商品詳細情報

キャッチーなサルサをたっぷり収録した1971年オリジナルのコロンビア・サルサ名盤が初のヴァイナル復刻! ピアノ、ベース、クアトロ、チランペット、そしてコロとマルチな才能を発揮するコロンビア・ヴィンテージ・ラテンきっての偉人ペドロ・ヴィセンチーニ率いる、パーティ・サルサ・ユニットのエル・アフロ・コンボ。ペドロ・ヴィセンチーニは60年代後半よりミュージシャンとしてキャリアを積み、ロス・スペルソニコス、ロス・アルモニコスなるグループを経て70年代にこのエル・アフロコンボを結成した。N.Y.サルサの風を南米大陸で昇華させた、ホットでパワフルなサウンドとエンターテインメント性溢れるパフォーマンスで、コロンビアの夜を彩った名グループだが、フルーコやジョー・アロージョのように商業的な成功を収めるには至らなかった。しかし今日その高い音楽性はのちに評価され、本作もDJを中心に高い人気を誇るレア盤として知られている。途中からテンポアップするデスカルガ "El Huevo" "Pan con salsa" という人気曲を筆頭に、ティト・プエンテの人気曲 "Oye Como Va" など本場N.Y.のブーガルー~サルサ黎明期を思わせる混沌としたグルーヴと、サルサの楽しさを詰め込んだかのような華やかなアレンジはまさに唯一無比。一方で実はクンビアやボンバといったリズムもさりげなく取り入れた音楽性の多彩さも特筆だ。



HIGHLIGHTS
Barranquilla’s Pete Vicentini has won the respect and admiration of salsa aficionados for his long career and artistic quality as musical director, composer, bassist, pianist and arranger. Although his group El Afrocombo did not have the overwhelming commercial success of Fruko y sus Tesos, Joe Arroyo y La Verdad or Grupo Niche during the height of Colombian salsa, they enjoyed a popular following in the Atlantic and Caribbean coastal areas of Colombia.
“Pan Con Salsa” (1971) was their excellent debut LP. Most of its cuts are in the salsa genre, but the album also includes Vicentini’s native costeño rhythms like cumbia and porro, a funky boogaloo cover of Tito Puente’s ‘Oye cómo va’, Puerto Rican style bomba, and the title track, composed by Vicentini, which is a frenetic descarga (jam session) with lots of tasty brass solos, in-the-pocket piano tumbaos (riffs) and break-neck percussion work-outs.
The record has its own lively ‘combo’ sound in the plucky brass section (two trumpets and two saxes), plus the always bright and happy piano stylings of Willy Newball and of course the prominent bass playing, expert direction and arrangements of Vicentini.
Presented in facsimile artwork and pressed on 180g vinyl.
Part of Vampisoul’s reissue series of classic LPs from Colombia’s Codiscos and its sublabels such as Zeida, Costeño and Famoso.

DESCRIPTION
Although Pete Vicentini’s El Afrocombo did not have the overwhelming commercial and international success of Fruko y sus Tesos, Joe Arroyo y La Verdad or Grupo Niche during the height of Colombian salsa in the 1970s and 80s, Pedro “Pete” Luis Vicentini del Valle (born in 1946) and his combo did have a popular following among fans in the Atlantic and Caribbean coastal areas of Colombia (especially in his home town of Barranquilla). He has won the respect and admiration of many salsa aficionados for his long career of excellent performances and recordings, plus his professionalism and artistic quality as musical director, composer, bassist, pianist and arranger. In addition to founding what would become El Afrocombo, Vicentini was associated for several decades with the popular singer Jackie Carazo and was a member of Carazo’s El Clan Antillano as well as Chico Cervantes y su Sonora Caliente.
“Pan Con Salsa” is Vicentini and El Afrocombo’s first long play and was released in 1971. As the title (and humorous cover) suggest, the majority of selections on the record are in the salsa genre that was gaining steam at the time in South America. In reality, though, the album includes Vicentini’s native costeño rhythms like cumbia and porro as well (on the tunes ‘Barranquilla, sol y cumbia’ and ‘Tus lindos ojos’). The LP has its own lively ‘combo’ sound in the plucky brass section (two trumpets and two saxes), plus the always bright and happy piano stylings of Willy Newball and of course the prominent bass playing, expert direction and arrangements of Vicentini. Additionally, the record contains the band’s first hit, ‘El huevo’, which is a cover version of Peruvian vocalist Félix Martínez’s popular 1971 tune in the guajira genre with Lima’s Los Girasoles, ‘Ese huevo se pasó’. In addition, there are some super hot original salsa tunes like ‘Mira muñeco’ and ‘La fiesta del mar’, a funky boogaloo cover of Tito Puente’s ubiquitous ‘Oye cómo va’ (with a cool clavinet solo), a Puerto Rican style bomba written by Carazo, and the title track, composed by Vicentini, which is a frenetic descarga (jam session) with lots of tasty brass solos, in-the-pocket piano tumbaos (riffs) and break-neck percussion work-outs. This album is definitely a persuasive argument for including the unjustly obscure El Afrocombo in the pantheon of hot Antillean-inspired bands from Barranquilla and proof that Colombia’s Caribbean coastal region was instrumental in pioneering the popularity of domestically produced salsa there in the 1970s, helping it spread into the interior and from there internationally by the 80s and 90s.