Описание CD

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  Исполнитель(и) :
   Machito  (Maracas)
◄◄◄        ►►►

  Наименование CD :
   Kenya: Afro-Cuban Jazz



Год издания : 2000/1958

Компания звукозаписи : Blue Note

Музыкальный стиль : Afro-Cuban Jazz, Latin Jazz, World Fusion, Cuban Jazz, Cuban Traditions

Время звучания : 35:44

Код CD : CDP 522668

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Pseudo Ethnic      

Recorded on December 17, 19, 24, 1957 At Metropolitan Studios, New York

Bandleader extraordinaire Machito was born in Cuba, and the "original Mambo King" utilized that country's indigenous rhythms throughout his career. As its title implies, though, this 1957 release finds Machito turning an ear towards the African side of the Afro-Cuban jazz style he helped to pioneer. The energy level on KENYA is astounding, and there's virtually no letup. Under the direction of Machito and his brother-in-law/right-hand man Mario Bauza, the ensemble tears through a dozen cuts with such disciplined ferocity it's a wonder anyone was left standing at the end of the session.

The electrifying big-band arrangements are typified by tight structures, forcefully executed ensemble lines, and of course, a percolating bed of percussion that keeps the groove constant no matter how sophisticated the harmonic intercourse becomes. The tunes, mostly composed specifically for this project, are all based around traditional Afro-Cuban rhythms, and their diversity represents the variety to be found in those fertile sonic fields. From rhumba to bata to mambo, the rhythmic drive is invigorating. The contributions of non-Latin jazzmen such as Doc Cheatham (who worked with Machito for some time) and Cannonball Adderley only adds to the mix in this piping-hot musical stew.

All tracks have been digitally remastered.

Recorded at Metropolitan Studios, New York, New York on December 17, 19 & 24, 1957. Includes original liner notes by Roger Dangerfield.

====

Classic Afro-Cuban jazz albums are not so plentiful that any can escape being called "essential." By 1958 the idiom had lost its original spontaneity and excitement, but new life had come from the recording possibilities of high-fidelity stereo. Kenya belongs to the style typified by Tito Puente's great work for Victor in this period. There are colorful African masks on the jacket, the obligatory dozen tight arrangements, three first-call percussionists, and a horn section guaranteed to be heard at least from one edge of Manhattan to the other. While Kenya can be thought of as formulaic, at least the formula was still relatively fresh and highly desirable. For all its homegrown, New York credibility, Kenya sounds very much like 1950s Hollywood. Television and film crime dramas of the period relied heavily on Latin and jazz, which helped to popularize Afro-Cuban jazz. The bombastic horns created suspense and excitement, while the bongos and congas signaled the exoticism and feverishness of a world slipping out of control. But the old complaint about Afro-Cuban jazz is the same as for other Hollywood jazz and even standard pop albums of the period: The tight arrangements and rhythm are fine for ensemble playing, but the horn solos fail to communicate the individualism and passion one expects from jazz. Consequently the most successful pieces, such as "Manteca," have a live, gritty sound, like a riot in an old New York nightclub. Kenya ranges in tempo from a Cuban blues "Blues a la Machito," to a fast rumba "Wild Jungle." Everything else falls between these, but mostly on the upbeat side. "Congo Mulence" is played in the "bata" style (though probably without bata drums), and "Tin Tin Deo" is the Chano Pozo classic. "Minor Rama" and "Tuturato" are the most adventurous pieces. Overall, the Kenya powerhouse falls just short of being fantastic by sounding hurried, as if the studio clock was ticking. Perhaps too, a sense of anachronism (even in 1958) affected the recording. In any case, it could have been produced as two very welcome albums, if not several.

- Tony Wilds (All Music Guide)

====

Frank Raul Grillo, also known as Machito, was the leader of The Afro-Cubans, a fiery definitive Latin-jazz big band. Not only did they sport a topnotch percussion section, featuring Candido Camero, Jose Mangual, and Uba Nieto, but they worked the arrangements of Mario Bauza, the father of modern Afro-Hispanic jazz in the U.S. This outstanding album, recorded in 1957, the same year that Tito Puente cut his historic Top Percussion sessions and Israel "Cachao" Lopez laid down his influential descargas. Named in honor the African country, Kenya, with pianist Rene Hernandez and A.K. Salim contributing compositions and arrangements, swings with the ancestral anthems that fueled the best Afro-inspired dances. "Wild Jungle" is a roaring rumba capped by special guest Doc Cheatham's zesty trumpet solo. The title track is an elegant Palladium-style lullaby graced by tenor saxophonist Ray Santoz's Lester Young lilt, and the Florida-born Julian "Cannonball" Adderley's Charlie Parker-like alto-sax riffs fly on "Oyeme," with another American, trumpeter Joe Newman. On the bata-drum-driven blues "Congo Mulence," Adderley and Newman create inspired solos off of the clave, highlighting the wonderful Afro-American and Afro-Cuban musical language Machito spoke and swung so well.

Editorial Reviews (Amazon.com)

-Eugene Holley, Jr.

====

Bandleader extraordinaire Machito was born in Cuba, and the "original Mambo King" utilized that country's indigenous rhythms throughout his career. As its title implies, though, this 1957 release finds Machito turning an ear towards the African ... Full Descriptionside of the Afro-Cuban jazz style he helped to pioneer. The energy level on KENYA is astounding, and there's virtually no letup. Under the direction of Machito and his brother-in-law/right-hand man Mario Bauza, the ensemble tears through a dozen cuts with such disciplined ferocity it's a wonder anyone was left standing at the end of the session.

The electrifying big-band arrangements are typified by tight structures, forcefully executed ensemble lines, and of course, a percolating bed of percussion that keeps the groove constant no matter how sophisticated the harmonic intercourse becomes. The tunes, mostly composed specifically for this project, are all based around traditional Afro-Cuban rhythms, and their diversity represents the variety to be found in those fertile sonic fields. From rhumba to bata to mambo, the rhythmic drive is invigorating. The contributions of non-Latin jazzmen such as Doc Cheatham (who worked with Machito for some time) and Cannonball Adderley only adds to the mix in this piping-hot musical stew.

All tracks have been digitally remastered.

Recorded at Metropolitan Studios, New York, New York on December 17, 19 & 24, 1957. Includes original liner notes by Roger Dangerfield.

Reissue producer: Michael Cuscuna.

Personnel includes: Machito (leader); Mario Bauza (arranger, alto saxophone, trumpet); Rene Hernandez, A.K. Salim (arranger); Cannonball Adderley (alto saxophone); Ray Santos, Jr., Jose Madera (tenor saxophone); Leslie Johnakins (baritone saxophone); Joe Newman, Doc Cheatham, Francis Williams, Paul Cohen, Paquito Davilla, Joe Livramento (trumpet); Santo Russo, Eddie Bert, Bart Varsalona, Jimmy Russo (trombone); Rene Hernandez (piano); Roberto Rodriguez (bass); Jose Mangual (bongos); Candido Camero, Carlos "Patato" Valdes (congas); Uba Nieto (timbales); Pedro Boulong, Jose Silva, Nilo Siera (percussion).

Producer: Ralph Seijo.


  Соисполнители :

Bart Varsalona (Trombone)
Candido Camero (Conga)
Doc Cheatham (Trumpet)
Eddie Bert (Trombone)
Francis Williams (Trumpet)
Joe Livramento (Trumpet)
Joe Newman (Trumpet)
Jose Madera (Tenor Saxophone)
Jose Mangual (Bongos)
Jose Silva (Percussion)
Julian 'Cannonball' Adderley (Alt Saxophone)
Leslie Johnakins (Baritone Saxophone)
Mario Bauza (Alt Saxophone, Trumpet)
Paquito Davilla (Trumpet)
Paul Cohen (Trumpet)
Pedro Boulong (Percussion)
Ray Santos Jr. (Tenor Saxophone)
Rene Hernandez (Piano)
Rex Peer (Trombone)
Roberto Rodriguez (Bass)
Santo Russo (Trombone)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Wild Jungle         0:02:48 Bauza, Hernandez
   2 Congo Mulence         0:02:57 Salim
   3 Kenya         0:03:29 Bauza, Hernandez, Johnson
   4 Oyeme         0:03:14 Salim
   5 Holiday         0:02:50 Bauza, Hernandez
   6 Cannonology         0:02:32 Salim
   7 Frenzy         0:02:43 Bauza, Hernandez
   8 Blues A La Machito         0:03:03 Salim
   9 Conversation         0:02:58 Mingus, Salim
   10 Tin Tin Deo         0:02:57 Fuller, Gillespie, Pozo
   11 Minor Rama         0:03:03 Salim
   12 Tururato         0:03:11 -"-

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