Mongo Santamaria - Red Hot (1979)

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Mongo Santamaria

Mongo Santamaria - Red Hot (1979)

Mongo Santamaria - Red Hot (1979)

Tuesday, 27 June 2017 13:45 | Written by bluelover |

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Mongo Santamaria - Red Hot (1979)

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A1 	Watermelon Man 	6:34
A2 	A Mi No Me Engañan (You Better Believe It) 	4:40
A3 	Jai Alai (Rena) 	7:38
B1 	Jamaican Sunrise 	5:54
B2 	Afro-Cuban Fantasy 	7:36
B3 	Sambita 	5:45

Hector Aponte 	Vocals
Steve Berrios 	Drums, Timbales
Michael Brecker 	Sax (Tenor), Vocals (Background)
Randy Brecker 	Trumpet
Vivian Cherry 	Vocals (Background)
Julio Collazo 	Drums
Sal Cuevas 	Bass
Jon Faddis 	Trumpet
Frank Floyd 	Vocals
Brenda Frazier 	Vocals (Background)
Steve Gadd 	Drums
Eric Gale 	Guitar
Gwen Guthrie 	Vocals (Background)
Héctor Hernández 	Drums
Bob James 	Percussion, Piano, Synthesizer
Gary King 	Bass
La Lupe 	Vocals
Hubert Laws 	Flute
Jeff Layton 	Guitar
Jimmy Maelen 	Percussion
Barry Miles 	Keyboards, Moog Synthesizer
Red Miles 	Keyboards
Idris Muhammad 	Drums
Bill O'Connell 	Piano
Charlie Palmieri 	Piano
Thelmo Porto 	Drums, Percussion
Lance Quinn 	Guitar
Zachary Sanders 	Vocals
Mongo Santamaria 	Bongos, Composer, Congas, Primary Artist
Ray Simpson 	Vocals
Lee Smith 	Bass
Harry Vigiano 	Tres
Jimmy Young 	Drums

In reaching for another shot at the big time, Mongo Santamaria sold much of the heart out of his music by turning himself over to producer Bob James, his arranger Jay Chattaway, and the fading disco fad. The result is a near disaster, an overproduced, overdubbed, rhythmically overbearing affair, staffed largely by James and his family of New York session players (including the Brecker Brothers, Eric Gale, and Steve Gadd) with only a handful of Mongo's sidemen, polished to a slick fare-thee-well. "You Better Believe It" is the sole Marty Sheller-arranged track; despite the Anglo-sounding chorus, the Guajiro groove conquers the production. Mongo alumni Hubert Laws has some nice moments in the Brazil-flavored "Sambita," but when you hear "Watermelon Man" redone to a horrible disco beat ... goodbye. --- Richard S. Ginell, AllMusic Review

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