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
Hipocrecia Y Falsedad
Ray Barretto Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Al fín se descubriran
Este consejo te voy a dar
Traición trae la soledad
Hablando de la traición
Si sigues ese camino
Fallar sera tu destino
La hipocresía y la falsedad
Al fín se descubriran
Este consejo te voy a dar
Traición trae la soledad
No hay quien sea tan ciego
Como el que no quiere ver
Sin amigo y sin querer
Solo llega a viejo
La hipocresía y la falsedad
Al fín se descubriran
Este consejo te voy a dar
Traición trae la soledad
Aprende bien a apreciar
El corazon que es sincero
Que vale mas que el dinero
Cuida la amistad
La hipocresía y la falsedad
Al fín se descubriran
Este consejo te voy a dar
Traición trae la soledad
oyelo bien dos cara
La hipocresía y la falsedad
De frente tu eres mi amigo
Y atras la puñala
La hipocresía y la falsedad
Tu palabra de dulzura
Tus ojos de falsedad
La hipocresía y la falsedad
Con esa cara que pones
No me puedes engañar
La hipocresía y la falsedad
oye bien este consejo
y a viejo llegara
La hipocresía y la falsedad
oye mira tu mulato
aja...
y dice...
La hipocresía y la falsedad
La hipocresía y la falsedad
juega roberto!
La hipocresía y la falsedad
La hipocresía y la falsedad
eehh La hipocresía y la falsedad
La hipocresía y la falsedad
tus plabras son de cobre
vete pa alla
Tomado de AlbumCancionYLetra.com
La hipocresía y la falsedad
la hipocrecia aja.
The song Hipocrecia Y Falsedad by Ray Barretto talks about hypocrisy and falsehood, and how they will eventually be exposed. The lyrics warn against betrayal that brings loneliness and advises listeners to appreciate sincere hearts rather than being blinded by money. The line "no hay quien sea tan ciego como el que no quiere ver" (there is none so blind as those who will not see") emphasizes the dangers of not recognizing deceitful behavior.
Throughout the song, various scenarios are depicted to illustrate the message of the lyrics. The singer talks about the consequences of following a path of betrayal and how it leads to sadness and lack of compassion. The chorus repeats the message of exposing hypocrisy and falsehood so that people can avoid it. The final lines of the song are a plea to listen and take note of the warning and not let false behavior be a part of one's life.
Line by Line Meaning
La hipocresía y la falsedad
People's deceitful and hypocritical nature
Al fín se descubriran
Eventually, their true intentions and deceitful ways will be revealed
Este consejo te voy a dar
I'm going to give you some advice
Traición trae la soledad
Betrayal leads to loneliness
Hablando de la traición
Speaking about betrayal
Si sigues ese camino
If you continue down that path
Fallar sera tu destino
Failure will be your fate
Triste y sin compación
Sad and without compassion
No hay quien sea tan ciego
There is no one as blind
Como el que no quiere ver
As someone who does not want to see
Sin amigo y sin querer
Without a friend and without wanting
Solo llega a viejo
They will only grow old alone
Aprende bien a apreciar
Learn to appreciate well
El corazon que es sincero
A sincere heart
Que vale mas que el dinero
That is worth more than money
Cuida la amistad
Take care of your friendships
De frente tu eres mi amigo
You are my friend to my face
Y atras la puñala
But behind my back, you stab me
Tu palabra de dulzura
Your words of sweetness
Tus ojos de falsedad
Your eyes of deceit
Con esa cara que pones
With the face you put on
No me puedes engañar
You cannot fool me
oye mira tu mulato
Hey, look at you, mixed-race man
tus plabras son de cobre
Your words are made of brass
vete pa alla
Go away
la hipocrecia aja.
The hypocrisy, yes.
Writer(s): Raymond Barretto, Solange Lopez
Contributed by Penelope J. Suggest a correction in the comments below.
@luckylouie522
ROBERTO RODRIGUEZ TRUMPET
ORESTES VILATO TIMBALES
TONY FUENTES BONGO
LUIS CRUZ PIANO
ANDY GONZALEZ BASS
RAY BARRETTO CONGAS
ADALBERTO SANTIAGO VOCAL
2ND TRUMPET PAPY ROMAN
HECTOR LAVOE CORO
IZZY SANABRIA ALBUM DESIGN
@luckylouie522
ROBERTO RODRIGUEZ TRUMPET
ORESTES VILATO TIMBALES
TONY FUENTES BONGO
LUIS CRUZ PIANO
ANDY GONZALEZ BASS
RAY BARRETTO CONGAS
ADALBERTO SANTIAGO VOCAL
2ND TRUMPET PAPY ROMAN
HECTOR LAVOE CORO
IZZY SANABRIA ALBUM DESIGN
@Musicfiend4ever
Gracias Louie por nombra a Izzy Sanabria. Muy pocas personas conocen la gran influencia el tuvo en promover el aspecto visual y artístico diseñado todas “the album covers” de la Fania y su influencia en todo lo que se movía en “the back room” de los estudios de la Fania con Jerry, Louie Ramirez y Pacheco.
Estoy suspechando que tu conoces algunos de ellos.
@superwoman7579
Jimmy Sabater on Coro as well.
@andresvelasco7665
En que año?
@luckylouie522
@@andresvelasco7665 1969
@victorreyes6191
Gracias a Dios que naci el CALLAO y creci en N.Y
En el Año 77 en el Becon teatro Ray Barreto dio un tremendo concierto llamado Gracias tuve la dicha de verlo en persona y Adalberto se botó cantando La hipocresía y la falseda y Mírame de frente
Yo tenía 17años y ahora tengo 63 y nunca me voy a olvidar de ese tremendo conciertaso
Creci con la salsa de N.Y
Mas salsa que pescado
Chimpum CALLAO
@willyriera7068
THE BEST RAY BARRETTO🇺🇲🇪🇨🎶🎺🥁💪🏼😎
@luischaves638
Otro nivel puerto Rico cuna de talento desde cali colombia
@clarysl18
Puerto Rico!!🇵🇷
@fredyandradeguavitachaparr6264
Lo dice todo, no hay nada más que agregarle; melodía, coros, cantante y una sensacional letra. 👏🏼👏🏼👏🏼👏🏼👏🏼 Saludos desde Bogotá, Colombia