Originally released in 1993, Azúcar! is a somewhat capricious anthology of material that Celia Cruz recorded with a variety of bandleaders from the late '60s to the late '80s. None of the expected hits are here: "Químbara," "Cúcala" or "Usted Abusó."

And yet, the random nature of this compilation underscores the superb quality of the lesser known gems in the Celia Cruz repertoire. Azúcar! is an ideal disc for the aficionado who is already familiar with the Queen's big hits, and who wants to delve deeper into her copious catalogue.

Three of the tracks here are culled from the 1968 session Serenata Guajira, recorded in Mexico with the orchestra of Memo Salamanca. The singer had already left the safety of Cuban supergroup La Sonora Matancera, and was taking all the right steps to achieve commercial success as a solo artist.

Celia recorded with both Salamanca and timbalero Tito Puente. Unfortunately, these excellent recordings failed to connect with a younger audience that was infatuated with the pop-rock revolution spearheaded by The Beatles.

An endearing tune, "Tumbaloflesicodelicomicoso" adds a bit of the psychedelic tinge that was popular at the time, while also demonstrating Celia's uncanny ability to sing elaborate tongue twisters without breaking a sweat. From the same album, "El Cacahuatero" and "Corta La Fruta Verde" offer a more conventional-- but equally delectable-- take on tropical music.

Celia recorded a number of fiery LPs with Puente, represented here by "Yo Regresaré," from the 1969 session Quimbo Quimbumbia. The track, which finds the singer expressing her feelings of nostalgia for her beloved Cuba, surprises us with a funky organ line and La Reina's solemn spoken word finale.

Just when she was starting to despair about the commercial prospects of her career, Celia was rescued by the Fania empire in the early '70s. Under the guidance of Dominican flutist, bandleader and songwriter Johnny Pacheco-- himself a devoted Matancera fan-- she recorded the unforgettable Celia & Johnny album in 1974. From that session, "El Paso Del Mulo" boasts an aristocratic piano solo by Sonora Ponceña bandleader Papo Lucca.

Once she became the Fania's ultimate diva, Celia was smart enough to collaborate with some of the label's most visionary artists. To songwriter and producer Willie Colón, the opportunity to work with her was an initiation into the big leagues of Latin music.

The duo's first album together, 1977's Only They Could Have Made This Album, was a masterpiece of progressive salsa. Colón had perfected a lush sound marked by opulent layers of trombones. It is interesting to note that this sophisticated sound is placed at the service of a rootsy merengue in Johnny Pacheco's composition "Pun Pun Catalú."

Ten years later, the duo had lost none of its zesty spontaneity when it released The Winners. "Son Matamoros" is a simpatico tribute to the memory of pioneering Cuban composer Miguel Matamoros.

The pairing of Celia and Papo Lucca's Ponceña orchestra on a full length recording was highly anticipated by Afro-Caribbean fans. When it finally happened in 1979, the end result was somewhat underwhelming in both commercial and artistic terms. Still, La Ceiba boasts a number of intriguing tracks, such as the epic "La Ceiba y la Siguaraya."

Azúcar! also includes "No Me Cambie Camino," a straight-ahead salsa number from Ritmo En El Corazón, the 1988 album with conguero Ray Barretto that earned her the first of three Grammy awards (an additional four Latin Grammys would follow.) In this song, Celia can be heard teasing the audience with her trademark cry of azúcar-- singing with the kind of joyful abandon that characterized her during most of her career.

Written by Ernesto Lechner

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