Alex Rodriguez’ 1978 Venezuelan Latin jazz-funk rarity has had the full re-issue works from kindred spirits Vampi Soul, who seem to be on the charge lately with a spate of timely and well put together reissues, uncovering rare, south American esoterica from salsa dura to Latin soul. This release showcases a surprisingly groovy body of Venezuelan jazz-funk led by guitarist Rodriguez alongside pianist Jorge Dalto, percussionist Nené Quintero, Eddie Palmieri’s go to reedman Ronnie Cuber, George Benson, Stevie Wonder and Roy Ayers’ drummer Dennis Davis and another Benson acolyte in Stanley Banks on bass. The album was recorded in New York at the highly regarded Columbia Studios, piecing together some of the finest contemporary US jazz musicians and chopsy Latin cats for a fine set of undulating, romatic grooves—what more could you expect with Jorge Dalto sat at the piano—guttural jazz-funk, sophisticated musicality and romping, groove-laden suites. Presumably made for the Venezuelan market, at Busqueda’s core is a slick confluence of Latin American sensibilities and progressive jazz-fusion, alongside searing musicianship from well-respected names.
The set opener Cumana commences with a duetting tenor saxophone and guitar, in an admittedly similar and pleasingly familiar style to British fusionistas Morrissey Mullen (an innocuous comparison, but one that tugs at my sense of nostalgia) although a gulf in musical quality becomes quickly apparent—to Rodriguez’ good. Shuffling samba patterns commandeer the rhythmical undercurrent, which becomes overlaid with glacier-clear electric keys and buoyant, well pronounced slap basslines which make your nostrils curl with pleasure at a funk-face inducing level. Some fine soloing from Busqueda follows, unique in style and tone, channelling a peculiar South American energy, laid back yet relentlessly tight—oxymoronically. Del Puerto a Cumaná sets a groovy tone, with a gravelly, Barbieri-esque tenor blowing hard, amid greasy slap bass lines and fizzing chromatic Rhodes, a musically well-coordinated session that puts the funk in jazz-funk and seeps with good feeling and positivity. El Mercado excites the senses from the get-go, a track that begins with insolent, swollen clavs and malleted timbales, an outing that channels rockier fusion influences in a similar vein to say Steely Dan, a dancefloor friendly cut that maintains a fluent and cohesive groove throughout and a yesteryear UK jazz scene spin (think Brighton Jazz Rooms, Russ Dewberry). Final send-off Caripe plumbs melancholic territories, signalling an end to an outstanding body of music that oozes with grooves and serious musicality, making for a well-articulated fusion that accesses the nuanced and intricate rhythmical influences of Latin America alongside raw, unpasteurised funk.
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