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Review of ĦA Million!, by DJ Salseando |
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The clave is fundamental to son, mambo couldn't exist without the tumba
(conga), and the trombone is crucial to the aggressive urban sound of
New York's salsa dura. There've been many great exponents of the 'bone,
Barry Rogers and Willie Colon spring to mind, but the man seen as the
ambassador of salsa dura today is trombonist Jimmy Bosch.
Jimmy began performing at the age of 13 and studied classical music at
Rutgers University before joining Manny Orquendo's Conjunto Libre in
the 80's. He has played with Cachao, Tito Puente, Eddie Palmieri, Ray
Barretto, Celia Cruz, Arturo O'Farril, Rueben Blades, Fania Allstars,
etc and reckons to be on over 70 recordings.
But there's more to Jimmy than this. Composer, lyricist, singer,
bandleader, and producer, he has successful solo career than now spans
four albums. His salsa dura style harkens back to the golden-age of the
New York sound both musically and lyrically. Personal experiences, from
comic to tragic, appear in his songs giving them tangible emotion and
meaning. Like salsa-pioneers like Willie Colon and Rueben Blades he
isn't reticent to make social comment.
His debut 1998 album. "Soneando Trombon", gave us "Muy Joven Para Mi",
"Descargarana", and a brilliant cover of the guaguanco "La Soledad".
But most memorable was the hauntingly beautiful "Otra Oportunidad".
This track is a djs' and teachers' favourite, indeed NY's Nelson Flores
used it for one of his DVDs.
Despite the title of "Salsa Dura", Jimmy ranged across the spectrum of
Latin music for his 2nd album, with yambu, Mozambique, plena, and Latin
jazz, represented. Stand-out tracks included "La Cacharra", "La
Noticia" and "Un Poquito Mas."
In 2004 he released "El Avion De La Salsa" on his own record label,
JRGR Records. Highlights included the title track, "Mi Cuerpo Tiembla",
and of course the track that has given him his unofficial diplomatic
title, "El Embajador".
Now in 2009 Jimmy's one again put his money where his month is, or
perhaps that should read where his trombone is, by self-financing his
latest album. Jimmy clearly believes sincerely in what he's doing, its
Jimmy's money, not some big bland mega-corporation's money that is on
the line here. He has big 'cojones'!
Depending upon your outlook as to whether a glass is half-full or
half-empty, "A Millon!" can be described as both a salsa/mambo album
with other Latin rhythms, or a Latin music album that contains
salsa/mambo tracks. Some salsa-only people may raise an eyebrow and
consider this musical glass half-empty, but this combining of Latin
music sub-genres has always happened. But as the old saying goes,
"never mind the quantity, feel the quality..."
1 Bailalo Si Te Atreves
Another dj pointed-out to me that the album has 3 tracks for dancers,
but I have to insist on another, "Bailalo Si Te Atreves". Jimmy classes
this as "Rumba / Salsa Dura", but this instrumental track will be loved
by hardcore mambo dancers.
The percussion section introduces the track followed by the smooth
sounding brass section lulling you into believing you know where this
song is going. Then a minute-in Jimmy brings the timbales (George
Delgado) and piano (Edwin Sanchez, the song's arranger)
front-and-centre and you're torn in two, wanting to dance to both the
timbale's rhythm and the infectious piano montuno. The song now takes
on a jazzy descarga feel with solos for trombones, trumpets, saxes and
tumba all being thrown in while all the time in the background the
timbale and piano relentlessly drive you onwards.
Casual and new dancers may struggle with the pace, its not warp-speed
but Jimmy is pushing the law or relativity here. Perhaps the clue is
the title, which translates as "Dance If You Dare".
Ideal DJ material for socials and congresses. I love it.
2 Maracayero
After the aural assault of "Bailalo Si Te Atreves", you might think
"Maracayero" is a little tame by comparison. Yet its a sweet swinging
salsa dura track, more complex than you might think from first
listening. In fact there's perhaps so much here that Jimmy could have
written 2 songs with the same material, a thought confirmed when you
suddenly realize its actually over 7 minutes long. Tellingly it never
feels that long, it always seems to be doing something new and fresh,
until it comes neatly full-circle back to the opening mona right at the
end. Sweet.
3 Foreclosure (ejecucion de una hipoteca) - dj mix
While there's many a bad salsa song been written, there seems to be
something intrinsic about chacha that makes it difficult to write a bad
one. And this is no bad one.
Close you eyes and you can imagine this chacha being played live in
some small, smokey basement New York jazz club late at night, when only
the aficionados remain. This is conjured-up by the counting-in of the
tenor sax, the introduction to the players of the sax, piano, tumba,
etc as they begin their solos. The steady almost lullaby like rhythm
feels as though it could go on till daybreak and you wouldn't complain
if it did.
4 Mujeres Mandan
Female soneros, sadly not many will spring to mind. Celia Cruz of
course, La India, and La Lupe... any others? Well Jimmy gives us
Johanna Castaneda from Columbia on "Mujeres Mandan", a song about women
in salsa today. She sings effortlessly with the authority of a veteran
on this swinging heavily sax-infused salsa track which reminds me at
times of Mambo Mania's "Te Vere Llorar" from their underrated "Serial
Dancer" album. Arguably this is the perfect partnership on this track,
women are much under-represented in salsa and the sax is not a
traditional salsa instrument. Yet together they combine to give a fine
salsa dura song for dancers.
The only thing that doesn't work for me is Johanna's 'ad-libbed' spoken
exhortations, which never do anything for me regardless of who the
singer is; I'd rather have heard her lovely voice singing more.
I should add Jimmy provides a good centerpiece with a piano montuno that on its own would make me want to dance like crazy.
5 Te Adoro Mami
Jimmy loves his mami, as we all should our own, and this bolero is
dedicated to his. Jimmy sounds like a Latino Louis Armstrong though its
due to his slow delivery and depth of voice rather than an outright
impersonation (as on Willie Pastrana's "Little Bitty Pretty One").
A simple but beautiful composition sung with genuine feeling.
6 Cuantas Veces
Pacey, with solos for instruments; sax, trombone, piano, and singer,
with a highly effective coro, this track seems another targeted for the
dance audience.
Maybe its my imagination, or due to the youthfulness of his voice, but
when 24 year old Willito Otero name-checks Jimmy at the start of his
trombone solo, it reminds me of the great LaVoe calling-out to Willie
Colon on "La Murga". Only hinted in the first-part of the song, it
develops into a showcase for Willito's soaring and extraordinary voice,
his relaxed improvisations and delivery. I definitely look forward to
hearing more from him.
7 Quedate
It was Eddie Palmieri who in the 60's introduced a new Cuban rhythm,
the "Mozambique", to the wider Latin world. Since then its been
associated with fast-tracks, or in this case very fast-tracks. While
you could theoretically shine for the 6 and a-half minutes of this
track, you'd probably end-up needing new feet to be transplanted onto
the smoldering stumps of your legs. My fellow DJ's, don't even think
about trying to play it slowed-down.
"Quedate" means "remain" and I suggest you remain still when listening
to the track, though it might be difficult even with my health warning,
given the upbeat carnival mood of the song.
8 Alma Compartido
The liner notes describe this track as a bass and trombone duet.
Separately Jimmy also includes a dedication to the legendary
bass-player Cachao, Israel Lopez, who died in March 2008. Listening to
this track I'm reminded of the Cachao concert I attended in late 2007.
Cachao would initiate impromptu jamming by simply looking at a
particular member of his orchestra, perhaps give a nod, and then the
two of them would begin improvising, sometimes as call and response,
sometimes together.
The songs begins with the bass seemingly wandering aimlessly in its
lonely improvisation, before defining a simple but effective tune. Cue
the trombone, which begins by playing its own improvisations. Subtlety
the instruments then reverse roles, the trombone picking-up the tune
which allows the bass to begin improvising. Then it reverses back, the
bass picks the tune up again and the trombone is released again to
improvise around the tune. Finally the two instruments come together to
play the tune, before the trombone retires, allowing the bass to finish
the song as it started, on its own.
No you can't dance to it, but not all good songs are meant to be danced-to.
9 Foreclosure (ejecucion de una hipoteca) - full version
Yes track 9 is an extended, or rather the "full version" of track 3,
the "dj mix". This time introductions and solos are given by the
tenor-sax, flute, bass, piano, and tumba. Remember my comment that this
song could "go on to daybreak"? Well they try, with the full-version
clocking-up 13 minutes.
So there you have it. If you want a tally, there's 4 tracks for
salsa/mambo dancers, a chacha, a rumba, a mozambique, and a jazz track.
But thats to look at this album with the same approach as the
bean-counters who got the world into its current mess.
Of the salsa/mambo tracks, all 4 are good, which is the most I expect
to find on most albums that contain 9 or 10 salsa tracks. The other
tracks, well they're just nice to listen to, and there's nothing wrong
with that in my book. As a dancer, I believe my musicality is improved
by a greater understanding of the whole of Latin music in general.
As a dj, you can expect to hear more Bosch in my sets.
dj salseando
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