On June 23, Craft Latino’s series of reissues from the Fania Records vaults rolls on with La Voz, the debut record as leader for vocalist Héctor Lavoe. Originally released in 1975 and quickly reaching gold status in sales, the achievement was based on Lavoe’s rep as the ruling salsa singer of the era, stature that hasn’t diminished over time. With his former bandleader Willie Colón in the producer’s chair, La Voz is a smooth smoker that still sounds fresh today. It’s available on 180 gram vinyl and digital, remastered from the master tapes.
Héctor Lavoe’s mentor was Johnny Pacheco, musician and co-owner of Fania Records, and the man responsible for aligning Lavoe with the trombonist-composer-bandleader Willie Colón. Lavoe is heard on Colón’s debut album as a leader, 1967’s El Malo, cut when Colón was 16 years old and Lavoe was 21. They recorded 13 more albums together (The Hustler and Cosa Nuestra have been reissued by Craft Latino), the productivity slowing when Colón transitioned into production and Lavoe broke out on his own.
It took three albums (1969’s Guisando) for Lavoe to receive co-credit with Colón on the album cover. The records clearly communicate the reason why; Lavoe’s singing was robust but always in control as his presence on record is a major aspect in salsa’s development (the union of Colón and Lavoe predates salsa’s ascendence, as boogaloo was still the Latin rage when they cut El Malo).
Unsurprising for someone whose first solo album sports a title that’s English translation is “The Voice” (notably, Lavoe is a stage name adaptation of La Voz), Lavoe had his share of ego flareups and fallout from bad behavior in his younger days, but there was no rift between he and Colón, who was wisely enlisted as producer for La Voz.
Opener “El Todopoderoso” begins with some regal horns but then quickly finds its groove, with the heat rising even more as the track progresses. Through it all Lavoe’s expression is passionate but precise. Lavoe is at the forefront across “Emborráchame de Amor,” which slows the pace and adds touch of soulfulness to the equation.
Laden with horns, the Lavoe composition “Paraíso de Dulzura” kicks the album back into a higher gear, the fiery swing mingled with lead and backing vocal exchanges. To close side one, “Un Amor de la Calle” slows the tempo again while keeping the intensity up through instrumental depth and Lavoe’s emotional delivery.
Others have observed that unlike Colón and the soon to be a star Reuben Blades, Lavoe didn’t skim on the vocals on La Voz, and that’s true but smart given Lavoe’s ability, and it’s not like the instrumental firepower is sacrificed. The flip opens with the buoyant “Rompe Saragüey,” a highlight of the album in part due to pianist Mark “Markolino” Dimond exquisite solo.
Indeed, richest expression of salsa brilliance is yet to come in album closer “Mi Gente,” a joyous number that justifies La Voz’s existence all by its lonesome. Suffice it to say, everything clicks. This is true for the entire record, including the tracks that precede “Mi Gente,” the succinct “Mucho Amor” and the showcase for Lavoe as crooner, “Tus Ojos.” It’s just that “Mi Gente” has a little something extra.
In closing, please note that Lavoe sings in Spanish throughout La Voz, which was his norm. But worry not over a lack of comprehension. This is not to suggest that the words don’t matter, but rather that setting aside lyrical expression opens up doors and foregrounds the subtleties of salsa at its best.
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