15 Best Latino/Afro-Caribbean Albums of All Time (in chronological order)

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MONGO SANTAMARIA: Afro-Roots (1958-1959)

This is the grand-daddy of popular Afro-Cuban percussion, containing virtuoso performances by Mongo, Francisco Aguabella, Willie Bobo, Vince Guaraldi, Armando Peraza, Cal Tjader, and many other heavies. Many of the arrangements are variations on traditional Lucumi, Yoruba, and Santeria rhythms, with a couple notable exceptions. The opening song is the original version of "Afro-Blue," here flute-driven, which later became a jazz standard.

TITO PUENTE: Tambo (1960)

Another seminal collection of Afro-Cuban rhythms mixed with a big-band horn section. The combinations of traditional percussion and mambo-like brass are a bit odd at first, but this album is an early classic of experimental Latin-Jazz.

MONGO SANTAMARIA: Mongo Explodes (1964)

Mongo, Nat Adderley, and others play soulful Jazz numbers with a rough percussive foundation. These are classic songs performed half-seriously and half-playfully, evoking a mythical era of fun, when people danced down their stoops and wore big hats out in the nightclubs.

WILLIE BOBO: Spanish Grease (1965)

Very smooth jazz, soul, and pop selections as played by the master timbalero, with Clarence "Sonny" Henry on guitar. The most unforgettable track is Bobo’s cover of "It’s Not Unusual" by Tom Jones, the pinnacle of Latin lounge.

BOBBY MATOS: My Latin Soul (ca. 1968)

Not straight salsa, not jazz, but percussive salsoul with a distinctly late-60s appeal. The production value is imperfect and tinny, but still very listenable. One of the high-points is the female vocals performed by nameless singers, creating a sort of yippy-skippy yet funky James Bond-like sound.

HAR-YOU PERCUSSION GROUP (1969)

The only album recorded by the Harlem-Youth group, a collection of amateur musicians playing Cuban riffs. This is pretty seriously musical stuff, and it’s amazing considering the backgrounds of the musicians (young, not Latin, relatively new to the music). Some of the musicians later found success, others drowned in the chaos of Harlem in the 1970s

TITO PUENTE: Pa’alante (1970)

Salsa, mambo, and salsoul from Puente at the height of his salsa flavor. A number of the tracks are very danceable, a couple are pretty funky. Generally, though, the sound is best for those who delight in more popular tunes.

RAY BARRETTO: Acid (1972)

Memorable salsoul. Again, the production quality is challenged, but not to any extremes. It’s a very similar sound to Bobby Matos’, also with a playful edge to it. Best known on this album is "Deeper Shade of Soul."

WILLIE COLON: El Juicio (1972)

Some of the best salsa ever recorded; very danceable tracks with Hector Lavoe delivering perfect vocals. It’s upbeat and cheery music, occasionally interrupted by a slow tune or romantic ballad.

CELIA CRUZ & JOHNNY PACHECO: Celia and Johnny (1974)

Prime dance tracks with salsa’s greatest diva. Celia Cruz brings endless charisma to a straight salsa score.

GRUPO FOLKLORICO Y EXPERIMENTAL NUEVAYORQUINO: Concepts in Unity (1975)

Varied fusion of Cuban, Puerto Rican, and Mexican motifs by a collection of musical visionaries. Their sound is not at all limited to any one style; it jumps from traditional Cuban rhythms to Tejano accordion tunes to experimental rumba.

FRANCISCO AGUABELLA: Bembe y Afrocuban Music (ca. 1976)

Profound Afro-Cuban rhythms in traditional arrangements. Each element of the music is perfected–very expert and musical. On the downside, the sound is a little sparse and repetitive for those not inclined toward traditional rhythms.

LATIN JAZZ DANCE CLASSICS: Volume Two (1958-1977)

Impressive collection of Cuban, Puerto Rican, and American masters fusing styles and innovating. There are some amazing selections, like Cal Tjader’s "Manuel Deeghit," and Ray Barretto’s version of "Exodus."

CHANGUI: Ahora Si! Here Comes Changui (1995)

A compilation of Changui, a melodic style of Cuban dance music featuring the tres, a three-stringed Cuban guitar. This style actually predates most other popular Cuban styles, and it is no longer given much attention. The music is melodic and subdued, not very percussive, and quite catchy.

BOBBY MATOS: Footprints (1996)

A mixture of traditional Cuban rhythms and salsa in musical and well-produced arrangements. The traditional selections are good, though nothing particularly stunning; the salsa, however, is heads and shoulders above most of the silliness coming out these days.