produced by fan records fania records -famous record company in new york Similar in brazil desi arnaz cuban who lost his money and went o miami and introduced conga, part of conga craze, became ricky ricardo on I love Lucy Miguelito Valdes not that famous in the US, sang Lava Lu, half white half mexican indian mexico film industry Hollywood makes Mexico city the center for Latin American movies ranchera films popular after gardel's death rumbera films movies about a fallen woman? boogaloo blend of latin music, usually mambo, with blues and african rhythm palladium dance hall in the bronx where mambo was played and danced, de-segregate crowd tito puente born in NY, had a rhumba band, jazz musician with classical training salsa product of new york, umbrella term for whatever combines son and mambo south bronx PRs settled here our latin thing -movie that made tango and rhumba a commercialized market for the nation not just barrio It's jazz by the numbers, played with metronomic regularity, simmering but never boiling over, smoldering but never burning.Racial inclusion and cultural exclusion in cuba -Trying to create a society in which ppl of all racial background have equal rights but then you suppress some Walton's playing is sure and thoughtful, and Martinez and Mantilla provide ample support (the former is especially memorable on "Triste" in which his bass seems to sing a song all its own). The trio takes a careful route, and the music consequently remains faithful to the canonical texts. With a pair of songs like this, which have been interpreted ad nauseum, one would expect a different angle, some new approach that would reveal new possibilities.
The two standards - "Besame Mucho" and "Brazil" – show Walton actually leading his trio through surprisingly standard runs.
#Latin tinge license#
It’s almost as if being the composer gave him the license to bleed the borders in a way that he wouldn't otherwise have done with the other songs. The Walton originals - "Latin America", "The Vision", and "Latino Blue" – all have a more confident feeling, and there's a little more inventiveness in the playing and the arrangements, almost as if the pianist felt more confident taking the trio through songs he wrote. 1400, 'a coloring, dye,' from Latin tinctura 'act of dyeing or tingeing,' from tinctus 'dye,' past participle of tingere 'to tinge, dye, soak in color,' originally merely 'to moisten, wet, soak,' from PIE root teng- 'to soak' (source also of Old High German dunkon 'to soak,' Greek tengein 'to moisten. Though Martinez and Mantilla don’t take any solos per se, they do shine in particular on a couple of tunes when given the space. The leader has the only true solos on the disc, fluid excursions that show a formidable dexterity, but not a whole lot of adventure. Each piece has basically the same set-up: intro, theme, solo by Walton, repeat of intro, restatement of theme, a second Walton solo, then out. Latin Tinge ’s lineup includes timeless standards and three Walton originals. The songs, however, follow the same structure and scheme, and it's this lack of variation that disappoints. Walton, an accomplished and masterful pianist, is joined by bassist Cucho Martinez and percussionist Ray Mantilla, both experienced and talented veterans. Cedar Walton's latest release, Latin Tinge, is a middle-of-the-road assemblage of tunes in a trio setting.
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