Ray Barretto

Ray Barretto's congas appeared on more sessions than those of nearly any other conguero of his era, yet he simultaneously guided a series of forward-thinking Latin jazz ensembles across several decades. His releases typically displayed a taut, unusually wide-ranging character that set them apart from standard salsa outfits, readily incorporating electronics along with fresh instrumental or formal juxtapositions and propelled by his unwavering, remarkably supple percussion foundation. This approach mirrored Barretto's broad musical curiosity and the distinctive path he followed, entering Latin music via jazz instead of the reverse direction more common among musicians of Latin descent. He once noted that he had first absorbed swing phrasing before fully commanding Latin rhythms.

Born to Puerto Rican parents, Barretto first picked up the congas while serving in the Army and stationed in Germany. After returning to New York he began collaborating with American jazz players and eventually took over Mongo Santamaria's chair in Tito Puente's band, holding the post for four years starting in the late 1950s. He launched his career as a bandleader with a Riverside date in 1962, then enjoyed a crossover success the next year when Tico released "El Watusi," which climbed to number 17 on the pop charts amid a contemporaneous dance fad. Attempting to update the charanga format by adding brass and interpreting rock and pop material, Barretto nevertheless earned his primary reputation during the 1960s as an elite session musician, contributing to recordings by Gene Ammons, Cannonball Adderley, Kenny Burrell, Lou Donaldson, Red Garland, Dizzy Gillespie, Freddie Hubbard, Wes Montgomery, Cal Tjader, and numerous additional jazz and pop projects.

After joining the Fania roster in 1967, Barretto gained prominence as a leading Latin jazz figure and later served as music director for the Fania All-Stars. Throughout the 1970s he experimented with rock and funk elements on Atlantic sessions, though these efforts met modest results; in 1981 he delivered the well-received CTI album La Cuna, which featured guest appearances by Puente, Joe Farrell, and Charlie Palmieri. He also assumed the role of music director for the Bravisimo television series and participated in the eclectic, star-studded, anti-apartheid Sun City project both on record and video in 1985. By 1992 he had formed the Latin jazz sextet New World Spirit, whose output for Concord Picante proved consistently inventive.