NORO MORALES:"NO BLUES, NORO" TICO#1064-Black ('59)HEAR

$

27

REMARKS: VERY HARD TO FIND FROM THIS ANOTHER "GIGANTE DEL TECLADO" (THE KEYBOARDS GIANT)...LIKE THE ORIGINAL "GIANT",  CHARLIE PALMIERI, NORO WAS OVERWEIGHT, TALL AND A PIANO MASTER!!!

 A welcome departure from his earlier orchestral works, No Blues spotlights the artist in a quintet of bass and percussion. His piano is unhurried, beautiful, and with a certain sadness which suggests the blues in much the same way as Brasilian music. The style is definitely modern and improvisational, the product of a fluid and soulful piano player instead of the Latin bandleader of previous records. "Saona" forays into strange and even elegant Afro-Cuban chant territory. "Patricia" is played with organ and piano as well as constant vocal repetition of the title (a la the Champs' "Tequila"). "The Piano Player's Lament" is jazzy blues. No Blues, Noro will surprise fans of Morales' other work, if not also Tico fans!!

Noro Morales was born in Puerto Rico in 1911 and came to New York in 1935, where he played briefly with the bands of Alberto Socarras and Augusto Coen before establishing the Brothers Morales (Noro-Humberto-Esy) orchestra in 1939. The 1942 Decca 78 "Serenata R¡tmica" gave Morales instant recognition. During the decade of the ’40s, his and Machito’s band was the most popular in NYC!

Morales moved to New York City in 1935 were gained fame with top Latin bands in the city. He then formed his own band called the Hermanos Morales Orchestra in 1937, which was later called Noro Morales And His Orchestra. Morales played the piano and the band included the typical Latin rhythm section with bass, bongos, conga, timbales, and claves.

He returned to Puerto Rico in 1961 to work at the Hotel la played in noted nightclubs such as the Palladium, The Stork Club, Copacabana and La Conga. But he also played more humble venues in the Hispanic “barrio”, earning him the title of “King of Latin Music.” During this time he appeared with such famous artists as Tito Rodríguez, José Luis Moneró, Chino Pozo, Willie Rosario and Tito Puente.  

Yearning to return home, as many of his compatriots did, and suffering from glaucoma due to diabetes, Morales moved back to Puerto Rico in 1960. He organized his own band with the best musicians available and spent the next four years with playing at La Concha Hotel in San Juan. Among the musicians in his band were Ray Santos, Jorge López, Rafí Carrero, Juancito Torres, Pin Madera, Ralph Kemp, Pepito Morales, Carlos Medina, Lidio Fuentes, Simón Madera, Ana Carrero, and Vitín Avilés

WEB REMARKS: NORO MORALES....TOTALLY UNDERRATED LATIN DANCE PIONEER!

"One of the most popular Latin band leaders of the 1940s and 1950s. Morales grew up in a musical family, which was invited in 1924 to become the court orchestra of the president of Venezuela. Noro took over as conductor after his father died, eventually moving the band back to Puerto Rico. He moved to New York City in 1935 and within two years was leading his own rhumba band. Installed as the house band at the legendary club El Morocco, Morales was at the center of the rise of Latin jazz in the early 1940s. Xavier Cugat took Morales' composition, "Bim, Bam, Bum" and covered it for one of his earliest hits. Many of the great names in Latin music floated through Morales' band during this time: Machito, Tito Rodriguez, Tito Puente, and, later, Anglo musicians such as Doc Severinsen.

Morales cut a distinctive figure on stage and off, with his large bald head and black mustache. One friend recalled that, "He was always well-dressed, shows shined, nails polished and reeked of expensive cologne....He loved women. He had to work steadily to pay the alimony his three wives collected." Morales remained a popular and successful act on the New York scene for over 20 years, appearing annually at the Daily News Harvest Moon Ball and working clubs such as the Copacabana and the China Doll.

Although he was not averse to catering to popular tastes, Morales usually stayed true to his Latin roots, using a traditional line-up featuring a rhythm section that included bass, bongos, conga, timbales, and claves, with himself on piano. He returned to Puero Rico in 1961 to work at the Hotel la Concha, where he died in 1964 of the effects of chronic diabetes."

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Record Grading: Standard guidelines for grading records comes down to a subjective judgment that may vary from person to person. We grade records and LP covers visually AND (when possible) play-tested. We make every effort to give full disclosure (remember that the LP has at least 12 tracks and the grading may vary between each other)  and your satisfaction is guaranteed. Don't assume that our vinyl determination of "Very Good+" is the same as yours!

RECORD OR COVER GRADED VG or LESS WILL BE "SOLD AS IS"

MINT: Unplayed, still sealed.
 

NM RECORDS: are shiny, with no visible defects, they might have one or 2 minor superficial scuff and they should play without any noise. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must not be present; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.)

NM COVERS:

have no creases, ring wear or seam splits of any kind.

Picture Sleeves: should look as if they never housed a record. This is a great reason to remove your 45s from their picture sleeves and keep them separate. Just keeping the 45 inside the sleeve will cause damage than can reduce the grade of the sleeve.  

VG++ (Excellent) RECORDS: 
Barely noticeable play wear and background noise. May have surface scuffs and/or superficial marks, which will be inaudible or indiscernible from the background, no scratches. Very nice, flaws noted.
VG++ COVERS:
Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.  

VG+ RECORDS:

may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable.

VG+ COVERS:
should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.

VG+ PICTURE SLEEVES:
might show some very light creasing where it is obvious that a record once resided (or still does reside). A VG+ picture sleeve might have some very minor seam wear or a split (less than one inch long) at the bottom, the sleeve’s most vulnerable location. 

VG RECORDS:

They have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches  may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise. Minor writing, tape, or a sticker can detract from the label. Many collectors who have jukeboxes   will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG COVERS and PICTURE SLEEVES:
will have many signs of human handling. Ring wear  in the middle or along the edges of the cover where the edge of a record would  reside, is obvious, though not overwhelming. Some more creases might be  visible. Seam splitting will be more obvious; it may appear on all three sides,  though it won’t be obvious upon looking. Someone might have written or stamped  a price tag on it, too.

RECORDS GRADED VG OR BELOW WILL BE "SOLD AS IS"

Items are to be paid within 7 days (if not paid by that time it will be subject for relisting) of auction close and will be shipped within 48 hours of receipt of payment. Paypal is the preferred method of payment.
 
Carlos A. Flores 25830 Crippen Dr. Land O' Lakes, FL  34639