With Rican/Struction (1979), Ray Barretto delivered a landmark album of New York salsa, fusing Afro-Cuban rhythms and jazz influences to capture the vibrant essence of the urban Latin scene
With Rican/Struction, Ray Barretto reaches an artistic maturity that makes it one of the most acclaimed albums in salsa. The album features dynamic, nuanced tracks, thanks to the arrangements of a solid orchestra. The talent of the musicians and the diversity of Afro-Latin rhythms give each track a distinct identity, while offering a coherent and captivating listening experience from start to finish…
Few words about Rican/Struction
I have found Rican/Struction on a monthly big open air market, in the old part of Limoges, France. In the second half of the 70s, a number of artists, perhaps without even realising it, shared a common theme on their album covers: psychedelia. The visual on this Ray Barretto’s LP is reminiscent of the Australian band Cybotron, this decade seems to had many psychedelic covers in the music industry.
Ray Barretto, nicknamed ‘Manos Duras’ for his hard-hitting congas, delivers a sophisticated opus with Rican/Struction that marks a turning point in his career. The album opens with the vibrant Tumbao Africano, which embodies the power of drums and brass, uniting Afro-Cuban tradition and contemporary groove. At the time, this album followed a series of landmark collaborations and productions for the Fania label, confirming Barretto as a pillar of salsa and Latin jazz.
Each track is a balance between harmony and improvisation, as in Cocinando where the instrumental solos reflect the dialogue between the musicians and the boldness of the compositions. The production features jazz elements and freer arrangements, allowing for an emotional interpretation that escapes the overly rigid frameworks of the genre. With this approach, Barretto transcends the boundaries of traditional salsa by incorporating a narrative and introspective dimension that reflects the complexities of urban life.
Rican/Struction, a step to new era
The album is not only a tribute to Barretto’s Afro-Caribbean roots, but also a fusion of Latin American experiences on the streets of New York. Listening to Rican/Struction, you feel the influences of the jazz scene of the time, but also Barretto’s quest for identity, seeking to capture the essence of the Latin diaspora in a rapidly changing American society. This is what gives the album its universal appeal, making it one of the benchmarks of 70s salsa.
Beyond its era, Rican/Struction paved the way for the hybrid genres that were to develop in the following decades, such as modern Latin jazz and revisited salsa dura. It would be interesting to compare this album with the contemporary creations of young Latin artists who, in an increasingly globalised context, are blending even more genres and influences.
With this foundation of fusion and musical inventiveness, Rican/Struction remains a source of inspiration for musicians wishing to explore the intersections between Afro-Caribbean music and jazz. Ray Barretto has been lucky when he was young. Chances to have a better life were quite small. Music saved his life from being poor, or dealer, soldier, rubber… This album is one of his best pieces, at the top of his salsa career, he’s one of the latin guys who brings salsa and jazz together !
Some reviews:
Rican/Struction remains an undisputable example of ‘música gorda.’ The arrangements, done by Oscar Hernandez, Eddie Martinez, Gil Lopez, and Dick Mesa are devastating. Every time I revisit this album, I am absolutely ‘wowed’ by it. It should be required listening for students of the music (Vicki Solá 98/99 Catalog)
Oh Knock Me Out! Ray goes electric on this famous album! » (Phil Riggio 98/99 Catalog)
« Ray has always been a master of combining roots and avant-garde elements in a fresh, uncommonly effective way. This 1979 date is one of his best–the jazzy tour de force ‘Algo Nuevo’ alone is worth the price of admission (Mark Holston 96/97 Catalog)Ray’s high standards, both personally and professionally, always seem to speak to me through his music. Wherever the laser beam lands on this CD, it shines, in terms of material, arrangements, and musicianship (Vicki Solá 96/97 Catalog)
It’s very hard to choose one RB release, but I settled on this because it is simply flawless. All the compositions (and arrangements) are excellent, especially the jazzy ‘Tumbao Africano,’ which allows the musicians to stretch out and solo. Vocals by Adalberto Santiago are great, too (Nina Lenart 94/95 Catalog)
