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Vibrant and enticing are the operative descriptives here. LP artist/composer Edwin Bonilla has
them up on the dance floor from the get-go. Indeed, the first track, penned
by Sergio Cruz, “Busca Haber”, is an uptempo vocal mover with a solid 2-3 clave. The percussion is driving, led subtly by deft shakers or perhaps a rolling shekere (or, at least, so it sounds from a place back in the mix). Singer “El Nino” Alejandro Perez delivers a lively lead vocal that will appeal to those who enjoy the texture of Ruben Blades’ voice.
“Rico Mi Son” is another one tailor made for clubs. Bonilla’s percussive contribution to this refrain is not so much flamboyant as it is quietly relentless. One has to look or, rather, listen a little deeper for the gems, such as the percussion interlude just after the 2:40 mark.
Pensive piano leads us into “Que Cansancio”, which rides at pretty much the same tempo as its predecessors, but acquires a moodier feel, attributable to Nelson Llompart’s classic ballroom-style vocal delivery. His masterful intonation and the “grit around the edges” render him a charismatic focal point. Again, with the exception of a wicked percussion solo at 3:47, Bonilla’s contribution is driving accompaniment as opposed to center stage. During the exit, the horns get frisky in the upper registers and, virtually for the first time, we hear Bonilla working a bass drum to underscore the cymbal punches.
It’s back to the rich vocals of “El Nino” in “Ahora Si”, a cha cha composed by Ray Barreto who would undoubtedly approve of this spirited cover. Both “El Nino” and pianist David Lopez have a forum in which to stretch. At 3:59 there is a timely key modulation and piano ostinato/montuno that presents Bonilla with the opportunity to execute a crackling timbale solo. The horn lines that follow are tasteful and effective.
Next it’s “Yo Me La Llevo”, another great arrangement in which the tricky band shots and stops are typically clean as a whistle. Again the horn arrangements are exciting. Another up-tempo pumper set around a 2/3 clave, this one features Bonilla carving it up on timbales before taking it out with standard mambo, cowbell and congas. The flute solo affords a nice touch and unexpected shift in timbre.
Trumpets bring in “Se Le Ve”, a song that has become a Latin standard, similar to that of the great Puerto Rican folkloric fusion outfit Batacumbele. Easily the most compelling track on the album, perhaps out of familiarity, it displays in equal parts the attributes that distinguish this excellent album: airtight execution, clean arrangements, and supreme restraint. Batacumbele’s version may have darted around more but this one is distinguished by the way the energy flow is harnessed.
Vocal and drums in the rumba style mark the intro of “Basta Ya Con Tu Mentira”, which has “party” written all over it. Again, a bass drum underscores the horn lines and the momentum grows. Get ready for a thrilling conga solo at 3:21, a reminder that Bonilla shines when he steps forward and can match anybody out there.
“La Rumba Esta Buena” indeed! Before the vocal entry, we have it down to basics: tres and drums. The energy begins to rise, coaxed on by a marvelously quirky piano solo courtesy of Paquito Hechavarria. The background vocal refrain appears and disappears, spurring on the horns and drums. Again Bonilla writes an instruction book on timbales. Towards the end, the tempo jumps forward a few beats per minute and Antonio Columbie’s lead vocals dance—just as you will when you spin this delightful and highly recommended CD. As the band enters the exit fade, you just know they kept playing long after in the studio!
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