Nu Yorica! Culture Clash in New York City

Track Listings

Disc: 1
1. What Are You Doing for the Rest of Your Life?, Pt. 1 - Ocho
2. Gumbo - Cortijo y Su Combo
3. Trompeta y la Flauta
4. Babalonia
5. Harlem River Drive Theme - Harlem River Drive
6. Amigos - Stone Alliance
7. Latin Strut - Joe Bataan
8. Anabacoa - Experimental Nuevayorquino, Grupo Folklorico y Experimento
9. Galleton - Tempo 70
10. Dia Bonita - Eddie Palmieri

Disc: 2
1. Carnaval - Cortijo y Su Combo
2. Coco May May - Ocho
3. Idle Hands - Harlem River Drive
4. Little Rico: Little Rico's Theme - Bobby Vince Paunetto & Commit to Memory
5. Aftershower Funk - Joe Bataan
6. Macho - Machito & His Orchestra

Nu Yorica! Culture Clash in New York City,Various Artists,Soul Jazz,70's,80's,Latin,Latin Pop,V/a Compilations


Nu Yorica! Culture Clash in New York City
Average customer rating: 5 out of 5 stars
  • A Must Have for Latin, Funk, and Afro-Cuban Jazz Lovers!!!
  • A classic compilation
Nu Yorica! Culture Clash in New York City
Various Artists
Manufacturer: Soul Jazz
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | International | Styles | Music
GeneralGeneral | Latin Music | Styles | Music
Latin PopLatin Pop | Latin Music | Styles | Music
GeneralGeneral | Jazz | Styles | Music
1970s1970s | By Decade | Pop | Styles | Music
1980s1980s | By Decade | Pop | Styles | Music
1970-19791970-1979 | Decades | Compilations | Miscellaneous | Styles | Music
1980-19891980-1989 | Decades | Compilations | Miscellaneous | Styles | Music
Latin MusicLatin Music | Imports | Stores | Music
Similar Items:
  1. Barrio Nuevo: Latin Funk, Latin Rock, Latin Disco, Latin Soul

ASIN: B000024KI4
Release Date: 2004-01-01

Tracks:

  1. What Are You Doing for the Rest of Your Life?, Pt. 1 - Ocho
  2. Gumbo - Cortijo y Su Combo
  3. Trompeta y la Flauta
  4. Babalonia - Ricardo Marrero
  5. Harlem River Drive Theme - Harlem River Drive
  6. Amigos - Stone Alliance
  7. Latin Strut - Joe Bataan
  8. Anabacoa - Experimental Nuevayorquino, Grupo Folklorico y Experimento
  9. Galleton - Tempo 70
  10. Dia Bonita - Eddie Palmieri

Tracks:

  1. Carnaval - Cortijo y Su Combo
  2. Coco May May - Ocho
  3. Idle Hands - Harlem River Drive
  4. Little Rico: Little Rico's Theme - Bobby Vince Paunetto & Commit to Memory
  5. Aftershower Funk - Joe Bataan
  6. Macho - Machito & His Orchestra

Customer Reviews:

5 out of 5 stars A Must Have for Latin, Funk, and Afro-Cuban Jazz Lovers!!!.......2006-05-31

This is one of the best compilations of any kind that I've found. I found it at my library about a year ago and bought it shortly after hearing it. It has since become one of my favorite albums...and I have a freakin TON of great albums.
While listening to this album you feel like your taking a funky tropical urban ride through jamland. From the blaring horns to the funky slap bass lines and afro beats, Nu Yorica! is so musically expressive that you can almost SEE the Cuban or Puerto Rican street festivals and Harlem jazz lounges where the movement really took off.
All I have to say is that my cool music factor has been elevated to a new level because of this album. Anyone who's opinion I respect digs this when I play it for them. Seriously, a must have. GET IT!!!

5 out of 5 stars A classic compilation.......2000-09-15

This is one of the few compilations to have attained classic status. SoulJazz followed a clear concept: the impact of environment and identity in the creation of a community of musicians, specifically those musicians living in East Harlem who were of Cuban and/or Puerto Rican heritage OR African-American but enamoured of Latin music during the 1970s. Ocho is an example of the latter: an all-black group from "across the river" which combined the expected soul and funk influences with hard Latin genres. Bobby Vince Paunetto, a vibist of Italian/Spanish heritage, fused Cal Tjader with breakbeats and an operaticexploitation sensibility on "Little Rico's Theme". The Puerto Riqueno Ricardo Marrero's "Babalonia" is not only a prime breakbeat cut, it's also a masterpiece of tension and release set up by the keyboard and horn arrangements.

The NuYorican sound had been developing since at least Machito's heyday in the late 1940s and 50s, but the utopian communalism and fearless artistic leaps of the era (plus the expanded tone colors brought by electrification and radical engineering) catapulted the aesthetic into something new and startling, but the window for this music was narrow, and by the early 1980s such bold blendings of different genres would have much less commercial viability.

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