Poncho Sanchez Outa Sight
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Out of Print: Future availability is unknown
sku: COJ 1031
- Released: October 20, 2003
- Originally Released: 2003
- Label: Concord Records
JazzTimes - 11/03, p.104"On the 1950s soul hit 'Mary Ann,' Charles' tastily aged vocals suit Sanchez's heavy-handed, tight and steady conga backbeat."
Song previews provided courtesy of iTunes
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel: Poncho Sanchez (vocals, congas, percussion); Ray Charles, Sam Moore (vocals); Scott Martin (alto, tenor & baritone saxophone, flute); Pee Wee Ellis (alto & tenor saxophones); Serafin Aguilar (trumpet, flugelhorn); Francisco Torres, Fred Wesley (trombone); Dale Spaulding (harmonica); David Torres (piano, Hammond B-3 organ); Billy Preston (organ); Sal Vasquez (guitar, tres, bongos, percussion); George Ortiz (congas, timbales); Francisco Aguabella (bata drums).
Recorded at O'Henry Sound, Burbank, California; G Digital Sound, Studio City, California; Capitol, Hollywood, California; Fourth Street Studios, Santa Monica, California. Includes liner notes by Jesse "Chuy" Varela.
Personnel: Poncho Sanchez (vocals, congas, percussion); Sam Moore, Ray Charles (vocals); Salvador Vazquez (guitar, tres, congas, bongos, percussion, background vocals); Scott Martin (flute, alto saxophone, tenor saxophone, baritone saxophone); Dale Spalding (harmonica); Pee Wee Ellis (tenor saxophone); Serafin Aguilar (trumpet, flugelhorn); Francisco Torres (trombone, background vocals); Fred Wesley (trombone); David Torres (piano); George Ortiz (timbales); Tony Banda (background vocals).
Recording information: Capitol Records, Hollywood, CA (03/03/2003-03/05/2003); Fourth Street Studios, Santa Monica, CA (03/03/2003-03/05/2003); G Studio Digital, Studio City, CA (03/03/2003-03/05/2003); O'Henry Studios, Burbank, CA (03/03/2003-03/05/2003).
Photographers: Dave Gold; Frank Marrone; Norman Seeff; Joyce Moore; Billy Preston.
The legendary conguero may be known as one of the modern kings of all jazz that's Latin, but he's also an old-school soul junkie at heart, having grown up in southern California in the '60s; while he was learning to play tropical Latin music professionally, his radio was full of classic Stax and Motown. Increasingly aware that classic R&B songs adapt well to the jazzy cha cha tempos that drive his ensemble, Sanchez evolves beautifully on the new collection into a style of Latin soul that's truly compelling. The opening track, the funky, brass-driven cha cha "One Mint Julep," features not only the organ arpeggios of Billy Preston, but also two of the horn guys from the James Brown band, Fred Wesley and Pee Wee Ellis. "JB's Strut" funks out with the horniest of them, but Brown is paid even greater homage on blues/soul/big-band/Latin renderings of three of his tunes, "Saints and Sinners," "Out of Sight" (sung with a tongue-in-cheek Brown bravura by Sanchez), and "Conmigo." And while he's at it, Sanchez invites two legendary soul men to make things even more authentic. Sam Moore has a blast with the sassy "Hitch It to the Horse," while Ray Charles adds his whimsical touch to the salsified blues tune "Mary Ann." The remaining question is, just where is the Godfather of Soul himself? Hopefully, he's proud of one of the most unique tributes to him ever fashioned. ~ Jonathan Widran
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