| | Ray Mantilla Man-Ti-Ya CD Ray Mantilla Discography of CDs
Ray Mantilla's Space Station is his regular group and works mostly in Europe. Although tied to the bebop tradition, Mantilla's soloists are actually much more modern, closer to post-bop than to hard bop. Because the septet works together often, they have developed their own fresh material which consists mostly of originals by Mantilla and pianist Eddy Martinez. The only standard on the date is a ballad version of "The Man I Love." The horn solos are a natural part of the arrangements and vice versa with plenty of fine spots for baritonist Enrique Fernandez, Willie Williams on tenor and soprano, and trumpeter Guido Gonzalez. In addition there are some percussion solos for the leader along the way. And while the music is modern and often complex, the rhythms generated by Mantilla and drummer Bill Elder keep the proceedings fairly accessible and danceable. Mantilla's New Space Station is a band worth exploring. ~ Scott Yanow
Live Recording
Recording information: SONY Studios, Studio B, New York, NY (04/12/2004).
Photographer: David Sokol.
Arrangers: Willie Williams ; Enrique Fernandez; Edy Martinez .
Personnel: Ray Mantilla (percussion); Ray Mantilla; Eddy Martinez, Edy Martinez (piano); Cucho Martinez (bass guitar); Bill Elder , Bill Elder (drums); Enrique Fernandez (flute, baritone saxophone); Willie Williams (soprano saxophone, tenor saxophone); Guido Gonzalez (trumpet).
Liner Note Authors: Ray Mantilla; Alfredo Alvarado.
Ray Mantilla Man-Ti-Ya Songs Man-Ti-Ya Review
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In the late '70s, the Grateful Dead strayed from their musical roots (blues, folk, country) in the interest of "progress." Opinions vary on the degree of success achieved by their fusion of jazz and art-rock with the trademark Dead sound during this period, but from a purely compositional perspective, it's plain that the band's songwriting was at its most expansive and sophisticated on albums like TERRAPIN STATION. Sure, the appearance of Tom Scott and an orchestra on a Grateful Dead record may give pause to the faithful, but the slinky, odd-metered glory of Bob Weir's "Estimated Prophet" and the melodic charms of the multi-part title suite make TERRAPIN STATION fully worth the trip. For those who prefer to rock in a less artful manner, there's Phil Lesh's percolating "Passenger" and even an ostensibly incongruous cover of "Dancin' in the Streets."
It is generally agreed that the Grateful Dead's late-'70s studio releases left even the most enthusiastic Deadheads longing for something more. The theory is that the band's momentum is best experienced during the ebb and flow of a live performance rather than the somewhat clinical tedium of a recording studio. Terrapin Station marks several milestones for the Grateful Dead: it was the band's first studio album in two years, as well as their return to a major label -- in this case Arista Records. More significant however is the use of an outside (read: non-Grateful Dead) producer. This was only the second time in which the Dead did not seize complete ...
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