商品詳細情報

VAMPISOULが誇るコロンビア産ビンテージ音源再発シリーズ、最新作!!
60年代のコロンビアで、皇帝 FRUKO らが在席した伝説の楽団 LOS CORRALEROS DE MAJAGUAL のリーダーを務め、クンビアの中でもとりわけアコーディオンがフィーチャーされるスタイル "バジェナート" を大成した ALFREDO GUTIERREZ 。
その ALFREDO GUTIERREZ によって70年代前半に結成された LOS REVOLUCIONARIOS の、1974年に残された唯一作がストレートリイシューを遂げる。
アコーディオンが最高に心地よいラテンジャズ、サルサ、ブーガルーに加え、メレンゲなどのカリブ音楽も最高!!
オリジナルの取引履歴はほんとんどなし、そしてレーベルはDISCOS FUENTESではなく、70's コロンビア音楽を支えた CODISCOS。是非に!
ラテン鈴木




HIGHLIGHTS
A revolutionary album with a sound unlike that of any other tropical record before or after which could only have come from the Caribbean region of Colombia and the fertile mind of the band’s leader, Alfredo Gutiérrez.
What makes this record unique and a highly sought-after collector’s piece are the innovative arrangements that mix a sax section with electric organ, piano and accordion, and its killer version of Javier Vázquez’s hard salsa tune ‘Esa mulata’. The rest of the album has more hot salsa, boogaloo and descarga, plus local flavors like paseo and porro and even a Dominican merengue

DESCRIPTION
A revolutionary album full of experimentation and cross-fertilization with a sound unlike that of any other tropical record before or after, which could only have come from the Caribbean region of Colombia and the fertile mind of the band’s leader, Alfredo Gutiérrez “El Rebelde del Acordeón”.
What makes this record unique and a highly sought-after collector’s piece among DJs and aficionados of Colombian music are the innovative arrangements (by Gutiérrez and his saxophone-playing friends Nacor Barón Garcés and Demetrio “Pipe” Guarín) that mix a sax section with electric organ, piano and accordion, and the fact that it contains a killer version of Javier Vázquez’s hard salsa tune ‘Esa mulata’ as well as salsa versions of Gutiérrez’s earlier vallenato hits ‘Los carasucias’ and ‘Bajo el palo ‘e mango’. In addition, there is an interesting hybrid between the boogaloo and the joropo (‘La mezcla’ by pianist Edel Manrique) and a fun cover of Dominican accordionist Angel Viloria’s 1950 gem ‘Yo bailé con Josefina’ plus another hardcore salsa burner (‘Salsa de monte adentro’) and a flamenco/salsa hybrid (‘Caribe’), both written by Poli Martínez, who used to sing with Climaco Sarmiento. The record kicks off with some local costeño flavor with the paseo ‘Perdóname Leandro’ and on side two the porro ‘Toro barcino’.
The album cover, though tongue in cheek, must have also caused a stir, as it calls to mind Cuban revolutionaries and combines images of violence and music in a provocatively satirical way.