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Seguida - Seguida III

Seguida - Seguida III
Seguida III
Jazz-Rock, Latin Jazz
07 Sep 2007
MP3 album size:
2578 mb
FLAC album size:
1469 mb
Onroda Records


1seguidaStay With Me3:50
2seguidaCaged Bird Sings4:60
3seguidaFire & the Light3:40


  • Producer/drummer/composerSteven Adorno



Seguida III
Onroda Records
CD Review and interview
Thomas M. Kitts
At just 19, Randy Ortiz left the Bronx for Puerto Rico and a temporary gig as a bass player in a Hilton Hotel show band. Classically trained, Ortiz had developed a strong taste for Motown and the riveting bass lines of James Jamerson of the Funk Brothers, British Invasion rock and the pounding rhythms of the Dave Clark Five, and, more recently, the hard blues rock of Led Zeppelin. After three weeks in Puerto Rico, Ortiz found himself conducting the band and immersed in Latin American music, specifically flamingo and salsa. "I was grabbed by flamingo, especially its revolutionary politics which developed out of southern Spain," explained Ortiz, "and I was just as grabbed by salsa - hardcore salsa as exemplified by Eddie and Charlie Palmieri, Larry Harlow, and Tito Puente." Older musicians schooled Ortiz in the dynamics of the music: "I was totally fascinated by the patterns and how the patterns had the ability to hypnotize people. The dancers get hypnotized by the patterns and the Afro-Cuban rhythms, which once hypnotized people during African tribal rituals."
After eight weeks in Puerto Rico, Ortiz returned to New York. "But I kept hearing the music in my head," he said. Wishing to explore his new musical knowledge and passions, he approached a young band, the Latin Soul Dimension (yes, LSD), who rehearsed in the basement of a Bronx boutique which Ortiz partly owned: "I think I can mold you guys into something special," he told them. The band, whose oldest member was 17, began working under Ortiz's guidance. On June 6, 1972, the band rechristened itself Seguida. Two months later, when guitarist Louie Perez joined at Ortiz's invitation, Seguida had the necessary ingredients for its own fusion of salsa, rock, and soul, embellished with jazz, funk, pop, and, later, disco.
Steve Adorno, the driving force behind Seguida III, puts it this way: "We base our music on a solid foundation of Afro-Cuban rhythms, and then add pop, jazz, and more on the top." Formed after Santana's success and at about the same time as other Latin rock bands like Malo, Mandrill, Barabbas, and others, Seguida was unique. "We were different from the other Latino bands of the era," says Ortiz. "The others tended to be more salsa influenced. But we were straight up salsa and kept to the actual regimented Afro-Cuban patterns, which we delivered with a heavy American accent and a distinctly New York salsa core."
Seguida enjoyed a twelve-year run, which included two albums for Fania (the Latin music label), a stint as house band on Salsa (Izzy Sanabria's popular Spanish language television show), tours in support of Sly and the Family Stone and Richie Havens, and critical praise. After the release of its debut album, Love Is ... Seguida in 1974, the Village Voice saluted Seguida as "the sons of Santana," and after its second album, On Our Way to Tomorrow in 1976, Latin New York Magazine hailed Seguida as Latin Rock Band of the Year. However, Seguida never achieved the national recognition it sought and played its last performance in 1984 - a few brief clips of a later reunion concert can be seen on youtube. Conceivably, 1970s America could only accommodate one popular Latin fusion band.
Seguida lay largely dormant until 2003 when Adorno approached Ortiz and Perez about a reunion. "I actually had the idea of reforming long before that," said Adorno. "But with the resurgence in Latin rock music over the past few years, I thought, we'd better try it now before we get any older." Interestingly, Adorno, a drummer who earned a gold album with the disco band G.Q. ("Disco Nights"), was never an official member of Seguida and had never performed with the band. "He used to tell me that he was waiting for Manny [drummer Morales] to catch a cold so he could step in," recalls Ortiz. "He seemed to be at every rehearsal and every gig. He and Louie [Perez] were best friends and Steve knew our material as well anyone in or out of the band."
"In the Bronx, there were a lot of guys in bands then," elaborates Adorno. "I was in Devoshun at the time and some of us were in more than one band." Indeed, Seguida would perform on stage with anywhere from a dozen to 23 musicians. For Seguida III, Adorno worked up some 35 tracks before deciding on the 17 that appear on the album. An ambitious undertaking, Seguida III not only remains faithful to the fusion vision of Seguida, but also expands the vision into new musical terrains. To capture the exciting musical blends, Adorno enlisted Jay Henry, engineer on over 85 gold albums. The result is a powerfully eclectic CD, often fresh, often inspired, and always spirited.
Seguida III begins with "Tierra Taino," an evocation of primeval Puerto Rico. "My heritage is Taino Indian. My grandmother, a Taino, looked like a little Asian woman, so I pay tribute to my heritage here. I used congas and bata drums played by a father-and-son team [Romeo and Ricky Carrido], and sounds from the rain forest, tying my heritage with the present." The present includes an unlikely sax player, Julian Meyers, a recent chance discovery. Adorno heard Meyers at a Bar Mitzvah at the Copacabana. "He was playing Coltrane. Coltrane at a Bar Mitzvah and he was killing it! I was like 'Wow.' He was so awesome that I had to play with him. So I approached him and got him into the studio." The result is a haunting mood piece with droning keyboard, ominous bell rings, sometimes howling and sometimes plaintive vocalizings from Lori Rose, and starts and stops from the speedy and then wailing tenor sax of Meyers. In a sense, "Tierra Taino" introduces the mysterious interaction between past and present that plays out over the course of the CD.
The following three tracks, in their strong salsa underpinnings, rock guitar, soulful melodies, and jazz horn charts, are classic Seguida. In "Caged Bird Sings," the sparse notes of Adorno's keyboard slow the tempo and create tension with Lori Rose's zesty vocals and the skittish trumpets until Perez's hard rock guitar solo breaks out near the conclusion. The arrangement, as title and lyrics indicate, evokes struggle with eventual freedom. "Whatcha Gonna Do?" derives its force from Perez's power chords and soaring solo, perhaps his best on the album, and the insistent vocals of Dawn Savio and Lori Rose. First performed by Azteca, a Latin-jazz-rock fusion group in the early 1970s, "Whatcha Gonna Do?" is Seguida and Latin rock at its grittiest. "It's interesting," Adorno notes, "both Lori and Dawn are Italian, from the Bronx, sing Spanish fluently, and front a Latin band. I've known them for about 35 years." On the following track, "Stay with Me," the congas and percussion push forward while the vocals of Anthony Leon and the slow popping bass lines of Adorno provide an effective rhythm-and-blues soulfulness ."Voodoo Madness" and "Donde Esta Mi Gente." "Voodoo Madness" stirs a soft Latin rhythm under Lori Rose's assertive rap influenced but jazzy vocals, with some scat to complement the bluesy trombone solo by Jose Davila. "Donde Esta Mi Gente" is an inspired use of hip hop as Adorno's production merges the rap and rhymes of lead vocalist Young Cruize and the sonero (Salsa rapping) of Nestor Martinez with a funky salsa rhythm, rock guitar lines, and a recurring accordion riff off the keyboard. It is an inspired production, one that I'm afraid will be missed by its inclusion as a hidden bonus track with an approximately minute-and-a half gap preceding it. The album might have been better served by withdrawing the above three hip-hop tracks and moving "Donde Esta" to a more central position.
But there are several other riveting tracks on Seguida III that more than compensate for the occasional weak points. "Stand Back," with a keyboard riff reminiscent of War's "Spill the Wine," has an assertive but soft soul feel with lazy horns playing off the woodwinds and perhaps Dawn Savio's finest vocal performance on the album. "Funky Latin Boogaloo," featuring Lori Rose, is infectious in its catchy, pop chorus and soulful, funky salsa. Savio sings lead on the following track, a breezy cover of "Suavecito," a smash hit for Jorge Santana's Malo in 1972. "I was talking to Abel Zarate, one of the composers," comments Adorno, "who told me that the song had been covered over 40 times, but that ours is the first one with a female lead vocal."
More surprisingly, perhaps, Seguida covers "Vehicle," a 1970 international smash for the Ides of March, a jazz-rock band in the vein of Chicago and Blood, Sweat & Tears. Interestingly, when Adorno asked Ortiz to work up the horn charts for the track, the producer didn't realize that Ortiz had planned for Seguida to perform the song over 30 years ago. "All I had to do was dig into my file," says Ortiz. "I made a good outline for the song years back. Pete [trumpeter Nater] always wanted to do 'Vehicle.' We just never got around to it." Nater got his opportunity on III, and the brass explodes as the song takes on a new urgency with Adorno's funky bass line and two subtly spirited solos from Jorge Pastrana.
Adorno takes Seguida back to their second album for two remakes: "Buscando" and "Yo Nunca Te Olvidare (Mi Amor)." "I wanted to tie the connection between past and present," says Adorno. "I think 'Buscando' represents the band at its best as does 'Yo Nunca Te Olvidare,' which I read is the first Salsa tune to use English lyrics." The latter is an especially powerful evocation of memory, suffering, and lost love, with rising and falling rhythms, Kevin Ceballo's smooth but piercing vocals, and Pastrana's poignant Spanish guitar connecting old and new musics with perennial sorrows. "I will never forget you, my love," laments Ceballo.
Seguida III carries forward the legacy of this pioneering Latin fusion band, remaining consistent with Seguida's vision without being overly reverent to the band's past. The difference from the early Seguida albums is in the more polished production of III. "We were kids then," explains Ortiz. Although the sometimes ragged productions held an appeal to rock listeners, Adorno wanted a more sophisticated but still earthy sound. "I worked with recording engineer Jay Henry to create a great sound and to give audiophiles a bang for their buck," explains Adorno. "We worked on the mixing for three months." The result is a well-crafted, tightly melded orchestration of sounds and moods.
Seguida III is a strong return to form of a band who has been absent too long and whose achievement has gone under recognized. That may change, however, when Seguida is featured in a PBS film documentary based on Jim McCarthy and Ron Sansoe's Voices of Latin Rock. Asked if Adorno had any plans for Seguida to perform live, he responded, "I'm in the process of making preliminary plans now, but we need the right management and the right venues. We should play jazz festivals and jazz clubs like the Blue Note and Birdland." While we await forthcoming gigs, we can sit content with Seguida III, a solid achievement, marking the exciting rebirth of Seguida.


While we await forthcoming gigs, we can sit content with Seguida III, a solid achievement, marking the exciting rebirth and continuation of the Seguida legacy. Add album to Cart. Latin Rock Group Winner of 1976 Latin NY Magazine Best Latin Rock Album Fania Onroda MusicWorks Classic Recording Artist The Latin -Rock explosion began when Santana first burst onto the music scene in the late sixties and early Seventies. Latin Rock. 7 USD. The original Seguida group was founded by a group of New York musicians whose ancestry was of Puerto Rican heritage. Electric Siesta feat. WHATCHA GONNA DO 4. Album starts at BPM, ends at BPM 0, with tempos within the -BPM range. In these barrios, it wasn't unusual to hear the sounds of James Brown and Funkadelic coming from one apartment, while in another hear the sounds of Larry Harlow, Eddie. who were winners of the 1976 Latin NY Magazine Best Latin Rock Album award. Try refreshing the page if dots are missing. SEGUIDA - Seguida III. Seguida - N. Immediate download of -track album in your choice of 320k mp3, FLAC, or just about any other format you could possibly desire. Seguida III is a strong return to form of a band that has been absent too long and under recognized for its achievement. karma tango 7. real cali mambo 6. Your Rating. Jazz music community with review and forums. Lori Rose. Other Albums by Seguida. Best Of Seguida N. Album 2006 13 Songs. suavecito 10. Best of Seguida N. Recent albums by Seguida. stay with me 5. Listen free to Seguida SEGUIDA III Tierra Tiano, Caged Bird Sings and more. More By Seguida. CAGED BIRD SINGS 3. 0 rating 0 review. Purchasable with gift card. Love Is. 17 tracks 71:00. Yo nunca te olvidare radio MIX 13. They were brought up in the urban South Bronx barrios where musical influences were a mixed bag. Seguida III. One person found this helpful. Album 2007. Filed under Latin RockSoul By SEGUIDA. buscando 9. SEGUIDA III by SEGUIDA, released 07 September 2009 1. Your my vehicle 12. Electric Siesta. Seguida is a Latin Rock Group from New York. Donde esta MI gente . TIERRA TAINO 2. That may change however when Seguida will be featured on a PBS film documentary based on Jim McCarthy and Ron Sansoe's wonderful book, Voices of Latin Rock. Karma Tango, 02:13. Overview . Fire & the light, fuego y la luz 11. Buscando, 04:55. voodoo madness 8. On Our Way to Tomorrow. Buy Digital Album. In these barrios, it wasn't unusual to hear the sounds of James Brown and Funkadelic coming from one apartment, while in another hear the sounds of Larry Harlow, Eddie. Read more