CACHAO "CUBAN JAM SESSIONS IN MINIATURE" PANART HEAR
  $   27

 


$ 27 Sold For
May 16, 2010 Sold Date
May 9, 2010 Start Date
$   12 Start price
6   Number Of Bids
  USA Country Of Seller
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Description



ARTIST : CACHAO Y SU RITMO CALIENTE  & OTHER CUBAN "MONSTERS" SEE BELOW!

TITLE : "DESCARGAS" ....CUBAN JAM SESSIONS IN MINIATURE

LABEL & RECORD #:  PANART #2092   (1957)

Reeditado como CD-116 pero excluyendo Sorpresa de flauta; y completo en el CD Caney 501 en 1994, que además contiene los siguientes números grabados en Nueva York en 1961 con Cachao, Marcelino Valdés, tb; Antonio "Chocolate" Díaz Mena, cg; José Mangual, bg; Clark Terry y Jimmy Nottingham, tp.; Frank Anderson, p.; Herbie Lovelle, dr.; Jerome Richardson, fl., piccolo, tenor y bar. sax; Los Gatos, cant.

VINYL CONDITION: HEAR !! : INCREDIBLY NM!!! LABELS CONDITIONS: SEE SCAN : NM COVER CONDITION : SEE SCAN :WHAT A COVER!!!!!! (If you have Photoshop make a poster from it!) VG+++ with a 4" tape on the bottom corner!!!!....Want to know who's who just follow the personnel listing in the remarks below!!!!

REMARKS: ORIGINAL PANART CLASSIC!!!!!!!  SIMPLY ANOTHER RECORD THAT COLLECTORS MUST HAVE....

My personal opinion.......Ok! I'm from Puerto Rico and what we heard back in the 50s was the 2 Titos and the Palladium years (well we had Cesar Concepcion, Cortijo, La Panamericana, El Gran Combo, etc) ! Then in the 60s we changed to the Pachanga..... Pacheco, Quijano & Palmieri's  sound (sorry not to mention other greats!)...Then the Willie & Hector "Che Che Cole" and their partners changed everything...BUT....after hearing this Cuban descarga LP I will admit that in the late 50s the Cuban beat was the beginning of it all!!!!! SORRY!

1st...CACHAO:

Cachao’s Mambo All-Stars’ energetic “descargas”, are improvised, Latin jam sessions of which Cachao was both inventor and master of. They conjure images of Havana’s heyday, and remember the man who transformed Cuban music.

 

Israel “Cachao” López is considered by many to be the creator of mambo music. Cachao, who passed away at the age of 89 on March 22, 2008, spent 44 years living in Cuba, where he revolutionized the Cuban music scene. He eventually made it to the U.S. and moved to Miami, where he spent almost a decade with little recognition by American music fans. That changed in 1992, when Andy Garcia – a longtime fan of Cachao’s music - made a documentary about Cachao titled Como Su Ritmo No Hay Dos - a title which honors Cachao's uniqueness as a musician and innovator. In March of 1995, Cachao earned a Grammy Award for Master Sessions, Vol. 1, his successful album of descargas that came out of his collaboration with Garcia. As Garcia’s fondness for Cachao continued, he followed up Como Su Ritmo No Hay Dos with a second documentary, Cachao: Una Mas, a tribute to the life and music of his friend.

 

CACHAO was born in 1918 in Cuba, and became one of the world's leading jazz bassists and exponents of Afro-Cuban music. Over his lifetime, Cachao wrote over 3,000 "danzónes" - a traditional style of Cuban music - mostly for Orquesta Arcaño y sus Maravillas. He is credited with inventing the "mambo" in 1938; a style of Cuban music later popularized by Perez Prado. In 1957 he introduced jazz-like improvisation and created what became known as "descargas." This new form of "jamming" mixed jazz-like improvisation, Cuban idioms and extended soloing in a loose format not seen or heard before. These Cuban jam sessions had a profound effect on the growing Latin music scene in New York. Shortly after Fidel Castro's rise to power in 1962, Cachao left Cuba for the U.S., settling in New York and performing with and influencing, among others, Tito Rodriguez and Charlie Palmieri; two of New York's most famous bandleaders of the era. Over the years, Cachao has recorded with Tito Rodriguez, Charlie Palmieri, Rolando Valdez, Gonzalo Fernandez and many more. Cachao’s performing career spanned 80 years. Cachao passed away at the age of 89 on March 22, 2008, leaving a remarkable legacy of mambo music behind.


 

TRACKS SIDE A: 1- Trombon Criollo 3:06.....Trombone by Generoso "TOJO" Jimenez
2- Controversia En Metales 2:59......Trumpet By El Negro Vivar,   Trombone   By Generoso "TOJO" Jimenez
3- Estudio En Trompeta 2:20....Trumpet By El Negro Vivar & Tumbadora "TATA" Guines
4- Guajeo De Saxos 2:22....Tenor Sax By Emilio Peñalver & Baritone Sax By Virgilio Lisama
5- Oye Mi Tres Montuno 2:42....Tres Solo By Niño Rivera
6- Malanga Amarilla 3:14....Piano By Oreste Lopez
TRACKS SIDE B:

1- Cogele El Golpe 2:42.....The Cachao Ensemble (Cachao y Su Ritmo Caliente) 
2- Pamparana 2:33....The Cachao Ensemble (Cachao y Su Ritmo Caliente) 
3- Descarga Cubana 3:02....The Cachao Ensemble (Cachao y Su Ritmo Caliente) Solos By Cachao and Barreto 
4- Goza Mi Trompeta 2:58....The Cachao Ensemble (Cachao y Su Ritmo Caliente) Trumpet by Vivar
5- A Gozar Timbero 2:59....The Cachao Ensemble (Cachao y Su Ritmo Caliente) Trumpet by Vivar 
6- Sorpresa De Flauta 2:48.... Flute Guest Star Richard Egues! 

PERSONNEL: BASICALLY THE CACHAO Y SU RITMO CALIENTE WERE:

Israel "Cachao" Lopez: String Bass
El "Negro" Vivar: Trumpet
Guillermo Barreto: Bateris (Drums)
Tata Guines: Tumbadora Drums
Rogelio "Yeyo" Iglesias: Bongos
Gustavo Tamayo: Guiro

Plus the guest stars mentioned in the track list!!!!! WOW!!!!!!!! 
 

WEB REMARKS: "Many people contributed to inventing mambo, son-montuno, cha-cha-cha, it wasn't just one guy for each. Cachao was one of the musicians contributing to Afro-cuban music in the 20th century. But I can't get over these recordings, made in Havana in the late 50's. The musicians on these recordings sound like the best of the best, who are really pushing the boundaries. It compares to any of what the best American jazz musicians recorded in the 50's"

CD REVIEW: "Landmark recordings from the Cuban scene of the late 50s -- free-jamming descarga sessions led by bassist Israel "Cachao" Lopez! The tunes on the set forever helped define the sound of Latin music -- breaking down the more restrictive styles of earlier years, and giving the players free reign to jam and improvise over tightly crafted rhythmic patterns. Apart from Cachao's great work on bass, the set also features tenor by Emilio Penalver, trumpet by Armando Armenteros, and trumpet by Alejandro Vivar -- on titles that include "Descarga Cubana", "Sorpressa De Flauta", "Pamparana", "Trombon Criollo", "Controversia De Metales", and "Guajeo De Saxos". This CD adds in a huge amount of extra tracks, too -- for a total of 23 numbers in all!"

"Panart Records organised a series of descargas from '56 with Cuba's best musicians, mixing Cuban idioms with extended soloing in a loose format: Cuban Jam Session's in two volumes (Vol. 1 and Vol. 2) directed by pianist, bandleader, arranger and composer Julio Gutiérrez (1918-1990), followed by Vol. 3 directed by tres player Niño Rivera (1919-1996). Cachao did "short jam sessions" as 78s, then the '57 albumCuban Jam Sessions In Miniature "Descargas" - Cachao y su Ritmo Caliente Vol. 4 (he did not receive any payment for the album's million-plus sales); the entire Cuban Jam Sessions In Miniature album is collected on Cachao y su Ritmo Caliente From Havana To New York '94 on Caney together with tracks Cachao recorded with the Joe Cain Orchestra for Latin Explosion '64 on Time Records. Cuban Jam Session with Fajardo and his All-Stars '64 was the fifth volume in the Panart series.

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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.  

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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.
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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. 

 

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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

 






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