Machito : Kenya

Machito : Kenya

19.00

"Machito" Frank Raul Grillo (leader), Julian "Cannonball" Adderley (alto sax), Mario Bauza, Doc” Cheatham, Joe Livramento, Joe Newman (trumpet),  Ray Santos Jr. (tenor sax), Santo Russo, Eddie Bert (trombone), Rene Hernandez (piano), Roberto Rodriguez (bass), Jose Mangual (bongos), Uba Nieto (timbales), Candido Camero, Carlos “Potato” Valdes (conga)

Roulette 52006

Pure Pleasure Records : LP 180 gram

Brand New and Sealed Record

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A1 - Wild Jungle
A2 - Congo Mulence
A3 - Kenya
A4 - Oyeme
A5 - Holiday
A6 - Cannonology
B1 - Frenzy
B2 - Blues A La Machito
B3 - Conversation
B4 - Tin Tin Deo
B5 - Minor Rama
B6 - Tururato

Recorded in December 1957 at Metropolitan Studios in New York City.

Machito was born Frank Raul Grillo 1912, Tampa, Florida. Machito played a huge role in the history of Latin jazz, for his bands of the 1940’s were probably the first to achieve a fusion of powerful Afro-Cuban rhythms and jazz improvisation. At it’s roaring best , the band had a hard charging sound, loaded with jostling, hyperactive bongos and congas and razor-edged riffing brass. Machito was the front man, singing, conducting, shaking maracas, while his brother-in-law Mario Bauza was the innovator behind the scenes, getting Machito to hire jazz-orientated arrangers. After an earlier aborted attempt to launch a band with Bauza, Machito founded the Afro-Cubans in 1940, taking on Bauza the following year as music director where he remained for 35 years. Playing regularly at New York’s Palladium, Machito’s band reached it’s peak of popularity during the mambo craze of the 1950’s, when this album was recorded. 

This outstanding album, recorded in 1957, in honor of the then recently formed republic of Kenya, highlights the wonderful Afro-American and Afro-Cuban musical language Machito spoke so well. In this album, Machito has combined all the elements needed in bringing the true meaning of Afro-Cuban jazz music to the listener. Machito, his musical director Mario Bauza, Rene Hernandez and A. K. Salim who along with Mr Bauza composed and arranged this music, define it this way: Afro-Cuban rhythm differs from other rhythms in that instead of the usual drums carrying the rhythmic beat, it is carried by Cuban percussion instruments such as the bongos, congas, timbales, guiros and maracas. Also, and even more elemental, is that although there are four beats to the bar as in all jazz, in Afro-Cuban jazz the beat is not played by any instrunments as such. It is felt, rather than actually heard. Afro-Cuban jazz is, in it’s performance, the marriage of Afro-Cuban rhythm and soloists.

The "golden age" of recordings was from 1955 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.

This Pure Pleasure LP was remastered using pure analogue components only, from the original analogue studio tapes through to the cutting head and was pressed with virgin vinyl at Pallas.