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Machito, from Montuno to Cubop

by Grosso Records

supported by
Angel Figueroa
Angel Figueroa thumbnail
Angel Figueroa Another incredible collection of Machito essentials complete with historical insight provided by the curator Pablo Yglesias. Playing this record evokes a golden era with so many killer tracks which are essential to the roots of salsa. Fortunately, thanks to Grosso! Records this timegone era can be relived and relished. It's a pity though that the gaps between tracks are short--not so conducive to deejaying with vinyl (be quick with that crossfader! :)) Favorite track: Ay, que mate!.
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  • Record/Vinyl + Digital Album

    2 x LP. Especial Limited Edition Record Store Day 2018 - Double LP - Havanna-New York Recordings 1939-1962.

    Includes unlimited streaming of Machito, from Montuno to Cubop via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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1.
2.
Calientito 03:23
3.
Bim Bam Bum 02:59
4.
Nagüe 02:54
5.
6.
7.
Babarabatiri 02:54
8.
Tanga 04:20
9.
10.
Guampampiro 02:30
11.
12.
13.
14.
15.
Si si, no no 03:08
16.
17.
18.
Quimbombó 02:44
19.
20.
Bongo fiesta 03:01
21.
Zambia 02:35
22.
23.
Minor Rama 03:00
24.
25.
La Tiñosa 03:02
26.
El columpio 03:12
27.

about

“Machito had arguably the most influential Big Band Latin Orchestra of the mambo era in New York, being one of the earliest, largest, and hottest. One of the most important innovations of the Orchestra was that they were the first to assemble the essential rhythmic trio of tumbadoras (congas), bongó, and timbales, which became the standard percussion lineup in subsequent Latin bands. In a bold move Machito founded and named his orchestra The Afro-Cubans in 1940, something that was unprecedented at the time, proudly calling out his heritage long before the Civil Rights movement gained momentum or James Brown would proclaim to be black and proud. The orchestra was also the first truly racially integrated and culturally diverse band in the U.S. Machito has
stated that the purpose of expanding the small conjunto into the big band format was a concept that aimed to bring the Latin sound up to the current New York standards of sophistication, professionalism and excellence that the popular swing dance bands of the time enjoyed, enabling them to play complicated charts and attract plentiful multi-racial
audiences to large venues. Progressive jazz-influenced arrangements were provided by his good friend and brother-in-law Mario Bauzá, a clarinetist and trumpeter who had learned about sophisticated jazz composition and swing time from stints with Don Redman, Noble Sissle, Chick Webb, and Cab Calloway. This dynamic union of Machito and Bauzá consequently made them key figures in the Afro-Cuban jazz/Cubop movement that came during the 1940s. What made Machito special as a vocalist was
the fact that that he not only sung the “inspiraciones” (improvised sections) and lead, but he would also sing coro (chorus) in the same song. Not content to be simply a percussionist or crooner, Grillo also took part in musical timbre of his band, being a sophisticated musical thinker who knew what he wanted sonically, and how to get it, something he was not often credited with at the time. Already in his 30s when he started his big band, Machito’s voice had a warm, fun-loving, pleasant sound with an old-school vibrato befitting a Broadway entertainer that by the 1950s was sounding more mature than his competitors. Yet he also was well versed in Afro-Cuban lingo and jazz vocals and fit his authentic soneos expertly into the complicated jazz riffs and tropical poly-rhythms of the orchestra.”

- Some tracks have been remastered and restored and some are presented on vinyl after many years.
- Nice graphic design. 300g cardboard.
- Format and selection designed for DJs, collectors and general public
- Record Store Day 2018 - ESPECIAL EDITION

credits

released April 26, 2018

Latin, montuno, salsa, cuban

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Grosso Records Madrid, Spain

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