Original Released on LP Columbia CL 2375 / CS 9175
(US, 1965)
(US, 1965)
Ramon "Mongo" Santamaria originally took up the violin but then switched to drums before dropping out of school to become a professional musician. A performer at the Tropicana Club in Havana, Mongo traveled to Mexico City with a dance team in 1948 and then moved to New York City in 1950, where he made his American debut with Pérez Prado and spent six years trading percussive barrages with Tito Puente and performing and recording with Cal Tjader (1957-1960). Mongo's first significant recordings in America were made in 1958 for Fantasy; his second Fantasy album, "Mongo" (1959), contained a composition called "Afro-Blue", which quickly became a Latin jazz standard, taken up by John Coltrane, Dizzy Gillespie, and others. Santamaria's breakthrough into the mass market may have come as a result of a bad night at a Cuban nightclub in the Bronx in 1962. As the story goes, only three people showed up in the audience, so the musicians held a bull session in which the substitute pianist for the gig, Herbie Hancock, demonstrated his new blues tune, "Watermelon Man". Everyone gradually joined in, the number became a part of Mongo's repertoire, and when producer Orrin Keepnews heard it, he rushed the band into a studio and recorded a single that leaped to the number ten slot on the pop charts in 1963.
The success of Santamaria's cross-pollination of jazz, R&B, and Latin music on "Watermelon Man" and a string of Battle and Riverside albums led to a high-profile contract with Columbia that resulted in a wave of hot, danceable albums between 1965 and 1970. With a brighter, brassy sound propelled by trumpeter Marty Sheller's driving charts, often covering hits of the day, the Santamaria band perfectly reflected the mood of the go-go '60s, and Mongo continued to mix genres into the '70s. One good hit deserves a remake, so Columbia had Mongo Santamaria redo his breakthrough record "Watermelon Man" on his second LP for the label. Indeed, it is this brighter, better-recorded version that we generally hear on the radio nowadays instead of the Battle original. Even better, though, are "Fatback" and the wildly swinging workout on "La Bamba" that kicks off the album, to which you can imagine the foxy blonde model on the cover dancing the boogaloo. Marty Sheller's charging arrangements and trumpet are in the driver's seat of this sports car with the Mongo engine, and Hubert Laws has a ball in his flute and tenor sax solos. Few records embodied the go-go spirit of the '60s as well as this Latin jazz album. (Richard S. Ginell in AllMusic)
