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When I kanto my beautiful guaguancó

After tangentially mention it in several blog entries, it was time that I decided to talk about one of the disks of · Johnny Pacheco · . Not only because the Dominican musician and producer has been a fundamental character of the expression salsosa-and Latin music in general the past 55 years, could have created several musical fashions. Although he has never been my cup of tea, I must acknowledge with enthusiasm that has produced several albums essential, its approach as a musician is quite significant, though their practices as a producer and musical director of Fania Records have not been well- and has a virtue that not everyone has, no matter what occurs, no matter what you give your orchestra, the result always, always, have much flavor.

And that, for the purposes of the sauce, is an essential detail.

Pacheco with his big hair, mid 70's

order to decide which of his productions started, almost better to go to the great wheel of chance, since it launched his first job in 1961, Pacheco and his charanga (which was the biggest selling Latin album in the U.S. to date), Johnny will be released over 50 albums. Not all the same quality, of course, but some are necessary in any collection salsa. Which I will speak today, Master (not to be confused with the compilation Code of Music) is one of them, not only for the quality and grasp of the topics chosen but because also was the album that introduced the new vocalist, Mr. Héctor Casanova, who managed a very explosive duo purely Cuban-style through its soneo, which fit well with the intentions of Johnny.

Another important aspect was the addition of trumpeter Louis perico Ortiz in the arrangements, and the amazing hands of Pappo Luca on piano, which gave a return to the sound Pacheco anchored in the typical wave together since 1964 (two trumpets
equal hierarchy, a three to differentiate from the Sonora Matancera, which did not use, and the rest like: bass, congas, cowbell, maracas, piano, guiro and pans). Updating became clear, thanks in part to intelligent solos that twist in the orchestration.

Although paradoxes of life, this new tumbao which had both had spoken Pacheco suddenly become their tumbao stale, thing that bothered at the time to César Miguel Rondón. I do not know, maybe exaggerated a little note: after all, Johnny has been a person with a great sense of timing and very dangerous to appear at the right time, besides being a marketing wizard and image. Because it sold as new something that was old, and then say that now it is true that is old and therefore is new again ... and people enterito swallow it is like for you to applaud those of Ogilvy & Mather.

Anyway. The issue starts with Girls, a hit song Billo which perfectly reflects Frómeta sonear style of Casanova, with a timbre similar to that of who supplanted, Count Pete Rodriguez, but with one delivery to the completely different montuno ended it being worth a lot of respect within the environment (well, I always seemed interesting stage behavior ) .
The next song, Guaguanco Pa'l knows, is one of those defining issues of which fall within the top 20 of the sauce with ease. There Luca delivers exquisite piano solo, very jazz, modern granted this montuno of old, stale after Casanova loosen one of the most memorable lyrics -For fun and complicated construction-of the decade:

The past is past time
can never go back to yesterday
Today will be yesterday, tomorrow is today ... Listen carefully!
What can you expect anyone to know.
why I live happy when I sing my beautiful guaguancó.

Simani, goat and The Pheasant are three examples of such obsessive matancerización salsosa expression, two slow tunes with long montunos, the first with a trumpet solo estupendísimo parrot, and the latter with an equally great one of three of Charles Gonzalez, and a festive font guaracha and double meanings. There is also a bolero sung earlier by Benny Moré, today as yesterday, and two guanguancós of good taste and twisted lyrics: I want a woman and Lend gloves. And the fun vu parle français I do not , which tells the time that Pacheco was on tour in Paris and, as he admitted on one occasion these black just imagine trying to speak French ... Grammy Nominated

-eventually won Eddie Palmieri The Sun of Latin Music - Master ranks as one of Johnny's work more refined and recommended. They say that 1975 was the best year of the Latin in New York. And listening to albums like this, as that's true.