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Joe Bataan

Saint Latin'S Day Massacre

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Joe Bataan

Saint Latin'S Day Massacre

Coco-e
I Wish You Love (Part 1)
I Wish You Love (Part 2)
Para Puerto Rico Voy
If I Were A King
Charangaringa
Ramona
El Regreso
Mujer
Shaft
In this album, Joe Bataan’s sixth for the Fania label, Joe demonstrates his rare ability to blend Latin soul, salsa, and tropical music. For example, the first song of the album, “Coco-E”, composed by Joe, brings us a festive performance by Joe and his orchestra. When the chorus intones a-e la fiesta va empezar, the listener is immediately transported to a festive Caribbean carnival where they can take part in the festivities. The following nine and one-half minutes are dedicated to the beautiful classic ballad, “I Wish You Love”. Joe again shows his versatility as he treats this song in two ways. In Part 1, we get to enjoy the romantic approach, while in Part 2, Bataan swings the tune with a clever mambo backing by the band. We then get to hear the band perform a Latin guajira titled “Para Puerto Rico Voy” where Edwin Torres conveys to us his wishes to return to his tropical paradise, Puerto Rico, backed by a melodic coro that offers to join him. Unpredictably, the arrangement changes into a Oye Como Va groove where Torres does his inspiraciones, while Robert Rodriguez colorfully backs him up with his flute. In “If I Were A King,” Joe shows us the doo-wop side of his repertoire. This wonderful ballad is expertly arranged and smartly accompanied by a tight vocal group that allowed this writer to sing some bass with. Joe’s inimitable treatment of a Latin soul ballad adds to the overall beauty of this song. In “Charangaringa” we are treated to a cha-cha that evolves into a delightful Afro-Caribbean arrangement. “Ramona” is a crafty guaguancó that tells the story of a guy who takes a girl out dancing just to find out she doesn’t know how. The verses (guias) are adroitly vocalized by the coro in excellent fashion. “El Regreso” is an up tempo danceable number that starts off with a variation of Trip to Mamboland then turns into a mambo featuring Torres on vocals and finishes up in 6/8 rhythm. “Mujer” is a lovely bolero that starts off with the vocal group harmonizing smartly during the intro. Torres takes over on vocals with the coro backing up astutely while the tune progresses into a cha-cha-cha and the song finishes as it opened. The final tune on the album is the popular theme to the hit movie “Shaft”, which was previously done by Isaac Hayes. Joe Bataan shows his brilliance with this clever rendition. The band is truly put to the test with this complex arrangement. Joe and the chorus shine throughout this number, which received international acclaim when first released in 1971. When I met Joe, he was in the process of straightening his life out. He had experienced difficult times growing up in Spanish Harlem and had consequently found himself in trouble with the police for associating with the wrong crowd during the Street Gang era. He was now on the threshold of making a name for himself in the entertainment field. It was 1966 and there was a movement going on in the Latin music world. Young Latinos longed for a sound that they could relate to and Joe would be the one to bring it to them. When I heard his band perform Gypsy Woman at the Colgate Gardens in The Bronx, and I witnessed the wild reaction of the youthful crowd, I was thoroughly convinced that Bataan was on his way to stardom. I wanted to sign him up but was beaten to the punch by a fledgling label by the name of Fania—a move that was instrumental in putting this great record label and Joe Bataan on the map. So prepare yourself for a treat as you listen to this wonderful package of Joe Bataan’s music. What’s more, if you were not a Bataan fan prior to listening to this album, there is a strong possibility that you will become one after listening to “Saint Latin’s Day Massacre”. Credits: Joe Bataan - Leader, Piano, Vibes Robert Lemas - Trombone Robert Rodriguez - Tenor Sax, Flute Rodney Brown - Trumpet Mel Rodriguez - Bass Carl Dealoe - Guitar Peter “Choki” Quintero - Timbales Vidal Nieves - Conga Hector Berrios - Percussion Chorus - Ralph “Chubby” Igartua, Edwin Torres, Mel Rodriguez, Joe Bataan, Bobby Marín (“Coco-E”, “If I Were A King”) English Vocals - Joe Bataan Latin Vocals - Eddie Torres Producers - Jerry Masucci, Joe Bataan, Bobby Marin (“Coco-E”, “If I Were A King”) Recording Director - Johnny Pacheco Recorded at - Broadway Recording, New York City Engineer - Irving Greenbaum Original Album Photography - Jan Blom Original Album Design - Stuart Leuthner Written by Bobby Marín En este disco, el sexto de Joe Bataan para Fania Records, Joe demuestra su rara habilidad para fusionar el soul latino, la salsa y la música tropical. Por ejemplo, el tema de apertura “Coco-E,” composición de Joe, nos trae a su orquesta en una ejecución festiva. Cuando el coro entona a-e la fiesta va a empezar el que escucha se transporta a un carnaval caribeño al cual se le invita a participar. Los siguientes nueve minutos y medio los consume la preciosa balada “I Wish You Love.” Aquí de nuevo, Joe demuestra su versatilidad al atacar el tema de dos maneras. En la primera, disfrutamos del acercamiento romántico, mientras que en la segunda Bataan acelera el pulso con un malicioso mambo. Luego escucharemos a la banda emplearse en una guajira titulada “Para Puerto Rico Voy,” donde Edwin Torres nos confiesa su deseo de regresar a su paraíso natal, apoyado por un coro melódico que se ofrece a acompañarlo. Sorpresivamente, el arreglo se transforma en un jaleo a lo Oye Cómo Va donde Torres hace sus inspiraciones, con el apoyo de Robert Rodríguez en la flauta. En “If I Were A King,” Joe demuestra el lado doo-wop de su repertorio. Esta balada es arreglada expertamente y acompañada adecuadamente por un grupo vocal acoplado que permitió a éste, quien escribe, cantar los tonos bajos. El inimitable trato de Joe a la balada soul latina le añade a la belleza de este tema. En “Charangaringa” nos topamos con un cha-cha-chá que desemboca en un delicioso arreglo afrocaribeño. “Ramona” es un guaguancó que narra la historia de un varón que saca a su chica a bailar y descubre que ésta no sabe, con las guías vocalizadas excelentemente por el coro. “El Regreso” es un tema movido que comienza con una variación de Trip to Mamboland y desemboca en un mambo con Torres en la parte vocal y culminando en ritmo seis por ocho. “Mujer” es un hermoso bolero que comienza con una introducción armonizada inteligentemente por el coro. Torres asume el cargo con el apoyo del coro mientras el tema se acelera a ritmo de cha-cha-chá, terminando luego como en la introducción. El cierre del disco lo es el popular tema de la película “Shaft,” anteriormente grabada por Isaac Hayes. Joe Bataan demuestra su brillo con esta ingeniosa versión. La banda es puesta a prueba con este complejo arreglo, con Joe y el coro brillando. El tema tuvo gran aceptación cuando se lanzó originalmente en 1971. Cuando conocí a Joe, él estaba en proceso de reordenar su vida. Pasó por tiempos difíciles creciendo en el Harlem hispano y consecuentemente se vio en apuros con la policía al asociarse con el bando equivocado durante la era de las pandillas callejeras. Ahora buscaba darse a conocer en el mundo del entretenimiento. Era 1966 y había un movimiento creciente en el mundo de la música latina. Los hispanos jóvenes esperaban un sonido con el que se pudieran identificar y Joe lo tenía. Cuando escuché a esta banda tocar Gipsy Woman en Colgate Gardens en el Bronx y vi la reacción del público, me convencí de que Bataan estaba camino al estrellato. Lo quise firmar, pero una naciente compañía llamada Fania se me adelantó, una movida instrumental que puso a Joe y al sello en el mapa. Prepárese para un banquete al escuchar este puñado de la música de Joe Bataan. Es más, si usted no era fanático de Joe Bataan antes de escuchar este disco, existe una gran posibilidad de que lo sea luego de escuchar “Saint Latin’s Day Massacre.” Créditos: Joe Bataan - Leader, Piano, Vibráfono Robert Lemas - Trombón Robert Rodríguez - SaxofonTenor, Flauta Rodney Brown - Trompeta Mel Rodríguez - Bajo Carl Dealoe - Guitarra Peter “Choki” Quintero - Timbales Vidal Nieves - Conga Héctor Berríos - Percusión Coros - Ralph “Chubby” Igartua, Edwin Torres, Mel Rodríguez, Joe Bataan, Bobby Marín (“Coco-E”, “If I Were A King”) Voces en inglés- Joe Bataan Voces en español - Eddie Torres Productores - Jerry Masucci, Joe Bataan, Bobby Marín (“Coco-E”, “If I Were A King”) Director de Grabación - Johnny Pacheco Grabación - Broadway Recording, New York City Ingeniero- Irving Greenbaum Fotografía Original del Álbum - Jan Blom Diseño del Álbum Original - Stuart Leuthner Escrito por Bobby Marín