CACHAO Y SU TIPICA: DUHER#1611 (CUBA ORIG RECORDED IN RADIO PROGRESO)1959 HEAR

$

25

ARTIST : ISRAEL "CACHAO" LOPEZ y SU TIPICA...VOL II

TITLE: CACHAO y SU TIPICA...VOL II  

REMARKS: A CLASSIC!!!!

MASTER AND/OR CO-CREATOR (WITH HIS BROTHER ORESTES WHO WERE MEMBERS OF ARCAÑO Y SUS MARAVILLAS) OF THE DANZON/MAMBO...BUT DO NOT FORGET JOSE FAJARDO WITH HIS ALSO DANZON/MAMBO BAND! CONTROVERSY? OF COURSE...WHO WAS THE 1ST?...

THIS LP WAS RECORDED IN THE RADIO PROGRESO RADIO STATION STUDION IN OCTOBER, 1959...PRODUCED BY THE ALSO GREAT ERNESTO DUARTE!.....THE BEGINNING OF SALSA?

“La Habana, 9/14/1918.Miami, Florida, 3/22/2008. Es imposible dentro del formato de esta obra una ponderación justa de Cachao. Quizás un símil deportivo nos ayude. Un legendario pelotero cubano Martín Dihigo, era llamado “El Inmortal” porque era un pitcher destacadísimo, buen bateador además, y por último capaz de cubrir perfectamente las nueve posiciones de un team beisbolero. De hecho, en más de una ocasión en un determinado juego cubrió en cada una de las nueve entradas, una posición diferente.

Cachao venía de una familia de músicos, lo eran sus padres, lo eran sus hermanos y lo han sido los descendientes de sus hermanos. Simultaneó por mucho tiempo un atril de la orquesta filarmónica de la Habana, con sus labores en orquestas populares. Es el autor de cientos de danzones y otros géneros musicales; fue evolucionando con los cambios de la música cubana, ha tocado en todo tipo de formatos, desde dúo con un piano, a orquestas de cien profesores; ha incursionado en todos los géneros importantes de la música popular latinoamericana; es uno de los fundadores del jazz afrocubano, hoy jazz latino. Y todo esto, desde un instrumento que normalmente no tiene un papel protagónico como el piano, sino desde el humilde contrabajo. Posiblemente, el músico más completo que haya producido Cuba. Inmortal, La Habana, 9/14/1918.Miami, Florida, 3/22/2008.

"Década del 40: la década con Antonio Arcaño y sus Maravillas, uno de los “tres grandes” grupos musicales de la época, para el cual Israel y Orestes compusieron centenares de danzones para los espacios radiales y academias de baile. De todos ellos, sin duda el más famoso fue el danzón “Mambo”. 

Década del 50: después de integrar la orquesta de José Fajardo, Cachao realiza sus primeras grabaciones como solista. La primera fue la histórica Cuban Jam Sessions in Miniature de 1957 (Panart 2092), el disco emblema de la carrera de Cachao. A partir de ahí, vendrían otras grabaciones de estilo similar, rodeado siempre de los mejores músicos de Cuba. 

Década del 60: en 1962 Israel viaja a España a trabajar con Ernesto Duarte y decide no regresar a Cuba llegando a New York en 1963. Cachao es respaldado por los nombres estelares del movimiento musical con los cuales graba. Su asociación más recordada es con la big band de Tito Rodríguez, aunque es demandado como sideman y solista por otros colegas en varias grabaciones!

1. Canta contrabajo
2. Tata y Cuchín
3. Avance juvenil
4. Nando Padrón
5. Panchitín
6. Julito y su flauta

1. Social Club Buenavista * 
2. El príncipe Nilo
3. America Club *
4. Las ninfas
5. Ahora sí
6. Centro San Agustín *

(* mentions 3 of the last dancing clubs still there in 1959)

WEB & BLOG REMARKS: 

CACHAO JUST BEFORE FIDEL BEGAN TO NATIONALIZE THE CUBAN LABELS:

Cuban Jam Sessions in Miniature: Descargas, Cachao y su Ritmo Caliente (Panart 2092) 1957

Jam Session With Feeling (Maype 122) 1958

Camina Juan Pescao – Cachao y su Típica (Duher 1603, Radio Progreso) 1958

Cachao y su Típica Vol.2 (Duher 1611, Radio Progreso) 1959
Descarga con Cachao y su Combo (Maype 168) 1961

WEB BLOGGERS IN "WAR"

CACHAO:

FAMOUS LATIN MUSIC COLLECTOR REYNALDO (California):

“He and his brother Orestes composed most of Arcaño's repertoire of danzones (up to 28 a week when Arcaño's charts were stolen). Orestes' danzón "Mambo" '38, first performed on the radio station Mil Diez, is widely regarded as the earliest manifestation of the mambo rhythm; it took at least six months for the new danzón-mambo sound to be accepted, however by '43 Arcaño's orchestra challenged Arsenio Rodríguez's conjunto as Cuba's most popular band; Cachao and Orestes feature on most of the RCA recordings by Arcaño y sus Maravillas collected on the recommended Danzón Mambo 1944-51 '93 on Tumbao. Cachao retired from the exhausting Arcaño routine in '49 to work in theatrical revues, opera, etc; he returned to the nightclubs in '53 by joining the band of José Fajardo (1919-2001), appearing with them at New York's Palladium Ballroom in '54. In the late '50s he reformed disbanded members of Arcaño's orchestra to make two danzón LPs on Duher: Camina Juan Pescao - Cachao y su Típica '58 and Cachao y su Típica Vol. 2 '59 (reissued as La Leyenda, Vols. 2 & 1 on Kubaney; yes, in reverse order!), when other danzón orchestras had become charangas, playing cha cha chá and other rhythms. Further danzones he recorded in Cuba in '60 were collected on Superdanzones '97 on Egrem and Bebo & Cachao Jazz Cuba 2 '07 on Rhino.”

“All of the songs on this album start slow and don't really pick up until about a minute and a half (or more) in, so the sound clips don't really do the album justice. Still, the record is overall kind of a snooze, which is unfortunate.”

“Anonymous said...

Reynaldo, you've completely missed the point of this album. I'm no fan of the Cuban danzon generally but even I can hear that this is an wonderfully subtle, crafted, absolute masterpiece. Its dance music; the slow circular danson sections are for slow intimate dancing. They may or may not hit a bridge and step up into a son or cha cha cha form or they may step back down and make you wait again. By track 6, anyway, I am begging for it. Incredible album, ask anybody who knows cuban music.”

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