| | Don Marino Barreto Don Baretto, Vol. 2 (1935-1936) CD Don Marino Barreto Discography of CDs
Cuban guitarist's band w. clarinetist/flautist Filiberto Rico
Unknown Contributor Role: John Cowley.
Personnel: Don Barreto (vocals, guitar); Emilio Barreto (vocals, guitar); Marino Barreto (vocals, piano); Florentia Frontella, Serge Barreto (vocals, percussion); Jean Sablon (vocals); Filiberto Rico (flute, clarinet); El Guajiro Fernandez (trumpet); Raymond Gottlieb (piano).
Audio Remasterers: Christian Rosenborg; Charlie Crump.
Don Baretto, Vol. 2 (1935-1936) Music | List Price | $17.98 (You save $2.93) | | Category | World Albums, Jazz CDs, International, Latin, Spanish, Latin Jazz, Rumba, Tropical | | Label | Harlequin | | Orig Year | 1992 | | All Time Sales Rank |  367473  | | CD Universe Part number | 1076259 | | Discs | 1 | | Release Date | Nov 06, 1992 | | Studio/Live | Studio | | Mono/Stereo | Mono | | Personnel | Jean Sablon - vocals
Don Barreto - vocals, guitar
Emilio Barreto - vocals, guitar
El Guajiro Fernandez - trumpet
Filiberto Rico - flute, clarinet
Florentia Frontella
Marino Barreto - vocals, piano
Raymond Gottlieb - piano
Serge Barreto - vocals, percussion
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Don Marino Barreto Don Baretto, Vol. 2 (1935-1936) Songs Don Baretto, Vol. 2 (1935-1936) Review
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Purchase Don Baretto, Vol. 2 (1935-1936) CD To buy, Click on price to add to cart | Antonio Machin 1923-33 Vol. 2 CD (1995) (Import) United Kingdom
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The liner notes are full of tidbits from interviews with Antobal's family and musicians who worked with him (many of whom went on to achieve fame with their own bands) as well as illustrations. As there are no photos of Antobal himself, one is left of the impression of a reclusive impressario who was good at managing his band, but wanted to avoid the spotlight himself. ~ Megan Lynch
excellent Cuban studio band featuring Alberto Socarras, vocalists Johnny Rodriguez and Panchito Riset and led by the brother of Don Azpiazu whose PEANUT VENDOR broke Latin music in the US.
First released on LP in 1991 as Harlequin HQ 2081, the liner notes have been revised and many new tracks added. Antobal was the excellent Don Azpiazu's brother; both led bands in the vanguard of the movement to bring Cuban music to the North American public. The rhumba was the main musical form that these bands showcased, but this compilation also includes some congas. Both Antobal and ...
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In the new liner notes that he wrote for Heavy Skies in 2003, producer Hank O'Neal attributes the late Roman Kunsman's lack of commercial success to the fact that he "was never in the right place at the right time." O'Neal speaks the truth; although Kunsman was a talented alto saxophonist, flutist, and composer, he never received the sort of break that would have made him better known in the jazz world. Regrettably, Heavy Skies went unreleased for 24 years. O'Neal and George Avakian co-produced the album in 1979, and jazz critic Nat Hentoff was hired to write the liner notes. But for various reasons, Heavy Skies didn't come out until 2003 -- the year after Kunsman's death. It isn't hard to see why O'Neal and Avakian believed in the Russian-Jewish improviser; Kunsman was an expressive soloist whose jazz playing was informed by the Euro-classical, Jewish, and folk traditions of Eastern Europe. Kunsman, in fact, was quite capable of playing traditional Jewish music, but he sticks to a jazz-oriented approach on this intriguing CD. Heavy Skies has one foot in advanced post-bop and the other in fusion; Kunsman draws on the '60s post-bop of Eric Dolphy, John Coltrane, and Rahsaan Roland Kirk as well as the electric fusion of Weather Report and post-1968 Miles Davis. And having all those post-bop influences makes perfect sense when you consider that traditional ...
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Robert Glasper's debut as a leader displays his immense talent in full force as a legitimate original modern jazz voice. The majority of selections are with a trio, perfectly suiting his inclination to improvise, and hints at the hip-hop rhythms of his generation. The clear highlight is his bomb virtuosic interpretation of "Blue Skies." Ideas flow into infinity, he's insanely inspired, with bright melodies bursting like a supernova. He uses chord substitutions liberally and during an unaccompanied bridge, his emotions burn at length. He extrapolates on four notes to a millionth degree for the original "'Lil Tipsy," varying tempos, sometimes dizzying, in measures of four and six. "In Passing" is another original composition, ...
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