Seleccion De Exitos 1973-1978 Volumen 1
02 Los Ojos De Pepa 5:13
03 Aguanile Bonko 4:57
04 Por Romper El Coco 4:51
05 Iya 5:52
06 Quindiambo 8:10
Recorded live at the 23 y 12 Cinema in Havana on July 28, 1978
Irakere en vivo » , LP. Areito 173215
Selección de éxitos 73-78 » , LP. Areito 4003
Selección de éxitos 73-79 . Irakere, Vol IV » Egrem 148.
Toda Cuba baila con Irakere », West Wind 2238.
Irakere. Música Cubana Contemporanea », Areito 3726
Cine 12 y 23 ». Spotify
Bass – Carlos del Puerto
Congas – Jorge "El Niño" Alfonso
Drums – Enrique Plá
Flute, Soprano Saxophone, Alto Saxophone, Baritone Saxophone – Paquito D'Rivera
Guitar – Carlos Emilio Morales
Keyboards, Arranged By – Chucho Valdés
Percussion, Vocals – Oscar Valdés
Piccolo Flute, Soprano Saxophone, Tenor Saxophone – Carlos Averhoff
Trumpet, Flugelhorn – Jorge Varona
Trumpet, Flugelhorn, Valve Trombone – Arturo Sandoval
Vocals, Percussion – Armando Cuervo
Continuing chronologically, we arrive at the extremely busy and fruitful summer of 1978. First came Irakere's famous tour of US and Europe. Recordings from early June at the Newport and Montreux jazz festivals were combined for a Grammy-winning release on the Columbia label that really put Irakere the map. This was also released by EGREM as LD-3769.
The next month, on July 28, 1978, Irakere recorded another searing concert, this time in Cuba at the Teatro 23 y 12 for the occasion of the Festival de la Juventud y los Estudiantes.
This material was released on many foreign compilations, and by EGREM as Volume 4 of La colección. Like Volume 3, it was also recorded before Volume 2 -- probably because it was re-released on LP in Cuba several years later, as Areíto-4003, Selección de éxitos, 1973-1978, Volumen 1. It was also released, with "creative" edits, and incorrect track names, by the Habanacán label. Volume 2 of Selección de éxitos, LD-4004, with the same cover, was a collection of studio reissues.
A terrific live disc consisting largely of new material; by now, the blend of Afro-Cuban and European elements is smoother, more organic: On "La Comparsa," a driving funk riff provides the basis for a wild, almost free-jazz Sandoval solo. "Aguanile Bonkó" grows from santería origins to a bewilderingly complex Latin jazz arrangement. "Los Ojos De Pepa" features a yummy electric piano solo from Valdés, though the main theme isn't particularly interesting - throughout, he and Morales are both better heard than on most live recordings from the period. There's also an extended spin through "Quindiambo," a fine version of "Iyá," and the concert favorite "Por Romper El Coco" (sometimes known simply as "El Coco").