Review by: Ali Ghoneim
Album assigned by: Alejandro Muñoz G
When a Latin jazz musician releases an album called Acid — in 1968 no less — you would be forgiven for assuming it combines latin music with psychedelic rock. You would be forgiven, but you’d still be wrong. Not a hint, lick or indeed dab of psychedelia is on the entire thing (the eight minute long improvisation of Espiritu Libre comes close, but when the improv is this dry, it’s just called jazz). The only psychedelic thing about the album isn’t even on the album, it’s on the cover. What a waste of psychedelic font.
Not that Acid is a straightforward latin jazz record. It does draw influence from 60s soul/rock and tries to give them a latin spin, but the end result doesn’t really transform these genres in any significant way. A Deeper Shade of Soul sounds like a medley of covers rather than anything truly transcending typical soul. In fact, its melodies seem to be snatched from Twist and Shout and Summer Nights. The Soul Drummers is a bit of a slog except for that section near the end when the horns kick into high gear. And while Mercy, Mercy, Baby is a pretty good song, everything cool about it has nothing to do with the fact that Ray is belting your stock 60s soul/rock lyrics over latin percussion. Finally, Teacher of Love is Ray’s unconvincing attempt at hippy rock lyrics, not that actual hippy rock lyrics are all that convincing in the first place. Here’s a sampling:
I come to my class tonight
Don’t be late or you’ll be left behind
Cause I’m the loving loving man
I’m the teacher of love
(teacher won’t you teach me tonight!)
Stupendous. (That means it’s stupid, right?)
Where the album really shines is on its more straightforward latin tracks. All of the songs were written by Ray Barretto, a percussionist, but the real stars on display here are in the horn section. Just listen to the explosive horn riff that opens the first and best track, El Nuevo Barretto. It is the definition of a pick-me-up. Once that groove kicks, it’s hard to not let yourself be transported to a more pleasant state of mind. Think this is the kind of music George Clinton meant when he coined the term “mood control”.