Sabu Martinez - Palo Congo mp3 album

Sabu Martinez - Palo Congo mp3 album
Latin Jazz,World Fusion
  • Performer:
    Sabu Martinez
  • Title:
    Palo Congo
  • Genre:
  • Style:
    Latin Jazz,World Fusion
  • Date of release:
  • Duration:
  • Recording Location:
    Manhattan Towers, New York, NY
Sabu Martinez - Palo Congo mp3 album

  • Size FLAC version
    1708 mb
  • Size MP3 version
    1130 mb
  • Size WMA version
    1208 mb
  • Rating:
  • Votes:
  • Formats:

Track List

Title/Composer Performer Time
1 El Cumbanchero Rafael Hernández Sabu Martinez 5:38
2 Billumba-Palo Congo Sabu Martinez Sabu Martinez 6:06
3 Choferito-Plena Sabu Martinez 4:02
4 Asabache Sabu Martinez Sabu Martinez 4:22
5 Simba Sabu Martinez Sabu Martinez 5:55
6 Rhapsodia del Maravilloso Sabu Martinez Sabu Martinez 4:39
7 Aggo Elegua Sabu Martinez Sabu Martinez 4:28
8 Tribilin Cantore Carlos Godinez / Sabu Martinez Sabu Martinez 5:19


Sarah Baro - Bass, Vocals
Willie Capo - Vocals
Michael Cuscuna - Producer
Evaristo Diaz - Bass
Carlos Godinez - Composer
Rafael Hernández - Composer
Alfred Lion - Producer
Sabu Martinez - Bongos, Composer, Congas, Primary Artist, Vocals
Reid Miles - Cover Design
Arsenio Rodríguez - Congas, Guitar, Vocals
Ray Romero - Congas
Patrick Roques - Design
Israel Moises "Quique" Travieso - Congas
Raul Caesar Travieso - Congas, Vocals
Rudy Van Gelder - Engineer
Francis Wolff - Photography

Louis 'Sabu' Martinez (1930-1979) was one of the most prolific Congueros in Afro-Cuban music. He also recorded with a number of jazz musicians throughout his career, including Dizzy Gillespie and Art Blakely. PALO CONGO was his debut record, which served to introduce his brand of World Fusion to a larger international audience. An entire album featuring the dense poly-rhythms of Congo music, chant singing and occasional guitar accompaniment is a challenging paradigm shift for those who are most familiar and comfortable with the rhythm & structures of Western music. However, this adjustment isn't all too difficult once you're willing to embrace the almost primal trance-like aspects of this music. Anyone who's ever partaken in a group percussion session will probably have a finer appreciation for the improvisational ability and musical telepathy this sort of music requires. Sabu's influence can be sensed in hearing any mid-70s album from Santana and maybe even the 80s dance pop of Miami Sound Machine. Favorite Songs: "El Cubanchero" for starters, but will require more listens to absorb fully.
There's probably thousands of Afro-Cuban musical records that are totally unheard by Western ears, even jazz fans, and for that reason it's difficult to form a reasonable critique in comparing this debut record by Louis "Sabu" Martinez to his generic peers. By performing with Dizzy Gillespie, Congo drum instrumentalist Chano Pozo opened the door for other musicians of similar skills, and Martinez for one benefitted. Upon Pozo's untimely death in 1948, Sabu began a career contributing to performers including Art Blakey, J.J. Johnson, Horace Silver and Louis Bellson. "Palo Congo" contains a host of tribal rhythms, derived from Africa and overlaid with Latino vocals, yelps, calls and responses. Sabu's skills are that of a dance creator rather than a structured songwriter, making it perfectly obvious that to enjoy the record one has to embrace the primal beats. Mostly it's just chant like vocal accompaniment that overlays the rumba and son styles, occasionally illustrated by modern salsa hero Arsenio Rodriguez. His tres guitar is a more than welcome addition, adding improvisational skills for greater dimension. The most famous song from "Palo Congo" is a cover of the Rafael Hernández penned "El Cumbanchero". It's faithful to the Puerto Rican origins of the composer, and carries the most infectious melody. The call and response songs are just incredibly repetitive, bare and frankly far too long. Shrieking over conga rhythms may appeal to some, and there's a likelihood that they would have a greater effect in a live environment, but on record it just fails to grab one's attention. The songs that work proficiently are those that contain Rodriguez' bright guitar interplay, including "Choferito Plena", " Rhapsodia Del Maravilloso" and "Tribilin Cantore". The solo "Asabache", is basically a technically skillful, mind numbing equivalent of those horrible days in the 70s, when live rock recordings would regularly degenerate into a unwelcome drum solo, with fans cheering in relief at the eventual conclusion.Live, "Palo Congo" could probably go down relatively well over a few liquid liveners, but delivered through your home or car stereo, there's a definitive lack of pulling power. However much you turn the volume up and lights down, it's a flat record with a super cool cover.
Full of Caribbean dance fury, Palo Congo will make even the most rigid and self-conscious wallflower want to throw a dance party. For an untrained ear such as myself, whose listening experience with this sort of music is limited, many of the songs tend to run together, but at the same time the record passes by quickly and enjoyably. Despite its frenetic energy, the relentless Afro-Cuban rhythms and call-and-response chanting of the record may eventually wear down the patience of listeners who prefer melody over percussion.
Usually, I commute with a soundtrack of some ambient or modern classical pieces, but this morning, on an empty (and surprisingly cold) tube ride to work, I’m jamming to some rumba. And wait, are those my hips moving? The Latin and African infused rhythms by the conguero (yep, that’s a new word for you) Sabu Martinez bring in a whiff of sun bathed beaches, island cafes and poorly lit night clubs. And, hang on, is that Cuban? Released on Blue Note? In the late 50s? Didn’t the US enter into a “conflict” with the Cuban government right about that time? A quick Wikipedia search reveals that this recording was made only a few years before Fidel Castro overthrew the government, and that Martinez is actually a New York City native, highly influential in the American Cubop movement (cubop! Another awesome genre!). Palo Congo sounds pretty much as you would expect from these words (and the cover). This Afro-Cuban jazz album is mostly percussive, with the most memorable of the tracks being “El Cumbanchero” which has that infectious Latin melody, that makes me want to take this train all the way to Cuba.