CHICO O'FARRILL, CANDIDO, PATATO ,ETC- DESCARGA, BOOGALOO VERVE#5035('67) HEAR

$

25

ARTIST : CHICO O'FARRILL & ORQUESTA

TITLE: MARRIED WELL   

REMARKS: THIS IS GREAT!!!!;........DESCARGA, BOOGALOO, GUAGUANCO, MAMBO!!! AFRO-CUBAN

Chico O'Farrill And His Orchestra

Lennie Hambro (Alto Sax) Seldon Powell (Trumpet) Frank Anderson (organ) Don Arnone or Sonny Henry (guitar) Bobby "La Vaca" Rodriguez (bass) Grady Tate or Herbie Lovelle or Don Lamond (Drums) Carlos "Patato" Valdes, Candido Camero & Chino Pozo (percussion) Chico O'Farrill (arr, cond)
unidentified 5 trumpets, 5 trombones...PLUS A VOCAL GROUP (2 GIRLS, 4 BOYS) 

NYC, September 19, 1967

After returning to USA '65, wrote for Count Basie, Glenn Miller band led by Buddy Defranco, Frank Wess; also studio work. Made own LPs Spanish Rice '66 co-led with Clark Terry and Nine Flags '66 both on Impulse; arr./ cond. La Lupe's They Call Me La Lupe/ A Mí Me Llaman La Lupe '66 on Tico prod. by Al Santiago; made own Married Well '67 (with Miguelito Valdés adding vocals to "Manteca"), arr./ cond. Valdés" Inolvidables '67 and contributed arrs. to Cal Tjader's Along Comes Cal '67, all on Verve. Composed suite "Three Afro-Cuban Jazz Moods" for Clark Terry for the Montreux Jazz Festival '70. Arr. Machito's eponymous LP '72 and co-arr. Graciela's Esa Soy Yo, Yo Soy Asi '74, both on Mericana (reissued together in two-CD set Machito y Graciela '00 on Salsoul/ Sony). Arr. Candido's Drum Fever '73 on Polydor and arr./ cond. Gato Barbieri's Chapter Three, Viva Emiliano Zapata '74 on ABC/ Impulse (reissued on GRP/ BMG). Wrote suite "Oro, Incienso y Mirra" performed by Machito band with Dizzy Gillespie at NYC's St. Patrick's Cathedral on 5 Jan. '75; later recorded along with a reworking of his "Three Afro-Cuban Jazz Moods" on Grammy-nom. Afro-Cuban Jazz Moods '75 on Pablo. Made Latin Roots '76 on Japanese Philips as co-arr./ cond. of N.Y. Latin All Stars incl. Larry Harlow, Barry Rogers; worked as a writer and arr. of TV and radio commercials. Wrote score to Cuban Jorge Ulla's highly regarded movie Guaguasí '84 (soundtrack album on KIM). Commissioned by Mario Bauzá to develop his trailblazing Afro-Cuban jazz composition "Tanga" '43 into the four movement "Tanga Suite", first performed by Bauzá's orch. at Harlem's Abyssinian Baptist Church '89; then expanded to five parts for inclusion on Bauzá's Tanga '92 on Messidor, voted album of the year in Downbeat critics' poll. Arr. a couple of pieces for David Bowie's Black Tie, White Noise on Savage '93. Guested as cond., composer, arr. on Havana Blues on Palmetto (released '98, though the material was recorded '94-6) by the Armando Rodríguez - Victor Rendón Latin Jazz Orch., composing and arr. the title track (he reworked the tune for his final album Carambola '00 on Milestone), arr. the Kenny Dorham standard "Afrodisia" and two other cuts. 

2- He made his first major contribution to Afro-Cuban Jazz in a recording session for Machito, arranged by Norman Granz in December, 1950. O'Farrill's sophisticated, richly wrought but vibrant The Afro-Cuban Jazz Suite is regarded as a watershed work in adapting Cuban music to a modern jazz big band, and featured Charlie Parker, Flip Phillips and Buddy Rich amongst the musicians.

He described Afro-Cuban Jazz as "a very delicate marriage", in which each aspect of the music had to be held in proper balance. He made several more recordings for Granz in 1951-4, including The Second Afro-Cuban Suite in 1952, a gentler and more reflective piece which O'Farrill regarded as more satisfying in purely compositional terms than its more famous predecessor.

As well as leading his own band, he composed The Manteca Suite for Dizzy Gillespie in 1955, expanding the trumpeter's famous hit of 1947, and also arranged for Stan Kenton and Stan Getz.

A failing marriage and legal complications saw him leave the USA in 1955 for a decade. He returned to Cuba, then moved to Mexico in 1957, where he remained until 1965, recording and working with local bands. His compositions from this period include another major work, The Aztec Suite, for trumpeter Art Farmer.

He was reunited with Machito and Gillespie in 1975 for an album, Afro- Cuban Jazz Moods, but faded from the jazz scene after that recording, working mainly as a composer of music for television and commercials, and the occasional less predictable commission, including arranging some music for David Bowie's Black Tie White Noise album in 1993!

A1  Hip Hug Her  2:33  

A2  Reza  2:31 (great Marcelino Guerra track)  

A3  Descarga Numero 1000  2:35  

A4  South Of The Border  2:55  

A5  Manteca  2:44   (wrote by Chano Pozo and Dizzie Gillespie, actually Chano was the sole composer, Dizzie made some arrangements to the original)

B1  Georgy Girl  2:19  

B2  Llora Timbero  3:01 ("Cry Timbalero") my note: a tribute to famous  Rumba dancer and Percussionist? the cuban "MALANGA"  (Jose Rodriguez Oviedo...died in 1927) 
B3  Trumpets Fiesta  2:34  

B4  A Man And A Woman  2:26  

B5  Frenesi  2:20

WEB & BLOG REMARKS: 

CD REVIEW: "Fabuloso amigos! I could only find the Japanese re-issue of this dynamite 60's Verve album so no liner notes-at least in English, maybe if you speak and read Japanese you can find out who the marvelous musicians were. Verve is the Cadillac of the Jazz world and as always the assemlage of great musicians [whoever they were] and super duper sound recording come with the music. And what music. Imagine the creative genius of Chico o' Farrill, a guy who arranged for Benny Goodman and Machito, mixing it up with the funkilicious Stax sound of Booker T. And the M.G.s and this will knock your socks off. The use of electric organ with guitaristics like Steve Cropper and booming bass a la AL Jackson all marinated in horn blaring Mambo and-well, turn up the volume on your best speakers and get ready to rumba[Rumble?]. Booby, find this and buy it"

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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.)

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

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VG++ (Excellent) RECORDS: 
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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.

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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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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