Jazz
Principally recorded at Reeves Sound Studio, New York, New York and Radio Recorders, Hollywood, California between December 21, 1950 and April 21, 1954. Includes liner notes by Oscar Hijuelos and an interview with Chico O'Farrill by Ben Young.
For any and all Latin jazz collectors, casual or serious, this is a fabulous deal, for it gathers together no less than six exceedingly rare Chico O'Farrill Clef and Norgran 10" albums, plus one under Machito's name, onto a slimline two-CD set. It will also come as a revelation to anyone who might scoff at anything associated with the 1950s mambo craze, for these discs reveal O'Farrill as a sophisticated, even daring arranger/composer who reached beyond merely providing a beat for dancers. Many of these charts -- whether for the brief, dance-oriented Latin numbers; ultra-familiar standards like "Malaguena" and "The Peanut Vendor"; or jazz tunes -- are loaded with intricate figures and striking harmonies obviously gleaned from classical study, all crisply executed with a brash, shiny edge by his Afro-Cuban groups and bands staffed by American jazzmen. Occasionally, he even conjures a delicate, classical ambience from a number like "Angels' Flight" (named after Los Angeles' legendary downtown funicular). The apotheosis of O'Farrill's experiments are his two full-blown, groundbreaking Afro-Cuban jazz suites. The first features Flip Phillips and the redoubtable Charlie Parker as soloists within the Machito band, and the second is even bolder in its zigzag journey through the classical, Latin, and jazz camps. Yet for all of his erudition, O'Farrill never forgets to ask for madly percolating Afro-Cuban grooves from his rhythm teams -- which clinches the deal for any Latin music fan.
By Richard S. Gine. AMG.
**
Chico O' Farrill dug a huge trench in which concerns to accomplish the legendary sounds of the great bands of the forties that rendered pleasant unforgettable moments, accomplishing a marvellous drift in the establishment of a solid musculature and expansive transcendence of the raising Latin Jazz genre. This band had such swing and accurate conveyance because among other merits, was totally equipped around any fashion current but above all the idiomatic expressiveness that eventually would become them its main landmark.
These early fifties sessions out Chico on the map of the most remarkable pioneers of the Latin Jazz by then, in which the Afro- Cuban roots were basically the veins of these fabulous pieces. The impressive gamut of kaleidoscopic genres were mesmerizing performed with that unerring elegance, spirit pureness and vibrating radiance.
Despite the first CD is fabulous, it explores with major detail, the different insights of the different musical genres (notice for instance, the impressive second Afro-Cuban Jazz suite) the second album is by far, rhythmical than the first one. Since the first track, simply you can't stop to move even your fingers, it's loaded of that characteristic "guataca".
If you really want to have a CD that had captured with major vehemence this fundamental transition moment and besides had featured with such mesmerizing rhythmic elegance, you have come to the right point.
An ageless album.
By Hiram Gomez Pardo.
**
Part1
01. Avacadoes
02. Taboo
03. JATP Mambo
04. Duerme
05. Almendra
06. The Disappearance
07. Cuban Blues
08. Sin Titulo
09. Dance One
10. Bright One
11. Flamingo
12. Last One
13. Tierra Va Tembla
14. Vamos pa la Rumba
15. Mambo Korula
16. Frizilandia
17. Peanut Vendor
18. Ill Wind (You're Blownin' Me No Good)
19. Malaguena
20. Castigala
21. The Second Afro-Cuban Suite
*
Part2
01. Havana Special
02. Carioca
03. Fiesta Time
04. Heat Wave
05. It Ain't Necessarily So
06. Guess What.
07. Cry Baby Blues
08. Lamento
09. You Stepped Out Of A Dream
10. Cachita
11. Rumbonsito
12. Te Queiro Dijiste
13. Siboney
14. Angel's Flight
15. Tres Palabras
16. No Te Importe Saber
17. Vaya Con Dios
18. Pianarabatibiri
19. L.A. Mambo
20. Quiereme Mucho
21. More Mambo
22. Mambo For Bunto
23. Botellero
24. Afro-Cuban Jazz Suite
**
NoPassword
*
DLinks
*
1 2
*
No comments:
Post a Comment