DOCSLIB.ORG

Itunes 88025

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Itunes 88025 1 Mambo Mucho Mambo AMB 88025 2 Mambo Mucho Mambo Recorded in New York City 1949 - 1952 1. Mambo Mucho Mambo (Blanco Suazo)..................................................................3:00 MACHITO: Leader, maracas 2. Si Si, No No (Blanco Suazo).......................................................................................3:10 Musicians on these sessions include: 3. Mambo A La Savoy (Fuller - Machito).....................................................................2:50 Graciela Perez: vocals (1 • 4) Rugual Brothers: vocals (4) 4. Contigo En La Distancia (Cesar Portillo) ................................................................3:14 René Hernandez: piano 5. Zambia (R. Hernandez) ..............................................................................................2:37 Mario Bauza, Bobby Woodlin, Frank Davila, 6. Oboe Mambo (R. Hernandez)....................................................................................2:18 Ed Medina: trumpet Mitch Miller: oboe (6) 7. Negro Nañamboro (R. Mercerón) .............................................................................3:16 Fred Zitom Vern Friley, Eddie Bert: trombone 8. Tu Felicidad (D.R.) .......................................................................................................2:52 Lennie Hambro, Jimmy Frisaura, 9. Freezelandia (P. Beque) ..............................................................................................3:03 Gene Johnson, José Madera, Freddie Skerritt, Leslie Johnakins: reeds 10. Blen, Blen, Blen (Chano Pozo)...................................................................................3:09 Bobby Rodriguez: bass José Mangual: bongos P 1952 Luis Miranda: conga Ubaldo Nieto: timbales Achtern Dahl 4 • D-27729 Vollersode • Germany P 2010 & C 2010 …AND MORE BEARS LC 12483 AMB 88025 3 The great Machito was born as Frank Grillo into a family of six in Havana, Cuba. At a very early age he became very attracted to music, and as a young boy he liked to sing with his father’s employees. (His father was a manufacturer of cigars, who also owned a warehouse and general store.) Through his singing the young Machito got to be around some of the most famous groups of that time, the 1920s, such as the Sexteto Habanero, for instance. Later he began playing the maraccas, the instrument that would be with him all through his life, having carefully observed one of the best maraqueros in all Cuba, Champito. From 1928 to 1937 he worked with several different groups, such as El Sexteto Occidente, Sexteto Agabama, Sexteto Universo, Sexteto Nacional etcetera. In 1937 he arrived in New York and quickly found work with a group that called itself La Estrella Habanera. Some time later he was a featured singer with Septeto Anacaona, in which Machito’s sister Graciela also sang; then for the next two years Machito recorded with Cuarteto Caney, Conjunto Moderno and the Orquesta Hatuey, as well as appearing as singer with the bands of Noro Morales, Augusto Cohen and Xavier Cugat. In 1940 he decided to form his own band, The Afro-Cubans, with Mario Bauza as musical director. Bauza, a brilliant trumpet player, was an old friend from Havana who had arrived in New York in 1930, and had already distinguished himself in the bands of Don Redman, Noble Sissle and Cab Calloway, apart from his many appearances at studio sessions. Machito’s orchestra actually began with eleven men and made several recordings, but he was particularly proud of the recording that Stan Kenton’s band made with his name (Machito’s) as the title, saying: “That duet at the end (Buddy Childers on trumpet, and Skip Layton trombone) is just too much! Kenton was among the first to recognize the richness of Afro-Cuban rhythms. For that matter, we are very fortunate in this country because we have the folk music of every country in the world to draw from. All the people who came here to live brought their music with them. That’s why our music is so rich.” AMB 88025 4 When the band opened at the La Conga night club, it was an immediate success. The Afro- Cubans were on their way! A year later the first recordings were made of the band under its own name, as well as backing the celebrated singer Miguelito Valdés on his. In 1943 Machito was drafted into the U.S. army, and by the time his discharge came the Afro-Cubans were already experimenting with jazz. The very first Afro-Cuban tune that was played was Tanga, and it quickly became the band’s theme song. After Word War II a new form of jazz was being played, Bebop, and Machito played alongside such jazz greats as Charlie Parker, Dizzy Gillespie and Ella Fitzgerald, to name just three among many, also making some recordings. The recordings presented here are among the most famous performances ever by the Afro- Cubans and, moreover, they were made at probably the most creative period of Machito’s long career, a time when the orchestra had reached a musical peak that clearly justified its world-wide fame and recognition..
Load more

Recommended publications
  • Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
    “Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads.
    [Show full text]
  • MIC Buzz Magazine Article 10402 Reference Table1 Cuba Watch 040517 Cuban Music Is Caribbean Music Not Latin Music 15.Numbers
    Reference Information Table 1 (Updated 5th June 2017) For: Article 10402 | Cuba Watch NB: All content and featured images copyrights 04/05/2017 reserved to MIC Buzz Limited content and image providers and also content and image owners. Title: Cuban Music Is Caribbean Music, Not Latin Music. Item Subject Date and Timeline Name and Topic Nationality Document / information Website references / Origins 1 Danzon Mambo Creator 1938 -- One of his Orestes Lopez Cuban Born n Havana on December 29, 1911 Artist Biography by Max Salazar compositions, was It is known the world over in that it was Orestes Lopez, Arcano's celloist and (Celloist and pianist) broadcast by Arcaño pianist who invented the Danzon Mambo in 1938. Orestes's brother, bassist http://www.allmusic.com/artist/antonio-arcaño- in 1938, was a Israel "Cachao" Lopez, wrote the arrangements which enables Arcano Y Sus mn0001534741/biography Maravillas to enjoy world-wide recognition. Arcano and Cachao are alive. rhythmic danzón Orestes died December 1991 in Havana. And also: entitled ‘Mambo’ In 29 August 1908, Havana, Cuba. As a child López studied several instruments, including piano and cello, and he was briefly with a local symphony orchestra. His Artist Biography by allmusic.com brother, Israel ‘Cachao’ López, also became a musician and influential composer. From the late 20s onwards, López played with charanga bands such as that led by http://www.allmusic.com/artist/orestes-lopez- Miguel Vásquez and he also led and co-led bands. In 1937 he joined Antonio mn0000485432 Arcaño’s band, Sus Maravillas. Playing piano, cello and bass, López also wrote many arrangements in addition to composing some original music.
    [Show full text]
  • Stage Door Swings Brochure
    . 0 A G 6 E C R 2 G , O 1 FEATURING A H . T T D C I O I S F A N O E O A P T B R I . P P G The Palladium Big 3 Orchestra S M . N N R U O E O Featuring the combined orchestras N P L of Tito Puente, Machito and Tito Rodriguez presents Manteca - The Afro-Cuban Music of The Dizzy Gillespie Big Band FROM with special guest Candido CUBAN FIRE Brazilliance featuring TO SKETCHES Bud Shank OF SPAIN The Music of Chico O’ Farrill Big Band Directed by Arturo O’Farrill Bill Holman Band- Echoes of Aranjuez 8 3 0 Armando Peraza 0 - 8 Stan Kenton’s Cuban Fire 0 8 0 Viva Tirado- 9 e The Gerald Wilson Orchestra t A u t C i Jose Rizo’s Jazz on , t s h the Latin Side All-Stars n c I a z Francisco Aguabella e z B a Justo Almario J g n s o Shorty Rogers Big Band- e l L , e Afro-Cuban Influence 8 g 3 n Viva Zapata-The Latin Side of 0 A 8 The Lighthouse All-Stars s x o o L Jack Costanzo B . e O h Sketches of Spain . P T The classic Gil Evans-Miles Davis October 9-12, 2008 collaboration featuring Bobby Shew Hyatt Regency Newport Beach Johnny Richards’ Rites of Diablo 1107 Jamboree Road www.lajazzinstitute.org Newport Beach, CA The Estrada Brothers- Tribute to Cal Tjader about the LOS PLATINUM VIP PACKAGE! ANGELES The VIP package includes priority seats in the DATES HOW TO amphitheater and ballroom (first come, first served JAZZ FESTIVAL | October 9-12, 2008 PURCHASE TICKETS basis) plus a Wednesday Night bonus concert.
    [Show full text]
  • The Jazz Scene”—Various Artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (Guest Post)*
    “The Jazz Scene”—Various artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (guest post)* Original album cover When “The Jazz Scene” was released in 1950, Norman Granz had significantly reshaped the jazz world in his image. Jazz historian and senior “Down Beat” editor John McDonough emphatically summed up Granz’s achievements when he wrote, “Two mavericks changed the face of jazz in the 1940s. Charlie Parker changed the way it was played. Norman Granz changed the way it was sold.” By this time, Granz’s popular seasonal national tours of Jazz at the Philharmonic (JATP), jam session concerts of jazz superstars, had gone on since 1945 after their debut in his hometown of Los Angeles the previous year. In 1949, Ella Fitzgerald joined JATP in what turned out to be a nearly 45-year relationship with Granz, who both managed her career and had her recording contract. Oscar Peterson began a similar long-term relationship with Granz when he joined JATP in 1950, when Granz likewise managed and recorded him over the decades. Granz also distinguished himself as an unyielding champion of racial justice, who had anti-segregation clauses in his contracts from the very beginning, and also offered top pay, travel and accommodations for those working for him. Two years later the jazz impresario began annual tours of Europe, where JATP proved to be as popular there as it had been in the United States. In 1953, Granz and his tours and recordings on his independent labels were beginning to crest. Around 500,000 people packed his concerts worldwide, including tours of Europe and Japan, while he also produced half the jazz records in the United States.
    [Show full text]
  • Excerpts from a Concert Review of Machito and His Orchestra the Palladium Ballroom, December 1,1949
    Excerpts from a Concert Review of Machito and His Orchestra The Palladium Ballroom, December 1,1949 Machito and His Afro-Cuban Orchestra (1940s) With the emergence of be-bop [a form of Jazz] from its hidden, out-of-the-way incubators uptown into the heady air of Broadway, it’s become the thing to talk learnedly of the Afro-Cuban origins of bop rhythm. A trip to the Palladium to dig the remarkable Machito band can soon put the matter into its true perspective. (Dizzy Gillespie and Stan Kenton are frequent visitors.) The subtle interplay of Machito’s five-man rhythm section, with Machito or Graciela making a sixth on the claves, is wondrous to hear. With each percussionist doing something of his own, the sounds fuse into an irresistible beat. Emphasis shifts from man to man, in a continuously varying pattern, but the beat is always there, strong, true and exciting. There lies the essential Cubano contribution to be- bop—the shifting among rhythm instruments while attempting to produce a steady discernible pulse. But the bopsters [be-bop Jazz musicians] are a long way from mastery of this technique, which is second nature within the Machito band. Material consists largely of standard and original [Latin American] numbers of every rhythm—rumba variations, boleros, guaguanacos, guajaras, guarachas. The current craze is the mambo, a fast rumba, with which the hip terpers are now compulsively occupied. One of the hall’s features is the Wednesday night mambo contests, which regularly draw not only the hip steppers but also instructors and pros like Arthur Murray and the de Marcos.
    [Show full text]
  • Guide to the Graciela Papers
    Guide to the Graciela Papers NMAH.AC.1425 Irmarie Fraticelli-Rodríguez and Edwin A. Rodriguez This collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center 2017 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 3 Arrangement..................................................................................................................... 4 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Personal Papers, 1934-2010, undated..................................................... 6 Series 2: Correspondence, 1944-2010, undated................................................... 10 Series 3: Business Records, 1937-2008, undated................................................
    [Show full text]
  • Machito Celebration Brochure
    PAID BRONX, NY NON-PROFIT U.S. POSTAGE ORGANIZATION PERMIT NO.1284 Ph Machito & the Impact oto: Joe Conzo, Jr. of the Afro-Cubans at 80 Machito & the Impact of the Afro-Cubans at 80 Following its acclaimed three-day retrospective of Tito Puente in April 2017, the Hostos Center for the Arts & Culture presents “Machito & the Impact of the Afro-Cubans at 80,” a three-day celebration of the career and 80-year influence of the iconic singer / bandleader (1908-1984) on a variety of musical styles, including salsa and, especially, the development of Latin jazz, affecting the music of Dizzy Gillespie, Charlie Parker, Stan Kenton and others. The weekend also delves into the careers and impact of Francisco “Machito” Grillo’s musical partners (and family members) in his group the Afro-Cubans – including the composer / arranger / musical director Mario Bauzá to 149th Street & Grand Concourse (1911-1993) and the heralded singer Graciela (1915-2010). Bx19 Under the artistic direction of Machito’s son, Mario Grillo, Musical Director of The Machito Orchestra; Jazz at Lincoln Center Orchestra Bx2 Hostos Community College / CUNY 450 Grand Concourse, Bronx, NY 10451 bassist and composer Carlos Henríquez; and the noted Latin music historian Joe Conzo, Sr., “Machito & the Impact of the Afro-Cubans at M Bx1 ario Bauzá Graciela 80” will include main stage concerts, a family concert, panel discussions, a film presentation, a rhythm section workshop and much Ph ot r. more. We look forward to seeing you May 2 to 4! A Three-Day Celebration of the Iconic Bandleader, o: Joe Conzo, J his Musical Partners, and their Extraordinary Influence.
    [Show full text]
  • Kenya by Machito José Madera, Guest Conductor Johnny “Dandy” Rodriguez and George Delgado, Percussionists
    The Juilliard Orchestra presents Juilliard Jazz Orchestra Kenya by Machito José Madera, Guest Conductor Johnny “Dandy” Rodriguez and George Delgado, Percussionists Tuesday, September 25, 2018, 7:30pm Peter Jay Sharp Theater “Mambo Inn” (Bobby Woodlen, Grace Sampson, Mario Bauzá) “A Sunny Ray” (Ray Santos)* “Mambo Sentimental” (Emilio D’Duri Yatasto, arr. René Hernández) “Almendra” (Alfredito Valdés, Jr.) “Tenderly” (Walter Gross, arr. Joe Loco) “Minor Rama” (Ahmad Kharab Salim) “Congo Mulence” (Ahmad Kharab Salim) “Wild Jungle” (Mario Bauzá, René Hernández) “Tin Tin Deo” (Chano Pozo, Gil Fuller, arr. René Hernández, Mario Bauzá) “Kenya” (Mario Bauzá, René Hernández, J.J. Johnson) “Oyeme” (Ahmad Kharab Salim) “Holiday” (Mario Bauzá, René Hernández) “Cannonology” (Ahmad Kharab Salim) “Frenzy” (Mario Bauzá, René Hernández) “Blues a la Machito” (Ahmad Kharab Salim) “Conversation” (Ahmad Kharab Salim) “Tururato” (Ahmad Kharab Salim) * Juilliard Jazz will honor Juilliard alumnus Ray Santos at this concert. Program order and selections are subject to change. Changes will be announced from the stage. Performance time: approximately 1 hour and 30 minutes, including one intermission Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration of the Doris Duke Charitable Foundation and the Surdna Foundation, for its generous support of Juilliard Jazz. Additional support for this performance was provided, in part, by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off
    [Show full text]
  • Carlos Patato Valdes Carlos Patato Valdes (November 4, 1926 – December 4, 2007) Was a Cuban-Born American Conga Player
    Carlos Patato Valdes carlos patato valdes (November 4, 1926 – December 4, 2007) was a Cuban-born American conga player. In 1955 he emigrated from Cuba to New York City where he played with Willie Bobo in Harlem. He was also known by the name “Patato”. He invented and patented the tunable conga drum (earlier drums had nailed heads) which revolutionized use of the instrument. Tito Puente called him “the greatest conguero alive today.”Since the 1950s Patato was among the congueros that were in highest demand in the Latin Music and jazz world. He played, toured and recorded together with singer Miguelito Valdés, Perez Prado, Beny Moré, Cachao López, with Tito Puente, Machito, Herbie Mann, Kenny Dorham, Cal Tjader, Art Blakey, Elvin Jones and other, also with Dizzy Gillespie and Quincy Jones, accompanying both on extended tours throughout Europe, and with the late Mario Bauza. Patato acted in and composed the title song of The Bill Cosby Show. In 1991 he contributed to the movie soundtrack for The Mambo Kings Play Songs of Love. Patato was the leader of his own band ‘Afrojazzia’, which toured Europe in the spring of 1994. A lifetime smoker, carlos patato valdes had emphysema and died of respiratory failure in Cleveland, Ohio on December 4, 2007. For over 60 years Carlos “Patato” Valdez demonstrated how a musician could combine technical skill with superb showmanship. His conga playing demonstrated the fusion of melody and rhythm. It also reflected his keen understanding of rhythm as a biological constant that is rooted, quite literally, in the human heartbeat.
    [Show full text]
  • AFRO-CUBAN RHYTHMS for DRUMSET by Frank Malabe and Bob Weiner, Published by Manhattan Music, Inc
    Latin Rhythms: MYSTERY UNRAVELED Victor López, Clinician Sponsored by Alfred Publishing Company Guest Clinicians: Michele Fernandez Denlinger Anthony M. Falcone 2005 Midwest Clinic 59th Annual Conference Hilton Chicago - Chicago, Illinois December 16, 2005 Special thanks to: The rhythm section of the New Trier High School Jazz Ensemble (Winnetka, Illinois) and Jim Warrick, Coordinator of Jazz Studies Glossary of Latin Music Terms BOLERO (boh-LEH-roh) Is a Latin ballad and it is not to be confused with the Maurice Ravel composition of the same name. It is in the pretty slow tempo range but can sometimes have open vamps for improvisation that pick up in energy quite a bit, Such as in a Bolero-Son. BONGO (bohn-GOH) A small double drum (held between the knees, resting on the claves of the seated musician). CENCERRO - (sen-SEH-roh) A large hand-held cowbell played with a stick. It produces two notes, depending upon where it is struck. In Cuban music and SALSA, it is usually played by the bongo artist when the band goes into the “ride” or MAMBO section after the main vocal. In good hands, it can drive an entire band with ever-increasing excitement and power. CHACHACHA (cha-cha-CHA) Some claim that this is the second section of the DANZON; others argue that it is a slower MAMBO. It was sometimes called a double MAMBO in New York since its basic dance step was the MAMBO with a double step in the fourth-to-first beats…chachaCHA! The CHACHACHA developed around 1953 in the hands of Cuban CHARANGAS.
    [Show full text]
  • A South Bronx Latin Music Tale
    Singerv(9a).qxd 6/29/04 4:39 PM Page 176 CENTRO Journal Volume7 xv1 Number 1 spring 2004 A South Bronx Latin Music Tale ROBERTA L. SINGER AND ELENA MARTÍNEZ ABSTRACT When the story of Latin popular music (salsa) is told in popular and scholarly writings, the South Bronx is consistently overlooked despite the critical role it played in the development of that music. From the late 1940s through the early 1970s Hunts Point, Longwood, and Mott Haven were thriving Puerto Rican communities where an explosion of musical activity and creativity was taking place. This article examines the confluence of people and places that created an environment for the growth of Latin music in the South Bronx. While highlighting the sites that provided a locus for performers to adapt and reinterpret predominantly Afro-Cuban music forms and styles to express their urban South Bronx reality, the work reveals the symbiotic relationship between music, place and community; issues of identity are an underlying theme but are not the central focus of the work. [Key words: Salsa, Bronx, palce, Latin Music, mambo, New York City] Latin Music & Hip Hop Trail in Harlem & the Bronx. Courtesy of City Lore. Reprinted, by permission, from Roberta Singer and Elena Martínez. [ 177 ] Singerv(9a).qxd 6/29/04 4:39 PM Page 178 Puerto Rican Settlement in the Bronx The history of Puerto Rican migration to New York can be found in numerous sources and need not be repeated here (Dietz 1994; Fitzpatrick 1971; History Task Force 1979; Sánchez Korrol 1983). Most histories tend to focus on the early pioneer settlements in Brooklyn and later in El Barrio, even overlooking the continuing growth of Puerto Rican communities in Brooklyn in the post-WWII period.
    [Show full text]
  • JEANETTE Macdonald (Eu)
    LUDOVICO MACCIO 1/127/1917 Victor 72035 Frias del alma / h F. Rubi FRED MacDONALD (eu) 1955 Pee 4823 Me Quiereme mucho GRo JEANETTE MacDONALD (eu) Philadelphia, Pennsylvania, 6/18/1903 – Houston, Texas, 1/14/1965. Light soprano who had an extraordinary career in cinema during the 1930s, especially in partnership with baritone Nelson Eddy (See: Nelson Eddy) Oxford, cited work, p. 362. Lp Victor LSP-1738 “Jeanette MacDonald and Nelson Eddy favorites in Stereo”. Recorded in 1957-58. Edited in 1969. The breeze and I / r EL HARRY MacDONOUGH [VICTOR LIGHT OPERA COMPANY] Hamilton, Ontario, Canada, 05/30/1871 - New York City, New York, 09/26/1931. C-7062-2 7/12 Victor EU Gems from Havana / r (Ingles popurrí operatico) /1909 31744 I’m a Cuban Girl / r Way Down in Pensacola / r ROBERT MacGIMSEY Pineville, Louisiana, 9/7/1898 - Phoenix, Arizona, 1979.Human whistle with orchestra and guitar. 55814 9/23/1929 Victor EU Canto Siboney / r EL 46488 ANTONIO MACHÍN Antonio Abad Lugo Machín, who always used the name Antonio Machín (Sagua la Grande, 1/19/1904 [February 11, 1903, according to his birth certificate provided by Dr. María T. Linares] - Madrid, 8 / 4/1977) was the son of Galician and Afro-Cuban origin. By 1926 he was in Havana singing with various groups and working as a bricklayer. He made a duet with Miguel Zaballe, having the good fortune that Don Azpiazu listened to him and hired him to sing in his orchestra in the exclusive Casino Nacional, the first black singer to join a white orchestra.
    [Show full text]