Ray Barretto, a percussionist extraordinaire and legend in the Salsa & latin Jazz music community has left the music scene with his death in February 2006 at age 76.
Born of Puerto Rican descendence in Brooklyn during the depression, he lived with his mother in East Harlem, The South Bronx and other "boricua" districts before he joined the army, where in the latter 1940's he heard Dizzy Gillespie's hard bebop. The young man was transfixed by Dizzy Gillespie - Manteca," which featured conguero Chano Pozo.
He started sitting in at a Munich jazz club, and after his discharge, by the early 50's he had bought his own Cuban Cnga drum and was playing regularly at clubs like The Bucket of Blood. Soon Mambo was the rage, and Barretto eventually started playing with Tito Puente in 1957, replacing the famed Mongo Santamaria. He became a band leader on his own by 1961, and had a big hit with his group Charanga Moderna and their boogaloo dance craze single called "el Watusi" in 1963 that was the first Latin record to hit the Billboard top 20, and went Gold.
Barretto is credited by some for bringing the African Conga drum into popular music, and had a crossover appeal that transcended the genre boundries of mainstream music categories. He gained recognition beyond the Puerto Rican music scene, ex. played on many Blue Note albums. He beacme associated with the Latin label Fania in the 1960's and played for three decades in the popular ensemble called the Fania All Stars alongsde Willie Colon, Ruben Blades and others. His 1972 album, "Carnaval", is considered a masterpiece amongst latin Jazz afficianados with the songs "Cocinando Suave" and his interpretation of Gershwin's "Summertime".
Highlights of Barretto's run with the Fania All Stars were their tours of spots like Panama, Puerto Rico and Zaire where they played to 80,000 in Kinshasa before the Ali-Foremen fight. Undoubtedly their sell out concerts at N.Y's Yankee Stadium in 1973 & 1975 would have to be included as well.
In 1975 and 1976, Barretto earned back-to-back Grammy nominations for his solo albums "Barretto" (with the prize-winning song "Guarere") and his double "Barretto Live...Tomorrow". By 1976, although he had stopped performing & touring with his live salsa orchestra, he was regularly voted Best Conga Player in music magazine annual polls. He became interested in jazz fusion forms, and pursued this musical passion despite it's lack of commercial appeal. Barretto felt restricted by the Salsa scene, it's conventions and strict danceable format, and did not like the tag Latin Jazz either.
He teamed with singer Celia Cruz in 1983 for the first of several albums, finally winning a 1990 Grammy with her for their 1989 song "Ritmo En El Corazon". In 1992, he formed the ensemble New World Spirit, and was inducted into the International Latin Music Hall of Fame in 1999.
He had recently been named best drummer in the 2005 DownBeat poll, and received the NEA's 2006 Jazz Masters Fellowship before his health declined. His recent albums "Taboo" (1994), "My Summertime" (1998) and his final album 2005's "Time Was - Time Is" all received Grammy nominations for best Latin jazz performance.
Over the years he is said to have recorded more than 70 albums for numerous labels including Riverside, Atlantic, EMI, CTI, Fania, Tico, RCA Victor, Concord Picante, Prestige, Blue Note, Circular Moves, Sunnyside and his last for O+ Music. Amongst his many musical collaborators included Cannonball Adderly, Joe Farrell, Wes Montgomery, Cal Tjader, Charlie Palmieri, George Benson, Lou Donaldson, Dizzy Gillespie, José Curbelo , Adalberto Santiago, Steve Gadd, Hector Lavoe, Yusef Lateef, Gene Ammons, Red Garland, Ray Vega, Oscar Hernandez, Tito Gomez, and even Little Miami Steven Van Zant's Sun City project. At the time of his death in a New Jersey hospital, he was in his late 70's, and had recently had several health setbacks including suffering asthma, compounded by heart attack, bypass surgery, pneumonia , a tracheotomy and just enough damned ailments to take Fuerza Gigante down.
More Barretto Links & Sample MP3'z & Interviews available at
http://lilmikesf.blogspot.com/2006/02/conga-king-ray-barretto-rip.html
Canto Abacua
Ray Barretto Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Anuncian la misa pa'l que tenga fe
Y en medio de la noche oscura
Avanzan los fieles con rumbo al bemb
Se oye el repique'l tamb
Ecos de un viejo cantar olofi, Lofi y Vilat
En medio e'la oscuridad
Al compás bolero del coquioyamba
Los negros se agarran las manos
Repitiendo a coro el viejo cantar
Se oye el repique del oyamba
Van cantando los niches de madruga
Oye mi canto abacua
Ay, a prisa negro que la misa va a empezar
Oye mi canto abacua
Yo por eso le canto porque yo se
Que el santo me pue' ayudar
Oye mi canto abacua le pedimos la libertad
Oye mi canto abacua
Campanas, campanas, campanas llamando estan
Oye mi canto abacua
Abasi vigila en la oscuridad
Abasi es tambores abacua cantando de madruga
Abasi es tambores abacua
Se escucha el misterioso cantar
Abasi es tambores abacua
Son los niches que te vienen a rezar
Abasi es tambores abacua mis tambores abacua
Abasi es tambores abacua abasi
Abacua abacua
Abacua abacua
Abacua abacua
Abacua abacua
Abacua este es mi canto abacua
Oye mi canto abacua ay, tambores de madruga
Oye mi canto abacua ayofi veme a ayudar
Oye mi canto abacua oye mi canto abacua
Oye mi canto abacua
The lyrics of Ray Barretto's song "Canto Abacua" portray a scene of religious devotion and spirituality. The first verse sets the atmosphere by describing the sound of drums announcing a mass for those who have faith. In the midst of the dark night, the faithful advance towards their destination with rumble and rhythm towards the "bembé," a sacred Afro-Cuban religious ceremony.
The repetition of the chorus "Oye mi canto abacua" emphasizes the importance of this religious chant. The abacua refers to the Abakuá society, a secret men's fraternity from Nigeria that has influenced Afro-Cuban culture. The chorus explains that the singer sings because they know the saint can help them. They request freedom and ask for the strength to overcome obstacles. The chanting becomes a heartfelt plea for assistance and protection.
The verses highlight the significance of the Abakuá society and its connection to the drums. "Abasi" refers to the drums of the Abakuá, which play during the early morning hours. The mysterious singing and prayers are offered by the "niches," the members of the Abakuá society. The repetition of "Abasi es tambores abacua" reinforces the central role of the drums in the ritual. The drumming creates a mystical atmosphere, evoking a sense of spirituality and reverence.
The repetition and rhythm of the chanting throughout the song symbolize the unity and solidarity among the participants. The lyrics capture the essence of the Abakuá society and the power of their rituals. The religious fervor of the faithful is expressed through the lively percussion and the heartfelt lyrics. "Canto Abacua" celebrates the strength and devotion of the Abakuá society, paying tribute to their heritage and cultural practices. It serves as an insight into the religious and spiritual practices within Afro-Cuban culture.
Line by Line Meaning
Se escucha el sonar de tambores
The sound of drums can be heard
Anuncian la misa pa'l que tenga fe
They announce the mass for those who have faith
Y en medio de la noche oscura
And in the middle of the dark night
Avanzan los fieles con rumbo al bemb
The faithful move forward towards the bembé
Se oye el repique'l tamb
The tambourine's ringing can be heard
Ecos de un viejo cantar olofi, Lofi y Vilat
Echoes of an old song, Olofi, Lofi, and Vilat
En medio e'la oscuridad
In the midst of the darkness
Y sigue vibrando la noche
And the night continues to vibrate
Al compás bolero del coquioyamba
To the bolero rhythm of the coquioyamba
Los negros se agarran las manos
The black people hold hands
Repitiendo a coro el viejo cantar
Repeating the old song together
Se oye el repique del oyamba
The oyamba's ringing can be heard
Van cantando los niches de madruga
The youngsters sing in the early morning
Oye mi canto abacua
Listen to my abakuá chant
Ay, a prisa negro que la misa va a empezar
Oh, hurry up, black man, the mass is about to start
Yo por eso le canto porque yo se
That's why I sing to him because I know
Que el santo me pue' ayudar
That the saint can help me
Oye mi canto abacua le pedimos la libertad
Listen to my abakuá chant, we ask for freedom
Campanas, campanas, campanas llamando estan
Bells, bells, bells are calling
Abasi vigila en la oscuridad
Abasi watches in the darkness
Abasi es tambores abacua cantando de madruga
Abasi is abakuá drums singing in the early morning
Abasi es tambores abacua
Abasi is abakuá drums
Se escucha el misterioso cantar
The mysterious singing can be heard
Son los niches que te vienen a rezar
They are the youngsters who come to pray to you
Mis tambores abacua
My abakuá drums
Abacua abacua
Abakuá, abakuá
Este es mi canto abacua
This is my abakuá chant
Ay, tambores de madruga
Oh, early morning drums
Ayofi veme a ayudar
Ayofi, come help me
Oye mi canto abacua
Listen to my abakuá chant
Oye mi canto abacua
Listen to my abakuá chant
Oye mi canto abacua
Listen to my abakuá chant
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@Chimansam
Al fin encontre la letra:
Se escucha el sonar de tambores
Anuncian la misa pa'l que tenga fe
Y en medio de la noche oscura
Avanzan los fieles con rumbo al bembe
Se oye el repique'l tambor
Ecos de un viejo cantar
Olofi, Lofi y Vilato
En medio e'la oscuridad
Y sigue vibrando la noche
al compás bolero del coquioyamba
Los negros se agarran las manos
Repitiendo a coro
el viejo cantar
Se oye el repique del oyamba
Van cantando los niches de madruga
Oye mi canto abacua
Ay, a prisa negro que la misa va a empezar
Oye mi canto abacua
Yo por eso le canto porque yo se que el santo me pue' ayudar
Oye mi canto abacua
Le pedimos la libertad
Oye mi canto abacua
Campanas, campanas, campanas llamando estan
Oye mi canto abacua
Abasi vigila en la oscuridad.
Abasi es tambores abacua
Cantando de madruga
Abasi es tambores abacua
Se escucha el misterioso cantar
Abasi es tambores abacua
Son los niches que te vienen a rezar
Abasi es tambores abacua
Mis tambores abacua
Abasi es tambores abacua
abasi
Abacua
Abacua
Abacua
Abacua
Abacua
Abacua
Abacua
Abacua
Abacua
Este es mi canto abacua
Oye mi canto abacua
Ay, tambores de madruga
Oye mi canto abacua
Ayofi veme a ayudar
Oye mi canto abacua
Oye mi canto abacua
Oye mi canto abacua
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Excelente desde TULUÁ Colombia para bailar y gozar
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Tuve la fortuna de ver a Rubén Blades el pasado 9 de noviembre en concierto y puedo decir que fue uno de los momentos más emotivos de mi vida, saludos desde Medellín Colombia 🇨🇴.Todos somos salsa!!!
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Cantó este tema?
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Gooozalo.....!
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Lindas palabras Andrea. En Colombia está también nuestro hermano Gabino Pampini.
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Andrea paisa Echeverri, TUVE LA DICHA DE COMPARTIR Y OFRECERLE LA MUSICA A USTEDES. FUE UN GRAN HONOR EL PODERLES DELEITAR, NUESTRA MUSICA. PUES LA MUSICA ES EL LENGUAJE, DE TODOS. SALUDOS DESDE: USA 🇺🇸 Y SIEMPRE SERE 🇵🇷, BORICUA DE PURA SEPA. CARIÑOS Y ABRAZOS, PARA TODOS, POR ALLA.
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Por.tiempo.largo.buscaba.esa çancion
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