• 01. Boogaloo En Ambiente
    02. La Sonora Llego
    03. Como Yo No Hay Dos
    04. Peruvian Guaguanco
    05. Congalanque
    06. Yo Traigo Boogaloo
    07. Probandolo Se Sabe
    08. Linares Blue's
    09. Sabor Tropical
    10. Tutu Tata


    Yo Traigo Boogaloo

  • A1 Perdoname Leandro
    A2 Esa Mulata
    A3 Caribe
    A4 Los Carasucias
    B1 Salsa De Monte Adentro
    B2 La Mezcla
    B3 Toro Barcino
    B4 Josefina
    B5 Bajo El Palo ‘E Mango


    Last Band Standing

    [engl] A revolutionary album with a sound unlike that of any other tropical record before or after which could only have come from the Caribbean region of Colombia and the fertile mind of the band's leader, Alfredo Gutiérrez. What makes this record unique and a highly sought-after collector's piece are the innovative arrangements that mix a sax section with electric organ, piano and accordion, and its killer version of Javier Vázquez's hard salsa tune `Esa mulata'. The rest of the album has more hot salsa, boogaloo and descarga, plus local flavors like paseo and porro and even a Dominican merengue. Presented in facsimile artwork and pressed on 180g vinyl. Part of a new Vampisoul reissue series of classic LPs from Colombia's Codiscos and its group of labels such as Zeida and Costeño.
    EAN 8435008863364
  • 01. Macondo
    02. Mi sonora
    03. Vamos al bohío
    04. Oye mi ritmo
    05. Historia fugaz
    06. Juanita Morel
    07. Se formó la salsa
    08. Mi son montuno


    La clavada

    [engl] Colombia has produced many fine pianists in the Antillean traditions rooted in Cuban music. Discos Fuentes had its share of geniuses that tickled the 88s in the salsa idiom, yet most of them, even when headlining an orchestra, remain unknown or relatively obscure outside of collector’s circles. Such is the case of Roberto de la Barrera, who not only cut several LPs under his own name for the label but also was an uncredited session pianist and arranger on various other Fuentes records. De la Barrera did not hail from the commercial centers of the interior like Bogotá or Medellín, nor did he come from the “salsa capital” of Cali or even the port of Buenaventura where so many Cuban and Puerto Rican records first entered the country. His birthplace was the Caribbean city of Cartagena, which, along with Barranquilla and Santa Marta, forms an area with its own rich musical traditions like the cumbia and porro, but also was one of the first regions in Colombia to feature imported Antillean genres like mambo, cha cha cha and pachanga. Also, significantly, Cartagena was the original home of Discos Fuentes before it moved to Medellín, and is the birthplace or initial stomping ground of other important figures in the salsa idiom like Joe Arroyo, Michi Sarmiento, Joe Madrid, Johnny Moré, Víctor del Real, Juan Carlos Coronel, Joseíto Martínez and Hugo Alandete.Roberto de la Barrera was arguably the first cartagenero to record music that would later be labeled “tropical” and “salsa” with his group Roberto de La Barrera y su Sonora, starting off with cumbia, porro, charanga and pachanga in the early to mid-1960s, and ending the decade with guaguancó, guaracha, descarga and son montuno, leaving a handful of gems for posterity, such as ‘El baile de los cocacolos’, ‘Vamos a guarachar’ and ‘Se formó’ from the earlier period and ‘Se formó la salsa’, ‘Mi sonora’ and ‘Oye mi ritmo’ as the 1970s began. After taking the piano seat in the Discos Fuentes house orchestra and being hired in 1964 by label boss Antonio Fuentes as the regional musical director in the Caribbean area (based in Cartagena), where he subsequently discovered, signed and produced a lot of local talent, the following year Roberto de la Barrera y su Sonora recorded “Pa’ Los Cocacolos”, his first long play under his own name for the label, succeeded by “¡Pa’ cumbanchar!” and finally “Se formó la salsa” in 1970.All of his arrangements feature an interesting mix of Colombian and Cuban flavors, sometimes within the same tune, and often with that wonderful raw, loose, improvisational quality associated with the “descarga” jam sessions of Cachao and others a decade before. Perhaps the best example of this is ‘Mi sonora’ from “Se formó la salsa”, where the vocalist Felipe Sembergman actually name-checks New York’s famous Village Gate, home of many Latin jazz and salsa concerts at the time, thus making the connection explicit between what was beginning to catch on in Colombia as “salsa” and its New York Latin roots. Whatever the case, immediately in Roberto de la Barrera’s wake, a whole slew of groups from the coastal regions started performing in this style, like Michi y Sus Bravos (where Felipe Sembergman was a featured vocalist), Orquesta La Protesta (with a young Joe Arroyo), El Afrocombo, Los Caporales del Magdalena, Los Corraleros de Majagual, Lisandro Meza y su Combo Gigante, Los Revolucionarios, Julián y su Combo, Peregoyo y su Combo Vacaná, and Juan Piña con La Revelación. Not to mention what was starting to happen in the interior with Fruko y Sus Tesos, Sexteto Miramar and others, which was influenced by de la Barrera as well. Sometimes the Colombian “salsa” sound was mixed, at other times the genres were kept separate, but a certain Caribbean aesthetic carried its way through everything these artists did, and Roberto de la Barrera was a pioneer in introducing modern Latin sounds from Havana, New York and San Juan. After his stint with Fuentes, Roberto teamed up with his brother Raúl de la Barrera, managing the recording facility and record label Ecos, which released several singles on 78 and 45 from Roberto’s Orquesta Ecos, accompanied by the voice of Tony Zúñiga, as well as Los Ídolos de Palenque and the sought-after track ‘Sabrosón’ credited to Roberto de la Barrera y su Piano Mágico. Sadly, the contributions of Roberto de la Barrera in bringing salsa to the Caribbean region of Colombia and hence the rest of the country have gone largely unheralded but hopefully this reissue of “Se formó la salsa” will help set things straight.
    EAN 8435008863531
  • cover


    90 Degrees Of Shade Vol.1

    Die Juwelensammler von Soul Jazz haben sich mal wieder durch die Archive gegraben. Zielort waren dieses Mal die karibischen Inseln zwischen Kuba, Jamaika, Haiti, Puerto Rico und Dominikanischer Republik. Dort haben sie 32 Mambo-, Calypso-, Goombay-, Mento-, Merengue-, Cult- und Compas-Stücke gefunden, die sie uns - wie es nun mal glücklicher Weise so ihre charmante Art ist - nicht vorenthalten wollen. Ihr Ergebnis präsentieren sie unter dem Titel "90 Degrees Of Shade. Hot Jump-Up Island Sounds From The Caribbean". Das Album erscheint als Deluxe-2CD-Box mit überdimensionalem und gewohnt informativem Booklet und als zweifache limitierte Doppel-LP mit Klappcover, 180-g-Vinyl und Downloadcode. Darauf geboten wird ein heißes Gebräu der 1950er und 60er Jahre. Einer Zeit, als in der Karibik viele Staaten ihre Unabhängigkeit erlangten und ständig neue musikalische Stile kreiert wurden. Flankiert wird die Veröffentlichung im Übrigen durch den großformatigen Bildband "90 Degrees Of Shade: 100 Years Of Photography In The Caribbean (With Foreword By Paul Gilroy)".
    EAN 5026328002903