VARIOUS ARTISTS
Explorations: Classic Picante Regrooved
Concord
Picante
Concord Music Group’s Picante label
has an enormous list of Latin jazz as its disposal, having
combined and inherited the recorded output of Concord and
Fantasy Records, both of which have a wide and varied group
of Latin performers in their back catalogs. The secret to
the success of Explorations: Classic Picante Regrooved
is that the artists who do the remixing seem to have a real
love of the music they are working with, and they respect
the music laid down by the original artists. Most offer
a dance beat and pimp the originals by adding modern studio
effects and sound washes that enhance the music’s
listenability to today’s young audiences.
Old timers can object as much as they like
that this remixing process bastardizes the original music.
That would only be true, ultimately, if by rearranging these
classic performances they rendered the originals unavailable.
That, of course, is far from the truth. In an era when anyone
with a high-powered computer, some software, and a few pieces
of sound equipment can create mixes and mash ups. That technology,
made ubiquitous by the arrival of the digital age, isn’t
going to go away. So, there will be an endless reassemblage
of our musical heritage digested and spit back at us. Some
of this work will be creative, and some will not. Some will
create a new context out of the pieces of music that it
reassembles, while many, if not the vast majority, will
become the background music of tomorrow (actually, not that
far into the future at all).
It’s true that sometimes the clockwork
nature of a programmed dance beat can work against the inherent
soul jazz groove of these pieces, but if well put together,
the elements that are laid over that rhythm can be highly
effective at removing any feeling of mechanical-ness. For
example, the constant beat laid down behind Jorge Daito’s
version of “Killer Joe” seems a bit constraining
at first, but later, when the piano solo is in full swing
and the killer synchronization of The Frequency’s
added organ, moogs, and guitars brings it to a satisfying
conclusion.
Other tracks seem to cry out for the treatment
they receive here. For example, Tania Maria’s “Come
With Me” has such a lush melody, that the keyboard
and guitar layered on by Masters At Work can only help make
the piece even more listenable. There have been any number
of remixes of Poncho Sanchez’ classic take on Herbie
Hancock’s “Watermelon Man,” truly the
groove that launched a thousand jams. Dan the Automator
plays it fairly close to the vest on his remix, adding some
rap-induced vocal work that is pretty cool. Otherwise, he
wisely keeps the focus on the rhythm. The Yerba Buena remix
of Mongo Santamaria’s “Afro Blue”is given
a hot performance by producer Andre-Levin’s Latin-funk
collective Yerba Buena, and includes saxophonist Ron Blake
playing baritone and tenor saxes, though he only solos on
tenor (damn!). This version emphasizes its Cuban and African
influences, and is a rousing presentation of the tune. Thievery
Corporation applies its by-now familiar, but still ultra-cool
lounge touches to Ray Baretto’s recording of Nat Adderley’s
“Work Song” to good effect, adding a cool, sparkling
sheen to an otherwise hard-boppish number.
Overall, Explorations: Classic Picante
Regrooved is a worthwhile remix project that is enjoyable
to listen to or as the percolating soundtrack to an urban
loft party. And, of course, this would sound right at home
cruising down the highway on a warm day. With the top down,
of course.
