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F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
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a r t i s t VA
a l b u m Putumayo presents Afro-Latin Party
l a b e l Putumayo
g e n r e Ethnic
r i p d a t e Apr-16-2005
s t r e e t d a t e 000-00-0000
o r i g i n a l r e l 2005
s u p p l i e r freund
s o u r c e cd
b i t r a t e VBR
e n c o d e r lame 3.90.3
r e l e a s e n o t e s
Croatian salsa, Cuban ska, and Oregonian mambo!?!? These are three of
the unlikely gems listeners will find on Afro-Latin Party. What
started out as an effort to provide the perfect soundtrack to a Latin
dance party became a tribute to the global appreciation and
realization of the musical ricochet between Cuba and Africa.
Central to the Afro-Latin phenomenon is Africando, who provide three
songs on Afro-Latin Party, each with a different African lead singer.
In the 1960s and 1970s, the biggest names in African musicùincluding
such heavyweights as Youssou NÆDour and Salif Keitaùwere performing
Latin music, thanks to vinyl that came over from abroad. Cultural
exchange between Cuba and the socialist governments in Mali and other
parts of West Africa was a regular phenomenon. Performers like the
Fania All Stars and Celia Cruz toured Africa and became musical
icons.
In 1992, legendary Africando founders Ibrahim Sylla and Boncana Ma∩ga
traveled to New York to record with top local salsa musicians, many
who were taken by surprise by these Africans performing their
phonetically learned Spanish lyrics. Interestingly, many of the band
members on the three Africando tracks here, also play on other tracks
on Afro-Latin Party.
ôI once asked [Putumayo founder] Dan Storper, æIf you could sign any
band in the world ever, who would you sign?Æö says album producer and
VP of A&R Jacob Edgar. ôHe said Bob Marley and thought for a moment,
and then said Africando.ö The band, which uses a revolving roster of
African singers, ôtakes these two separate worlds, and adds something
to the style, in the way they sing and the way they arrange, that is
so magical. It is almost better than the sum of these two powerful
musical elements,ö adds Edgar.
It is not surprising to find Nuyorican JosΘ Mangual Jr. on the
collection. His song, ôRitmo con AchΘö celebrates the African roots
in Latino culture, referring to the West African Yoruba word, achΘùa
divine life force from the santerφa religion, which blends West
African spirituality and Catholicism. In 1968, Mangual joined forces
with Willie Col≤n and Hector Lavoe to record some of the most
influential salsa albums of all time. Nor is it a shock to hear Chico
┴lvarez on the set. HeÆs probably best known for his highly respected
New World Gallery program on WBAI radio in New York. Here he sings
ôC≤gele el Gusto,ö a song made popular by Celia Cruz in the early
1960s. It was also one of the earliest tracks to use the word salsa
to describe Afro-Cuban dance music. This track was first released in
1981 on SAR, the same label that has put out much Afro-Latin music.
Things get interesting when Ska CubanoÆs ôBabaluöùanother tribute to
santerφaùrings through the sound system. Ska Cubano exists as if Cuba
never closed its doors to the rest of the Caribbean in 1959. Before
that, styles like Trinidadian calypso maintained great popularity in
Cuba. With old school Cuban players and a young, stylish ska singer
from South London, this band is sure to make waves as Americans hear
more from them in the future.
Cubismoùwhose presence on this album confirms the global reach of
Afro-Latin musicùis not only CroatiaÆs best salsa band, they pride
themselves on being able to compete with the hottest groups out of
New York or Havana. Jacob Edgar came across the band in his
pre-producer days as a music journalist, when he wrote them up for
world music mag The Beat, a review that Cubismo later quoted in their
own liner notes.
Portland, OregonÆs Pepe and the Bottle Blondesùwho are led by a
former singer from Pink Martiniùdeck themselves out with an updated
1950s kitsch mambo delivery. ôCuΘntame Que Te Pas≤ö is a taste from
their self-released debut album Latenight Betty. Also from the west
coast is Congo-born Ricardo Lemvo, who is equally at home singing in
English, French, Spanish, Portuguese, Lingala, and Kikongo. The CD is
rounded out with a salsified Martinique classic, first recorded by
Rasta banjo player Kali, but performed here by Martinique-born,
Paris-based zouk-super-producer Ronald Rubinel.
Even with all the geographic and era crisscrossing on the album, at
its core Afro-Latin Party is still a dance record beckoning
party-goers to traverse the planet while they navigate the
dance-floor.
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
Africando featuring Amadou Balake - Betece 05:04
Jose Mangual Jr. - Ritmo Con Ache 04:16
Pepe & The Bottle Blondes - Cuentame Que Te Paso 03:05
Ska Cubano - Babalu 03:47
Africando featuring Medoune Diallo - Mandali 05:04
Cubismo - Morenita 05:23
Africando featuring Nicholas Menheim - Demal 05:00
Chico Alvarez - Cogele el Gusto 06:05
Ronald Rubinel's Salsa Kolor - La Grev' Bare Mwen 03:18
Ricardo Lemvo & Makina Loca - Samba Luku Samba 04:16
45:18
MB 82,7
g r o u p n e w s
From now on, we rip everything in VBR, using the alt-preset standard.
h e l p f u f f e n s
We are looking for quality sites in Europe and US, to be afilliated
on. Remember, we are not in it for the creds, but for the spreading
of quality music - we just want to get our releases out to the ppl
that wants/needs it. More pre sites fills this purpose.
g r e e t s
CMS CMG diss DPS HiT2000 IGR JUST kw miso NuHS om sb sfE smc soup BCC
s p e c i a l g r e e t s t o : SChiZO and FRAGMENT
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i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c
h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b
u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o
t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t
i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y
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a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e
⌐ FuFFENS 2 0 0 3