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Home , Charlie Persip, Chino Pozo, Diz and Getz, Flip Phillips, Gil Fuller, Jimmy Nottingham

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•- ...... • ...... Nevada gambling center was far less Noble Sssle, Chick Webb and Cab Moore and Howard McGhee. third fe lively than Havana.) Among the impor- Calloway; /wring his term with Calloway. The real Afro-Cuban summit was the recording of Arturo "Chico tant music spots were the Montmartre, Bauza persuaded the flamboyant leader meetings occurred when played O'Farrill's "Afro-Cuban Suite." Born in the Sans Souci, and, most famous of to hire , then began host to . , Havana in 1921, O'Farrill took a differen all, the Casino de la Playa, whose sharing his knowledge of Cuban music who began recording Machito in 1948, route to the U.S. when his family sent Orquesta provided early jobs for with the young trumpeter. (Gillespie's had the idea of pairing the Afro-Cubans him to a Southern military school in 19 countless important Cuban musicians. famous statement, "I learned rhythm and the leading jazz innovator. He took He returned to Cuba in 1940, played Extensive musical talent is the third patterns from Charlie Parker," can be Parker to hear the band rehearse at the in bands that concentrated o resource shared by New Orleans and amended to read "and I learned Afro- newly opened Palladium, a club in the jazz, and in 1946, gave up his ho Havana, and like their Louisiana Cuban rhythm patterns from Mario old Alma Dance Studios at Broadway and began writing. counterparts, most of the great Cuban Bauza.") It was Bauza and Machito's 53rd which became the Birdland of the In 1948 O'Farrill moved to Ne players, eventually succumbed to the sister, singer Graciela Grillo Perez, who Afro-Cuban movement. Rapport was where he studied with Stephan Wolpe lure of northbound travel. Some went kept the Afro-Cubans alive when established quickly, and the ensuing and Hall Overton, among others, and only as far as Florida, but others Machito entered the army, and both record sessions (Granz's first studio dates contributed "Undercurrent Blues" and continued on to , and their Bauza and Graciela remained vital parts with Parker) left a lasting impression on "Shishkabop" to 's steady immigration from the beginning of the band until 1975. Machito. "The man was a genius," he short-lived band. His Afro-Cuba of this century insured a constant achito returned says of Parker. "He had a photographic involvement picked up in the next year, importation of Cuban music. Thus the from the service mind. All you had to do was run through a when he wrote "Cuban Episode" for tango was popular on the East Coast in October 1943, tune once, twice at most, and he would Kenton and began his association with prior to World War I, the rhumba and Afro-Cuban say 'Let's hit it' and get it right that one Machito. Given his background in jazz, gained favor at the beginning of the music, fueled time. What a man! But Parker knew his Cuban music and conservatory com- Depression, and in the early 30's Desi by interest in a limits—if he couldn't play a tune right, position, O'Farrill was the logical choic Arnaz popularized a carnival dance new dance, the he wouldn't play it. That's one reason we to provide an extended suite. called the conga. mambo, took off never recorded 'Peanut Vendor.'" "Cancion" states the basic materi Arnaz was one of many Cuban shortly there- The first sessions, in December, 1948, with fanfares and a trumpet them musicians introduced to New York by after. Many seminal moments have been and January, 1949, produced the classics reminiscent of Ferde Grofe. Bauza the society bands of Enric Madrieguera cited in Afro-Cuban jazz evolution—in "Okidoke" (said to be a favorite Parker trumpet leads the brass, then the ree and Xavier Cugat, two ensembles The Story of Jazz Stearns describes a expression) and "Mango Mangue." section growls a bit before turning ma which achieved vast popularity during marathon "Tico Tico" dance, held at Parker's strong soloing doesn't exactly jestic. "Mambo" establishes a montu the era by simplifying the Center on Easter Sunday succumb to Machito's rhythmic idiom, and some basic Cuban rhythms, w complex Cuban rhythms for mass 1946, with the bands of Machito, Jose but the combination of his alto and the reeds and brass pitted against eac American consumption. Cugat, who Budet, Alberto Iznaga, El Boy and Luis band's biting sections is far more com- other, before Parker plays a dartin Marshall Stearns and others have del Campo providing three hours of patible than many of the later "Bird bars in various stages of dialogue wit called "the Guy Lombardo of Latin music each— but the Town Hall concert with ..." encounters initiated by Granz. the orchestra. The sections snarl befo Music," featured such imported stars of January 24, 1947, where Machito Speaking of section work, note the Rene Hernandez solos, then brass an as Tito Rodriguez, Miguelito Valdes, shared the bill with in the vitality and cohesion of the band—the a percussion barrage lead to the end Anselmo Socaras, Luis del Campo and, first meeting of Afro-Cuban and jazz reeds, for example, at the opening of the first part of "Mambo." ("Mambo" in 1939-40, Frank Raul Grillo, a.k.a. orchestras on one program, was clearly a "Mango Mangue." Strongest of all is the was originally released in two parts, "Machito." watershed event. Kenton was so rhythm section, with Rene Hernandez, fading at the end of the first because Contrary to some accounts, Machito impressed by the playing of the Afro- ; Robert Rodriguez, bass; Jose the 78 r.p.m. format.) was born in Havana in 1907, lived and Cubans, particularly on their theme song Manguel, bongos; Luis Miranda, congas; Part two of "Mambo" begins with worked in Cuba through early adulthood, "Tango," that he asked Pete Rugolo to Ubaldo Nieto, timbales; and Machito on rubato Flip Phillips; after he muses and first came to the in write a tune called "Machito" shortly maracas. over the "Cancion" theme, the trum- 1937. He sang with violinist Alberto after the concert, and at year's end The extended montuno "No Noise" pets introduce a melody quite close t Izanaga's Orquesta Siboney in Spanish borrowed the Afro-Cubans' rhythm was also recorded during these sessions, "On Green Dolphin Street." Darkeni Harlem before recording with Cugat, section for his popular recording of with JATP star Flip Phillips added as horn clouds and probing with whom he made eight sides for RCA "Peanut Vendor." second soloist. The mellow, port-wine anticipate danger, but the reeds settl and Columbia. In 1940, with the invalu- Stylistic interchange became the rule, tone and languid delivery of Phillips the mood down at the close. The able aid of brother-in-law Mario Bauza, as jazz musicians investigated the blends with the band's laser lilt as per- rumbling melody of "6/8," somehow Machito formed the Afro-Cubans, an complex cross patterns the Cubans laid sonally, and successfully, as Parker's both somber and frisky, spurs the ree orchestra which has been called "the over a basic clime beat (over two mea- more advanced fire. A version of "Tanga" and percussion sections to some of most progressive sound in Latin Music" sures of 8/8, accents on 1, 4, 7, 3, 5) and featuring Phillips only was also cut, but their most fantastic playing. One thin (), "the witches' cauldron in the harmonically static montuno vamps, the two-part performance included here of Ellington when hearing the extend which the mixture of Cuban rhythms while the Cuban players learned voicings is from Machito's first session for Granz. ensemble twining, yet the persistent and jazz phrases was most thoroughly and advanced harmonic substitutions A classic reading of a classic composi- rhythmic whip provided by congas an brewed" (Joachim Berendt), and from jazz modernists. "I truly believe jazz tion, this "Tanga" can serve as an timbales is pure Cubano. Phillips blo "undoubtedly the most important single ended up influencing Cuban music more Afro-Cuban textbook, with its montuno briefly over the ensemble, then Rich U.S. Latin band ever" (John Storm than Cuban music influenced jazz," base, thick percussion patterns and enters with a flurry in anticipation of Roberts). Chico O'Farrill has told Helen Dance, Machito's rousing vocal. Bauza's the next movement. Any discussion of Machito's Afro- but with all the common activity, no one makes room for his own "Jazz" is just what the name implie Cubans has to focus on Bauza, whose really kept score. became a basic trumpet (his low-register work is with the band on fire over Rich's co importance as organizer, arranger and show-stopper with Gillespie in 1947; by especially stunning), the crooning alto of fident cooking. There is much of lead trumpeter is similar to that of Don decade's end was writing Eugene Johnson, Leslie Johnakins' and Lester Youn Redman in Fletcher Henderson's early what he called "Cu-bop," including the baritone sax and pianist Hernandez. Phillips' two choruses; Parker, w band. Bauza, who moved to New York blues "Barbados" for Rene Touzet and Parker, Phillips and Machito's band mercurial accents demonstrate o from Cuba while still a boy, is one of the del Campo; del Campo hired Frank were reunited two years later, with some dimension of rhythmic perfection, earliest examples of successful cross- Socolow and Red Rodney as featured added depth in the ensemble (the second only 32 bars. The chorus of "fours, " cultural fusion. He held important jazz soloists; and Machito worked, in dubs conga player is Chino Pozo, reputedly which once characterized a jobs throughout the 30's in the bands of and on record, with Dexter Gordon, Brew Chano's cousin) and as the the pedestrian (Phillips) versus th abilme (Parker), can be viewed more soaring on top). Steaming 6/8 drums 1977. With prospects of a reconciliation haltably as a pairing of one master launch the "Jungla" discussion of the between Castro and the U.S., a new era SIDE 3 tudent and one transcendent original. main theme and alteration of the of Afro-Cuban activity may be upon us. he tenor spots are intense, if deriva- original vamp. Gillespie occasionally e, and experienced listeners will rises from among the brass, finally (The author wishes to acknowledge the JATAP MAMBO* 1.r (O'Farrill) (565-3)2:4 7 BMI ,preciate how the persistent Lester reaching a montuno clearing where he unstinting assistance of Joe Conzo in ung borrowings by Phillips ulti- dances at length over the percussion the preparation of these notes.) HAVANA SPECIAL Oat ely lead Parker to a Young quote of and closes a cappella; in solos filled (O'Farrill) (641-1) 3:02 ASCAP s own. Buddy Rich offers a furious, if with such fertile imagination, one FIESTA TIME ightly lengthy tour de force; his bass almost overlooks the awesome Gil- (0' F arrill) (643-2) 3:16 BMI rum work is outstanding. "Rhumba lespie technique. The blues and CUBAN BLUES* bierta" reprises the basic melodic common time arrive on "Rhumba SIDE 1 (0' F arrill) 569-2) 3:08 BMI aterial, swirled through the Finale," as reeds state half the nsemble, before the trombones take "Manteca" main theme and brass snap AVOCADOES OKIDOKE (O'Farrill) 2:43 ASCAP ver for a pensive conclusion. the other half in response. Boppish (Hernandes, ochito) (2171) 3:04 ASCAP O'Farrill's successful venture in saxes cushion Gillespie, then Lucky ALMENDRA xtended composition led Granz to Thompson stomps in the manner of his TANGA, Pt. 1 (A. Valdes) 2:39 BMI (Bauza) 3:47 ASCAP potlight his writing in a series of classic solo on Miles Davis' "Walkin'" DISAPPEARANCE* cordings originally released on Clef (recorded less than a month earlier). TANGA, Pt. 2 (O'Farrill) (568 -1) 2:58 BMI nd Norgran. Between 40 and 50 sides The brass cry out a chorus and reach an (Bauza) 3:00 ASCAP CARIOCA ere made during the years 1951-55, unexpected halt. Chives then bring on MANGO MANGUE (Youmens, Kahn, Eliscu) (642-5) 3:06 ASCAP ith the eight selections on side three the coda, based on the bridge, which (Valdes Sunshine) (2157-1)2:53 ASCAI' temming from the beginning of the tightens the emotional climate as Gil- Chico O'Farrill's Orchestra, arranged by Chico s lespie calmly muses against the ensem- NO NOISE, Pt. 1 O'Farrill. Recorded in , November eriod. As O'Farrill did not have his (Bartee) (2154-1) 3:02 BMI 24, 1951. *Recorded in New York City, 1951 (date wn working band unti111953, these ble storm. Finally, Gillespie succumbs unknown). (Although not listed in discographies, acks were made with pick-up groups; in a manner characteristic both of NO NOISE, Pt. 2 according to Chico O'Farrill, the tunes nd while the standard references list himself and of O'Farrill. (Bartee) (2155-2) 2:56 BMI "Avocadoes" and "Alemendra" were recorded o personnel information, several Numerous credits have been Machito and his Orchestra, featuring Charlir during these 1951 sessions.) Parker and Flip Phillips xperts feel that some of Machito's accumulated by O'Farrill since the last Mario Bauza, Doug Mettome, Jimmy Nottingham, fro-Cubans were present on the 1951 of these sessions. After settling in Recorded in New York City, December 1948 and Al Stewart, Nick Travis (trumpet), , Vern ,cordings. "I hardly ever used soloists January 1949. Friley, Fred Zito (trombone), , Ben Mexico in the late 50's, he composed a Harrod, George Berg (alto saxophone), Flip my records," O'Farrill noted to symphony, led two bands simultane- Mario Bauza, Frank Davilla, Bob Woodlen (trumpet), Charlie Parker, Gene Johnson, Fred Phillips, Eddie Wasserman (tenor saxophone), 'den Dance in a 1967 down beat ously and had a television show. In the Skerritt (alto saxophone), Flip Phillips, Jose Danny Banks (baritone saxophone), Rene iterview. "In general, it was big band years since 1965, when he returned to Madera (tenor saxophone), Leslie Johnakins Hernandez (piano), Bob Rodriguez (bass), Don fro-Cuban jazz, with emphasis on the U.S., O'Farrill has written for a (baritone saxophone), Rene Hernandez (piano), Lamond (drums,), Uba Nieto, Candido, Luis asemble playing. I guess it was really musical spectrum ranging from Count Roberto Rodriquez (bass), Machito (maracas), Miranda, Jose Manguel (percussion). n arranger's band." Basie, Cal Tjadar, the Glenn Miller Jose Manguel (bongos), Luis Miranda (congas). (There is no discographical information about UbaldoNieto (timbales). All arranged (except personnel that has been accepted by all. However, "Manteca Suite," from 1954, is the ghost band, , Gato Barbieri, "Tanga") by Rene Hernandez. Chico O'Farrill stated in 1977 that the musicians ulmination of O'Farrill's period with Stan Kenton, Frank Wess, and Joe listed above were those used for these sessions with ranz. Expanding on the 1947 classic Newman, through his old friend slight variation.) Manteca" (composed by Gillespie, Machito. As these notes were being harm Pozo and arranger Walter "Gil" written, O'Farrill had just completed uller), O'Farrill created a concerto for an assignment for . SIDE 2 he jazz tuhsoircn who,att tuhn as The Latin music scene has changed was most thoroughly as well since the "Afro-Cuban" and THE AFRO-CUBAN SUITE SIDE 4 Afro-Cuban rhythmic idiom. Gilles- "Manteca" suites were recorded. CANCION pie's combo of the time—Hank Trumpet-and-rhythm conjunto bands, THE MANTECA SUITE 1 (O'Farrill) (577-4)2:56 B.111 Mobley, , Lou Hackney first introduced to'New York by Tito MANTECA THEME and —is joined by a Puente and Tito Rodriguez, placed MAMBO (Fuller, Gillespie) (1711) ASCAP ;rack group of studio horns plus emphasis on more solos and a compact (O'Farrill) (558-6, 559 - 4) 5:53 BM1 C ONTRASTE Machito's rhythm section. (Candido, combo sound; a host of succeeding 6/8 (Gillespie, O'Farrill) ( 1712) ASCAP who performs on "Manteca", often influences—from Puerto Rico, Brazil, (Gillespie, O'Farrill) (560-2) 2:12 ASC,4P recorded with Machito, though he American rock and soul, and further- JUNGLA JAZZ (Gillespie, O'Farrill) (1713) ASCAP never worked jobs with the Cuban strains like the charanga (O'Farrill) (561-3) 3:38 BMI IA fro-Cubans.) ensemble with flutes and strings—led RHUMBA FINALE i Gil Fuller's original arrangement is to the current salsa hybrid. Venerable RHUMBA ABIERTA (Gillespie, O'Farrill) (1714) ASCAP (O'Farrill) (562-4) 2:33 BMI followed quite faithfully in "Manteca sources don't fade away, however. Total Time: 16:24 Theme," with handling Machito continues working and Machito and his Orchestra; arranged by the half-chorus originally played by recording; in 1975, with familiar names Chico O'Farrill; featuring Charlie Parker and Dizzy Gillespie's Orchestra; arranged by Chico Flip Phillips O'Farrill. 'George "Big Nick" Nicholas, until the like Bauza, Madera, Johnakins and Recorded in New York City, December 21,1950 Recorded in New York City, March 24, 1954 'extended , vamp under Gillespie yields Hernandez still in the band, and , Al Stewart, Mario Bauza, Frank Dizzy Gillespie, , Ernie Royal, 10 Farrill's own melodic variations. Gillespie as guest soloist, he recorded Davilla, Bob Woodlen (trumpet), Charlie Parker, Jimmy Nottingham (trumpet), Leon Cormonges, .JFrom this point forward, O'Farrill sets O'Farrill's "Oro, Incienso y Mirra" and Gene Johnson, Fred Skerritt (alto saxophone), J J. Johnson, George Mathews (trombone), Hilton Flip Phillips, Jose Madera, Sol Rabinowitz Jefferson, George Dorsey (alto saxophone), Hank the tone with a variety of tempi and "Three Afro-Cuban Jazz Moods" for (tenor saxophone), Leslie Johnakins (baritone Mobley, Lucky Thompson (tenor saxophone), colors. The sultry "Contraste" reworks Norman Granz. And Gillespie, who saxophone), Rene Hernandez (piano), Roberto Danny Bank (baritone saxophone), Wade Legge the bridge of "Manteca" into a rhap- might have paraphrased his famous Rodriquez (bass), Machito (maracas), Jose (piano), Lou Hackney, Robert Rodriquez (bass), sody, with the ensemble passion that "Manteca" vocal by singing "I'll never Manguel (bongos), Chino Pozo, Luis Miranda Charlie Persip (drums), Jose Manguel (bongos), has marked all of Gillespie's bands go back to Cuba," docked in Havana (congas), Ubaldo Nieto (timbales), Buddy Rich Ubaldo Nieto (timbales), , Luis Miranda (congas). 'especially when the trumpeter is with an American jazz cruise in May (drums) SELECTIONS By bob Blumenthal music brought to this continent by the OKI DOKE slaves. Much has been written about New Orleans' Congo Square, where 22 TA NGA, Pt. 1 eography and jazz blacks recreated traditional rhythms, TANGA. Pt. 2 history are old dances and rituals as early as 1817; MANGO MANGLE acquaintances. these manifestations of Africa continue Everyone knows the today in the Mardi Gras celebration, NO NOISE, Pt. -1 tale about jazz being just as they did in Cuba during the (2632 073) lifetime of Chano Pozo (Luciano Pozo y 2367 313/2367 314) NO NOISE, Pt. 2 born in New Orleans . Gonzales, 1915-1948), the conga Mach ito and his Orchestra, featuring Charlie floating up the Having as its source the vast library of music Parker and Fiip Phillips Mississippi River to drummer-composer who spread the recorded by Norman Granz, Creed Taylor and St. Louis, then Afro-Cuban message with Dizzy THE AFRO-CUBAN SUITE IF others over a period of three decades, the l'en-e heading overland to Chicago and Gillespie's orchestra. Pozo, who Collection focuses on outstanding performances CANCION eventually New York. It's an overly chanted and danced as well as playing by some of America's finest jazz artists. percussion, joined the Abakwa cult MAMBO simple synopsis, omitting and obscuring many of the crosscurrents (which can be traced to Nigeria) early in 6/8 that helped shape early jazz, but the his youth it Havana, and the cult performed annually under the name All rights reserved. Unauthorized duplication is a AZZ story survives because it provides a violation of applicable laws. concise overview of the music's Los Nanigos during Cuban Mardi Gras. RHUMBA ABIERTA formative dispersion. The cliche bears The active night life of both cities mach ito and his Orchestra, composed and arranged repeating because it suggests a similar forms a second common bond. Just as by Chico O'Farrill: featuring Charlie Parker and journey taken by the branch of jazz jazz thrived in the legendary Storyville This record has been engineered and Flip Phillips District (until 1917, that is, when local manufactured in accordance with standards known as Afro-Cuban: from its developed by the Rec:. rdir.g- Industry birthplace in Havana, via the Atlantic authorities shut the District down), Association of America, Inc., a non-profit JATAP MAMBO Ocean, to the port of Manhattan. Afro-rlban music found numerous organization dedicated to the betterment o) HAVANA SPECIAL Cuba's capitol and the Louisiana outlets in the clubs and casinos of recorded music and literature. Havana, a notoriously wide-open city FIESTA TIME metropolis both possessed three re- sources essential to the development of until Castro's revolution. (Chico CUBAN BLUES new-world musical forms. Of primary O'Farrill, who briefly paid some Las AVOCADOES importance, each had a direct Vegas dues, once remarked that the link with the rich heritage of African (continued) 00 1977 PolyGram Records, Inc. Manufactured ALMENDRA and Marketed by PolyGram Classics, A division of PolyGram Records, Inc., 810 Seventh Avenue, DISAPPEARANCE New York, N. Y. 10019. Printed in U.S.A. CARIOCA Also available onVerve: Charlie Parker: Th e Verve Years (1948-50) The Chico O'Farrill Orchestra; arranged by Chico Parker with strings; the Dizzy Previously released on Verve albums OTarrill Ella Fitzgerald: The Rodgers and Ha;-t Songbook Gillespie 1Thelonious Monk sides (VE 2-2501) V-8000, V-8073, V-8208, V-2032, V-2024; Ends superb interpretations of Rodgers and and 10 " recording EPC 500. THE YIANTECA SUITE Hart's greatest songs (VE-2-2519) Charlie Parker: The Verve Years (1950-51) MANTECA THEME Ben Webster1Colemi'n Hawkins: Tenor Giants Bird's studio and Carnegie Hall recordings with Ben and Bean's classic late '50s encounters, string orchestra; the legendary sessions with. Miles CONTRASTE featuring , , Roy Davis, Coleman Hawkins, Buddy Rich and others Originally produced by Norman Granz Eldridge and others (VE-2-2520) (VE 2-2512) Reissue prepared by Robert Hurwitz jUNGLA Special music consultant: Joe Conzo RHUMBA FINALE Dizzy Gillespie !: Dizzy Gillespie: The ! Cover art: Josh Reyes Two brilliant mid-50's sessions, featuring Oscar Sessions Art direction: Basil Pao (AGE The Dizzy Gillespie Orchestra; arranged by Chico Peterson, , SonnyStitt and John Lewis The 1957 sess cons with , Tommy Bryant Reissue engineer: Ed C utwater O'Farrill (VE-2-2521) and Charlie Persip (t E 2-2505) Mastering: Bob Ludwig (Masterdisk)