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Now here’s a collector’s item worth collecting: A treasure trove of classic salsa/son-montuno/descarga jams as typified by the much respected New York based Nosotros. Originally from 1981, this session is released here digitally for the first time ever. It’s one of only two records produced by the band (the other, originally on Vaya and produced by Louie Ramirez in 1979, is currently out-of-print). Alvarez’ clear, robust, voice is just right to navigate his working club band of musicians which include the likes of bassist Russell “Skee” Farnsworth, trumpeter Gordon Tomasin, conguero Gene Golden among others. Heavy, heavy swing is everywhere on Los Barbaros Del Ritmo. Listen to the spectacular “Agua Pa’ Ti,” the plutonium-packed descarga arranged by Dick “Taco” Mesa — it will leave you gasping for air. And the slow boil created by Paul López arrangement of the classic Arsenio Rodriguez composition “Ñaña Acere” is coming darn close to perfection. And while the core of the tracks here are sizzling interpretations of classics, Alvarez’s own composition “Piñiero” (in honor of the great Cuban composer Ignacio Piñeiro) is a highlight here. Mr. Alvarez also chose to include two live tracks from the Village Gate, NYC, 1985 and, as a bonus, two killer 1978 session tracks with Alvarez’ short-lived band Mayombe that featured Oscar Hernández on piano, Eddie “Guagua” Rivera on bass, trumpeters “Chocolate” Armenteros and Junior Vega, Jose Rodriguez on trombone, José Mangual Jr., Mauricio Smith on coro and others.
The about-time release of Los Barbaros Del Ritmo has generated much excitement around this office and it’s been getting a *lot* of heavy play around here. This one, folks, is a salsa collector’s Must-Have and is…
Very Highly Recommended. - elW Download it here. – elW
A LITTLE BIT OF HISTORY ON THIS ALBUM
by Chico Alvarez
THE INITIATION
I have often wondered what my life would have been like without music, and the very thought of that prospect sends shivers down my spine. Music, as far back as I can remember is what has propelled me, my reason for being. The first song I ever sang in public was the theme from the Walt Disney film, “Davy Crockett, King of the Wild Frontier”. I was eight years old and I remember that I sang the entire song acapella (even though I didn’t speak a word of English). I also remember that it was on a train, (don’t ask me where, it was just a train) and that all the passengers gathered around and applauded me. To this day I’ll never forget the thrill of that moment. Of course, I didn’t know back then that music would ultimately become my life’s ambition, nor that fate would put me in contact with such an array of talented individuals, all of whom just happened to share my passion for this art form. By the time I was ten, I had mastered the language of Shakespeare and through the miracle of television I was able to go from singing children’s songs to popular show tunes and eventually to rock ‘n’ roll and jazz, emulating anyone and everyone that I liked. Finally, and as if by magic, I rediscovered the popular music of Cuba and that’s when my search came to an abrupt end. I literally dove straight into my roots, head first.
Between the years 1964 and 1969 I went on what can only be described as a buying binge, collecting every so-called “latin” record (good or bad) that I could get my hands on. After a while I became a walking encyclopedia, or so I thought. It was a learning experience, in more ways than one, and to this day I have never regretted it. To me there is just no other music like it on this planet. The happiness (and pleasure) which I (still) derive from listening to my record collection can only be matched by the intense feeling of satisfaction that I get whenever I perform this music. I have only to close my eyes, and I find myself alongside Arsenio, Beny Moré and Tito Rodriguez. It’s spiritual, that’s what it is.
THE RECORD
During the last thirty years or so I have been fortunate enough to have shared the bandstand with the greats, the near-greats and not-so-greats, but my biggest thrill has been collaborating with those musicians that are featured on this recording. I will forever be grateful to them. They are the ones who made this album possible, and that comes from the heart. Muchas gracias go out to Ethan Fanschell, for his magnificent piano playing, as well as for his impeccable flute work; to Russel “Skee” Farnsworth, for that ever-present tumbao which kept the groove in its place, as well as for his beautiful arrangements; to Dany Del Valle for his great percussion work and his mellow voice, and for his friendship; to Ramon Muñiz for his keen ear and for his writing ability; to Michael Spangler, Charles Affelt, Justo De La Torre and Gordon Tomasin for supplying that great brass section (a very special thank you must also go to Gordon for those wonderful trumpet solos and to Justo for his mellow solos and beautiful “segunda voz”); to Joe Roldan for his great sax work and for his ass-kicking arrangement of “Taíno”; to Pedrito Ramos, Dick “Taco” Meza, Paul Lopez, Paquito Pastor and Rene Hernandez for their time-tested arrangements and to Rodolfo Manzano for transcribing my unorthodox “head arrangements” as well as for teaching me about harmony; to sister Olufemí for lending us her vocal support; to the legendary “Chino” Trias for his tasty tres work on “Oigan Mi Rumba”; and last but not least to my brother Gene Golden, not only for his magnificent drumming but also for sticking by me through almost twenty five years of back-breaking one night stands. These were the folks that made up the group “Nosotros” in 1981, and they account for the bulk of the recordings contained in this album.
THE BAND
I first “pinched-hit” for Nosotros’ vocalist Ramon Muñiz in 1978-79, so that by the time I became a regular with the group, I was thoroughly familiar with their book. Within the so-called “cuchifrito circuit” these guys were the kings of swing, the hottest “alternative” band in the city. They specialized in a joyously hip brand of dance music, one that not only attracted dancers but which also satisfied small jazz club goers throughout the five boroughs of New York. Their home base however, was the Bronx, a place that was crucial to their immediate and overwhelming success. They literally thrived in this atmosphere, because it was here that they felt most comfortable and effective. Ironically, it was also here that they were inevitably pigeon-holed and (through no fault of their own) cast into oblivion. In spite of the fact that there is almost no written data available on this group, there is still a wealth of information which can easily come to light. I for one have absolutely no difficulty in providing a basic (and adequate) description of this memorable band. For me, writing these liner notes today becomes a relatively easy task, made simple by the fact that I was very much a part of their story, and I lived the events as they happened. So you see, any further research is totally unnecessary at this point. Suffice to say that just prior to my encounter with these bad boys, Nosotros had already released an CD on the Vaya label, and I can attest with considerable accuracy that it was the lack of support from this label that became a key factor in marginalizing them. All of this may (now) seem quite trivial to some, but in retrospect it had far-reaching implications, as it obscured and stifled their enormous contribution to the music that was then being produced in New York. For one thing, Nosotros was the first latin-jazz group to feature vocals in Spanish. They played every imaginable rhythm there was, authentically, with as much passion as any folkloric band in or out of Cuba. Theirs was a hard, “in-your-face” swing (just two percussionists) which ultimately caused every hard-core dancer to yell for more. Their unique and hip charts put them on the cutting edge of a fusionist style that yet had no name, an idea that was ahead of its time, and indeed, an idea that has still yet to catch on. Obviously, the lack of (proper) promotion kept these bulwarks tied down to the small club scene, while the more commercial bands continued to get all the good paying gigs (if indeed there was such a thing). In the end, economics dealt them a heavy blow, and the unethical practices of commercial radio stations, via their infamous payolero station managers and program directors (some of which are still enjoying the fruits of their unscrupulous deeds), did them a gross injustice, one that I’m sure was repeated time and time again, to so many other non-aligned groups in this great city. No one realized it then, but it was the beginning of the end of the local club scene and the near-extinction of the bad-ass house band.
EPILOGUE
The small disc which you are now contemplating on buying contains one of those rare and long lost recordings, a piece of musical history that has been preserved for posterity and etched in the memory us all, a testament to an obscure group of unsung heroes, led by their collective instinct for making merry music and their passion for making it the right way. I refer to them as the true barbarians of rhythm. It is a musical document that cuts right to the chase, the one that slipped through the cracks, never making it into your collection. This album, along with their first album on Vaya, it is all that is left of this aggregation. I sincerely hope that you enjoy listening to it as much as I did in making it.
After my initial recording with Nosotros in ‘81, the original band was not able to maintain itself as a working unit, for many reasons, and by 1985 had undergone some major transformations. First it was billed as “Dany Del Valle, Chico Alvarez & Nosotros”, and later as “Chico Alvarez & Nosotros”. We literally struggled on for about two more years. And that was that.
As a bonus, I have also included two songs that were recorded live at the Village Gate in December of 1987, featuring the second reincarnation of the group Nosotros. On “La Clave, Maraca y Güiro” and “Agua Pa’ Ti” listeners like yourself can savor the talents of such luminaries as Hiram Colon on alto sax; Pete Miranda on baritone sax; Sid Judah and Tony Barrero on trumpets, Joe Gonzales on timbales; “Chick” Johnson on bongó and claves; Leo Fleming on bass; Leonel “Papo” Ortega on piano, vibes and strings; Dany “El Indio” Martinez on flute; Jesse Rivera on güiro and vocals and of course Gene Golden on conga drums. No, this was not a studio band put together for the sole purpose of making a record, these were the actual guys who comprised the Nosotros working band. By 1990 the insipid sounds of “salsa romantica” had wholly saturated the airwaves and the New York club scene began its serious decline, so much that the music which Nosotros was offering was no longer in great demand, save for a few small clubs in the Bronx. The band was officially terminated in 1991, only to re-surface in 1995, as “Chico Alvarez & Afro-Caribe”.
As a special treat, I have also included two songs from a rare 1978 session, my very first recording as a leader. “Mayombe” was a band that (barely) survived between 1976 and 1978, recording a total of eight tunes in all, of which only three have survived in any audible condition. With the help of Luis Güell, a most capable mastering engineer, I have been able to salvage these classics from that “golden age” and I see no problem with including them in this collection. “Esa Brujeria” and “Rumba En El Solar” were both arranged and conducted by pianist Paquito Pastor, and feature Oscar Hernandez on piano; Eddie “Guagua” Rivera on bass; “Chocolate” Armenteros, “Junior” Vega and Harold Woods on trumpets, Jose Rodriguez on trombone, Xavier “Quinn” Lynch on baritone sax; Octavio Ponce on flute; Hector Torres, Tony Cruz, Hiram Diaz and Roger Squitero on percussion and the voices of Jose Mangual Jr., Mauricio Smith and myself on coro. Musically speaking, these tunes reflect a slightly different “attitude” than the other selections, as they were made during a time in in my life when I was not fully aware of the true roots of this music. Unconsciously, I made many mistakes, but the overall swing of the music is undeniably masterful. I have learned much since those days, and it was a wonderful time that I will always treasure, because I made so many long lasting friends. Percussionists Gene Golden, Hector Torres and Tony Cruz remained with me long after both Mayombe and Nosotros were stifled by the industry and continued to play an important role in my subsequent working bands. Pianist “Papo” Ortega, once a permanent fixture in most of my groups, has recently launched his own career as a bandleader. I am very proud to have participated in his debut album. My most sincere gratitude goes out to all of them and although they were not the main ingredient in this recording, their years of loyalty have not be forgotten. This is their story too.
- Chico Alvarez Peraza
THE ORIGINAL LP LINER NOTES
It is my contention that the past is directly linked to the present through certain material objects. The most potent of these objects are sculptures, paintings, audio recordings and the printed word. The first two of course, are visual. They tell us the way we looked and suggest the way we may have lived. The last two are equally important in that they convey to us the musical tastes of our progenitors. To put a musical album together composed mainly of material that has been recorded before is always a risk, because such material belongs to the past, and when it comes to the past, we are all conservatives at heart.
For the most part, the selections contained in this album challenge the standard versions and goes them one better. There are those who would argue that they are basically the same as the originals, and normally I would tend to agree with them, if not for one thing – CHICO ALVAREZ. A master of the Cuban bolero, Chico is also a veteran sonero, an alumnus of many of New York¹s best Latin bands. For this recording he has managed to take a few selected classics, (all of which clearly belong to another epoch) and through the sheer force of his own personality, he has made them work for him – fit his style, so to speak. Effortlessly and without much fanfare, he brings old classics such as “Ñaña Acére” into the here and now of it. Whether dramatically belting out an old Beny Moré classic such as “Que Me Hace Daño” or simply blending into the melancholy mood of an obscure piece like “Entre Risas, Copas y Discos” Chico is in total control. While both of these compositions seemed to have been tailored for the soft, lush sound of violins and reeds, he gives the impression that they were written especially for the type of setting and treatment which he now offers us.
With the excellent accompaniment of the group NOSOTROS, Mr. Alvarez has now attained what is probably the best musical setting for his gifted voice that he has ever enjoyed. Having worked with these artists on a regular basis was helpful, as it undoubtedly put him in-tune with their musical concepts, which were strangely quite different from his. It is precisely this cross-fertilization of styles, ideas and attitudes which have paid off in the end. In characteristic New York City fashion, Chico Alvarez and Nosotros have successfully blended old forms with new concepts, thus bridging rural and urban landscapes and blending them into one, while creating a sort of fire and ice situation. Yes, ubiquity did play a key role in the making of this recording. A perfect example of the importance of group thinking and feeling is “Si Los Rumberos Me Llaman”. By most accounts, it is a standard “tipico” style chart, first used by vocalist Roberto Faz some twenty years earlier. Prior to the recording session, the band had not rehearsed an ad-lib mambo, or “moña” as it is called, so when Chico indicated during the session that he wanted one on this particular tune, it came as a complete surprise to everyone involved. It was during Ethan Fanschell’s brilliant piano solo that Chico cued the band for the build-up. Trumpeter Gordon Tomasin kicked it off and the rest of the band just picked right up on it. One by one, they all fell into place, building up to a climactic frenzy as Gene Golden¹s swift hands rounded out what could have been a run-of-the-mill performance. Individually and collectively, they all shine on this classic guaguancó. As far as originality is concerned, one need look no further than Chico¹s own composition “Piñeiro”, which he wrote in honor of Ignacio Piñeiro, one of the great pioneers of Cuban són, as well as violinist Mike Perez’ “Borinquen Rincon Querido”, two noteworthy son montunos that cut deep into your soul, making an avid fan out of anyone who thinks that this genre is on the way out. Worthy of special mention is the fast-paced “Taíno”, an instrumental tune that Puente recorded some years ago. Tomasin, Del Valle and Golden are all in top form on this one. Very spicy solos I must say.
CHICO ALVAREZ is not a new voice on the horizon or some kind of child prodigy, he’s just a guy who sings his ass off. And as far as NOSOTROS is concerned, well I happen to think that they are a group that is destined for fame. Certainly they are a band to be reckoned with. Check them out live if you can. You¹ll be glad you did. I know that I am.
- Vernon Boggs, Professor of “Salsiology”, 1989
MUSICIANS:
• Personnel On Cuts 1,2,3,4,7,8,9, & 10: Ethan Fanschell: Piano and flute
• Russell “Skee” Farnsworth: Acoustic bass
• Gordon Tomasin: Lead trumpet and all solos
• Charles Affelt: Trumpet
• Mike Spangler: Trumpet
• Justo De La Torre: Trombone and coro
• Joseph Roldan: Baritone sax
• Gene Golden: Conga and cencerro
• Daniel Del Valle: Bongo, cencerro and coro
• Chico Alvarez: Lead vocal, maracas, cencerro, clave, guiro and coro
• Victor “Chino” Trias: Tres cubano
• Ramon Muñiz: Guiro and clave
• Olufemi: Coro
• Personnel On Cuts 5 & 6: Leonel “Papo” Ortega: Piano, coro, vibes & Strings (keyboards)
• Leo Fleming Sr. : Baby bass
• Dany “El Indio” Martinez: Flute
• Hiram Colon: Alto sax and musical director
• Pete Miranda: Baritone sax
• Tony Barrero : Trumpet
• Chico Alvarez : Lead vocals, coro and maracas
What people are saying (or have said) about “LOS BARBAROS DEL RITMO”
It’s not often that a production has a heart, a soul and a spirit, but this one has it all, a musical journey that will touch all bases, and leave you wanting a Volume 2.
- Mario Grillo, musician and leader of the Machito Orchestra
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“Los Barbaros Del Ritmo” me ha puesto a bailar, y me alegra las mañanitas. Ademas es buenísimo para la dieta, pues la rumba es el mejor ejercicio, y como en todo el disco no se menciona ni una vez la palabra “Salsa”, me parece que no hay repercusiones puramente culinarias y subidas de colesterol.
- Paquito D’Rivera, musician, arranger, composer, author and a funny guy
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Bravo! The underpinnings of “Los Barbaros Del Ritmo” are Cubano de pura sepa, but it also has the worldly sensitivity that only New York has to offer in the expression. I enjoyed the work of Chico Alvarez & Nosotros very much.
- Danilo Lozano, musician and educator
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Unreleased for over a quarter of a century, “Los Barbaros Del Ritmo” is proof indeed that good things are worth waiting for! An essential acquisition for salsa dancers and collectors alike.
- John Child, editor and journalist for Descarga.com and producer/selector of the totallyradio.com show Aracataca
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With hard work and talent, Chico Alvarez y Nosotros have achieved the highest level of excellence. In my opinion, they have a winner in “Los Barbaros Del Ritmo”. Honestly, when was the last time you heard so much talent in a album?
- Jerry Lacay, photographer to the stars
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“Los Barbaros Del Ritmo” is a classic. It swings from head to toe, inciting not only your soul but your feet. And what a great choice of material. Having been a member of that band during the seventies, I can attest to their prowess as a group. As far as Chico is concerned, he is in a class by himself.
- Chembo Corniel, percussionist, bandleader and teacher
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“Los Barbaros del Ritmo” is truly a GREAT album and I recommend it to all my listeners and visitors! It’s music that’s good to dance to AND good for listening.
- Pietro – Vinilemania.net, Italy
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“Los Barbaros Del Ritmo” no es cepillada. Me gusta integralmente por la concepción orquestal de los arreglos y lo pristino de sus letras. Se conservan las raíces y se perciben pinceladas de Latin Jazz. Ahí está la mano de Chico Alvarez. Rompe con los esquemas babosos del amor de ahora y revive lo tradicional con el sonido de hoy, sin perder la esencia.
- Orlando Montenegro, EMR, Colombia
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Timeless. “Los Barbaros Del Ritmo” is a historic recording by Chico Alvarez y Nosotros. Their renditions are fresh and contemporary, showcasing great arrangements performed by a tight band. Highly recommended.
- Danilo Navas, latinjazznet.com
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Chico Alvarez is an excellent sonero. I’m pleased to know that he is finally being recognized for his many musical contributions. He truly deserves it.
- Luis Mario Ochoa, guitarist, vocalist, composer and arranger
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For those of us that worried about the direction of our music, the sounds of Chico Alvarez and Nosotros has washed away the dust of decades of wandering in the desert. Here is a fresh outburst from the soul of what is truly “nuestra musica.”
- Prof. Alfonso Garcia Osuna, musician and head of Kingsborough University Department of Foreign Languages
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This album certainly fits the Charlie Palmieri doctrine: “If you can’t dance to this you died last week”.
- Al Angeloro, popular NY deejay and producer (Radio Soleil)
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An instant classic that rivals anything out today while being a vintage from the past for lovers of great music old and new. Chico Alvarez y Nosotros take you through a journey of joyous rhythms that makes this music memorable.
- Nelson Rodriguez, Latin Beat Magazine/Radio Host KCLU 88.9FM
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Chico Alvarez is a time-traveler. His voice rises as if from old wax records. His diction and entonation have the sweet quality of old cuban soneros. On the other hand, the band is slammin’ very much in the here and now.
- Luis Moreno, creator of the Yahoo Latin Jazz E-Group
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“Los Barbaros Del Ritmo” is a product of the brilliant imagination of singer, songwriter and director Chico Alvarez that captures the best rhythms of the Caribbean. This recording moves your spirit. It’s the African heart of Cuba, a blend of fine singing, great percussion and heavy metals. Chico’s everlasting love for Afro Cuban rhythms: incendiary power.
- Ramon Hernandez, composer and vocalist
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A long awaited production, sizzling with swing, which belongs in the collection of every aficionado of authentic Latin music. The golden-throated Alvarez and his dynamic band do not disappoint!
- Vicki Solá, host & producer of “Que Viva La Musica,” 89.1 WFDU-FM and columnist for Latin Beat Magazine
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¡Bárbaro! What can I say about Chico Alvarez that isn’t a superlative; the man is a musician, vocalist, composer, radio personality, visual artist, and graphic designer. Keenly aware of his Cuban heritage, yet unmistakeably a New Yorker as well. “Los Barbaros Del Ritmo” is a prime example of a musical blend which is unique to “El Barrio”: strident big band brass highlighting that raw trombone sound, a quicker urban pace, combined with tasty traditional flute and tres licks, topped off with classic Cuban lyrical themes.
- Pablo Yglesias, graphic artist, producer and author of the book “Cocinando”
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“Los Barbaros Del Ritmo” is a treasure trove of classic salsa/son montuno/descarga jams as typified by the much respected New york based band Nosotros. The spectacular “Agua Pa’ Ti” is a plutonium-packed descarga that will leave you gasping for air. Groove to ther slow boil created by Arsenio Rodriguez’ classic composition “Ñaña Acere”. Chico Alvarez’ own composition “Piñeiro” (in honor of the great Cuban composer Ignacio Piñeiro) is a highlight. This one is a salsa collector’s Must-Have!
-Bruce Polin, editor of Descarga.com
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New York’s own Chico Alvarez has resurrected the music of NY salsa group Nosotros with “Los Barbaros Del Ritmo,” a collection of unreleased recordings that shows you don’t have to be from Cuba to play hardcore Cuban rhythms. This album blends Cuban music and Latin jazz into one unique package that will make you dance, fall in love, and sit back and groove with a mojito in hand. “Si Los Rumberos Me Llaman” conveys images of tobacco, rum, and the most authentic of Cuban dancers rocking the dance floor in guayaberas and two-toned shoes. The bolero “Que Me Hace Daño,” makes you sway like a palm tree on a tropical beach caught in an ocean breeze. “Taino,” spices things up with Latin jazz that is heavily laced with percussion and brass.
—Javier L. Orellana, NY Post columnist
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Chico Alvarez’ album “Los Barbaros Del Ritmo” is an invitation to dancers and listeners alike. Rumba, Son, Cha Cha Chá, Latin Jazz and Bolero are all presented with the sound and musical quality reminiscent of the Mambo big bands of the 1950’s and 60’s. Track #3, “Taino” gives you a taste of some super sax sounds. “Oigan Mi Rumba” cuts loose with a swing typical of La Sonora Mantancera, while “Ñaña Acere” captures the groove of its composer Arsenio Rodriguez. Both are great renditions of classic Cuban music written for smaller ensembles. The musicians on this recording were virtuosos in their in their own right, or as Chico calls them – “unos barbaros” (barbarians). The horn section dynamically accompanies his vocals, while the rhythm section is the driving force throughout the 12 tracks on this album. All the solos are superbly executed, and Chico’s inspirations are thematic on the up tempo tunes, while full of emotion on the ballads. “Los Barbaros Del Ritmo” is definitely a DJ and collectors’ item, as well as a good starter for those working on their steps to break out on the dance floor.
- Sergio Rivera, musician, producer and leader of “Grupo Caribe”
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When I first met Chico Alvarez at United Artists back in 1975, I believed him to be a commercial artist only. After listening to him sing on the Palo label LP “Con El Ritmo Del Tambó” I realized that he had the talent to be included among such great soneros like Roberto, Vicentico, Adalberto, Yayo, Miguelito, Cheo, Hector, Jimmy Sabater and Willie Torres. I had no idea that he could sound so good. His pitch, phrasing and intonation are very pleasant to the ear. The discovery of Chico as a vocalist was a pleasant surprise for me. It was like finding a pot of gold without ever looking for it. To think that he possesed this talent all these yerars and very few people knew it. His sound is as pleasant as Lucho Gatica’s. And now we have this jewel of a album. I especially enjoy “Piñeiro” and “Rumba En El Solar”. Both tunes are rated by me as all time greats in their field. I hope that sometime in the near future he records more boleros. Chico has a rare gift for this genre and should not waste his talent. I know that he can rise to the top of the music world if he were given a chance.
- Max Salazar, music historian and author of “Mambo Kingdom”
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“Los Barbaros Del Ritmo” is no less than a history of the genre! The heart is in New York and the soul in Afro-Cuba. Chico Alvarez: designer, entrepreneur, musicologist. Bravo!
- Ely Besalel, graphic designer
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Dicen que recordar es vivir, y Chico Alvarez, veterano cantante del Nueva York que se fue, así no los hace saber con su deliciosa producción “Los Bárbaros del Ritmo”. Este disco es una joya del ayer que Alvarez, cuya voz me recuerda a Hector Casanova y Willie García (el de La Lupe), ha rescatado del olvido para nuestro deleite. “Los Bárbaros del Ritmo” nos presenta doce temas, de los cuales ocho fueron incluidos en la grabación original grabada con el grupo Nosotros, que nunca vio la luz del día. Se incluyen, además, dos piezas “en vivo” adicionales – “bonus” – de una presentación del grupo en el famoso Village Gate en 1987. En adición, también se ofrecen dos números del grupo Mayombe, grabadas en 1978. De esa manera, entonces, el album arranca explosivamente con “Si Los Rumberos me llaman”, con un magistral solo de piano por Ethan Fanschell, a donde se construye metódica y académicamente una moña. Sabroso también esta “Taíno”, una contagiosa pieza instrumental, al igual que la festiva y clásica “Agua Pa’ti”, uno de los números grabados en vivo en el Village Gate. Disfruté además con “Oigan mi Rumba”, un corte con sabor orgánico, como se grababa antes de que llegara la a veces tediosa tecnología digital, donde se lucen Víctor :Chino” Trias, con el tres cubano, y Gene Golden, en las congas. De mi predilección, también, debo mencionar el pegajoso son montuno-guajira “Ñaña Acere”, y “Esa Brujería”, grabada con el grupo Mayombe. Pero el tema que para mi gusto vende el album es “Piñeiro”, el cual me trajo recuerdos de la Cuba y el Nueva York que se fueron. Debo mencionar que aunque “Los Bárbaros del Ritmo” nunca salió al mercado, al igual que los temas adicionales que Chico generosamente incluyó en el compacto, estoy seguro de haber escuchado algunos de ellos en la radio u otros medios en sus debidos tiempos. También estoy seguro que este sensacional trabajo los llevará a un rico viaje a la nostalgia de mejores tiempos para la salsa.
- Eric Gonzalez, corresponsal de Herencia Latina
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Eso es la música Cubana! What more can I say! From the “Un-Compromiser”, the man who tells it like it is, Chico Alvarez, comes this explosive master work entitled “Chico Alvarez y Nosotros: Los Barbaros Del Ritmo”. This newly discovered audio album brilliantly and elegantly shows us how it’s done and reminds us all where this thing we call Salsa-Latin-Jazz originated – CUBA!
- Ed Castañeda, HavanaNewYork.com
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Chico Alvarez es hijo de la musica. Y de la cubana por supuesto. En definitiva la sangre de sus ancestros corre como un torrente musical por sus venas y explota en el corazón de un guajiro que aunque criado en la ciudad deja claro su legado en su tezón musical. En sus presentaciones en el escenario, su musica siempre llena a cabalidad el pedido de su publico y este album deja claro que el ingenio musical del Chico compite con cualquiera dentro del genero afroantillano. “Los Bárbaros Del Ritmo” merece ser parte de cualquier colección musical y es un buen ejemplo de como nuestra tradición continua viva en el norte.
- Juan Moreno Velázquez, autor de “Desmitificación de una diva”, “El brujo de Borinquen” y “La reina es la rumba”
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Brilliant! Chico Alvarez Y Nosotros “Los Barbaros del Ritmo” is a real gem! This is the kind of high quality music we need more of! I discovered it when I was randomly browsing through the Latin-Jazz & Salsa catalog on cdbaby.com. I came upon “Si Los Rumberos Me Llaman” and it grabbed my attention straight away because I also have a version by Roberto Roena y Sus Megatones (with Azuquita on vocals). I then listened to the available sample and from what I heard, I knew I had found a real treasure! This version was tight & soulful, and I knew that I just had to have that album! There is so much dance floor material here: “Si Los Rumberos Me Llaman”, “Agua Pa’ Ti”, “Oigan Mi Rumba”, “Rumba En El Solar”, “Esa Brujeria”, “Piñeiro” and the superbly jazzy “Taino”! “Naña Acere”: Some more brilliance all around! Great solos, vocals that are full of emotion and a timeless arrangement! Same goes for “La Clave, Maraca Y Guiro”! “Borinquen Rincon Querido”: From the first listening, I thought this track was the weakest one on the whole album, but then it grew on me as I kept listening to the album. I really love the groove of it, even though it could have been just a little shorter. “Esa Brujeria”: Also kind of long, but its jazzy Afro-Cuban ending is a pure work of genius! The boleros, “Que Me Hace Daño” and “Entre Risas, Copas Y Discos”: Wonderful stuff! I do hope that Chico “El Montunero” keeps that high standard musicianship and soulfulness, where all the love and passion are spent on producing some timeless music! For that….Thank you Chico Alvarez y Nosotros! And oh…. the clave! Thank you for making it so prominent on each track, funky stuff! And the bass lines….wicked! Thank you Russel “Skee” Farnsworth and Leo Fleming Sr. Another album that keeps alternating with “Los Barabaros Del Ritmo” on my player is: “Soneros de Cuba y New York – Angelo Vaillant y Chico Alvarez” Same soulfulness in that work!
- Jano Akouetey, musician and deejay, London, Paris
