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The Flip may not be the absolute instant classic that Soul Station and Roll Call were, it is a fine outing that demonstrates the extent to which Mobley was maturing as a player. True, there is nothing far out or especially innovative here, but the recording is a demonstration of small group jazz at its finest, with every member contributing heartily towards the end result. Mobley�s compositions, including �The Flip� and �Feelin� Folksy� pay tribute to the emergence of soul jazz and the Latin samba feel without trying too hard to sound trendy, which is one reason they still sound so good today.

All Music Guide

Although purists might not find it as much to their taste as Midnight Creeper, Everything I Play Is Funky is easily one of the best examples of Lou Donaldson's commercially accessible period of the late '60s and early '70s. Donaldson's forays into funk and R&B-driven; soul-jazz could sometimes sound stiff, but the grooves here -- which feature many of the same players -- are consistently limber and unforced. And, typical of the style, the grooves (not adventurous improvisation) are what make the album tick. For once, Donaldson's attempt at an R&B; cover -- in this case, the Lee Dorsey-sung, Allen Toussaint-penned "Everything I Do Gonna Be Funky (From Now On)" -- is pulled off well enough to make for an entirely convincing statement of purpose. That number kicks off an entertaining program also highlighted by three Donaldson originals -- the cooking funk number "Donkey Walk," which seems to inspire the fieriest solos on the record, the cheery calypso "West Indian Daddy," and the hard bop-flavored "Minor Bash." There's also a version of "Over the Rainbow" done in Donaldson's caressing, melodic ballad style, and the simple funk vamp "Hamp's Hump." It's a nicely varied assortment, all anchored by the percolating rhythm section of guitarist Melvin Sparks, bassist Jimmy Lewis, and drummer Idris Muhammad (Charles Earland and Dr. Lonnie Smith switch off on organ, and Blue Mitchell and Eddie Williams do the same on trumpet). This is the sort of record that modern-day Donaldson disciples like the Sugarman Three cherish, and one of his few truly consistent efforts in this style. Recommended wholeheartedly to funk and rare-groove fans. Steve Huey

Throughout the '60s Rollins remained one of the most adventurous musicians around. Each album he recorded differed radically from the previous one. Rollins explored Latin rhythms on What's New, This rip only one track The killer Jungoso..

Candido's first album for Tico is a pure triumph. Fortunately, there's only one crossover cover ("Shadow of Your Smile"), and once that's safely programmed out (or left in as a break), listeners are left with ten tracks of impossibly dense features for Candido, each of which proves how apt his "Thousand Finger Man" title was. The studio band is mid-size, punchy, and energetic enough to prove a foil for Candido's conga, but never overly focused on themselves. Nearly every song features plenty of solo space, and the man finds great things to say even on hoary old chestnuts like "Almendra" or "El Manicero" (aka "The Peanut Vendor"). The opener, "Here Comes Candi," and the side-one closer, "Take More Candi," are two of the most frenetic arrangements Candido's ever been a part of, and they're just two songs on a joyous, celebrative album. Vocalist Gran Alfonso joins the festivities for great features on "Negrito" and the calypso tribute "Back to Back." ~ John Bush, All Music Guide

Popular timbalero, bandleader, and occasional label executive for Alegre Records, Kako recorded as a leader only sparingly, but contributed much to the development of Latin music from his debut in the 1950s to the end of the century. Born Francisco Bastar in San Juan's Barrio Obrero, Kako worked as a dancer early on and began playing percussion -- including timbales, conga, and bongo -- for bands led by Arsenio Rodriguez, Tito Puente, and Mongo Santamaria. He recorded a single for the SMC label in the late '50s, and soon after began an association with the new Alegre imprint. Founded by Al Santiago, the label hired Kako for A&R; and management work; he also played on the label's early recordings by Mon Rivera, Felipe Rodriguez, and Johnny Rodriguez.

Label: Nemperor
Year released: 1975
Style: Latin, Jazz, Rock
Country: Puerto Rico

Tracks:

01. Lenguas 3:15
02. Karmanalia 4:53
03. Bamboo 7:42
04. Parallax 5:26
05. Parata Gua Gua 6:39
06. El Tropical 4:15
07. After Sunrise 6:58
08. Bluegarian Funk Dance 4:45

Tracks 1,2,3,4,7,8, in this rip.....enjoy

Charles goes electronic playing the classic analog arp odessey check the beautiful Intergalatic love song heaven personified...enjoy

lost Latin Funk album from the early 70s west coast scene -- featuring a group led by Latin pianist and promoter Cesar Ascarrunz -- and including some of the greatest Latin and jazz players from the San Francisco scene at the time! Big names on the session include Francisco Aquabella, Benny Velarde, Steve Marcus, Hadley Caliman, and even Merl Saunders -- all coming together in a really hard-hitting Latin funk jam session that never lets up for a minute! The music is a mix of instrumental and vocal tracks -- grooving with a sound that's very much in the mode of the bigger early 70s Latin groups from LA and SF -- but with a freer-thinking sound, and a much more jazz-funk approach. Titles include "Azucar", "Descarga", "The Devil & Montezuma", "Gotta Get Away", and "Bridges".