Ray Barretto - Acid (LP - Marbled Yellow Vinyl)

Ray Barretto’s 1968 Fania debut Acid bursts with Latin soul, salsa, funk, boogaloo, Afro-Cuban rhythms, and jazz with English and Spanish lyrics—a recording that helped define an era. Pressed on 140-gram vinyl with AAA lacquers from the original master tapes, this reissue delivers pure analog energy. Highlights include the Afro-Cuban jazz title track “Acid,” the boogaloo classic “A Deeper Shade of Soul,” and the Latin soul opener “El Nuevo Barretto.”

It’s simple, funky bass tumbao (a repetitive, rhythmic pattern) is played by the late great, legendary Cuban-American bassist, Bobby Rodriguez, who Barretto affectionately dubbed, “Big Daddy. The result, recorded in one take, is a tour de force that combines a jazz aesthetic with the drive of Afro-Cuban rhythm. René Lopez’s solo on muted trumpet is equal parts Miles Davis and Dizzy Gillespie, with some funky Cuban shadings and his own Nuyorican attitude. Cuban, timbalero Orestes Vilato, a carry over from Barretto’s charanga, had been with Cuban flute virtuoso José Fajardo’s charanga where he was never featured as a soloist. That completely changed on “Acid” and “Soul Drummers,” thus inspiring a new generation of young percussionists. Fellow Cuban trumpeter Roberto Rodriguez plays a soaring lead solo. Barretto follows and starts with a quiet open roll that comes out of nowhere and builds to a climax of explosive slaps. The power and energy that he generates exudes exclamations of affirmation from his fellow band-mates. A final piano montuno by Louis Cruz with some final explosive trumpet work by Rodriguez while Lopez plays a tasty moña (a short improvised mambo line) underneath him closes the tune. “A Deeper Shade of Soul,” “Teacher of Love” and “Soul Drummers,” continue in the boogaloo groove. “Sola te Dejaré” is a straight up, swinging mambo/guaracha about an egotistical woman who winds up alone. It’s a showcase for vocalist Adalberto Santiago’s talents as a sonero (vocal improviser). The closer on the album is the other gem, “Espíritu Libre.” It opens with a percussive dialogue between Orestes playing mallets on the timbales and Barretto on congas. A haunting melody is stated by Lopez, then mirrored by Rodriguez on muted trumpet. Big Daddy enters with a bass line in 6/8 meter accompanied by Santiago unwavering on a small bell. While Bonet strikes a jawbone, Barretto and Vilato converse over the West African-rooted rhythm known as bembé. Featured soloist Lopez uses some nice special effects and pianist Louis Cruz adds some unexpectedly eerie blues phrases as the intensity builds and finally comes to an abrupt halt. A recapitulation of the haunting melody of these two trumpets closes the piece and ends this journey to Africa.