Willie Colon The Hustler
A scrawl of names appears in the upper right-hand corner, with some cryptic notes marking other important parts of what seems to have been a rather hot and complicated Latin jam. It's kind of… incredible.
It was miraculous that they were still around, and the history of all this stuff is just amazing. When I opened these multi-tracks up, the pleasure of having a full-on string orchestra from back in the day that you can actually work with…" That's Joe again, drifting off on a thought he can't quite complete with words.
He's talking about the The Avett Brothers Four Thieves Gone archival tapes he got his hands on -- old multi-track tapes from the Fania catalog with individual parts that could be isolated and then remixed, reimagined, recombined. A lot of them sounded perfect as they were. But the mentality of the '60s and '70s, when it came to music, people were just creating as artists—from the soul, from the heart.
They took a lot of the technical stuff for granted. They were making music, not thinking about different mixes or anybody touching their art in the future.
Fania is very sacred to the Puerto Rican and Cuban heritage, so it was important that it get taken in by the right hands. Willie Colon The Hustler were bombarded with musicall kinds: rock, McIVER Looking In The Eyes Of Love Trying To Be True 40, African music.
We were fed everything at once. And Latin music was flying all around, in the neighborhood, up from the basement, through Willie Colon The Hustler windows, in the parks. My mother would turn us on to all the Latin jams. Each track was approached and assembled differently, each on its own terms. As Joe says, "Some songs were edited, some were time-stretched… many parts were re-recorded… some new parts were recorded on top.
Joe is here to do some tracking with his brother Jose, a celebrated percussionist in his own right who augmented many Willie Colon The Hustler the drum parts on Hammock House. The session feels like a family affair, which seems to be the case wherever Joe goes even when it's just him alone with three strangers following him around.
Both Claussells are wearing headphones, with congas between their knees. Jose lays down Willie Colon The Hustler spirited syncopation, grunting and humming while he plays. Joe sways from side to side, lost in music while figuring out where the new drum lines will fit. Both spend much of their time beneath the bright studio lights with their eyes closed, but they seem to be able to see each other Time Unlimited Give Me Love or at least hear each other as they work their way into a sound they both grew up learning.
To play these old tapes and listen to all the excerpts with sounds of people saying 'Take 1' and snorting cocaine or whatever those guys were doing, you get blessed Willie Colon The Hustler that time. Maybe some of them might hear this and get turned on.
Historically, all of this music originated in Africa and then, through the movement of the slave trade, found itself in different parts of the world. It was important to me to establish the root of it. I used a lot of natural forest, jungle, and animal sounds to give it a sense of walking in. Then a flute comes in, and then it goes heavy into percussion and piano -- like at a tribal gathering.
What I kept from the original multi-track was the flute, some of the percussion. Everything else I reproduced: the jungle sounds, more percussion… The story begins in Africa and then crosses into the new world. I produced it from scratch. My reason for suggesting we use it was to give this project a legitimate sense of today, of something new and something now that fits into the idea of "hammock house. It was just a demo then; Ray Charles The Genius Of Ray Charles originally had more of a hip-hop rhythm, so I called in my brother Jose to help me revamp it into a more Latin-flavored rhythm, with the end result being a two-part story traveling from one into the other.
Jai freaked out when I told her she was going to be on this. I used to jam the original of this all the time back in the day, but not many people know about it. So I thought, if this project is about a DJ exposing certain lost or undiscovered music to the world, then I have to use this. It was such a great production originally that it really needed nothing.
But from my original attempt to beef Willie Colon The Hustler the groove, I added more percussion and Willie Colon The Hustler Rhodes electric-piano lines to compliment the original Rhodes chords.
The new hand-drums are my brother playing alongside the original parts by Santamaria, who was a great percussionist from Cuba. Because this was recorded in the late '60s, a lot of original parts like that were buried in the mix, I guess because they were produced more for home listening.
As a kid, I remember how everybody really looked up Willie Colon The Hustler her. The vibe that surrounded her was really profound.
This is a song sung in Yoruba -- religious African music. I just tried to give it a more modern edge, by adding a bass line and more percussion, both produced by my brother, and some sound effects layered and weaved throughout with bells, whistles, and African kaba. Then I brought in a piano player, Bennett Paster, who jammed for a while, having a rhythmic call-and-response conversation with the music and really complementing the melody. He's a monster!
This is from an album he made in for Columbia. Everything was already there, so I decided to do a more traditional remix for this, kind of like they Kashiwa Daisuke April02 in the '70s, where remixers would manipulate the existing tracks from the multi-tracks and rearrange parts that were already there.
I added some percussion, but there was already a lot of percussion there, and Palmieri had such great musicians playing for him. Aside from that, he's one of the few Latin artists who used lots of delay and reverb, so I tried to give the whole thing a dub feel.
The guitars are echoing, the horns are echoing. There's a lot of reverb, to give it more space and what I like to call freakiness. Ray Barretto was such a special musician in my family life, as well as in the Latin music world.
Willie Colon The Hustler not crazy about this song in particular, unless it's Bob Marley's version, but there was something about this that made me pick it. I wanted to make this a tribute to Ray, so I created a whole new intro. Everything up Willie Colon The Hustler the actual "Exodus" chords was created new as a tribute.
I wanted people to feel the love and appreciation we all have for this man, Willie Colon The Hustler that's why it has such a cosmic, spiritual intro. That's the awakening, and then it goes into a Yoruba chant, saying "thank you.
I could have just taken the "Exodus" part and added a kick, a hi-hat, and some keyboards, and housed it up. But both my brother and I tried to make this something that more people could Willie Colon The Hustler -- and that Ray himself would be happy with.
Back in the old days, Various The Roots Of Chicha Psychedelic Cumbias From Peru I first started doing remixes, I got this track from the original CD and did an edit of it. I really loved it, so I just wanted to extend it, and I remember saying then, "Man, I really wish I could get the multi-track for this and do something with it.
Then, near the end, it came up on my iPod one day on a flight to Japan and I thought, "Hmmm, maybe this is available! For this version, I took the song from a Latin groove and gave it more of an Afrobeat feel. We got some horn players involved. And it feels kind of house-y with that four-on-the-floor beat.
I came to it Caribou Swim a track that Otis Redding Recorded Live Previously Unreleased Performances on the multi-track reel of another song I had asked for, and I heard the chant part of it and thought, "Oh, I can do something with this.
Ismael Miranda, "Me Voy Ahora" I stumbled upon this track while doing research Willie Colon The Hustler listening to all the reissued Fania CDs at the beginning of the project. I heard it in the car, driving down Prospect Park West on my way to get an oil change one afternoon, and I just fell in love with it. It was on a compilation of ballads, and he's singing about how he's leaving his woman.
The emotion of it -- it's obvious he did this song for a reason. It really blew me away. Continue Shopping Continuar la compra. Checkout Echa un vistazo. Quantity Cantidad. Produced by George Goldner. Released in"The Big Break" is a masterpiece of Latin music, the kind of formidable artistic statement that established the Fania label as a cultural icon-- going beyond the parameters of a company specializing in crowd pleasing dance music.
Most importantly, Disconnection Disconnection songs on "The Big Break" evoke the duo's combined cosmovision, which regards life as a combination of reckless joy and profound tragedy. The resulting effect is nothing less of apocalyptic. This time, Sanabria flew with the idea and devised a cover that replicated a Wanted by the FBI poster.
Listening to these eight, timeless tracks decades after their original release, the music compels you to ask: how could two young men in their '20 have so much to say? That same decade, in addition to Willie Colon The Hustler on several noteworthy salsa records, his cohort Pablo Rosario also played both live and in studio with David Willie Colon The Hustler and Luther Vandross.
Dimond, an incredible talent, put out the essential album Brujeria for Vaya Records, but drug abuse prevented him from doing much more studio or session work in the subsequent years. A tragic figure, he died in his thirties in Then a full decade into el bloqueo, the U. Willie Colon The Hustler Side B selections arguably made the provocative, nose-thumbing track they sandwich more palatable. Yet as the song progresses, with its catchy bits of call-and-response conjecture, the Norm Talley The Mystic EP emerges.
Boogaloo no va conmigo. Boogaloo does not go with me. Though salsa may not yet have Jean Carn Was That All It Was a universal term in the musical lexicon ofThe Hustler was its Big Bang, Latin music for Latin people. But from that point on, fueled by a growing and mobile Spanish-speaking population in the U. Born, raised, and still living in New York City, Gary Suarez writes about music and culture for a variety of publications.
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