RICHIE RAY "ON THE SCENE" FONSECA('66): BLUE VINYL HEAR
  $   150

 


$ 150 Sold For
Jun 28, 2011 Sold Date
Jun 27, 2011 Start Date
$   50 Start price
1 Number Of Bids
  USA Country Of Seller
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Description



TITLE : ON THE SCENE WITH RICARDO RAY

ARTIST : RICARDO RAY & ORQUESTA

LABEL & RECORD #: FONSECA #SLP1107 (1966)

VINYL CONDITION: HEAR SOUNDS CLIPS INCLUDED: NM (NOT FLEXIBLE VINYL!!!!) MOST VG++....THERE WILL BE A FEW LIGHT SCUFFS BUT NEARLY IMPOSSIBLE TO SEE (blue vinyl) EVEN UNDER STRONG LIGHT....I WILL INCLUDE 3 SOUND CLIPS....PLAYER #2, I WILL LEAVE THE EMPTY SPACE BETWEEN THE 2 TRACKS SO YOU CAN LISTEN THE OVERALL SOUND QUALITY...GREAT!!!!!

LABELS CONDITIONS: SEE SCAN : NM

COVER CONDITION: SEE SCAN : FRONT IS NM!!!!!........BACK HAS "AGE" WEAR AND SIGNATURES OF PREVIOUS OWNER!....no edge wear, no splits! 

REMARKS:

On The Scene With Ricardo Ray

Produced by Carmelo Fonseca

 

Editor's Pick:

**Classics Revisited**

Salsa's beatific duo, Richie Ray and Bobby Cruz, celebrated their 40th anniversary in 2003. After making their earliest recordings for Seeco Records, Ray signed with Fonseca Records. The five albums his orchestra made for the label during the mid-'60s contain some of the duo's strongest recorded work. Ray's Fonseca follow-up, On The Scene With Ricardo Ray, has a more restrained feel to it than its predecessor Ricardo Ray Arrives / Comején. Richie's ingenious piano soloing is again very much to the fore, as is his younger brother Ray Maldonado's trumpet playing (Richie Maldonado "adoted" his bro first name as his "artistic name Richie Ray!) Ray Maldonado died young.....After a very succesful career then....On September 16, 1982, Ray Maldonado was scheduled to leave New York for Minnesota to enter a detox program at Hazelden Foundation. On September 13 he was found dead of a drug overdose. Ray Maldonado's feeling for jazz, Latin, soul, funk and rock music was subsumed within a uniquely dynamic concept. His humanity was universally appreciated. The success of his denial mechanisms made his premature departure a shock to the music community. He's still deeply missed by friends, family and colleagues.

 

The jala-jala "Yenyere", co-written by Richie, is the most boisterous track with blistering trumpet pyrotechnics from Maldonado. Richie gives the Rafael Hernández standard "Cachita" a jazzy makeover. The extended cha-cha bembé "La Cuchara" features a funky solo from Richie - during which the coro shout "El Piano de Brooklyn" - followed by a brief bass solo from Russell "Skee" Farnsworth. The gem of the date for me is a delightful version of Bud Powell's "Parisian Thoroughfare", which changes midway through from a cool Latin jazz piece to a driving mambo. On The Scene is a solid gold classic. Very highly recommended. (John Child, 2005-11-06)

 

Ricardo “Richie” Ray was born Ricardo Maldonado, on 15 February 1945, in the Brooklyn Borough of New York City, of Puerto Rican parents. Known as the “king of salsa“, this bandleader, composer, arranger and virtuoso pianist is, in the minds of all who know about salsa music, was virtually inseperable from his life-long friend Bobby Cruz for more than 25 years.

Ray’s music training started on the piano by the time he was seven years old. The long time partnership with Cruz began just five years later in 1957 when Ray played played bass in a group led by Cruz. Ray went on to attend the Brooklyn Conservatory of Music, the High School of Performing Arts and the Juilliard School of Music; further developing his musical training and refinining his talents. He was well versed in various Latin music genres popular at that time including guajira, the cha-cha-chá, bolero, and others.

 

Ray left Juilliard after one year to organize and dedicate himself to his own band, which included his friend Cruz as lead vocalist. He signed with Fonseca Records and released his debute album Ricardo Ray Arrives in 1964. The album included the outstanding hit song “Mambo Jazz”, which Ray and Cruz reworked for later releases. The famous pair recorded some of their finest work during their period with the Fonseca label.

 

The following album, On The Scene With Ricardo Ray, which had brilliant rendition of Bud Powell’s “Parisian Thoroughfare”, which changed during the song from cool Latin jazz piece to a driving mambo. Ray’s versatility was further evident in his crossover hit album in the Afrom-American community: Jango, released in 1966.

 

In 1966 Ray switched to Alegre Records and released nine albums on that label through 1970. He experimented with the R&B/Latin fusion  FROM NYC to TAMPA!style referred to as boogaloo, on his first album for Alegre: Se Soltó, but it was not a success. The more commercial follow-up, Jala Jala y Boogaloo, however, was well received, perhaps because it included one of his greatest hits “Jala Jala”, which Cruz co-wrote with him. Although still signed with Alegre, Ray recorded Viva Ricardo and El Diferente for UA Latino.

 

 

TRACKS SIDE A"

1- Yenyere

2- Mirame

3- Cumbaja

4- Cachita

 

TRACKS SIDE B:

1- La Cuchara

2- El Dia Que Me Quieras

3- Parisian Thouroughfare

 

Musicians include:

Ricardo Ray Leader, Piano and Arrangements

Bobby Cruz Vocals

Chivirico Dávila Vocals

Felo Brito Vocals

Larry Spencer Trumpet

Ray Maldonado Trumpet

Russell "Skee" Farnsworth Bass

José "Candido" Rodríguez Timbales

Jackie Dillomis Congas

Joe Wohletz Claves

WEB REMARKS: A CLASSIC EXTREMELY HARD TO FIND IN BLUE VINYL...ACQUIRED FROM A LADY THAT MOVED IN 1971 FROM NYC TO TAMPA (SHE HAS HER WOC SIGNATURE ON THE BACK LILLIAN CHAPEL IN THE BACK)


THE FONSECA MASTERS , ALLEGEDLY, ARE IN THE HANDS OF RAFAEL VIERA (A FEW...RAFAEL USED TO WORK WITH FONSECA AS WELL WITH THE FANIA LABEL AT THEIR EARLY YEARS) AND THE REST WERE TAKEN TO ECUADOR BY CARMELO'S WIDOW....LOST FOREVER???....VIERA HAS A RECORD STORE IN SANTURCE, PUERTO RICO WHERE COLLECTORS AND MUSICIANS MET ON SATURDAY MORNIGS TO DISCUSS MUSIC! (I WAS THERE AND WILLIE ROSARIO, TITE CURET WERE REGULARS AS SOME OF THE GREAT MUSIC BRAINS THERE!.......ANY CD YOU ENCOUNTER MUST BE A BOOT AND RECORDED FROM AN ALBUM.....THERE ARE A FEW WEB INTERVIEWS (WILLIE ROSARIO, WILLIE RODRIGUEZ, ETC,) THAT MENTION THE  THE MASTERS WHERABOUTS AND THEIR CONDITIONS IF AVAILABLE.

SHIPPING CHARGES........FOR GATEFOLDS With 2 Lps ADD S&H FOR 2

ITALY CUSTOMERS:

ITALY……. ADD $11 FOR REGISTRATION!!! No exceptions! Sorry, I’m following Other Dealers Suggestions Regarding Problems With the Delivery/Handling of Items…I personally had 2 of 4 problems, Mexico was the Other) in ten years (Thousands Of Records Sold) in the business!!!

(Gli acquirenti italiani sono tenuti ad aggiungere 11 dollari per la spedizione registrata. Non si fanno eccezioni)

POSTAL RATES & WEIGHTS - LPs

LBS.

0.82

1.4

1.9

2.6

3

# of LPs

1

2

3

4

5

USA MEDIA $4.00 $4.00 $4.00 $4.25 $4.50 USA PRIORITY $6.50 $9.50 $9.50 $11.50 $11.50 EUROPE $14.00 $16.50 $19.00 $24.00 $26.00 ASIA $14.00 $16.50 $19.00 $24.00 $26.00 SOUTH AMERICA $11.50 $15.00 $18.50 $23.50 $27.00 CENTRAL AMERICA $11.50 $15.00 $18.50 $23.50 $27.00 CARIBBEAN $11.50 $15.00 $18.50 $23.50 $27.00 MEXICO $10.00 $13.50 $16.00 $20.75 $22.00 CANADA $6.25 $8.25 $10.25 $13.00 $14.00

 

* We offer a money back + shipping costs guarantee on our records (unless otherwise noted) if you feel the LP was not graded properly We Must Be Notified Of Any Discrepancy in 2 Days after received. . We will issue a full refund upon its return, once our mistake has been verified. Record Must Be Returned in 3 Days…Foreign in 7 Days….We have available the insurance option…


WE USE STURDY CARDBOARD MADE BY BAGS UNLIMITED IN ORDER TO TO PROTECT YOUR RECORDS FOR ANY MISHANDLING/DAMAGE WHILE IN-TRANSIT

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!

 

MM RECORDS: are shiny, with no visible defects. They might have some minor superficial (“Paper”) scuff but 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.
NM  PICTURES 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, no 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 Unless Tiny/Small (EG: Tiny DH).

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 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"

(We Will Try To Grade Them As Accurately As Possible!)

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