|#||Release title||Total tracks||Type of release is||Imprint date||Label|
|1||My Latin Soul||11||Audio||1997||CuBop|
|2||My Latin Soul||11||Audio||1968||Philips|
|3||My Latin Soul||11||Audio||1997||Cubop|
|4||My Latin Soul||11||Audio||1967||Philips|
Bronx born Bobby Matos began playing music beating on pots and pans in Grandma’s apartment and went on to backstage informal lessons with conga drum masters Patato Valdez and Mongo Santamaria.
His first gigs were in the early ˜60’s “beat '" bohemian “ Greenwich Village Cafes, but he soon found himself playing in every type of venue; from Bronx dance halls to Carnegie Hall, to elegant supper clubs, Central Park Concerts, Off Broadway theaters, and ˜After Hours” clubs in El Barrio.
He was inspired and encouraged to play timbales by Willie Bobo and Tito Puente, and in the late ˜60s attended the New School and Manhattan School of Music studying composition and arranging. Around this exciting time for Latin Music in N.Y., he recorded “My Latin Soul” for Philips Records. This recording eventually became a much prized cult classic influencing many ˜70’s and ˜80’s Acid Jazz groups on both sides of the Atlantic...
After touring and recording with artists like Ben Vereen, Bette Midler, Fred Neil, Jim Croce, Ray Rivera, Joe Loco, Miriam Makeeba, and many others, Bobby relocated to Los Angeles where he began experimenting with an Afro Cuban Jazz band where he could blend (and bend) musical elements from Miles Davis, John Coltrane, Tito Puente, Mongo Santamaria, Wayne Shorter, Eddie Palmieri, and the rich legacy of Afro Cuban music.
In the ‘80’s and ‘90’s, he recorded several albums, most notably 5 critically acclaimed CDs for Ubiquity Records’ “Cubop” label. He also produced CDs for Ray Armando, Pucho and the Latin Soul Brothers, Dave Pike, John Santos, and Jack Costanzo. In 2004 he released the critically acclaimed "Made By Hand", a live recording on the artist’s collective Life Force Jazz records,
Bobby continues recording and releasing new music on the LifeForce Jazz imprint including "Acknowledgement" 2005, "Charanga Chango" 2006, and "Gratitude" 2007.
Mambo, Bembe, and Jazz Latino represent healing energy, meditation, and medicine encoded as music. When musicians listen and communicate with each other and their audience on this spiritual level, the music becomes much more than a performance.