Afro Roots

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Total Tracks: 21   Total Length: 78:00

eMusic Review

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Ned Sublette

eMusic Contributor

04.22.11
A great starting point for one of the most underappreciated figures in Cuban music.
2001 | Label: Fantasy / Prestige

This is no big band, but it's a symphony of percussion. Mongo Santamaría is one of the most underappreciated figures in Cuban music. He popularized congas in the world of R&B, played alongside Chano Pozo in Cuba, played with Prado, Puente and Cal Tjader when each one was hitting, pioneered Latin-soul jazz, made “Watermelon Man” a hit, wrote the Coltrane standard “Afro Blue,” along with a whole lot of other things. This album is a combination of Yambú and Mongo, two LPs recorded for Fantasy in '58 and '59. These sides are mostly percussion — and what percussion! You wouldn't go wrong to download the entire Mongo catalogue — it's particularly rich — but for those just starting out, this is the perfect introduction. The recording, close-miked in a good-sounding room with the percussion defining the mix, is remarkably modern-sounding. The music is compelling.

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This would normally be the place to start

djFLWB

Unfortunately this recording is only available at the 128 bit rate. You will be better served to buy the cd.

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They Say All Media Guide

A CD reissue of a mid-’70s repackaging of Mongo Santamaria’s first two Fantasy albums, 1958′s Yambu and 1959′s Mongo, Afro-Roots is superb Latin jazz. Although these were Santamaria’s first albums as a leader, the conga player had already worked with PĂ©rez Prado, Tito Puente, and Cal Tjader, giving him absolutely impeccable Latin jazz credentials to go along with his obviously amazing chops. Considering that these albums were recorded for a general jazz audience and the tight, concise arrangements don’t allow Santamaria room to stretch out as he did in concert (most of the songs are in the two- to three-minute range), Afro-Roots is still an impressively genuine album; although the ’50s were the age of Martin Denny-style exotica kitsch, most of these tracks are extremely traditional Cuban music. Some, like “Bata” and “Timbales y Bongo,” are simply hypnotic solos on the titular instruments, while others are traditional Afro-Cuban folk songs and chants. The delightful original “Afro Blue,” which quickly became a Latin jazz standard, almost sounds out of place in this setting. – Stewart Mason

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