Poncho Sanchez - Cambios

Bitrate: MP3@320K/s
Time: 60:13
Size: 137.9 MB
Styles: Cuban jazz
Year: 1991
Art: Front

[4:53] 1. Yesterdays
[8:05] 2. El Sabroson
[5:38] 3. Cambios
[6:12] 4. My Foolish Heart
[4:22] 5. Hey Bud
[4:54] 6. Insight
[7:42] 7. In A Sentimental Mood
[5:41] 8. Pique
[6:11] 9. Sky Dive
[6:31] 10. Chanko

Poncho Sanchez congas, percussion, lead vocals; David Torres piano; Ramon Banda timbales, percussion; Tony Banda bass, background vocals; Jose "Papo" Rodriguez bongos, percussion, background vocals; Art Velasco trombone, background vocals; Gene Burkert tenor & alto saxophone, flute; Sal Cracchiolo trumpet, flugelhorn. With special guest: Freddie Hubbard trumpet, flugelhorn (tracks 1,4,9).

Poncho Sanchez's many recordings for Concord Picante, going back to 1982, are quite consistent. Boppish solos mix in with an emphasis on Latin percussion to create high-quality, accessible Latin jazz. This particular CD is another delightful and infectious effort highlighted by a group vocal on "El Sabroson," melodic improvisations and the three exciting percussionists. Trombonist Art Velasco (featured on "In a Sentimental Mood") is powerful on "Pique" and emerges as the top soloist of the program, along with pianist David Torres (who is the musical director). Trumpeter Freddie Hubbard makes three guest appearances, but these are disappointments -- he is average on "Yesterdays" and "Sky Dive" and cracks an excess of notes on "My Foolish Heart." Otherwise, this is a rewarding and typically infectious Poncho Sanchez set. ~Scott Yanow

Cambios

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Poncho Sanchez - Papa Gato

Styles: Latin Jazz
Year: 1986
File: MP3@320K/s
Time: 39:57
Size: 91,6 MB
Art: Front

(5:06)  1. Quindembo
(4:50)  2. Papa Gato
(4:43)  3. Serenidad
(4:16)  4. Jumpin' With Symphony Sid
(4:40)  5. Baila Baila
(4:59)  6. Pan Dulce
(5:30)  7. Tania
(4:23)  8. Senor Blues
(5:50)  9. Manteca

Percussionist Poncho Sanchez has long led one of the top Latin jazz groups, succeeding his former boss, the late Cal Tjader. On this enjoyable release, Sanchez features plenty of solos from Justo Almario (on alto, tenor, and flute), trumpeter Sal Cracchiolo, and trombonist Art Velasco, and the three percussionists have many opportunities to romp. The jazz content is pretty high with such songs as "Jumpin' With Symphony Sid," "Senor Blues," and "Manteca" alternating with group originals. A fine introduction to the accessible Latin jazz of Poncho Sanchez. ~ Scott Yanow http://www.allmusic.com/album/papa-gato-mw0000196943

Personnel: Poncho Sanchez (congas, bata); Justo Almario (flute, alto saxophone, tenor saxophone); Sal Cracchiolo (trumpet, flugelhorn); Arturo Velasco (trombone); Charlie Otwell (piano); David Romero (bongos); Ramon Banda (timbales).

Papa Gato

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Jazz On The Latin Side All Stars - The Last Bullfighter

Bitrate: MP3@320K/s
Time: 69:16
Size: 158.6 MB
Styles: Latin jazz
Year: 2005
Art: Front

[5:33] 1. Bebop
[6:42] 2. Caramba
[6:11] 3. The Last Bullfighter
[5:25] 4. Sun God
[6:38] 5. Cozumel
[7:37] 6. Justo's Train Ride
[5:08] 7. Mr. Drop
[4:11] 8. Ironman James
[6:54] 9. Chupacabras
[7:13] 10. Saoco
[1:18] 11. Rumba Intro
[6:21] 12. Yo Soy La Rumba

Alto Saxophone – Robert Incelli; Baritone Saxophone – Scott Martin; Bass – Rene Camacho; Congas – Poncho Sanchez; Congas, Bata – Francisco Aguabella; Congas, Bata, Percussion – Joey De Leon; Drums – Alex Acuna; Flute – Danilo Lozano; Lead Vocals – Freddie Crespo; Piano – Chris Barron; Tenor Saxophone, Clarinet, Flute – Justo Almario; Timbales – Jimmy Branly; Trombone – Andy Martin, Eric Jorgensen, Francisco Torres; Trumpet – Bijon Watson, Gilbert Castellanos, Luis Eric Gonzalez, Ramon Flores, Sal Cracchiolo; Vocals, Bongos, Percussion – Alfredo Ortiz.

After two records, both of which were produced by the same live concert, Jazz on the Latin Side All Stars set out with a new label, a new musical director, and a new idea for their third album. Some may even consider this a sophomore release because of the nature of the first and second. Packed with individual character and a new aesthetic, The Last Bullfighter marks a new direction from this genuinely all-star group. Having been recorded in the studio instead of in a club, with a live and enthusiastic audience, makes a big difference. The fidelity is far superior to the previous two discs, and because of the controlled context, the arrangements are much more complex and interesting. The masterful and intricate horn arranging was done by trombonist Francisco Torres, who went from just an arranging credit on the first two records to arranger/musical director/producer on Bullfighter. Unfortunately, much of the vivacious, joyful quality captured in the club -- thanks to both the live crowd and the loose, descarga-style feeling of the music -- is lost. There is a feeling that the All Stars went from a neighborhood jam session to Carnegie Hall. It's good to play Carnegie Hall, but it's not the same. The musicianship throughout the record is truly fantastic, and the careful, measured approach toward arranging may prove more palatable to some than the previous record's loose, free, and sometimes frazzled energy. Hopefully, Latin jazz audiences can look forward to more from Jazz on the Latin Side All Stars, as they are one of the finer groups of their kind, studio precision and club frenzy alike. ~Evan C. Gutierrez

The Last Bullfighter

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Caribbean Jazz Project - Paraíso

Styles: Latin Jazz
Year: 2001
File: MP3@320K/s
Time: 69:09
Size: 163,3 MB
Art: Front

(9:11)  1. One Step Ahead
(7:10)  2. Naima
(7:03)  3. Maluco
(9:34)  4. Caravan
(7:24)  5. El Tacaño
(6:52)  6. Five For Elvin
(5:23)  7. Second Opinion
(6:10)  8. Jamboree
(6:23)  9. Cá-Ni-Mo!
(3:56) 10. Obaricoso / Ritmos, Colores, Y Sentidos

This is possibly the most intricate, intellectual, and compositionally advanced Latin jazz that's been made to date. Certainly the tri-leaders of the group - vibraphonist Dave Samuels, flautist Dave Valentin, and guitarist Steve Khan - are in the top echelon of performers on their respective instruments, and all have played in a unusually broad range of musical settings throughout their performing careers, and they bring all these resources to this release. The three principals contribute well-thought-out, technically advanced jazz solos - lovers of all flavors of jazz will find a lot to marvel at and digest here. They also call in a couple technical whizes for guest spots: trombonist Conrad Herwig on "Caravan" and "Naima" and Ray Vega on flugelhorn on "Naima." 

But there's another factor at work here behind the prodigious talent of the front line. The team of percussionists keep the proceedings solidly in the groove with equally intricate, constantly percolating congas and timbales. In fact, a drum set is used only occasionally. The players are so perfectly coordinated and interconnected, not just with each other, but with the requirements of the melodies or the soloists. There is no repetition, no "push Play and let it go" here at all. The rhythmic complexity is astonishing. And when they step forward for the occasional percussion break, it's breathtaking. The percussion on the finale, a medley of Mongo Santamaria's "Obaricoso and Richie Flores' "Ritmos, Colores, y Sentidos" is simply stunning. They're also recorded very well. If there is a fault to be found with this CD, it might be that it's almost too perfect. It's so intellectual, so polished, so studied and so intricate that it borders on losing the raw energy that so much Latin music has to offer. But overall, this CD is tremendously rewarding. It raises the bar on several levels: the compositions (most by Samuels or Khan) and arrangements, the depth of the solos, the state-of-the-art percussion. This is heavy stuff. It merits multiple listenings in order to focus on different instruments each time around. ~ Dave Hughes https://www.allaboutjazz.com/paraiso-dave-samuels-concord-music-group-review-by-dave-hughes.php

Personnel: Dave Samuels - vibes and marimba; Dave Valentin - flute; Steve Khan - guitar and guiro; Ruben Rodriguez- bass; Richie Flores - congas, shakere; Luisito Quintero - timbal kit, percussion; Dafnis Prieto - timbal kit, drums; Poncho Sanchez - congas; Conrad Herwig - trombone; Ray Vega - flugelhorn.

Paraíso

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Ray Charles - Genius Loves Company (10th Anniversary Edition)

Styles: Vocal, R&B, Soul
Year: 2014
File: MP3@320K/s
Time: 61:01
Size: 141,0 MB
Art: Front

(3:59)  1. Ray Charles & Norah Jones - Here We Go Again
(3:47)  2. Ray Charles & James Taylor - Sweet Potato Pie
(3:56)  3. Ray Charles & Diana Krall - You Don't Know Me
(4:00)  4. Ray Charles & Elton John - Sorry Seems To Be The Hardest Word
(3:32)  5. Ray Charles & Natalie Cole - Fever
(4:35)  6. Ray Charles & Bonnie Raitt - Do I Ever Cross Your Mind?
(5:01)  7. Ray Charles & Willie Nelson - It Was A Very Good Year
(5:16)  8. Ray Charles & Michael McDonald - Hey Girl
(4:26)  9. Ray Charles & B.B. King - Sinner's Prayer
(4:33) 10. Ray Charles & Gladys Knight - Heaven Help Us All
(4:55) 11. Ray Charles & Johnny Mathis - Over The Rainbow
(3:44) 12. Ray Charles & Van Morrison - Crazy Love (Live)
(5:04) 13. Ray Charles & Poncho Sanchez - Mary Ann
(4:06) 14. Take 6 - Unchain My Heart

"The way these days just rip along, too fast to last, too vast, too strong..." ~ Jackson Browne

The final recording of Ray Charles, Genius Loves Company, enjoys its tenth anniversary. It is striking to consider that it has been over ten years since the death of Ray Charles, one of the most imposing figures in American music. The music made in the second half of the twentieth century has had a remarkable staying power owing partially to its revolutionary quality and the near frantic dedication of the Post-World War II Baby Boom generation. Charles' contributions to this music are without measure. It is useful to consider the role, or roles, played by Charles in American music. He deftly fused the blues with gospel music forming that offshoot of rhythm and blues: soul music. He then took this new eutectoid and mashed it up with jazz, creating an earthy humus. Once he had done this, he took on country and western music, infusing that mostly-white genre with the same soul music he previously created, resulting in the groundbreaking Modern Sounds in Country & Western Music (ABC, 1962). Charles' reach was long and deep. 

Genius Loves Company is Charles' valedictory. It was recorded between June 2003 and March 2004, with Charles passing away from liver disease on June 10, 2004. While Charles' health was certainly questionable during recording, there is no indication of diminished capacity. His singing is robust and vibrant, overt and assertive. Charles had to have his eye on the end but he was never going to let on. If anything can be said of Charles' singing voice, it is that he "became more himself" as he aged. If Johnny Cash's late voice and appearance were those of an Old Testament prophet, then Ray Charles in autumn was a dying Mozart composing his sunny Clarinet Concerto less in defiance than acceptance.

Duet recordings, pitting old masters with contemporary musicians, are nothing new. Tony Bennett has made a cottage industry of them (and not to any bad effect at that). Time was of the essence for Charles and what better a love letter to his mastery than for him to share the stage with so many like-minded musicians who admired him so. It was because of this programming, the chosen artists and some shrewd marketing that Genius Loves Company was Charles' first top ten recording in 40 years. One of the biggest criticisms of the Charles biopic Ray was that the story ended 40 years early. My argument would be, "what was there left for Ray Charles to do?" This is an album of artists' collaborative praise for a fellow artist. Programming for the original recording was superb as was duet partner and song choice. Norah Jones, a closet country queen masquerading as a jazz artist, is a perfect foil to Charles on "Here We Go Again." Broad country block chords and Jones' creamy voice properly accent Charles' sacred sandpaper tone. 

Charles is most simpatico with his near contemporaries. "Fever" with Natalie Cole and "Heaven Help Us All" with Gladys Knight are love fests. Charles digs deep with BB King (and Lucille) on "Sinner's Prayer" and Bonnie Raitt on "Do I Ever Cross Your Mind." Raitt's signature slide guitar, ever influenced by Lowell George, is captured beautifully sonically. Ray Charles possessed a stylistic depth and breadth with few peers. When considering who could step in and accept the mantle from Charles after his death, I posited two names, both gratefully represented here. Willie Nelson has had as varied a career as Charles, sampling and then mastering every genre attempted. The two duet on a song closely associated with another such kindred spirit, Frank Sinatra. "It was a Very Good Year" is an unexpected luxury of artistic irony and grace). Van Morrison shares and ultimately offers his "Crazy Love" as a gift to Charles, the two crossing traditions with all we have in common.  The present Deluxe Edition sports a piquant "Mary Ann" with percussionist Poncho Sanchez and an awesome "Unchain My Heart" with Take 6. An hour-long DVD detailing the making of Genius Loves Company is a bit of gravy for this Fall class. Happy Birthday, Genius Loves Company... it has been a very good year. ~ C.Michael Bailey  http://www.allaboutjazz.com/ray-charles-genius-love-company--10th-anniversary-deluxe-edition-by-c-michael-bailey.php
 

Personnel: Ray Charles: vocals, keyboards; Ray Charles-vocals, piano; Norah Jones, James Taylor, Diana Krall, Elton John, Natalie Cole, Bonnie Raitt, Willie Nelson, Michael McDonald, Gladys Knight, Johnny Mathis, Van Morrison-vocal; B.B. King, guitar, vocal; Billy Preston-organ; Poncho Sanchez: percussion; Take 6; 63-piece orchestra; others.

Genius Loves Company (10th Anniversary Edition)

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Various - The Colors Of Latin Jazz: From Samba To Bomba!

Bitrate: MP3@320K/s
Time: 62:40
Size: 143.5 MB
Styles: Latin rhythms, Samba, Afro-Cuban jazz
Year: 2000
Art: Front

[5:00] 1. Claudio Roditi - Manhattan Style
[3:10] 2. Tito Puente - Mambo King
[4:45] 3. Poncho Sanchez - Papa Gato
[5:12] 4. Mongo Santamaria - Soca Mi Nice
[4:49] 5. Manfredo Fest - Guararapes
[5:04] 6. Pete Escovedo - Like A Volcano
[5:16] 7. Cal Tjader - Linda Chicana
[4:15] 8. Hendrik Meurkens - Sambahia
[8:19] 9. Caribbean Jazz Project - Charanga Si, Si
[4:02] 10. Monty Alexander - Reggae-Later
[4:53] 11. Poncho Sanchez - La Familia
[3:50] 12. Tania Maria - Sangria
[3:59] 13. Ray Barretto - Bomba-Riquen

As the fourth release in the Colors of Latin Jazz series, From Samba to Bomba! will appeal to the Latin jazz connoisseur because of its exciting array of compositions that feature the diverse rhythms of a variety of Latin cultures. From the Brazilian samba to the Puerto Rican bomba -- and a number of styles in between, including the ChaChaCha, mambo, soca, charanga, maracatu, and more -- this CD includes the "Mambo King" himself, Tito Puento, playing his hit "Mambo King" from the award-winning Mambo of the Times album issued on Concord Picante. He is the full-on mambo master on this ballroom dance of Cuban origin that gained greater notoriety when it was featured in the movie Mambo Kings. Puento's work on this composition rivals much of his work of the '50s and early '60s in what critics have hailed as his most imaginative Latin musical period, a period that spawned "Dancemania" and "Tambo." The former featured "Mambo Gozon," a volcanic display of his greatness and mastery of the mambo but "Mambo King" encompasses all the greatness of those years and more! The Brazilian rush is realized "Manhattan Style" as Trio Da Paz kicks off this CD with special guests JoAnne Brackeen and Claudio Roditi, an energetic composition issued originally on Brasil From the Inside. Tania Maria lends her breezy scats on "Sangria." A very special Dutch-German favorite adds his innovative global mix to the Brazilian samba with brilliant jazz harmonica played by none other than the exciting Hendrik Muerkens on his "Sambahia." Originally issued on Sambahia by Concord Picante, Hendrik plays with exceptional finesse on an instrument not found often in jazz ensembles. It's a very refreshing blend of harmonic pleasures! Monty Alexander's Ivory & Steel presents the excitement of reggae on "Reggae-Later" from his popular Jamboree. His mastery of this popular music of Jamaican origin that combines his native styles with elements of rock and soul is performed to reggae perfection with Alexander's very hip piano bop stylings accompanied by steel pans and hand drums. This track is a great jam. Ray Barretto, the highly inventive conguero and percussionist, is amazing as he fuels the bomba "Bomba-Riquen." Poncho Sanchez is ablaze on "La Familia" and continues to work his magic on one of the best solos on the CD even though he is generous about sharing the solo limelight. The popular soca played richly by Mongo Santamaria on "Soca Me Nice" and the Afro-Cuban charanga is well imagined by Dave Samuels on "Charanga, Si, Si" with Dave Valentin. They impose no restrictions on your imagination with the sonority of their uncommon Latin flavors. Originally issued on New Horizons, the pair work The Colors of Latin Jazz into an exciting musical palette that is as beautifully vibrant as the rhythms they represent. This exciting CD is a Latin jazz collector's dream. ~Paula Edelstein

The Colors Of Latin Jazz: From Samba To Bomba!

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Various - Cha Cha Party

Bitrate: MP3@320K/s
Time: 57:59
Size: 132.7 MB
Styles: Afro-Cuban jazz, Latin rhythms
Year: 2001
Art: Front

[4:17] 1. Poncho Sanchez - Bodacious Q
[5:23] 2. Mongo Santamaria - Day Tripper
[5:48] 3. Tito Puente - Oye Como Va
[6:09] 4. Caribbean Jazz Project - Jamboree
[5:45] 5. Ray Barretto - Killer Joe
[3:42] 6. Poncho Sanchez - Watermelon Man
[6:14] 7. Cal Tjader - Soul Sauce (Guachi Guaro)
[5:38] 8. Ray Vega - Boperation
[4:25] 9. Ed Calle - Rum & Coke (Cuba Libre)
[5:06] 10. Pete Escovedo - 'ah' Bailar Cha-Cha-Cha
[5:28] 11. Poncho Sanchez, Ray Vega - Besame Mama

Cha Cha has the distinction of being one of the most dominant "pop" rhythms of the last 40 to 50 years and is characterized as having an upbeat, infectious rhythm, which creates a sense of playfulness and flirtation. The Cha Cha is said to be a combination of the Mambo and the American Swing.

Cha Cha is a Cuban innovation of the old Latin form (danson). Originally known as the Cha-Cha-Cha the Cha Cha became popular about 1954. Cha Cha is an off-shoot of the Latin dance 'Mambo'. In the slow Mambo tempo, there is a distinct sound in the music that people began dancing to, calling the step the "Triple" Mambo. Eventually it evolved into a separate dance, today known as the Cha Cha.

Cha Cha Party

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Poncho Sanchez - Latin Spirits

Bitrate: 320K/s
Time: 62:10
Size: 142.3 MB
Styles: Afro-Cuban jazz
Year: 2001
Art: Front

[6:14] 1. Sambia
[4:29] 2. Next Exit
[4:53] 3. Latin Spirits
[6:16] 4. Quieres Volver
[4:41] 5. Going Back To New Orleans
[4:25] 6. On Time
[7:06] 7. Ju Ju
[6:34] 8. Batiri Cha Cha
[6:27] 9. The Things We Did Last Summer
[4:27] 10. Tito In The City
[6:34] 11. Early In The Mornin'

Much marketing ado will no doubt be made over the wonderful dream-come-true nature of the legendary conguero's pairing with jazz piano great Chick Corea, in a setting which brings the latter back to his roots playing with Mongo Santamaria in the '60s. And the two Corea-touched tracks are definite highlights. He wrote the jumpy, heavy-chorded jam title track, which finds him doing call and response with feisty horns as Sanchez pitter patters fancifully in the background; the piano improvisations between these interactions are characteristically mind-boggling, as Corea switches off from bebop to hardcore Latin ivory sweeps. He also tackles the frisky Wayne Shorter piece "Juju," dipping and swooping over and under the horns as, once again, Sanchez works up a frenzy all around him. But Sanchez' vision extends way beyond just the Corea songs, as he creates an exciting travelogue through various styles that go beyond just Latin jazz. "Sambia" is sassy Havana salsa all the way, but the bluesy "Next Exit" -- featuring David Torres on piano -- is what might happen if Ramsey Lewis found himself at a Latin jazz party. The fun part of being a percussionist is surrounding yourself with brilliant soloists, and Sanchez picks a true winner in saxman Scott Martin, whose rich baritone drives "Next Exit." "Going Back to New Orleans" is all party blues with shouting voices and a Dr. John-like vocal by Dale Spalding. "Quieres Volver" is a dreamy romance set firmly in San Juan, with strings and Sanchez' own raspy vocals. Tucked deep into the disc are two other can't-miss spots on the itinerary: the festive Manhattan-styled jaunt "Tito in the City" (an obvious tribute to the mastery of Tito Puente) and the funky, struttin' "Early in the Morning," which recalls Louis Jordan's Calypso jive circa the mid-'40s (also featuring Spalding on lead vocals). Just when you think this disc can't get any better, Sanchez delights in making every next note and tour stop a surprise. ~Jonathan Widran

Poncho Sanchez congas, percussion, lead vocals on tracks 1, 4, 8; David Torres piano, Hammond B-3 Organ; Bruce Malament piano (tracks 5 & 11); Tony Banda bass, background vocals; Tom Gargano bass (tracks 5 & 11); Ramon Banda timbales; Tiki Pasillas timbales (tracks 5 & 11); Jose "Papo" Rodriguez bongos, percussion, background vocals; James Gadson drums (tracks 5 & 11); Sal Cracchiolo trumpet, flugelhorn; Scott Martin tenor, soprano, alto saxophones; Lon Price tenor, soprano, alto saxophones (tracks 5 & 11); Francisco Torres trombone, background vocals; Randy Waldman strings (track 4).

Latin Spirits

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Poncho Sanchez & Terence Blanchard - Chano Y Dizzy

Bitrate: 320K/s
Time: 54:49
Size: 125.5 MB
Styles: Latin jazz, Afro-Cuban rhythms
Year: 2011
Art: Front

[6:45] 1. Chano Pozo Medley: Tin Tin Deo Manteca Guachi Guaro
[5:29] 2. Con Alma
[2:56] 3. Wandering Wonder
[4:52] 4. Siboney
[4:06] 5. Dizzy's Dashiki
[5:17] 6. Groovin' High
[6:22] 7. Nocturna
[4:45] 8. Harris' Walk
[5:27] 9. Promenade
[4:03] 10. Jack's Dilemma
[4:43] 11. Arinanara

Latin jazz percussionist Poncho Sanchez teams up with trumpeter Terence Blanchard to pay tribute to the innovative Afro-Cuban jazz recordings of Dizzy Gillespie and Chano Pozo on 2011's Chano y Dizzy! Introduced to each other in 1947, legendary bebop trumpeter Gillespie and equally famous Cuban congo player Pozo created what was to be called Afro-Cuban jazz and helped spur the development of Latin jazz. Consequently, their names are synonymous with such compositions as "Tin Tin Deo," "Con Alma," and "Manteca" -- all of which are covered here. Long an avowed acolyte of Gillespie and Pozo, Sanchez is the perfect musician to delve into this music, as is Blanchard, who clearly has an affinity for Latin-infused jazz. While Sanchez and Blanchard tackle such Afro-Cuban-associated gems as Gillespie's "Groovin' High" and even Pozo's punchy and bright 1930s composition "Ariñañara," they also explore some more contemporary pieces well suited to the vibe. Among these are the steamy Ivan Lins ballad "Nocturna" (which Blanchard also covered on his 2003 release Bounce) as well as Ernesto Lecuona's languid ballroom number "Siboney." In keeping with the Latin bop aesthetic, there are also some fine small big-band originals from Sanchez's band, including trombonist Francisco Torres' driving "Promenade" and trumpeter Ron Blake's funky boogaloo "Harris' Walk." An inspired and heartfelt tribute, Chano y Dizzy! is a must-hear for Latin jazz fans as well as longtime Sanchez and Blanchard listeners. ~ Matt Collar
Recording information: Henson Recording Studios, Los Angeles, CA. Photographer: Ashley Stagg.

Poncho Sanchez (vocals, congas, percussion); Terence Blanchard (trumpet); Francisco Torres (vocals, trombone); Tony Banda (vocals); Rob Hardt (alto saxophone, tenor saxophone); Ron Francis Blake (trumpet); David Torres (piano); Joey De Leon, Jr. (drums, bongos, percussion); George Ortiz (timbales).

Chano Y Dizzy

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Poncho Sanchez - Keeper Of The Flame (2-Disc Set)

Released in 2001, Keeper of the Flame isn't a compilation, an anthology, or a best-of. Instead, this package finds Concord reissuing Poncho Sanchez' first two Picante dates, 1982's Sonando and 1983's Bien Sabroso, as a two-CD set. Those albums weren't Sanchez' first ones ever -- before signing with Concord, the conguero recorded two LPs for Discovery in 1979 and 1980, respectively. Neither Sonando nor Bien Sabroso ever went out of print, and those who already have those albums on CD have no reason to acquire Keeper of the Flame. However, this double-CD is well worth obtaining if you don't have those albums on CD.

Back in 1982-1983, Sonando and Bien Sabroso set the tone for Sanchez' Concord output -- like his subsequent albums, both are dominated by instrumental Latin jazz but contains a few salsa vocal numbers as well. The noteworthy salsa tracks on Keeper of the Flame include the spirited "Este Son" (featuring vocalist Jose Perico Hernandez) and the infectious cha cha "Sonando," which is based on Ray Barretto's "Cocinando." As solid and rewarding as this material is, Sanchez would only get better as the 1980s progressed. But Keeper of the Flame reminds listeners that his association with Concord got off to a promising start with Sonando and Bien Sabroso. ~ Alex Henderson

Recorded at United/Western Studios, Hollywood, California in August 1982. Includes liner notes by Leonard Feather & Virginia Escelante.

Poncho Sanchez (congas, percussion, background vocals); Dick Mitchell (flute, saxophone, tenor saxophone); Gary Foster (flute, saxophone); Steve Huffsteter (trumpet, flugelhorn); Mark Levine (trombone, valve trombone); Charlie Otwell (piano); Ramon Banda (drums, timbales); Luis Conte (bongos, bata, percussion, background vocals); David Romero (bongos); Tony Banda (background vocals).

Album: Keeper Of The Flame (Disc 1)
Bitrate: 320K/s
Time: 42:12
Size: 97.7 MB
Label: Concord
Styles: Latin Jazz
Year: 2001
Art: Front

[4:07] 1. A Night In Tunisia
[5:33] 2. Sonando
[4:35] 3. The Summer Knows
[5:29] 4. Con Tres Tambores Bata Un Quinto Y Un Tumbador
[5:52] 5. Este Son
[5:14] 6. Almendra
[3:13] 7. Sueno
[3:55] 8. Cal's Pals
[4:10] 9. Peruchin

Keeper Of The Flame (Disc 1)

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Album: Keeper Of The Flame (Disc 2)
Bitrate: 320K/s
Time: 40:08
Size: 93.0 MB
Label: Concord
Styles: Latin Jazz
Year: 2001
Art: Front

[3:55] 1. Ahora
[4:09] 2. Bien Sabroso (Very Tasty)
[4:44] 3. Nancy
[5:44] 4. Keeper Of The Flame
[3:39] 5. Brisa
[4:13] 6. Sin Timbal
[4:13] 7. Una Mas
[3:22] 8. Half And Half
[6:04] 9. Ican

Keeper Of The Flame (Disc 2)

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