The year 1973 was both a successful and stressful time for Ray Barretto. His band had developed a loyal following among dancers of the new Afro-Cuban-based music known as salsa.

He had achieved success as a composer with “Cocinando,” the theme song for the Fania produced movie Our Latin Thing. But his band’s explosive rhythm team of Orestes Vilató on timbales, Johnny Rodríguez on bongó and cencerro, bassist Dave Pérez, pianist Louis Crúz, along with trumpeter René López and vocalist Adalberto Santiago would eventually all leave him.

He was heartbroken. He had developed what every bandleader wants, a sound, but Barretto was undaunted and would rebuild. He would call upon an old friend, trumpeter Roberto Rodríguez, who had decided to stay.

Fellow trumpeter Joseph “Papy” Román also remained, and Barretto would form a new group that would re-define Barretto’s sound and re-affirm his position as a band leader. Indestructible announced the return of Ray Barretto to the salsa scene in a big way.

Indestructible is Ray Baretto’s most remarkable work of virtuosity exploding with an opening continuous roll that lasts with accents and tones thrown in at surprising moments along with a series of Afro-Cuban rhythms.

Side A:
1. El Hijo De Obatalá
2. El Diablo
3. Yo Tengo un Amor
4. La Familia

Side B:
5. La Orquesta
6. Llanto de Cocodrilo
7. Ay No
8. Indestructible

Ray Barretto may have been one of the kings of New York’s Latin music scene in the late 60’s, but, as noted, in 1973 he lost most of his band - including his trademark vocalist Adalbergo Santiago - who left in less than amicable circumstances to form Tipica ’73. Barretto responded to this slight by forming a phenomenal new band and recording one of the best albums of his career; and that is not just in my humble opinion, trust me.

Barretto tried his hand at many popular Latin styles, from Latin Soul to Boogaloo, whilst at Fania, but Indestructible marked a very deliberate return to Barretto’s Afro-Cuban musical roots, albeit with Fania’s trademark New York sheen.

The band are on top form, especially Eddy Martinez and Roberto Rodriguez, who also contributes one song of his own. Tito Allen fills the gap left by Santiago admirably, and you can even hear the great Hector Lavoe singing coro. In short, Barretto is on fire throughout.

For me, and, of course a lot of other jazz aficionados, the highlights of the album are the more up-tempo guarachas, La Familia, Llanto de Cocodrilo and the incredible title track. That said, the album excels in a variety of styles and the only dip in quality, if you wish to even term it as such, comes with the saccharine Yo Tengo Un Amor.

Oh, and you’ve just got to LOVE the bravado that exudes from the cover shot!

Features:
• Features “Indestructible”
• ALL-ANALOG mastering
• Pressed on 180-gram vinyl

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