RAY BARRETTO "INDESTRUCTIBLE" 100% ORIGINAL ISSUE: FANIA#456 STEREO (1973) HEAR

$

31

In 1972 Ray Barretto suffered the exit of 5 important members of his famous orquesta……Tipica'73 was formed from the union of Rodriguez, Jr., fellow Ray Barretto's band members Rene Lopez (trumpet), master percussionist Orestes Vilato (bongo, timbales), Dave Perez (bass) and Adalberto Santiago (vocalist), Harlow's trombonist Leopoldo Pineda, Jose Fajardo's pianist Elio Osacar (a.k.a. Sonny Bravo) and Frankie Dante's pianist/trumpeter Joseph (Joe) Manozzi. TIPICA 73 Conquered the salsa world but Ray was “Indestructible” and reformed his band allegedly dedicating the great album to those who “abandoned him”!.

"El año 1973 fue una época exitosa y, a la vez, estresante para Ray Barretto. Su orquesta había desarrollado un séquito leal entre los bailarines de la nueva música, basada en la afro-cubana, conocida como salsa. Barretto había logrado éxito como compositor con Cocinando, la canción tema de la película producida por Fania, Our Latin Thing. Sin embargo, el explosivo grupo rítmico de su orquesta, Orestes Vilató en timbales, Johnny Rodríguez en bongó y cencerro, el bajista Dave Pérez, el pianista Luois Cruz, junto con el trompetista René López y el vocalista Adalberto Santiago, finalmente, todos lo dejarían. Mi corazón estaba hecho pedazos. Habíamos desarrollado lo que cualquier líder de orquesta desea –un sonido,” declaró Barretto.

Pero Barretto era intrepido (e “indestructible”) y se reconstruiría. Llamaría a un viejo amigo, el trompetista Roberto Rodríguez, quien había decidido quedarse. Su compañero trompetista, Joseph “Papy” Román, también se quedó, y Barretto formaría un nuevo grupo que redefiniría el sonido de Barretto y reafirmaría su posición como líder de orquesta.

También llamó al veterano percusionista y amigo “Little” Ray Romero, un gigante entre los baterístas. A la riqueza de conocimiento de Romero, Barretto agregaría a otro veterano, Tony Fuentes, en bongó y cencerro. Finalmente, el lugar del piano sería ocupado por el primer pianista de Barretto, el colombiano Edy Martínez.

Martínez trajó atributos especiales al grupo. El estaba empapado del vocabulario armónico del jazz, un elemento clave en la estética de Barretto. Esto se manifestaría por sí solo en la grabación de Fania, The Other Road. Esta grabación, puramente orientada al jazz contemporáneo, presentaba al súper baterista panameño, Billy Cobham con su compañero, el también panameño, Guillermo Edgehill, en bajo eléctrico. La nueva sección de trompetas de Barretto, ahora contaba con Manny Durán, un tremendo solista de jazz, anclado por Papy Román y el trabajo de la trompeta principal ascendente del leal partidario de Barretto, Roberto Rodríguez.

 A los ya explosivos bronces y a la sección rítmica, Barretto agregaría un flautista, el recién llegado Artie Webb. Con la flauta una octava por sobre la trompeta principal, el bronce sonaría aún más poderoso. Barretto ahora podría explorar auténticas interpretaciones de repertorio, que normalmente se asociarían con los grupos de charanga (flauta y violín) y no con conjuntos¬ con base en los bronces, una vuelta a sus días como líder de la Charanga Moderna. Julio Romero en un baby bass Ampeg, daba un poderoso sostén a los potentes tumbaos de Barretto (ritmos repetitivos).

El ingrediente final era encontrar un nuevo vocalista que fuese distinto de Santiago, pero que también tuviese las habilidades de soneo (improvisación), tan esenciales en la salsa. La respuesta sería el puertorriqueño Tito Allen. El hecho de que Allen también era bajista, al igual que Santiago, es otra conexión en esta fascinante historia. El trabajo vocal de Allen en este álbum es grandioso y lo lanzó al estrellato.

Pero el regreso con un nuevo repertorio, una nueva orquesta y un nuevo sonido tenían que venderse a los antiguos fanáticos de Barretto. El director artístico de Fania, Izzy Sanabria, dio el concepto de Superman para la carátula. Indestructible anunciaba el regreso de Ray Barretto a la escena de la salsa en una gran forma. La combinación de flauta y tres trompetas era algo que nunca se había hecho. La apertura con el uptempo de Tite Curet Alonso, El Hijo de Obatalá, fue un comienzo perfecto. La oda a la deidad Yoruba en la Santería/Ifá, fue hecha para Barretto, quien aunque no era practicante de la Santería, siempre había tomado en cuenta en su trabajo las raíces espirituales y rítmicas africano occidentales de la música. Un breve solo de piano, funky, de Edy Martínez anuncia el solo de Barretto. Es un trabajo de virtuosidad destacable, que explota con una espiral continua abierta que dura 17 compases enteros, con acentos y tonos abiertos lanzados en momentos inesperados. Finalmente, Barretto había desarrollado su propio estilo."

   1. El Hijo De Obatala 5:02

   2. El Diablo 5:21

   3. Yo Tengo Un Amor 5:03

   4. La Familia 3:49

   1. La Orquesta 4:32

   2. Llanto De Cocodrilo 3:54

   3. Ay No 6:06

   4. Indestructible 4:12

WEB REMARKS: BEWARE!!! THE (FANIA, SEECO, COTIQUE, ETC, LPs REISSUED BY A MIAMI COMPANY A FEW YEARS AGO COMES WITH A WHITE INNER SLEEVE....THE COLOR INSIDE THE COVER IS WHITE (NOT THE "GRAYISH REGULAR CARDBOARD COLOR) AND BOTH THE LABELS AND RECORD SEEMED TO BE PRESSED IN ONE STEP SO THE LABEL (COLOR SHADES ARE DIFFERENT) SEEMS TO BE A PERMANENT PART OF THE VINYL!!,,,THE SOUND???????

REISSUES BLOGGERS:

MY PERSONAL NOTE: I'M FROM PUERTO RICO AND MET EACH SATURDAY MORNING WITH TITE, WILLIE ROSARIO, MARVIN, ETC AND SOMETIMES WE DISCUSSED ABOUT ORIGINAL VERSUS REISSUES (FANIA MASTERS WERE SOLD TO 2 OR 3 COMPANIES THRU THE YEARS........WHERE WE MET WAS IN "LA CASA DEL COLECCIONISTA" WHO IS STILL OWNED BY RAFAEL VIERA & SONS...RAFA BEGAN HIS PRODUCTION, A&R JOB WITH THE FAMOUS "FONSECA" RECORDS, LATER WITH FANIA AND RETURNED TO PUERTO RICO TO OPEN HIS "COLLECTOR'S HEAVEN" STORE AND THERE  WE LEARNT SOME INTERESTING STORIES, LIKE THAT THE RAY BARRETTO'S HARD HANDS ORIGINAL MASTER TAPE WAS LOST OR DAMAGED BACK IN THE EARLY 70s....A COLLECTOR (I WILL NOT MENTION HIS NAME) PROVIDED FANIA WITH ONE UNOPENED ORIGINAL COPY OF "HARD HANDS" (HE USED TO HAVE 2 COPIES OF EACH EARLY FANIA LP...HE OPENED ONE TO MAKE A CD AND THE OTHER REMAIONED SEALED...DON'T KNOW HOW MUCH FANIA PAID HIM FOR SENDING THAT SEALED COPY TO THEM....) BUT FOR SURE AFTER 1976 IF YOU BOUGHT A COPY, THERE WAS THE PROBABILITY THAT IT WAS MADE FROM THAT LP COMPLETE WITH THE FANIA INNER SLEEVE!"

"please note that original LP's have the advantage that they were made when the master tapes were new. the original Fania CD's were mostly made with 25+ year old master tapes. Now, consider that Emusica is doing the same with 35+ year old master tapes.

U know the best ppl are working in the restoration process but also u got to consider tape degradation. Even when the best restoring techniques are applied to optimize and enhace sound quality, it's difficult to beat the quality of the original releases made on vinyl 30 years ago with newer master tapes.

I'm wondering if those ppl have the opportunity to hear the LP version to, at least, represent it digitally in the way it was originally mastered.

I'm asking this because is expensive to confirm each Emusica reissue by myself. maybe in the states this cd's are cheaper but here in Puerto Rico the few record stores -that still exist- are selling them almost in the same price as Fania reissues."

Please Follow The Shipping Rates Below:

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Air Mail Media U.S.A

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Air Mail Europe

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INTERNATIONAL SHIPPING 4 POUNDS AND OVER HAS TO BE MAILED VIA USPS PRIORITY MAIL (FASTER, A LITTLE BIT MORE $$, SOME FREE INSURANCE BASED ON PACKAGE WEIGHT) EXAMPLE= APPROX. 5 TO 6 LPs OR 13 TO 14 45RPMs...ASK!

If Buying More Than 3 Records We Will Inform You The Shipping & Handling....We do combine shipping for multiple purchases.
Insurance Available If Requested - Domestic Only:
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    $2.25 ................ $50.01 to $100
      $2.75 ................ $100.01 to $200

* We offer a money back + shipping costs guarantee on our records (unless otherwise noted) if you feel the LP was not graded properly (in Grading “disputes” Return Shipping Not Included). We will issue a full refund upon its return, once our mistake has been verified.

Record Grading: Standard guidelines for grading records comes down to a subjective judgment that may vary from person to person. We grade records and LP covers visually AND (when possible) play-tested. We make every effort to give full disclosure (remember that the LP has at least 12 tracks and the grading may vary between each other)  and your satisfaction is guaranteed. Don't assume that our vinyl determination of "Very Good+" is the same as yours!

RECORD OR COVER GRADED VG or LESS WILL BE "SOLD AS IS"

MINT: Unplayed, still sealed.
 

NM RECORDS: are shiny, with no visible defects, they might have one or 2 minor superficial scuff and they should play without any noise. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must not be present; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.)

NM COVERS:

have no creases, ring wear or seam splits of any kind.

Picture Sleeves: should look as if they never housed a record. This is a great reason to remove your 45s from their picture sleeves and keep them separate. Just keeping the 45 inside the sleeve will cause damage than can reduce the grade of the sleeve.  

VG++ (Excellent) RECORDS: 
Barely noticeable play wear and background noise. May have surface scuffs and/or superficial marks, which will be inaudible or indiscernible from the background, no scratches. Very nice, flaws noted.
VG++ COVERS:
Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.  

VG+ RECORDS:

may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable.

VG+ COVERS:
should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.

VG+ PICTURE SLEEVES:
might show some very light creasing where it is obvious that a record once resided (or still does reside). A VG+ picture sleeve might have some very minor seam wear or a split (less than one inch long) at the bottom, the sleeve’s most vulnerable location. 

VG RECORDS:

They have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches  may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise. Minor writing, tape, or a sticker can detract from the label. Many collectors who have jukeboxes   will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG COVERS and PICTURE SLEEVES:
will have many signs of human handling. Ring wear  in the middle or along the edges of the cover where the edge of a record would  reside, is obvious, though not overwhelming. Some more creases might be  visible. Seam splitting will be more obvious; it may appear on all three sides,  though it won’t be obvious upon looking. Someone might have written or stamped  a price tag on it, too.

RECORDS GRADED VG OR BELOW WILL BE "SOLD AS IS"

Items are to be paid within 7 days (if not paid by that time it will be subject for relisting) of auction close and will be shipped within 48 hours of receipt of payment. Paypal is the preferred method of payment.
 
Carlos A. Flores 25830 Crippen Dr. Land O' Lakes, FL  34639