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Virgen de la CaridadArtist: Anthony Blea
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| # | Name | Play | Time | Info |
|---|---|---|---|---|
| 01 | Virgen De La Caridad |
|
5:28 | salsa, pregones by O.Torriente, trombone solo, |
| 02 | Que Vida |
|
4:55 | listen to the classical influences in Anthony's solo |
| 03 | Pa Eso |
|
5:33 | salsa, pregones by E.Herrera, flute solo |
| 04 | Las Cosas De Mi China |
|
3:25 | danzón, cha-cha-cha, piano solo |
| 05 | La Cintura De Maria |
|
4:26 | rico son, smoking bone solo by Jimmy Bosch |
| 06 | Disfruta La Vida |
|
4:10 | cha-cha and swinging coro/pregón |
| 07 | Tumba Randy |
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7:39 | guaguanco intro, guest: Alfredo de la Fé (violin) |
| 08 | Cero Guaperia |
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7:15 | red-hot descarga, guest: Karl Perrazo (timbales) |
Master violinist and bandleader Anthony Blea shines in this debut. Jimmy Bosch & Alfredo de la Fé are featured guests.
Musicians who performed on Anthony Blea's 'Virgen de la Caridad':
Anthony rapidly developed his own voice and is unquestionably one of the finest soloists in the field today. In San Francisco’s Mission district barrio, he is a local hero who has represented us grandly in Europe and the Americas with his unique sabor.
From 1980 to 1984 most of the above mentioned folks were part of another group I directed, called Orquesta Batachanga. Bay Area stalwarts Susan King, Chris Cooper, Juan Ceballos, Rebeca Mauleón, David Belove, Michael Spiro and Ismael Rodríguez were also part of that band. Anthony stood out as a virtuoso whose ‘guajeos’ (ostinato rhythms) lit fires under the dancers’ feet. His departure for New York in 1984 had much to do with the disbanding of Batachanga. Although we were sad to see him go we were and will always be proud of the wonderful work he did in countless clubs and on great recordings with some of the Big Apple’s finest, namely Cachao, Charanga Sensual, Charlie Rodriguez, Charanga America, Son Primero, Típica Novel and the Fania All-Stars.
Anthony returned so SF in the late 80’s with a Bachelors’ Degree form the Manhattan Scholl of Music and went on to earn a Master’s Degree from the San Francisco Conservatory of Music. He has become a dedicated teacher of music in public schools in the Bay Area, sharing his vast experience with inner city youth. In addition, he has recorded with Boz Scaggs, Wild Mango, Lichi Fuentes and also been featured in several tasty guest spots live and on records with my group, the machete Ensemble.
I’m also quite impressed with Anthony’s skills as a producer in the studio, honed from extensive recording experience on both the East and West coasts. He has directed this ‘orquesta’ in SF since 1995. They never fail to delight the dancers who seek them out for their famous charanga-style swing. Charanson’s (the original name of the band) members are also among the Bay Area’s best players. The solos by Anthony and his special guests –Jimmy Bosch (El Trombón Criollo) and Alfredo de la Fé (El Violín de Sazón) show why these musicians are so highly respected in the field. The excellent original compositions are deeply rooted in the contemporary charanga style while the creative arrangements will raise the eyebrows of the most discerning interviews. The result is 100% danceable, a lot of fun, and delivered by a young seasoned veteran with his formidable crew, from whom you’ll be hearting much more. If you are one of those who appreciate and seek out ferocious groove, you’ve come to the right place.
John Santos
Oakland, CA. Feb 2004
Musicians who performed on Anthony Blea's 'Virgen de la Caridad':
| Anthony Blea | (violin) | Alfredo de la Fé | (violin) |
| John Calloway | (flute) | Juan Ceballos | (flute) |
| Julius Melendez | (trumpet) | Bill Ortiz | (trumpet) |
| Raul Navarrette | (trombone) | Jimmy Bosch | (trombone) |
| Abel Figueroa | (trombone) | John Santos | (guiro) |
| Saul Sierra | (bass) | Steve Sfendt | (bass) |
| Marco Diaz | (piano) | Bob Karty | (piano) |
| Javier Navarrette | (congas) | Karl Perrazo | (timbales) |
| Julio Areas | (timbales) | Carlos Caro | (timbales) |
| Orlando Torriente | (vocals) | Eduardo Herrera | (vocals) |
Anthony rapidly developed his own voice and is unquestionably one of the finest soloists in the field today. In San Francisco’s Mission district barrio, he is a local hero who has represented us grandly in Europe and the Americas with his unique sabor.
From 1980 to 1984 most of the above mentioned folks were part of another group I directed, called Orquesta Batachanga. Bay Area stalwarts Susan King, Chris Cooper, Juan Ceballos, Rebeca Mauleón, David Belove, Michael Spiro and Ismael Rodríguez were also part of that band. Anthony stood out as a virtuoso whose ‘guajeos’ (ostinato rhythms) lit fires under the dancers’ feet. His departure for New York in 1984 had much to do with the disbanding of Batachanga. Although we were sad to see him go we were and will always be proud of the wonderful work he did in countless clubs and on great recordings with some of the Big Apple’s finest, namely Cachao, Charanga Sensual, Charlie Rodriguez, Charanga America, Son Primero, Típica Novel and the Fania All-Stars.
Anthony returned so SF in the late 80’s with a Bachelors’ Degree form the Manhattan Scholl of Music and went on to earn a Master’s Degree from the San Francisco Conservatory of Music. He has become a dedicated teacher of music in public schools in the Bay Area, sharing his vast experience with inner city youth. In addition, he has recorded with Boz Scaggs, Wild Mango, Lichi Fuentes and also been featured in several tasty guest spots live and on records with my group, the machete Ensemble.
I’m also quite impressed with Anthony’s skills as a producer in the studio, honed from extensive recording experience on both the East and West coasts. He has directed this ‘orquesta’ in SF since 1995. They never fail to delight the dancers who seek them out for their famous charanga-style swing. Charanson’s (the original name of the band) members are also among the Bay Area’s best players. The solos by Anthony and his special guests –Jimmy Bosch (El Trombón Criollo) and Alfredo de la Fé (El Violín de Sazón) show why these musicians are so highly respected in the field. The excellent original compositions are deeply rooted in the contemporary charanga style while the creative arrangements will raise the eyebrows of the most discerning interviews. The result is 100% danceable, a lot of fun, and delivered by a young seasoned veteran with his formidable crew, from whom you’ll be hearting much more. If you are one of those who appreciate and seek out ferocious groove, you’ve come to the right place.
John Santos
Oakland, CA. Feb 2004
