I arrived in Manila this afternoon for a week of Typhoon Haiyan related work. It’s nice to be back in the Philippines which has its very own unique character compared to its many other SE Asian neighbors.
To mark the occasion, let’s listen to a bit of Joe Bataan. The father of Latin Soul and an early experimenter in what became known as disco, Joe Bataan was born of African-American and Filipino parents and grew up in Spanish Harlem where he ran with Puerto Rican gangs and absorbed R&B, Afro-Cuban, and Afro-Rican musical influences. His music career followed a pair of stints in Coxsackie State Prison. Self-taught on the piano, he organized his first band in 1965 and scored his first recording success in 1967 with “Gypsy Woman” on Fania Records. The tune was a hit with the New York Latin market despite its English lyrics sung by Bataan, and exemplified the nascent Latin soul sound. In early anticipation of the disco formula, “Gypsy Woman” created dance energy by alternating what was fundamentally a pop-soul tune with a break featuring double-timed handclaps. Bataan would take this tendency even further on his influential Salsoul, which fused funk and Latin influences in slick yet soulful orchestrations. Salsoul remains influential as a rare groove cult item, and pointed to the future at the time of its release. The LP embodied the artist’s highly deliberate and culturally aware musical concept. Bataan theorized the ’70s next big thing as a hybrid: an Afro Cuban rhythm section playing Brazilian influenced patterns over orchestral funk. In many ways, his vision was on the money, though most of the money would go to others and mainstream stardom would elude him. He did, however, get in on the ground floor of the new trend as an early hitmaker. His biggest commercial move was a Salsoul production released under the Epic umbrella, and promoted to the new disco market as Afrofilipino, which included Gil Scott-Heron’s “The Bottle,” a much-anthologized classic that drives an R&B horn arrangement with a relentless piano montuno.
Always in touch with the street, Joe Bataan picked up on rap very early in the game. His minor rap hit, “Rap-O, Clap-O” was a bit more successful in Europe than in the States, and is remembered as rap’s debut in the European market. Nevertheless, his legacy remains his gritty and realistic Latin soul lyrics, his self-identification as an “Ordinary Guy”, and his highly personal and prophetic merger of Latin and soul influences. (AMG)
And so Afrofilipino it is…all the way from the heart of Spanish Harlem, via Manila!
01 Chico And The Man (Main Theme)
02 La Botella (The Bottle)
03 X-Rated Symphony
04 Laughing And Crying
05 Hey, Girl
06 When You’re Down (Funky Mambo)
07 Women Don’t Want To Love Me
08 Ordinary Guy (Afrofilipino)
09 What Good Is A Castle (Pt 1)
10 What Good Is A Castle (Pt 2)