Going on three hours of firing salsa, cumbia, boogaloo, tropical funk and chicha, from the dazzling catalogue of Discos Fuentes. As a selection, mind, a bit zany and Route One.
Steel pan version of the Ripple rare groove anthem, from the Cavaliers’ 1975 LP Heat (also featuring 90 Percent Of Me Is You, and so on). Flip is an edit of heavy Turkish funk-rock, from the same year.
Somewhere between rhythm and blues, Trinidadian calypso and Jamaican mento. The burgeoning revival of Blind Blake (and there’s a Harold McNair, blimey.)
Traditional bele from Martinique — warmly organic and rootsy, body-rocking, communal and defiant, with flavours of grounation, calypso, jazz, Latin, compas, zouk and West African dance.
Not the great ragtime guitarist, but Alphonso Higgs and his 1950s calypsos, charming and vivacious, including the blueprint of Sloop John B. A dozen now on Moi J’Connais vinyl, in a beautiful silkscreened sleeve.
Soul jazz from the jazz pianist plus trio. The first half’s a bit soft, before Aquarius marks the dawning of the funky stuff — Evil Ways, Shaft, Booty Butt — ending with a cooking cover of The Meters’ Funky Miracle.
Precious Emory Cook recordings from 1961: Clemendore playing drums, percussion and vibes in jazz, calypso, r’n'b and Latin settings; bassist John Buddy Williams leading a more
straight-up calypso set.
From the first settlement of emancipated Blacks in the New World, in a rain forest on the Caribbean coast — songs about sisterhood, everyday living and death, a cappella or with stirring percussion.
Gaitas music, for flutes and alegre, llamador and tambora drums.
Guajira, trova, guaracha, bolero and punto from the heart of Cuba, lavishly done — lutes and tres luminously crossing traditions from Spain, the Canaries and Africa.
Seventies Caribbean soul and funk — one ear tuned in to nearby Miami, with reggae and jazz in the mix too — from Frank Penn’s Freeport operation.
Drummer, singer and showman, veteran of the Cuban Jam Session LPs, Francisco Valdes moved to Mexico City in 1955. His guarachera and chuachua scatting mixes up ska and mambo, Cuban, Mexican and Puerto Rican styles.
Torrid Peruvian boogaloo, guaracha and other sixties styles, jacked up by a sense of world-wide political change — in musical tradition, the bridge between mambo and salsa.
Further excavations amidst the tropical Peruvian music of the 1960s, careering between the mambo era just over, and the salsa and cumbia upheaval to come.