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Spanish FeverThe Fania All-Stars is a musical ensemble established in 1968 as a showcase for the musicians on the record label Fania Records, the leading salsa record company of the time.1. Spanish Fever
2. Que Pasa?
3. Space Machine (Ride, Ride, Ride)
4. Your Sereneness
5. Coro Miyare
7. Te Pareces A Judas
8. Sin Tu Carino$36.99Vinyl LP - Sealed Buy Now
Punto De VistaPunto de Vista is the fifth studio album recorded by Puerto Rican salsa singer Gilberto Santa Rosa originallyh released on August 10, 1990. It was nominated for Tropical/Salsa Album of the Year at the 1991 Lo Nuestro Awards.1. Vivir Sin Ella
2. No Hay Nada Mejor
4. Me Libere
5. De Cualquier Manera
7. Aunque Tu No Quieras
8. Me Acuerdo De Ti
9. No Me Dejes Solo$23.99Vinyl LP - Sealed Buy Now
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)
Recording: August 1979 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
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 - Sealed Buy Now
En Vivo Desde El Carnegie HallGilberto Santa Rosa's "En Vivo Desde El Carnegie Hall" ("Live from Carnegie Hall"), is a classic salsa collectors piece, and now for the first time available on Vinyl. This 3 LP set includes the classic songs; "Quien Lo Diria", "Perdoname", "Vivir Sin Ella" and a medley of the hits - ""Te Propongo", "Conciencia", "No Me Dejes". This vinyl release will become part of every Salsa music fan's collection!1. Obertura; Te Propongo\ Vino Tinto\ Vivir Sin Ella\ Conciencia\ Perdoname\ Sin Voluntad\ No Me Dejes (En Vivo Desde El Carnegie Hall Version)
2. Represento (En Vivo Desde El Carnegie Hall Version)
3. Amor Mío No Te Vayas (En Vivo Desde El Carnegie Hall Version)
4. Vivir Sin Ella (En Vivo Desde El Carnegie Hall Version)
5. QuiÉn Lo Diría (En Vivo Desde El Carnegie Hall Version)
6. Sin Voluntad (En Vivo Desde El Carnegie Hall Version)
7. Dime Por QuÉ (En Vivo Desde El Carnegie Hall Version)
8. Conciencia (En Vivo Desde El Carnegie Hall Version)
9. Perdóname (En Vivo Desde El Carnegie Hall Version)
10. Amanecer Borincano (En Vivo Desde El Carnegie Hall Version)
111. Medley De Plenas (En Vivo Desde El Carnegie Hall Version)$28.99Vinyl LP - 3 LPs Sealed Buy Now
Rhythm MachineFania records founder Jerry Masucci nurtured a group of musicians who collectively defined the New York-based Latin American dance music called salsa. Masucci packaged his stars in touring revues patterned after the R&B revues mounted by Motown, Stax/Volt and others. The Fania All Stars could thus play such large venues as Yankee Stadium and Madison Square Garden, promoting both their individual careers and recordings such as Rhythm Machine, which features some big-name jazz guests. Ruben Blades leads a stellar vocal lineup that includes Adalberto Santiago, Hector Casanova, Ada Chabrell, Nancy O'Neill, and Johnny Pacheco, who also plays flute and percussion. Jon Faddis and Randy Brecker are the headliners of a four-piece trumpet section, backed by three trombones, flutes, harp, vibes, and other assorted instruments. --John Swenson1. Ella Fue (She Was The One)
2. En Orbita
4. Peanuts (The Peanut Vendor)
6. Verao Vermelho
7. Steady (Fijo)
8. Juan Pachanga (DayLight)$36.99Vinyl LP - Sealed Buy Now
Marc Anthony 3.02013 album from the Latin superstar, his first original Tropical music recording in nearly a decade. The album, produced by Anthony and renown producer Sergio George, was recorded at the Hit Factory studios in Miami and Top Stop Music in Delray Beach and includes 8 tracks that reflect the unique style of the top selling Salsa artist in history. Marc Anthony has sold over 12 million albums worldwide, making him one of the most influential artists of his time and a true ambassador of Latin music and culture.1. Vivir Mi Vida
2. Volver a Comenzar
3. Flor Pálida
4. Cambio de Piel
6. La Copa Rota
7. Dime Si No es Verdad
9. Cautivo de Este Amor
10. Vivir Mi Vida (Versión Pop)$24.99Vinyl LP - Sealed Buy Now
CaminandoAfter an exploration away from the mainstream of salsa that would last nearly ten years, beginning with the release of 1984's Buscando AmÉrica, RubÉn Blades fans who missed the coro-shouting, compana-banging fun of his Fania years will rejoice in Caminando. Though a contemporary release, with plenty of contemporary influence, Blades' playlist on this record is much more salsa than fusion. From the rollicking, joyful title cut, to the slinky, trombone-driven Colón-esque Prohibido Olvidar, the RubÉn Blades made famous in the dancehalls is back, if but for a short time. The production on Caminando is unique to other Blades productions. The treatment of his voice has a hollow, retro quality that is curious and yet charming. The band, comprised mostly of his recent Seis del Solar cohorts, Ralph Irizarry, Robby Ameen, Oscar Hernandez, Eddy Montalvo, and others, sounds warm and classic. Perhaps it is the tonality of the record, or maybe 1991 was a great year for writing, but nearly every selection features coros and hooks that are more top-of-the-lungs shoutable than anywhere else in the artist's huge catalog. Though Blades would soon return to the Latin fusion experimentation that would characterize the rest of his career, this brief return to the music that made him famous is pure gold.
- Evan C. Gutierrez (All Music)1. Caminando
3. Mientras Duerme La Ciudad
4. Ella Se Esconde
5. Tengan Fe
7. Prohibido Olvidar
8. Cipriano Armenteros
10. Raiz De Suenos$23.99Vinyl LP - Sealed Buy Now
Let 'Em RollDuring the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they'd like to see make the list. This album is one of five new reissues that were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations.
In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It's truly weird to think of vibes on a groove date, but the way Patton's understated playing works, and the way Green is literally all things to all players, Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date.
What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley's The Turnaround, which expands the blues vibe into solid soul territory because of Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary. Green's deadly in his solo on the track, shimmering arpeggios through Patton's big fat chords and chunky hammering runs.
Also notable are Patton's own tunes, the most beautiful of which is Latona, a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out.
This is one of the least appreciated of Patton's records, and there's no reason for it; it is great.
- Thom Jurek (All Music Guide)1. Let 'Em Roll
3. The Shadow Of Your Smile
4. The Turnaround
6. One Step Ahead$19.99Vinyl LP - Sealed Buy Now
InjusticiaProducer and guitarist Jacob Plasse has united some of his old friends-players from the Daptones, Pedrito Martinez Group, and Los Hacheros-to form Peliroja, a New York collective inspired by the sounds of Ethiopia, Dominican Republic, Cuba, and the Congo. Injusticia is their debut album.
"Some of the musicians in Peliroja and I would meet up after school on Jane Street in the West Village, at a stoop with some Old English, a spliff, and a tape deck," says Jacob, best known as producer and musician for salsa masters, Los Hacheros. "We were gangly, awkward 15-year-olds and not cool by any means. I'm not sure how we became obsessed with obscure '70s funk and Afrobeat music, but that's what we would listen to: the 3 Sounds, Lyn Collins, Africa 70." Two decades later, his friends have gone on to become key players in the Brooklyn funk scene, and Jacob has spent the last ten years refining his music on the road with salsa and bachata bands.
Produced and cowritten by Plasse, Injusticia was recorded live to tape at his studio in Brooklyn, in the spirit of the music he was raised on. The groove to this music is deep and heard in the way the Daptones' rhythm section-drummer Homer Steinweiss and bassist Nick Movshon-play off the polyrhythms of Carlos Padron's timbales and Jhair Salas's congas, forming a new fusion of old sounds. Jainardo Batista's vocals soar over these rhythms, propelled forward by Mike Eckroth's mercurial arrangements.
"I think the experience of growing up in New York and getting to hear and play with all these wonderful musicians and having them in my life has let me create something that is true to myself, and hopefully them as well," Jacob adds. "This album is for those boys on the stoop who hadn't figured out how to be in this world, but were lucky enough to know what they loved."
- Wax Poetics1. Bohemio
4. Se Equivico
5. Te Wa' Tumblar
6. Honor Enjendrada
7. La Fobia
8. Mal Carrusel
9. Ciudad De Nadie
10. Ingrata Conclusion
11. Epilogue$17.99Vinyl LP - Sealed Buy Now
Arepa 3000: A Venezuelan Journey Into Space[Los Amigos Invisibles] has taken the rhythmic sass in salsa, the bass-heavy fun in funk, and even the note-bending bile in acid-jazz, and mixed it all up to produce an infectious beat. [They] have put the joy back into dancing, sending a warm current into the cold alienating waters of industrial strength techno. - LA Weekly
We're a dance band, says Jose Luis Pardo, the guitarist for Los Amigos Invisibles. Tuned into groove culture from Detroit to London to Tokyo -- thanks to the Internet and a busy tour schedule -- the Amigos began work on their new album AREPA 3000: A VENEZUELAN JOURNEY INTO SPACE with a disco sensibility. Admiring French DJ/producers the band sought a heavier house sound in contrast to the retro and lounge elements of THE NEW SOUND OF THE VENEZUELAN GOZADERA. The lounge thing sounds more Japanese, says Jose Luis. The house sound is fresher, the disco songs we do sound more like that. The album is more electronic in certain ways.1. Intro
2. Arepa 3000
3. La Vecina
4. Que Rico
6. Si Estuvieras Aqui - (with Martika)
7. Masturbation Session
8. Mami Te Extrano
9. Mujer Policia
10. No le Metas Mano
13. El Barro
14. Domingo Echao
15. Piazo E' Perra
16. El Baile del Sobon
17. Fon Novo
19. Llegaste Tarde - (Radio Gozadera AM mix)$24.99Vinyl LP - 2 LPs Sealed Buy Now
Santana III (Awaiting Repress)Santana III on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Last Santana Album Recorded With Famed Woodstock Band
With Guitar Virtuoso Neal Schon in Fold, Santana Makes Musical Magic That Truly Spans the Globe years Before "World Music" Became a Genre
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI: LP Breathes With Sumptuous Warmth
The final Santana album recorded with the leader's famed Woodstock lineup, one of the most capable and explosive bands ever assembled, Santana III (commonly referred to as The Third Album) is a beacon of Latin-tinged rock, melodic creativity, and cohesive interplay. The record also marks the debut of young guitar virtuoso Neal Schon, who functions as the ideal foil to Santana, whose playing on this 1971 set rivals that of the finest in his career. If not for arriving after the monumental Abraxas, it is likely Santana III would be mentioned in the same breath as groundbreaking psychedelic classics such as Bitches Brew. It's that good.
Embracing the concept that all of the members should share their musical ideas, Santana added two crucial components to his band: Schon, discovered at the age of 15 playing in a Palo Alto club, and Thomas "Coke" Escovedo, who during the sessions temporarily replaced ill percussionist Chepito Areas, and whose percussive assistance helped define the album's feel. With Schon in the fold, Santana strives for the unknown, and yet, manages to stave off the numbing excesses that define much of the period's output.
From the opening "Batuka," peppered with Schon's stirring guitar lines, to the sensitive "Everything Is Coming Our Way," infused with a mesmerizing Hammond organ underpinning that supports Santana's vocal pathos, the record teams with inventiveness. Involving albeit accessible concoctions of funk, jazz, rock, blues, and soul run throughout the set. Spanish-styled flavors infuse a majority of the material, ranging from the salsa piano on "Guarjira" to the distinctive "No One to Depend On," a lively take on the cha-cha-cha.
A globe-spanning armada of percussive instruments-timbales, congas, drums, vibes, tambourines, and more-as well as the existence of a three-person percussion team that fits in harmoniously with Santana, Schon, and company makes Santana III a masterful accomplishment in musical chemistry and the exploration of true world craft.
The Silver Label LP of Santana III breathes with sumptuous warmth and you-are-there realism. The tension of Schon's guitar lines, the album's open sound, and extensive use of studio echoes (check the presence of the backward echo on "No One to Depend On") fill the soundstage, replete with the kind of depth and dynamics one expects from a first-rate audiophile recording.
This title is not eligible for discount.1. Batuka
2. No One to Depend On
4. Toussaint L'Overture
5. Everybody's Everything
7. Jungle Strut
8. Everything's Coming Our Way
9. Para los Rumberos$24.99Vinyl LP - Sealed AWAITING REPRESS Buy Now