Across 110th Street

1	Un Gran Dia en el Barrio 4:35
2	Cuando Te Vea 4:50
3	Tun Tún Suena el Tambour 5:04
4	Dime Se Llegué a Tiempo 4:06
5	Escucha el Ritmo 5:52
6	Bailadores 4:13
7	Te Cantaré 4:50
8	Como lo Canto Yo 4:32
9	Maestro de Rumbero 5:13
10	La Hija de Lola 5:21
11	Perla Morena Instrumental 6:01
12	Espérame en el Cielo 3:57
13	Tu Te lo Pierdes Bonus Track 5:29

Barnes & Noble

With their sophomore recording, the Spanish Harlem Orchestra move from revival act to potent new musical force, proving that the hard-driving Latin dance music born in its namesake barrio has far from breathed its last. The group, composed of veteran New York musicians led by pianist and arranger Oscar Hernandez, coaxed Ruben Blades out of his Irish reverie to retake his place, for three tracks, as a true sonero to be reckoned with. Not willing to waste the opportunity, the SHO front-loads Across 110th St. with the fiery "Gran Día en El Barrio," which features Blades and lauds the uncomplicated joys of summer in the city. While there's no underestimating the excitement of Blades's return to his salsa roots -- and his singing's the best he's done in years, bursting with rhythm and hilarious asides -- the orchestra's singers measure up just as well. The new trio of freshman Willie Torres, Ray de la Paz (Ray Barretto's '70s group), and Marco Bermudez (of local favorites Los Jovenes del Barrio) makes a reasonable replacement for the lethal combo of Frankie Vasquez, Herman Olivera, and Jimmy Sabater, who graced SHO's debut. But this orchestra is specifically about the musicians and the arrangements. Hernandez, who led Blades's band beginning in the '80s, doesn't bother with slick updates, instead taking visceral joy in the possibilities for large-band voicings over Latin rhythm. The compostions and arrangements, including buried treasures from the works of Tito Puente, Gil Lopez, Joe Cuba, Tite Curet Alonso, Charlie Palmieri, Sonny Bravo, and others, is indicative of the band's curatorial thrust. A classic lineup -- two 'bones, two trumpets, and the hefty bari sax of Tito Puente vet Mitch Frohman -- eloquently makes the case that this form is far from moribund; it simply demands a caliber of musician that's in ever shorter supply. With legends such as bongosero Bobby Allende and timbalero Chino Nuñez and a collection of MVP sidemen including trombonist Jimmy Bosch, the Spanish Harlem Orchestra rises easily to the task. Mark Schwartz

All Music Guide

The Spanish Harlem Orchestra is back and they're even tighter and more swinging than before. They've added vocalists Willie Torres and Marcos Bermudez to replace Hermán Olivera and Frankie Vázquez, while keeping the fine vocalist Ray de la Paz in the band. Torres sings lead on cover versions of "Dime Si Llegue a Tiempo" and "Maestro de Rumberos," while Bermudez sings lead on "Tu Tun Sueña el Tambo," which features outstanding trombone playing by Jimmy Bosch, and "La Hija de Lola," a Raúl Marrero song previously recorded by Charlie Palmieri. Another change is the addition of Rubén Blades as guest vocalist on four tracks: "Un Gran Dia en el Barrio" (a band original written by Ray de la Paz),"Bailadores" (a "Héctor Rivera" song previously recorded by the Joe Cuba Sextet),"Cuando Te Vea" (a Tito Puente song arranged by Gil Lopes, who also arranged the group's rendition of the bolero "Esperame en el Cielo"), and "Tu Te lo Pierdes" (written by Blades himself). The last song is one of the best here, but it doesn't quite fit with the overall feel of the album, which is probably why it's a bonus track. The entire band deserves praise for its musicianship, including pianist Oscar Hernandez and the remarkable horn section. Across 110th Street doesn't break any new ground musically, as reflected in the high percentage of cover versions, but it's recommended if you want to hear some energetic, danceable music. ~ Todd Kristel, All Music Guide