Born in Brooklyn, NY on April 29, 1929 (died Feb. 17, 2006, Hackensack, NJ), Ray Barretto was the quintessential Nuyorican, a person born and raised of Puerto Rican parentage in New York City. By the age of 2, his family had moved from the Red Hook section of Brooklyn to Manhattan's eastside enclave of Puerto Rican, Cuban, and Italian culture, El Barrio, aka Spanish Harlem. It was here on 111th Street and 5th Avenue that Raymond Barretto (the doctor that filled out his birth certificate was Italian and spelled his name with the extra T) would begin a journey that at the age of 7 would eventually take him to stickball and the South Bronx. Ray's bi-cultural experience growing up in New York City was reinforced during his stint in the Army in the late 40's having "hung" with Black GI's in Germany where he fell in love with jazz while still retaining his love for his native Latin music.

After paying his dues as a sideman with the likes of Eddie Bonnemere, Jose' Curbelo and Tito Puente as well as numerous jazz artists on recording dates, Ray finally became a bandleader in the early 1960's. After having had success with a charanga-style ensemble (a Cuban dance band that utilizes flute and violins) and a highly successful tune, "El Watusi,” that crossed over to the pop charts, Ray was ready for a change. He came to the attention of the relatively new recording company FANIA, named by its founder Jerry Masucci in 1964 after a coffee shop in Havana, Cuba that musicians would frequent.

"Jerry sought me out and the time was right. Jerry promised a new approach to promotion in terms of Latin music and he was right." Barretto rose to superstar status as a bandleader in the 60’s, 70’s, and 80’s through his association with Fania. establishing a powerful legacy of recorded work that challenged musicians and thrilled dancers.

What you are holding in your hand is a compilation of Barretto's best known work for FANIA. All of the pieces feature the trademarks that would make Ray one of the most influential and imitated bandleaders of his day. The arrangements would always feature spots for the musicians to be soloists. "Jazz has always been at the core of what I do musically… Why not feature the musicians as soloists if you have a dance-oriented group?" Tunes like “Acid”, “Cocinando” and others included on this compilation exemplify what Ray is talking about.

In reviewing Ray’s history as a composer, several themes are always pre-dominant. Facing and overcoming adversity, jealousy and envy by others, relationships, and cultural pride. This is exemplified in tunes like “Que Viva La Musica”, “Hipocresia Y Falsedad”, “Indestructible”, “Oye La Noticia”, “El Hijo De Obatala” and one of his mega-hits, Hugo Gonzalez's, “Quitate La Mascara”.

His love for the son montuno, guaracha and rumba are exemplified in tunes like “Vine Pa' Echar Candela”, “No Me Paren La Salsa”, “Llanto De Cocodrilo”, “Guaguanco' Bonito”, the humorous “Prestame Tu Mujer”, as well a rare re-working of a changui tune from Guatanano, Cuba into a son montuno, “Guarare”. It yielded yet a another mega-hit, delighting dancers worldwide.

Ray's musicians always represented the cream of the crop. You will hear percussionists like Orestes Vilato, Tony Fuentes, Johnny Rodriguez, Ray Romero, Jimmy Delgado, bassists like Andy Gonzalez, Sal Cuevas, pianists like Oscar Hernandez, Edy Martinez, Sonny Bravo, Hector Martignon, brass players like Roberto Rodriguez, Papy Roman, Rene Lopez, Jimmy Bosch, vocalists like Adalberto Santiago, Tito Allen, Ray Saba and many others too numerous too mention who all came to the publics attention through their tenure with “Mr. Hard Hands”.

We know you've purchased this CD because you are a fan of Ray. He was a strong believer in the tradition of honoring those who have come before. So honor Ray in the best way possible. As soon as you put this CD on, grab a partner and get on the dance floor.

Written By Bobby Sanabria

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