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From the first song on this Latin Percussion re-release, "Toca, Alfredo, Toca," we
realize that violinist Alfredo de la Fe means to draw freely from a wide range
of styles. We hear traces of classical and Brazilian, while the unison vocals
and rhythms draw from salsa.
"El Casabe" is a Cha-Cha distinguished by ambitious piano arpeggios played by Elio Osacar. It is followed by one of Alfredo's compositions, "Charangueando," an up-tempo vocal, less eclectic and more pure salsa. This approach, we assume, will prevail, at least from the sound of the intro in "Que Rico Bailo Yo," but here de la Fe throws in a Brazilian bridge. It is a delightful mood change, which he underscores on the bombo drum with a marching four-on-the-floor.
Next is "Hot to Trot," in which a walking South American groove gives way to Latin funk. This is the first time a drum set is plainly audible; the reason is the necessity for the typical open-and-closed hi-hat disco beat. No mistake, this is a period piece,right down to the refrain - "hot to trot." You would have heard this sort of thing in a Saturday-Night-Fever-style dance club. It's stock disco.
Now on to a Rodgers and Hammerstein tune first brought into jazz by saxophonist John Coltrane, "My Favorite Things." Presented with this creative challenge, de la Fe provides a legato intro, hinting at the melody with solo violin. Next, the orchestra presents a rather conventional reading of the familiar theme, loosened somewhat by Paul Kimbarow's swinging ride cymbal, then "funkified" by Jorge Dalto's Fender Rhodes electric piano in a montuno (vamp). Now things free up considerably! At about 4:50 the guitar introduces a modulation/key change - and then it's all over. Although the territory is well-trodden, Alfredo creates his own path.
It is almost as if he can simply relax and follow his own instincts, as opposed to commercial dictates. In "Canto del Coraz?n" he crafts an eccentric intro and verse form. But then he's back to the seventies disco/funk form! Thankfully he solos, however briefly, before giving it up to George Wadenius's rock guitar and another vocal chorus that, again, recalls those pastel suits and open collars. But catch that exit! It's back to a welcome Mambo refrain, with flute and violin joyously chattering to the fade.
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