Ruben Tagalog Pagtataksil O Pagmamahal

GREATEST HITS is a more specific offering than the concept often suggests, culling hits from '84, '85 and '88. With a career stretching back to the mid-'60s, the cuts found here are but a sampling of Ruben Blades' decade or so with his illustrious sextet, Seis Del Solar. As the father of progressive salsa/tropical pop, some of Blades' greatest songwriting of the period is to be found here, in all its glistening studio glory. "Buscando America" opens with wafts of foreboding, Tyner-esque piano before easing into Blades' stirring, synth-laden call for Pan-American unity. With a piercing trombone arrangement that recalls Blades' days in Willie Colon's band, "La Marea" is a sinewy cut of salsa that explicates all the seasick tosses-and-turns of a choppy love affair. The singer's early predilection for doo-wop rears its head on the "who-oh" chorus of the soaring "El Padre Antonio" and the tongue-in-cheek intro to the witty "Decisiones." In the context of that dark morass of pop hell known as the mid-'80s, seekers of sweet melody and politically-conscious songcraft have plenty to dig on GREATEST HITS, Spanish-speaking or not.

Given the significance of Afro-Latin rhythms in jazz’s development, there’s inherent value in a premier repertory ensemble like the Jazz at Lincoln Center Orchestra collaborating with legendary Panamanian singer Rubén Blades. But the delight of this 2014 live performance is hearing the musicians stretch themselves beyond the safety of well-trodden Latin jazz territory. Along with reliably excellent performances of salsa tunes, Blades brings Rat Pack brashness to American standards like “Too Close for Comfort,” “Fever,” and “They Can’t Take That Away From Me.” And in bassist Carlos Henriquez’s arrangements of Blades classics like “El Cantante,” the JALCO shifts between its always-convincing swing and bona fide clave, educating us in the rhythms’ historic connections along the way. After the full orchestra’s sheer sonic force, Blades’ “Patria” is an album highlight, with a scaled-down ensemble of percussionists, bass, and trumpeter Wynton Marsalis backing the singer in stark magnificence.

SALWSING! as an album has different purposes. One, to present the Roberto Delgado Orchestra as an outfit capable of expanding its original Panamanian roots to cover other musical genres. Another, to present my interest in exploring other vocal directions and thus eliminate the stereotype that affirms that we are conditioned to only exist artistically within specific boundaries, according to our nationality.

Sharon Kam loves opera. More, maybe, than one would expect of a world‐class clarinettist. Unless you know that she has been married for many years to an opera conductor and so feels quite at home with music drama. Then you will understand that her new CD album Opera! fulfils a long‐held dream and at the same time adds several interesting pieces to the instrument's relatively limited concert repertoire. In any case, this recording goes far beyond what one normally expects of arrangements.