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Irakere: Babalu Ayé

 A l b u m   D e t a i l s


Label: Bembé Records
Released: 1999.02.16
Time:
 50:24
Category: Latin Jazz
Producer(s): See Artists ...
Rating: ******.... (6/10)
Media type: CD
Web address: www.valdeschucho.com
Appears with:
Purchase date: 2001.11.26
Price in €: 10,99



 S o n g s ,   T r a c k s


[1] Solo Te Echaron un Medio (J-M.Melendez) - 5:44
[2] Por Romper el Coco (G.Batle) - 6:04
[3] Feliz Cumpleaños (Ch.Valdés) - 6:19
[4] Esta Noche (B.Márquez) - 6:17
[5] Tres Dias (Ch.Valdés) - 7:03
[6] La Xomparsa (E.Lecuona) - 4:57
[7] Babalu Ayé (L.Ros/F.Valdés) - 14:00

 A r t i s t s ,   P e r s o n n e l


CHUCHO VALDÉS - Piano
JORGE REYES - Bass
LAZARO ROS - Director, Vocals
ENRIQUE PLA - Drums
IRVING ACAO - Tenor Saxophone
ROMÁN FILIÚ - Alto Saxophone
ADEL GONZÁLEZ - Conga
CARLOS EMILIO MORALES - Guitar
JULIO PADRON - Trumpet

JIMMY DURCHSLAG - Liner Notes, Executive Producer
DAVID PEÑALOSA - Liner Notes, Executive Producer
JERRY BELC - Engineer, Mastering, Mixing
TIM GRAY - Mastering
FERNANDO PEÑALOSA - Translation
FRANCISCO VALDES - Art Direction
DAVID GARTEN - Photography
NERO ALEJANDRO CAPOTE - Translation
LEONARDO ACOSTA - Liner Notes

 C o m m e n t s ,   N o t e s


1999 CD Bembe 2020

In 1973 the Cuban band Irakere burst on the scene with a revolutionary sound quite unlike anything heard before. It soon gained popularity with US audiences, winning Grammys in 1980 and 1981. Founded and led by pianist Jesus "Chucho" Valdés, (son of the legendary pianist "Bebo" Valdés), Irakere seamlessly blends jazz and traditional Cuban music to an unprecedented degree. Recalling the roots of Afro-Cuban jazz, Irakere's wind section burns with Cubanized be-bop lines. Sometimes the phrases almost seem beyond what is humanly possible. It's no surprise that the group has always had remarkable players such as Paquito d' Rivera, Arturo Sandoval, José Luis Cortés (founder of N.G. La Banda) and many others.

Irakere also experiments with incorporating resonances from Cuba's African roots through the use of traditional rhythms and folkloric drums such as the batá. Using synthesizers, batá drums, rumba, jazz, funk and salsa, Irakere is capable of blending together many genres in a steamy, delectable stew. Irakere has come to represent the cutting edge of contemporary Cuban music and the wondrous possibilities of mixing musical styles.

While Irakere has gained an international reputation as an outstanding jazz ensemble, they've always maintained a repertoire of dance music. In Cuba, dance and music are inseparable and Cuban dancers are extremely demanding. Irakere has satisfied them for over two decades now. The pyrotechnic horn lines heard from contemporary Cuban salsa groups owe their approach to the celebrated innovations of Irakere. Now it is only fitting that the original architects, those who laid the foundation for today's groups, record their own rendition of the contemporary sound of Cuba. With the release of Babalú Ayé, Irakere presents its take on the current state of Salsa Cubana.

Babalú Ayé smokes like only an Irakere record can. Chucho, the 57-year-old genius, keeps all the elements balanced, as one would expect of a seasoned master. Drummer Enrique Plá, who's been with the group since its inception, lays down an impeccable foundation. Add to this new blood like vocalist and timbalero José Miguel and the session strikes an exquisite balance between youthful fire and accomplished wisdom.

As a special feature, this CD offers the 14 minute title track Babalú Ayé, featuring living legend Lázaro Ros, accompanied by the sacred batá drums and members of Irakere. This magnificent collaboration of jazz virtuoso Chucho with Lázaro, akpón (lead singer) and true master of Yoruba ritual and religious music, reveals Irakere's dedication to the ancient African soul that lives deep within Cuban music. Chucho's integration of the most deeply rooted elements of Cuban spirituality into his daily music is a task as complex as it is transcendental.

www.bembe.com



Irakere came on the scene in the late '70s with a style of Latin jazz that incorporated soaring jazz brass with quite traditional Cuban rhythms, and punctuated by electric guitars and a funky bass. In the years since, Irakere music has been characterized by a hot jazz sound with a very danceable beat.

Babalu Ayé closes a circle of sorts for Irakere. Most of the songs on this album are salsa Cubana, some sounding very much like the original New York salsa of years past. But of course, it's salsa with the Irakere flair: electric guitars with the distortion cranked up come in and out; the horn section plays tightly, then loosens considerably in the solos, putting little relaxed ornaments around each phrase, then suddenly tightens up again; the whole band chants phrases in unison. Then after plenty of straight-ahead salsa Cubana, the CD is finished off with a mighty rumba. Lazaro Ros, accompanied by bata drums, a coro singing responses, and the occasional Irakere instrumental, sings the story of healer Babalu Ayé, taking us back to the African traditions that still live on in Cuba, perhaps more strongly than in any other African-based community in the Americas. Irakere has always stayed close to their Afro-Cuban roots. Now on Babalu Ayé they also pay homage to another, much more urban source of the Irakere sound. This CD provides a very satisfying picture of the contrasts that make Afro-Latin music so rich.

Bruce Ishikawa - All Music Guide, © 1992 - 2001 AEC One Stop Group, Inc.



In the 25 years since its foundation, the Cuban fusion group Irakere has become a musical franchise. The names have changed--some members, including reedman and cofounder Paquito D'Rivera, trumpeter Arturo Sandoval, and reedman Carlos Averhoff, have since defected; others, like reedman Jose Luis Cortes and flutist Orlando "Maraca" Valle have gone on to lead their own groups--but Irakere remains. Throughout, the group, anchored by cofounder pianist-arranger-composer Jesus "Chucho" Valdés, has not only balanced roots with technology, tradition with innovation, but also, more pragmatically, the demands of dance floor with jazz experimentation. Babalu Aye's program includes dance music, a rock fusion update of Ernesto Lecuona's "La Comparsa," and the suitelike, religious Afro-Cuban title track. The dance songs--featuring serviceable Jose Miguel on vocals, with jazz-flavored arrangements and virtuoso soloing over tight grooves--have flair and substance. The centerpiece of this release however, is the 14-minute "Babalu Aye." It features religious akpon (lead singer) Lazaro Ros and the music here is as sober and stark (mostly voice and drums) as the other tracks are exuberant. It makes this CD a rare, compact package of music for the feet and soul.

Fernando Gonzalez - Amazon.com



It's entirely possible for dancers to respond to the tracks on the album without concern for the music's jazz qualities. It's equally possible for jazz audiences to ignore the words and enjoy the brisk horn passages and solid solo work.

Los Angeles Times



Is it me? Or is Latin music going through an unprecedented fermentation? Cuban son leads to New York Salsa. Cuban son leads to Latin jazz. Cuban son, Latin jazz and New York Salsa combine in Havana to produce Songo or Cuban Salsa. Round and round it goes, with walls coming down all over the place.

Irakere came on the scene in the late '70s with a style of Latin jazz that incorporated soaring jazz brass with quite traditional Cuban rhythms, and punctuated by electric guitars and a funky bass. In the years since, Irakere music has been characterized by a hot jazz sound with a very danceable beat.

Now comes "Babalu Ayé", Irakere's latest CD in which they close a circle of sorts. Most of the songs on this album are Salsa Cubana, some sounding very much like the original NY salsa of years past. But of course, salsa with the Irakere flair: electric guitars with the distortion cranked up coming in and out; the horn section playing tightly, then loosening considerably in the solos, putting little relaxed ornaments around each phrase, then suddenly tightening up again; the whole band chanting phrases in unison. Then after plenty of straight-ahead Salsa Cubana, the CD is finished off with a mighty rumba. Lazaro Ros, accompanied by bata drums, a coro singing responses and the occasional Irakere instrumental, sings the story of healer Babalu Ayé, taking us back to the African traditions that still live on in Cuba, perhaps more strongly than in any other African-based community in the Americas.

Irakere has always stayed close to their Afro-Cuban roots. Now on "Babalu Ayé" they also pay homage to another, much more urban source of the Irakere sound. This CD provides a very satisfying picture of the contrasts that make Afro-Latin music so rich.

Copyright © 1999 Picadillo Incorporated
 

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