Cosa Nuestra

Cosa Nuestra opens with the compact invitation of Che Che Colé, then gives its songs more room to unfold. Willie Colón’s trombone establishes a strong outline while Héctor Lavoe’s voice moves more flexibly inside it. The attraction is the meeting of those different textures, not simply the force of the whole band playing together.

Released in late 1969, this was the fourth album in their partnership. Colón leads the band and plays trombone; Lavoe is its featured singer. Fania separately identifies Jerry Masucci as producer and Johnny Pacheco as recording director. Keeping those roles distinct helps reveal an eight-song collaboration rather than a vocalist’s collection of hits or a trombone showcase.

Different kinds of force

The brass responses and busy percussion do not exert pressure in the same way. Notice the short instrumental statements and the rhythmic activity that continues around them. These create openings in which Lavoe can extend a phrase. After the concise first track, No Me Llores Más immediately increases the amount of time available within one song, widening the album’s dramatic scale.

A singer with several expressions

In a 2014 interview, Colón recalled Lavoe’s pitch, pronunciation and command of different styles. Ausencia offers a useful point of comparison with the surrounding tracks. Fania describes its combination of bolero and montuno; its longer vocal breath and gathering ensemble momentum need not occupy separate musical worlds. Hear how a change of expression can redirect the same recognisable voice.

The curve of eight songs

Te Conozco completes the first four tracks, and Juana Peña opens the latter half. At about five minutes thirty-eight seconds, Juana Peña is this delivery’s longest piece, only slightly longer than No Me Llores Más. Sonero Mayor and Sangrigorda follow before the shortest song, Tú No Puedes Conmigo, supplies a compact ending. The order leaves room for extended feeling without requiring a grand finale. Following these later tracks also reveals more of Lavoe’s relationship with the ensemble than repeatedly returning to the famous opening alone.