Columbus musicians' favorite records

Playlist

by Rolando Matias

WILL SHILLING PHOTO

Grupo Folklorico y Experimental Nuevayorquino, "Concepts in Unity"

Without a doubt this is the most influential Afro-Caribbean album from the '70s. The best Latin American musicians in the 1970s NYC scene gathered for this historic recording. The timeless composition by Virgilio Marti, Cuba Linda, the hypnotic ostinado bass line Andy Gonzalez plays on "Anabacoa,"and theArara groove of Canto Ebioso make this a must!

Osibisa, "Woyaya"

At the top of the experimental jazz/rock/funk movement in the early '70s, Osibisa's approach was way ahead of their time, with a powerful blend of Afro-jazz and funk grooves. Heavily influenced by my faves, Rahsaan Roland Kirkand Fela Kuti, this album straddles the thin line between jazz and funk with powerful results. The beauty ofAfrican horns playing in unison (rather than the traditional harmonic approach of Western music) and the rhythmical variation on each intrigues you for the entire album.

Rahsaan Roland Kirk, "Volunteered Slavery"

Rahsaan was the first jazz musician whose music I was deeply into, and promptly I discovered that the mastery of his music was not the notes on the staff sheet but the power of the energy and personality that came out of his horn. Some people play the music of Rahsaan, and claim to understand it, but the truth is that his music is far away from the sheet of paper with notes. It is the translation of your life experiences into the combination of rhythms and tones.

Tito, "Puente in Percussion"

Tito Puente on percussion was my first source of education for Afro-Cuban rhythms. Tito assembled the top percussionists of his generation, at the top of their games, to come up with this masterpiece, a true orgy of rhythms. This is a must in the collection of any serious percussionist—and I mean percussionist stick or hand—and to any person that enjoys pure, unalternated, groove-oriented music!

Santana, "Santana"

Rhythm and rock in a way we never heard up to this point, the power of Carlos Santana on guitar, and the heavy influences of master boogaloo man Willie Bobo are clear on Santana's first album. This was the first album I heard in a true stereo format; the quality of the recording was just as good as the music itself.

August 30th, 2007

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