"Cruz continued her career, first in Mexico, and then in the United States, the country that she took as her definitive residence. In the 1960s, she collaborated with Tito Puente, recording her signature tune "Bemba colorá". In the 1970s, she signed for Fania Records and became strongly associated with the salsa genre, releasing hits such as "Quimbara". She often appeared live with Fania All-Stars and collaborated with Johnny Pacheco and Willie Colón. Celia Cruz with Willie Colon is just about as sure a thing as Celia with Johnny (Pacheco). Surer, maybe, since C&J have made far more recordings than C&W." (Wikipedia)
"Demasiado Corazon was a police drama on TV Azteca, featuring the influential Latin trombonist Willie Colon as federal agent Feliciano Pintor. While the television show brought comparisons to Miami Vice and even Mission Impossible, the music provided more than background fodder as various car chase and romance scenes played out. Demasiado Corazon is an enjoyable Latin jazz recording, regardless of the visual concepts that shaped it." (Allmusic)
De New Yorkse (kleinzoon van Puerto Ricaanse immigranten)salsa-held Willie Colón heeft zich in zijn teksten altijd maatschappij-kritisch en betrokken getoond. Met name de positie van de Latino's in de VS. In dit album uit 1990 roept hij op tot een meer duurzame omgang met onze planeet. Een onderwerp dat sindsdien alleen maar versneld aan urgentie heeft gewonnen. Somberen in een dreigende crisis is geen remedie dus mag er evengoed gedanst worden op de zo aanstekelijke salsa van Willie Colón. (GR Muziekbank)
"Though the adulation given Colon's early recordings is fully justified, it has the unfortunate side-effect of blinding people to his equally fine recent recordings. Yet aside from the fact that he'd turned himself into an excellent and very individual singer, the recordings he made just before his political ambitions took over are by any measure outstanding. The 1991 Honra y Cultura reverted to Colon's historic passion for Puerto Rican music, featuring cuatro player Yomo Toro in two compositions by the great jíbaro singer Ramito. But as always, the references -- not just jíbaro, but touches of both rap and toasting, jazz, on and on -- were unified by an overall vision combining passion and humor." (Allmusic)
"It's certainly an adventurous record. Colón kept only three arranging assignments for himself, which makes it sound less like a Willie Colón record (and is probably why it's remembered slightly less fondly than its bookends). Luis Ortiz's two excellent charts included one that sounded a much different note than Colón (the opener "Pablo Pueblo") as well as another that sounded as though Colón were writing it himself ("La Maleta"). Colón bolstered his strong brass lineup with additional power (including a tuba solo on the opener), and the lineup is a powerhouse (including frequent collaborator Yomo Toro on two tracks). Meanwhile, Blades proved his range, moving from raging first-person narratives to pastoral boleros -- with no lack of passion on each -- and although Colón is heard less here than on his previous classics, his lieutenants proved the confidence he had in them." (allmusic.com)
Grote salsa-ster uit New York, met Venezuelaanse achtergrond. Van huis uit trombonist (vandaar dat de blazers-partijen uitermate strak en verzorgd klinken), maar hij etaleert zich hier nog meer als zanger van heerlijk swingende sensuele salsa.
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