Since his arrival in the United States from his native San Juan, P. R., in 1935, Noro Morales has been one of the top names in the Latin field, as an orchestra leader, a night club attraction and on recordings, lately for such record companies as RCA Victor and Roulette. In this album, whether it be cha-cha, bolero, mambo or merengue, his distinctive style instills fresh dimensions into the below-the-border beat and blends jazz overtones with Spanish rhythms with remarkable facility. The title tune, 'Adios Muchachos' is a merengue version of the favorite tango melody, in which Noro's piano plays an intermediary role between the theme-carrying trumpets and rhythm backing. In the other merengue, the popular La Cucaracha, the theme becomes al melodic relay between woodwinds, brass and piano. But the Morales montuno variations really hit their stride in El Choclo, which gaily brims with keyboard elaborations, piano asides and a galloping cha-cha beat. The cha-cha, in Noro's hands, has the remarkable facility of blending beautifully with other dance forms, notably the mambo-into-cha-cha transformation of the immortal Come Back To Sorrento and the bolero-cha-cha bridge in the equally-famous La Paloma. La Violetera is strictly a cha-cha, yet Noro's device, the bolero trumpet, makes it sound like a bolero at times even with the underlying cha-cha rhythm. The wildest of the wild is the wailing Capi's Mambo which, replete with riding trumpet licks, woodwind vamps and a sinuous bartione sax, is the closest thing to outright jazz in the album. Tempo contrast is achieved through the steady rhythms of the bolero, a dance form which lends itself ideally to instrumental originality. The alto sax, the leading woodwind voice in jazz, is used by Noro as the lead instrument in two of the boleros, I'll Dream About You and White Orchids, with his own piano figurations as decorative accompaniment. Tropical Breeze is an updated dance band treatment of Albeniz's Tango In D, with a bolero mixture of sweet-sounding woodwinds and shouting trumpets. The afore-mentioned bolero trumpet makes its reappearance in a genuine bolero tune, sparked by Noro's piano and called Que Me Dejas. As a final adios gesture, there is the bolero with a blues feeling, where the Morales keyboard touch is again spotlighted to good advantage, the indigo-hearted Adios In The Night.