Even their harshest critics can't accuse Keith Lockhart and the Boston Pops of not trying to have fun. On The Latin Album, they tackle a repertoire that includes big-band favorites and compositions from Piazzolla, Perez Pr... more »ado, and Aaron Copland (in the form of El Salon México). These are mostly dance tunes, filled with crashing percussion, Latin rhythms, and familiar melodies. To their credit, the Boston Pops get this fiesta right about half the time--opening with Alberto Ginastera's "Malambo," they set a furious, rollicking mood that's heavy on the percussion. They shine on Jacob Gade's "Jalousie" (an early hit for Lockhart predecessor Arthur Fiedler) and on the more atmospheric "Mi Cambio" by César Villalobos. Unfortunately, their arrangement of Piazzolla's "Oblivion" is about as subtle as the music found in soap operas (and about as exciting) and "Perfidia" is a disappointment, "smooth" but hardly sultry. Still, the Pops know how to play their brassy, rhythmic showpieces, and the recorded sound here is excellent. --Jason Verlinde« less
Even their harshest critics can't accuse Keith Lockhart and the Boston Pops of not trying to have fun. On The Latin Album, they tackle a repertoire that includes big-band favorites and compositions from Piazzolla, Perez Prado, and Aaron Copland (in the form of El Salon México). These are mostly dance tunes, filled with crashing percussion, Latin rhythms, and familiar melodies. To their credit, the Boston Pops get this fiesta right about half the time--opening with Alberto Ginastera's "Malambo," they set a furious, rollicking mood that's heavy on the percussion. They shine on Jacob Gade's "Jalousie" (an early hit for Lockhart predecessor Arthur Fiedler) and on the more atmospheric "Mi Cambio" by César Villalobos. Unfortunately, their arrangement of Piazzolla's "Oblivion" is about as subtle as the music found in soap operas (and about as exciting) and "Perfidia" is a disappointment, "smooth" but hardly sultry. Still, the Pops know how to play their brassy, rhythmic showpieces, and the recorded sound here is excellent. --Jason Verlinde
"I bought this CD at a stoop sale for one dollar, and then sold it at a stoop sale for a dollar or two. I am very glad that I did not pay full price (or even half price) for it. I did not think it was a bad CD, but a bland CD. Every track on it I have heard performed better elsewhere. They are like Muzak versions of great Latin works."
OLE!
11/07/2000
(4 out of 5 stars)
"Keith Lochart and the Boston Pops Orchestra have hit pure gold with "Latin Album." It's a genuine treat to have so many semi-classical Latin favorites on one album. My only real complaint is the absence of anything from the prodigious pen of Cuba's Ernesto Lecuona; the inclusion of "Malaguena" or "Andalucia" would have more completely rounded out an otherwise exciting recording of music from or inspired by our American neighbors who reside "South of the Border.""
A mood-lifter!
mairemcg | Euclid, OH United States | 03/29/2001
(4 out of 5 stars)
"Keith Lockhart, the Boston Pops, and the guest artists have a hit in this one! I can almost forget the snow outside when I listen to it. I loved "Jalousie!" And Mariachi Cobre stands out on "Granada" and "Son de la Negra." Five star tracks, both of them, with Steve Carrillo's great vocal work on "Granada" and the spirited interchange between the Pops and Mariachi Cobre's brass sections in "Son de la Negra." Purists may object to the combination of Latin music and an orchestra, but I think it's a treat!"
Latin music by Latin People PLEASE!!
mairemcg | 10/19/2000
(3 out of 5 stars)
"I am from Mexico, and I have heard all these pieces many times. Except for Salon Mexico, which I think thay do very good job, the rest lacks a bit of flavor. I noticed it the most on Huapango, particularly on the discussion between the trombone and the trumpet. The musicians at the Boston Pops are too well-trained. They have gorgeous phrasing, but that takes away the flavor of the moment. They are supposed to be insulting each other, not singing to each other. I do think that it is a good way to introduce the world to this music. It has been recorded almost exclusively by Latin American orchestras, and they have not been so comercialized as this recording will be."