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Originally recorded in New York City in 1976 after the triumphant homecoming of LP elder statesman Carlos Carlos "Patato" Valdez, "Authority" is the closest you will get to a Cuban Rumba session - drums and vocals - without hopping on a boat and cruising out from Miami.
These vocals ring out a celebratory, party atmosphere. The phrasing is fun and loose, with lots of spontaneous outbursts. And so it is with the percussion. Of course, this is just what you would expect from a meeting of truly great musicians: Julito Collazo, Nelson Gonzales, Virgilio Marti, Mario "Papaito" Munoz, and Steve Berrios.
The refrain of "Alma Mía" is hypnotic, the tone of the stringed Cuban "Tres" sounding out captivating and lonely amid the hand drums. The song in itself is a study in the essentials of the Rumba: the Clave (for the most part 3/2 Rumba, as opposed to Son Clave), the Cascara rhythm, and the Tumbadora, Conga, and Quinto parts - each one played by a separate percussionist. Teamwork - drumming and vocals - is at the very heart of this record.
The Tres appears again in "LP Theme," a tranquil piece dedicated to the company with which "Patato" has collaborated for decades. While the Tres vamps quietly, the percussionists soar, particularly "Patato" on Quinto, cutting through with sharp tones and nimble patterns. Meanwhile, Berrios lays down Cascara rhythms (a traditional accompaniment on the sides of timbales) that go far beyond the textbook and remind us just how intricate you can get without sacrificing forward motion.
"Patato" continues his homage in the songs "LP Inspiration Part I" and "LP Inspiration Part II" - again Rumba. Here, however, the call and response vocals of Collazo and Marti come forward in the mix. Again, the Clave is 3/2. Midway through, Berrios jazzes up the Cascara rhythm, providing extra bounce just before Part I segues to Part II. This is interesting: because Part II fades in so subtly, we're not quite sure of the starting point and, accordingly, the Clave integral to this music. As if in answer to our confusion, one of the musicians interjects a strong 3/2 Clave beat (a slap on Quinto or the rim of a Timbale?) in an emphatic call to order.
"Chevere" is a folkloric piece that opens in the Guaguanco style and graduates to a rousing vocal chorus. Then it's on to the gentle vocal intro to the final song, "Si Quieres Pan." The conga soloing here is perhaps some of the most exciting and complex on the record. It's "Patato" reminding us of the debt North American music owes to Latin.
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