Personnel includes: Mongo Santamaria (bongos, congas); Bobby Capers (flute, alto & baritone saxophones); Hubert Laws (flute, tenor saxophone); Mauricio Smith (flute, saxophone); Sonny Fortune (alto saxophone); Joe Farrell, Hadley Caliman (tenor saxophone); Mary Sheller, Luis Gasca (trumpet); Rodgers Grant (piano); Victor Venegas, William Allen (bass); Carmello Garcia (drums, timbales); Bernard Prudie (drums); Steve Berrios (timbales); Osvaldo Martinez, Julio Collazo, Chihuahua Martinez, Ray Maldonado (percussion).
Producers: Roberto Mersey, David Rubinson, Billy Jackson, Warren Vincent.
Compilation producer: Jerry Rappaport.
Recorded between 1964 & 1969. Includes liner notes by Tom Terrell.
Digitally remastered by Joseph M. Palmaccio (Sony Music Studios, New York, New York).
Some would say the title of this package is deceptive, as it only covers his mid- to late-'60s period with Columbia (and should not be confused with other Mongo Santamaria releases with similar titles covering different eras, such as Fantasy's). Furthermore, some would also say that it's not representative of Santamaria's best work, or that representative of Santamaria at all, since it's largely devoted to some of his most pop-oriented material. That's the purist stance, anyway. Because actually, this disc is for the most part a gas, even if it is not among the more Latin-esque or jazzy of his recordings. His Columbia stint saw the influence of soul become ascendant upon his studio output and indeed, many of the tunes here are soul covers: "Cloud Nine," "Sitting on the Dock of the Bay," "Twenty-Five Miles," "Cold Sweat," and "Green Onions." Being commercial, however -- and this was an attempt by Santamaria and Columbia to be commercial, as both Santamaria and producer David Rubinson state in the liner notes -- does not always lead to bad music. Sometimes, indeed, it leads to pretty good music. And the 1964-1969 cuts on this disc are cool, often smokin' boogaloo, that mixture of Latin, jazz, soul, and pop that briefly became in vogue during the '60s. If Mongo and his large bands were disenchanted with this direction, it certainly doesn't show at all in the performances, which have an irresistible verve, whether on tailored-for-Santamaria compositions like "Fatback" or shopworn material like "La Bamba." ~ Richie Unterberger
