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Critic's Review
Richard S. Ginell, All Music Guide
This was Ray Barretto's last album, recorded exactly a month before he suffered a heart attack that contributed to his death in Feb. 2006. Sadly, it would also be one of pianist Hilton Ruiz's final sessions, for he passed away in Jun. 2006 under mysterious circumstances. As such, it is poignant that both of these open-minded Latin jazz musicians would be looking backwards at this stage, for this is an album of standards recorded in an old-fashioned, straight-ahead style. This CD reverts back to a formula that Blue Note, Riverside and Prestige sometimes pursued in the middle of the 20th century; set a straight-forward, hard bop rhythm and accent it lightly with congas. As Barretto knew so well from long experience in the studios back then, the result is a straight-ahead collection with an extra zing - and at 76, Barretto had plenty of perfectly-accented zing left. He gets capable soloing out of his front line - David Sanchez on tenor and Papo Vazquez on trombone - together on "Suddenly It's Spring" and "Baby, Baby All The Time" (with Vazquez growling on a plunger mute in the latter) and separately on the other tunes. Ruiz offers a rhapsodic, nearly symphonic solo rendition of Ellington/Strayhorn's "Something To Live For," and Ray's son Chris appears on alto in "Trav'lin Light" and "Brandy's Blues." Chris also plays a crucial role in the album's last track, "Strange Music," that
rarely-covered, syrup-coated Wright & Forrest reworking of Grieg. Ray
entered the hospital on the day he was scheduled to overdub his congas on the track, so Chris went in after his father's death and taped the conga part quite competently himself. But Ray Barretto isn't entirely absent, for you can hear his scat vocals outlining the conga rhythm he wanted. Thank goodness they kept this in; it adds a jaunty parting touch from the conga master.
rarely-covered, syrup-coated Wright & Forrest reworking of Grieg. Ray
entered the hospital on the day he was scheduled to overdub his congas on the track, so Chris went in after his father's death and taped the conga part quite competently himself. But Ray Barretto isn't entirely absent, for you can hear his scat vocals outlining the conga rhythm he wanted. Thank goodness they kept this in; it adds a jaunty parting touch from the conga master.
