The Latin Album

Editorial Reviews

Barnes & Noble - Emily King
While the Boston Pops could never be mistaken for the Buena Vista Social Club, they have done a splendid job here in paying tribute to a wide variety of Latin music -- from Argentinean tangos to Mexican mariachi. Their hip and talented conductor, Keith Lockhart, has enlisted the aid of two smaller groups -- the Boston-based Inca Son and Mariachi Cobre from Tucson -- to give them some ethno-musical credibility, and the arrangements are fluid and responsive to the needs of each genre. The opening bars of "Granada" are carried by the thrilling solo trumpet of Mariachi Cobre's cofounder, Stephen Carillo. "Jalousie" features extensive and gorgeous virtuosity on the part of the...
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Editorial Reviews

Barnes & Noble - Emily King
While the Boston Pops could never be mistaken for the Buena Vista Social Club, they have done a splendid job here in paying tribute to a wide variety of Latin music -- from Argentinean tangos to Mexican mariachi. Their hip and talented conductor, Keith Lockhart, has enlisted the aid of two smaller groups -- the Boston-based Inca Son and Mariachi Cobre from Tucson -- to give them some ethno-musical credibility, and the arrangements are fluid and responsive to the needs of each genre. The opening bars of "Granada" are carried by the thrilling solo trumpet of Mariachi Cobre's cofounder, Stephen Carillo. "Jalousie" features extensive and gorgeous virtuosity on the part of the Pops' own violinist, Tamara Smirnova. And their house soprano saxman, Michael Monaghan, swings through "Perfidia" and Astor Piazzolla's "Oblivion" with admirable wistfulness. Aaron Copland's south-of-the-border salute, El Salón Mexico, is here too, but Lockhart has also included works by some of the most respected classical composers of South and Central America. Ginastera's "Malambo" from his ballet Estancia, Fernández's "Batuque," and Guàrnieri's "Dansa Brasileira" represent some of these composers' finest attempts to bring the rhythms of their native music to the European orchestra. Perhaps, as in "Huapango" by Mexican composer José Pablo Moncayo, the Pops' percussion section never really does let itself go. But what do you want from Boston? The tracks in which the Pops follow the lead of their guest bands on traditional tunes are more refreshing and successfully Latinate. In fact, they're downright fun. And that, after all, is what the Pops do best.
All Music Guide - Zac Johnson
Conducted by Keith Lockhart, this BPO release is a mix of classical, Afro-Cuban, and mariachi music featuring guest appearances by Boston-based Andean group Inca Son and American favorites Mariachi Cobre, who add to the Latin American feel. Hot on the heels of the late-'90s fascination with Latin music, this album has lots of appeal, particularly to those who still know how to do the Macarena. The Latin Album features "El Salon Mexico" by renowned American composer Aaron Copland, as well as two pieces written for the orchestra by Latin American composers Ginastera and Fernandez. Although sweeping and really quite beautiful, The Latin Album fails to capture the fiery essence of authentic Latin American music.
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Product Details

  • Release Date: 9/26/2000
  • Label: Rca
  • UPC: 090266371723
  • Catalog Number: 63717
  • Sales rank: 88,427

Tracks

Disc 1
  1. 1 Malambo - Alberto Ginastera (3:40)
  2. 2 Oblivion, tango - Michael Monaghan (3:53)
  3. 3 Granada, for voice & orchestra (with chorus ad lib) - Mariachi Cobre (4:33)
  4. 4 El Salón México, for orchestra - Aaron Copland (11:10)
  5. 5 Perfidia - Alberto Dominguez (4:59)
  6. 6 Mi Cambio - Cesar Villalobos (5:02)
  7. 7 Jalousie, tango for orchestra - Jacob Gade (4:36)
  8. 8 Dansas Brasilerias for orchestra (2:13)
  9. 9 Mambo Jambo - Rafael Hernández (4:24)
  10. 10 El Combanchero, for pops orchestra (8:01)
  11. 11 Huapango, for orchestra (4:08)
  12. 12 Ay, Ay, Ay, canción criolla for voice & orchestra - Cesar Villalobos (3:39)
  13. 13 Cumbias (3:49)
  14. 14 Batuque for orchestra - Rubén Fuentes (3:03)
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Album Credits

Performance Credits
Keith Lockhart Primary Artist, Conductor
Aaron Copland Track Performer
Alberto Ginastera Track Performer
Rafael Hernández Track Performer
Agustín Lara Track Performer
Laura Ahlbeck Oboe
Boston Pops Orchestra Performing Ensemble
Ernesto Diaz Percussion
Pat Hollenbeck Percussion
Jon Finn Guitar
Jonathan Menkis Horn
Ricardo Monzon Percussion
Jaime Rodriquez Vocals, Charango
Oscar Stagnaro Bass
Anthony Kadleck Trumpet
Valerie Kuchment Violin
Cesar Villalobos Track Performer
Clayton Hoener Violin
Elita Kang Violin
Fred Buda Percussion
Alberto Dominguez Track Performer
Timothy Genis Timpani
Ronald Knudsen Violin
Ronan Lefkowitz Violin
Joel Moerschel Cello
Israel Gálvez Molina Violin, Vocals
Elizabeth Ostling Flute
Mack Ruíz Violin, Vocals
Vyacheslav Uritsky Violin
Jay Wadenpfuhl Horn
Chester Schmitz Tuba
James Orleans Bass
Richard Ranti Bassoon
Bob Winter Piano, Accordion, Celeste
Lawrence Wolfe Bass
Andrew Pearce Cello
Scott Andrews Clarinet
Jacob Gade Track Performer
Amnon Levy Violin
Douglas Yeo Bass Trombone
Owen Young Cello
David Buda Electric Bass
Suzanne Nelson Bassoon
Tamara Smirnova Violin
Michael Monaghan Soprano Saxophone
Bruce Hall Trumpet
Peter Chapman Trumpet
Technical Credits
Carmen Dragon Arranger
Silvestre Vargas Arranger
William David Brohn Arranger
Jorge Calandrelli Arranger
Rubén Fuentes Arranger
Pat Hollenbeck Orchestration
Shawn Murphy Producer, Engineer
Todd Whitelock Engineer
Angela Morley Arranger
Alberto Dominguez Lyricist
Francisco Grijalva Arranger, Orchestration
Caitlin Carter Cover Model
María Susana Azzi Liner Notes
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