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Latin Vinyl Records
La Cuna (Speakers Corner)Ray Barretto disliked his music being labelled 'Latin Jazz' - yet the album "La Cuna" is one of the most memorable of this genre, since it amalgamates the diverse moods of both Americas. In this album, the expertise of the legendary producer Creed Taylor is combined with an all-star ensemble and the supreme musicality of the skilful jazz percussionist Barretto to create a tightly-knit performance. The title-giving opening number sails along merrily with a salsa swing, but then the soaring flute melodies and the powerful piano improvisations cool down the Caribbean rhythms. How the players mingle driving patterns with delicate melodies to form beautiful song is demonstrated best in "Doloroso" and also in "Mambotango", whereby the latter exudes controlled coolness in the somewhat electric mood.
John Tropea leans seemingly intentionally towards Santana and his art of guitar-playing, and this is further enhanced by the late Joe Farrell's phenomenal performance. A further tribute is paid to one of the greatest musicians ever to combine various styles and trends with a speeded-up version of Stevie Wonder's "Pastime Paradise".
To conclude: if not Latin Jazz, then definitely Latin AND Jazz.
- Ray Barretto (conga, percussion)
- Joe Farrell (tenor saxophone, soprano saxophone, flute)
- John Tropea (guitar)
- Charlie Palmieri (piano,percussion)
- Carlos Franzetti (piano)
- Jeremy Wall (synthesizer)
- Francisco Centeno (bass)
- Steve Gadd, Mark Craney (drums)
- Willy Torres (vocal)
- Tito Puentes (timbales)
Production: Creed Taylor
About Speakers Corner
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s or employed existant tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky), but even in this particular case we used the analogue tapes for cutting.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects excluding the exception above and that the lacquer discs are newly cut.1. La Cuna
4. The Old Castle
5. Pastime Paradise$34.99180 Gram Audiophile Virgin Vinyl LP - SealedBuy Now