor on fire right from the start, but keep things compelling through a really sophisticated criss-crossing of percussion passages, basslines, and horns! Vocals are by a young Ismael Rivera, who's already got that well-developed sense of soul in his tone – and titles include 'Bailala Bien', ' El Negro Bembon', 'Huy Que Pote', ' El Satelite', ' El Chivo De La Campana', and 'Con La Punta Del Pie Teresa'. One of the many great recordings that Celia and Johnny cut together during the 70s – in a really great combination that had her soulful vocals giving a new injection of energy to the Pacheco sound of the time! The result was a great blend of new styles and respectful traditionalism – one that comes off especially well on this record, which features some great work on tres by Charlie Rodriguez.
Titles include the tasty groover 'Quimbara', plus 'Tengo El Idde', 'Toro Mata', ' El Tumbao Y Celia', and 'Lo Tuyo Es Mental'. LP, Vinyl record album. An early 70s classic from vocalist Chivirco Davila – a set that's nicely balanced between two generations of Latin music! At one level, the arrangements by Jorge Millet often have the salsa groove you'd expect for the era – but at another level, Chivirco's own presentation of the songs take us back to an earlier time – a pre-boogaloo style of Latin vocals, sometimes rough, but other times very deeply expressive. There's an openness here that's unusual for the period, and which almost fits the blurry cover image on the front – and titles include 'Por Eso Me Pica Aqui', ' El Babalao', 'La Pagaras', 'Sin Dinero', and 'Cuanda Tu Quieras'. LP, Vinyl record album. A great introduction to the music of Paco De Lucia – and a set that features some of his most sublime solo recordings from the early years!
The music here mostly features Paco's acoustic guitar alongside a secondary player on the instrument – either Ramon De Algeciras, Ricardo Modrego, or Larry Coryell – but almost always with De Lucia very strongly in the lead, stepping deftly over rhythms from the other player, with a sense of musical vision that's simply breathtaking! Paco's a player who helped move flamenco guitar way way past any hokey cliches you might expect – and the music here is deeply personal and profoundly moving – a real testament to his unique genius. Titles include 'Entre Dos Aguas', 'Zorongo Gitano', 'Castro Marin', 'Guairas De Lucia', ' El Vito', 'Chanela', and 'En La Caleta'. A Latin soul party – beyond compare!
The album's a completely wonderful live set that really captures the energy, excitement, and warm sociability of the hip New York scene at the end of the 60s. The music is stunning – a freewheeling blend of jazz, soul, and Latin themes – played with effortless ease by a lineup that includes Joe Bataan, Ray Barretto, Willie Colon, Larry Harlow, Bobby Quesada, Louie Ramirez, Ralph Robles, and some of the other heavy-hitters of the Latin soul years.
(Just imagine trying to get so many jazz or rock talents together on one stage – it would never happen!) The album's incredible – and even the spoken introductions and crowd noise really help set the feel of the era's mighty magic power! Titles on this first volume include 'Country Girl-City Man', 'Mi Gusta El Son', 'Sabor Sabor' and 'Guatacando'. Firey stuff, and one of their best records! LP, Vinyl record album. A key 70s moment of pride for the New York Latin scene – and one of a number of crucial live sets cut by the legendary Fania All Stars! The group were invited to play a three day music festival in Zaire in 1974 – timed to coincide with the Rumble In The Jungle Ali/ Foreman fight – and after blowing the crowd away on the first night of the festival, they took the stage again for a massive encore on the last night – recorded here in all its glory!
The energy of the set is amazing – as some of New York's greatest Latin artists of the time rock the house in front of a crowd of 80,000 Africans – creating a cultural exchange that should have made the State Department blush. Numbers include 'En Orbita', 'Guantanamera', 'Quimbara', ' El Raton', 'Mi Gente', and 'Ponte Duro'. Package includes the full original film, plus lots of bonus footage that's extra-cool – including some great location shots in Zaire! Also features the full album on CD - but with more cuts than the film! A rare early Latin session from Charles Fox – an artist who's best known for his TV and film soundtrack work of the 70s – but who really cooks nicely on this sweet 60s set! The album's got an all-star crew – including flute from Johnny Pacheco, and rhythms from Louie Ramirez – and the groove is a much jazzier take on charanga styles than usual – filled with the kind of vivid twists and turns you might expect from Charles' soundtrack work!
Elliot Romero handles most of the vocals, but it's the instrumental interplay that really grabs us – complex and swinging at the same time, with lots of dark notes that really deepen the sound of the album. Titles include 'Contento Estoy', 'Matilda Y Maceo', 'Chiquita', 'Viene Acabando', ' El Melao', 'Que Rica Pachanga', and 'No Me Dejes De Querer' – plus the totally killer 'Blue Pachanga' – worth the price of the album alone! An album recorded in Scotland, but done with all the strong fire as some of our favorite Latin classics from the New York scene!
These guys are fantastic, right from the start – tight percussion, mighty sharp horns, and this great use of Fender Rhodes that recalls those late 70s moments when Mongo Santamaria was employing the keyboard to such great effect – further enriching the jazzy currents in the music, while the rest of the combo comes down hard with plenty of soul! There's a few Spanish Harlem touches in the lyrics – but most of the set is percussively salsa, and super-strong throughout. Titles include 'Vulcano V El Gato', 'Hermanos Latinos', 'Bailalo Y Muevelo', 'Somos Latinos', 'Enciendelo', 'The Sun From Above', 'Papa Was A Rolling Stone', and 'Vampiras'. The second Columbia album for this amazing Cuban combo – and a record that really helped get the talents of Irakere a lot of overdue exposure here in the US! The record's surprisingly tight – especially for a major label effort of the time – really committed to the deepest sides of Irakere's style, particularly their great way with a jazzy solo – and actually put together with a lot more focus and drive than some of their earlier Havana recordings! The album packs plenty of punch, right from the start – and has a sense of power and majesty that's still very strong, all these many years later. Titles include 'Baila Mi Ritmo', 'Gira Gira', 'Anung Anunga', and 'Por Romper El Coco'.
LP, Vinyl record album. Lincoln Center smokes nicely with a Latin sound – as Ruben Blades joins their famous jazz ensemble headed up by Wynton Marsalis! The album's one of the most jazz-based that Ruben ever cut, and is a wonderful use of his voice – as songs are song in both Spanish and English, and really swung nicely – with excellent work from an ensemble that features Sherman Irby on alto and soprano, Ted Nash on alto and flute, Ryan Kisor and Marcus Printup on trumpets, Vincent Gardner on trombone, and Dan Nimmer on piano.
Blades has this sense of mature, majestic power in the format – really living up to all the promise that set him apart right from the start – and made him a spokesman for a generation, and one of the few talents that could really cross over strongly in a setting like this. Titles include 'Too Close For Comfort', 'Ban Ban Quere', ' El Cantante', 'Pedro Navaja', 'Apoyate En Mi Alma', 'Sin Tu Carino', 'Begin The Beguine', and 'Ligia Elena/ El Numero 6/ Juan Pachanga'. A hokey cover but a really classic album from Hector Lavoe – one of his biggest records of the 70s, and a great mix of modes that showcases the full range of his talents! The standout number here is the 10 minute groover ' El Cantate' – a driving salsa tune penned by Ruben Blades, and performed here with some great arrangements by Willie Colon, who also produced the whole record.
Other tracks mix together the same sort of grooves from ' El Cantate' with some mellower more introspective moments – tunes that really have Lavoe shining as one of the most mature and compelling singers in Latin music at the time. Titles include 'Bandolera', 'Porque Te Conoci', 'Songoroscosongo', 'La Verdad', and ' El Cantante'.
A hokey cover but a really classic album from Hector Lavoe – one of his biggest records of the 70s, and a great mix of modes that showcases the full range of his talents! The standout number here is the 10 minute groover ' El Cantate' – a driving salsa tune penned by Ruben Blades, and performed here with some great arrangements by Willie Colon, who also produced the whole record. Other tracks mix together the same sort of grooves from ' El Cantate' with some mellower more introspective moments – tunes that really have Lavoe shining as one of the most mature and compelling singers in Latin music at the time. Titles include 'Bandolera', 'Porque Te Conoci', 'Songoroscosongo', 'La Verdad', and ' El Cantante'. LP, Vinyl record album.
A hokey cover but a really classic album from Hector Lavoe – one of his biggest records of the 70s, and a great mix of modes that showcases the full range of his talents! The standout number here is the 10 minute groover ' El Cantate' – a driving salsa tune penned by Ruben Blades, and performed here with some great arrangements by Willie Colon, who also produced the whole record. Other tracks mix together the same sort of grooves from ' El Cantate' with some mellower more introspective moments – tunes that really have Lavoe shining as one of the most mature and compelling singers in Latin music at the time. Titles include 'Bandolera', 'Porque Te Conoci', 'Songoroscosongo', 'La Verdad', and ' El Cantante'. A classic bit of 70s salsa gold from vocalist Hector Lavoe – a record done in close collaboration with Willie Colon, with whom Lavoe had worked on a great run of albums during the late 60s and early 70s!
The set's got a slightly warmer and more straightforward feel than some of Willie's records – but still features arrangements and production by Colon, as well as a two-trombone, two-trumpet section that brightens up the tunes with a proud brassy finish! Piano is by Mark Dimond – nice and bold, with those dark edges of his we really like – and titles include ' El Todopoderoso', 'Emborrachame De Amor', 'Rompe Saraguey', 'Mucho Amor', 'Tus Ojos', and 'Mi Gente'. A classic bit of 70s salsa gold from vocalist Hector Lavoe – a record done in close collaboration with Willie Colon, with whom Lavoe had worked on a great run of albums during the late 60s and early 70s!
The set's got a slightly warmer and more straightforward feel than some of Willie's records – but still features arrangements and production by Colon, as well as a two-trombone, two-trumpet section that brightens up the tunes with a proud brassy finish! Piano is by Mark Dimond – nice and bold, with those dark edges of his we really like – and titles include ' El Todopoderoso', 'Emborrachame De Amor', 'Rompe Saraguey', 'Mucho Amor', 'Tus Ojos', and 'Mi Gente'. A tribute to the famous romantic singer Felipe Pierela – once known as the Bolero Star Of The Americas! Given Hector LaVoe's warmth and charisma at the time, he was a perfect choice for such a project – and working here with producer Willie Colon, Hector steps into an older mode of Latin music – yet one that also sparkles with some of the more sophisticated contemporary touches that Colon was bringing to his own work of the period.
Arrangements are by Louie Cruz, Carlos Franzetti, and Jorge Calandrelli, and titles include 'Sombras Nada Mas', 'Vieja Carta', ' El Infierno', 'Pobre Del Pobre', and 'Castigo'. A triple-time killer from the Colombian scene at the start of the 70s – one of those rare gems on Discos Fuentes that had the label setting a new sort of fire on its own, in comparison to the New York Latin generation! In addition to the cumbia tracks you might expect, the set's also got some killer guaguanco and descarga tracks – super-jazzy, and filled with lively interplay between the percussion at the core, and the criss-crossing of piano, tenor, and trumpet on the top! Peter Scott handles the vocals with Piper Diaz – and titles include 'Hacha Y Machete', ' El Mico', 'Atiza Y Atala', 'Ven A Colombia', 'Cali Querido', 'Guaguaco Supremo', and ' El Cuento'. LP, Vinyl record album.
A great look at the earliest years of Machito – a set that follows him from early Cuban recordings, through bebop experiments on the New York scene of the postwar years, to some of his classic group albums of the 50s! Machito always had a strong ear for the jazzier sides of Latin styles - and even when he wasn't working with American jazz musicians, he always had some great elements of that style in his music – as you'll hear on the 27 tracks on this nicely long set. The package brings together rare album tracks and singles – and titles include 'Bum Bum Pachang', 'Negro Nanamboro', 'Quimbombo', 'Bongo Fiesta', 'Beerebee Cumbee', ' El Rey Del Mambo', 'Tanga', 'Mi Padrino Me Manda', 'Calientito', 'Bim Bam Bum', 'Nague', 'Babarabatiri', ' El Columpio', 'Ven Conmigo Guajira', and 'Zambia'. LP, Vinyl record album.
The best that the New York indie scene had to offer in the 60s – a killer set of short, hard tracks from Orlando Marin! The album features a number of vocalists – Willie Torres, Elliot Romero, Cheo Feliciano, and Chivirico Davila – some of the best of the time, switching off from track to track to provide a lot of variety to the session. The album's also got a great instrumental groover called 'Llengue' – and other cuts include ' El Loco', ' El Timbalero', and 'Meche', 'Que Chevere', 'Tiene Saoco' and more. An excellent session of west coast Latin Jazz – and one of the best we've heard in years from legendary percussionist Bobby Matos!
Bobby's working here with co-arranger and reedman Michael James Turre – in a set that's got a wonderful blend of traditional instrumentation, hard-driving rhythms, and some of the sweeter jazzy touches that we always love in the best west coast Latin Jazz. The sound is also a bit looser and freer than some of Matos' Cubop recordings – in a style that makes us feel like he's getting his own voice through a lot more clearly, and not trying to please any sort of a crossover crowd. Titles include ' El Montuno De Almeja', 'Descarga Cubana', 'Afro Blue', 'Barbara Milagrosa', 'Oye Mi Querida', and 'Philadelphia Mambo'. Sparkling Puerto Rican salsa from trumpeter Tommy Olivencia and his super-hot group of the 70s – an ensemble that features lead vocals from Chamaco Ramirez over some totally tight lines from the rest of the group! Tommy's trumpet is in some very brassy company here, but the sound is still nice and lean – not hokey and bogged down in cliche, but focused with enough power to match the strength of the tunes.
Production and most of the arrangements are by fellow trumpeter Luiz Ortiz, and titles include 'Plante Bandera', 'Casimira', 'Si Estas Herido', ' El Amor', 'Trucutu', 'A Mi Pai Chango', and 'A La Yumbae'. Orchestra Harlow's answer to the Who's Tommy – Hommy, a Latin Opera, and one of the few concept albums we know from the New York Latin scene of the time!
The tracks are fairly short, and they're separated by short 'interludes' throughout the album that feature some cool spoken bits that trace the story of the record, but which also have the humorous touches of some of the older Alegre All Stars albums from the 60s. And although Orchestra Harlow borrow the name of the Who's album, the work here is all original – not covers – two long 'acts', spread out over the sides of the record with a sophisticated approach that shows the Harlow group moving into much deeper territory at the time. Lead vocals are by Junior Gonzalez, and you'll also hear Adalberto Santiago, Cheo Feliciano, Justo Betancourt, and Pete ' El Conde' Rodriguez. Tracks include 'Gracia Divina', 'Mantecadito', ' El Doctor Y La Razon', 'Es Un Varon', ' El Dia De Navidad', and 'Soy Sensacional'. LP, Vinyl record album. Orchestra Harlow were already at the top of their game by the time of this classic early 70s album – yet they also managed to leap forward strongly too – both embracing and lending a name to the growing salsa movement of the time! The streetwise sounds that Harlow created in the 60s were a key force in taking older Latin styles and giving them a new sort of youthful pride and energy – to a point where Larry also feels more than comfortable to reach back and grab some older sounds as well, blending them in a really compelling mix of roots and new ideas!
A key element of the old school is the album's use of tres by Harry Vigiano – who rings out with a Cuban current on his instrument, while the rest of the group hits some warmer New York and Puerto Rican tones. Larry's piano holds the whole thing together strongly – and Yayo El Indio and Adalberto Santiago join Junior Gonzalez on vocals on many tracks, making for a fuller, festive sound that really earns the 'salsa' in the title. Titles include 'Wampo', 'No Hay Amigo', 'Popo Pa'Mi', 'Silencio', and 'Sueltame'. LP, Vinyl record album.