– Ken McCarthy
Jazz on the Tube
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Nfamara Badjie Master drummer from Gambia watches Cándido Camero
Up until the middle part of the 20th century, hand drumming followed a pretty simple rule: One man, one drum (unless it was a two headed drum, tablas, or bongo drums.)
Then something changed.
What was it?
Bobby Sanabria interviews Cándido Camero, the most recorded conga player in jazz history.
October 14, 2017 – Jazz Forum: Conga master Candido (age 96) surprises the crowd with his rarely-seen bass and cowbell skills.
The video Nfamara was watching
– Ken McCarthy
Jazz on the Tube
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00:00 Macho (First Movement)
10:50 Soy Salsero
21:04 Mi Rito Llego
28:28 Despierta Boricua
36:22 Macho (Second Movement)
Mi Ritmo Llego * (Guaguanco/4:55
(My Rhythm is Here)
(Ubaldo “Lalo” Rodriequez) (Coco Mus./BMI)
(Arr: Ray Santos)
Desilusion * (Bolero/3:45
(I’m Disillusioned)
(Ubaldo “Lalo” Rodriequez) (Coco Mus./BMI)
(Arr: Ray Santos)
Despierta Boricua ** (Son Montuno/4:15
(Wake up Puerto Rican)
(Frank “Machito” Grillo)) (Coco Mus./BMI)
(Arr: Lito Pena)
Guaguanco a Mexico * (Guaguanco/4:17
(Guaguanco for Mexico)
(Ubaldo “Lalo” Rodriequez) (Coco Mus./BMI)
(Arr: Elias Lopez)
No Seras Para Mi * (Bolero/3:29
(You’ll Never Be FOR Me)
(Grecia Domenech) (R.R.)
(Arr: Jorge Millet)
Macho ** (Instrumental) (Descarga)/13:00
(My Rhythm is Here)
(Jorge Millet) (Coco Mus./BMI)
(Arr: Jorge Millet)
Soy Salsero ** (Son Montuno)/7:00
(I Sing Salsa)
(Frank “Machito” Grillo)) (Coco Mus./BMI)
(Arr: Jorge Millet)
PRODUCED BY HARVEY LAVERNE
Organ and Acoustical Piano Solo “Macho” / Charlie Palmieri
Piccolo Trumpet Solo “Macho” / Lew Soloff
Timbales Solo “Macho” / Nicky Marrero
Electric Piano “Macho” / Jorge Millet
Alto Sax Solo “Macho” / Bobby Porcelli
Electric Guitar “Macho” / Harry Vigiani
Bata Drums “Macho” / Julito Collazo, Angel “Cachete” Maldonado, Hector “Flaco” Hernandez
Trumpet Solo “Soy Salsero” / Victor Paz
Trombone Solo “Mi Ritmo Llego” / Barry Roger
Recording Studio / Plaza Sound
Recording Engineer / Rob Freeman
Overdub Engineer / Don Hunerberg
Mixed at / Blank Tapes
Mixed by / Harvey Averne
Mix Engineer / Bob Blank
Mastering / Jose Rodriguez
Photography and Album Design / Hal Wilson
Leader / Frank “Machito” Grillo
Director – Percussion / Mario Grillo
Vocals / Lalo Rodriguez
Conductor / Jorge Millet
Piano / Ray Coen
Trumpets / Paul Cohen, John Faddis, Tony Cofresi, Wyman Reed
Trombones / Barry Rogers, Leo Pineda
Alto Saxophone / Lennie Hambro
Tenor Saxophones / Mario Rivera, Jose Madera
Baritone Saxophone / Leslie Jonakins
Bass / Jose Santiago
Maracas / Ismael Quintana
Bongos / Tommy “Chuckie” Lopez
Conga / Johnny “Dandy” Rodriguez
Timbales / Nicky Marrero
Coro / Machito, Adalberto Santiago, Ismael Quintana, Chivirico Davila
Leader / Vocals / Frank “Machito” Grillo
Director – Percussion / Mario Grillo
Conductor / Jorge Millet
Piano / Charlie Palmieri
Trumpets / Victor Paz, Lew Soloff, Tony Cofresi, Charlie Camilleri
Trombones / Barry Rogers, Sam Burtis
Alto Saxophone / Bobby Porcelli
Tenor Saxophones / Lou Orenstein, Mauricio Smith
Baritone Saxophone / Mario Rivera
Bass / Andy Gonzalez
Maracas / Ismael Quintana
Bongos / Tommy “Chuckie” Lopez
Conga / Johnny “Dandy” Rodriguez
Timbales / Nicky Marrero
Coro / Lalo Rodriguez, Ismael Quintana, Victor Velazquez
Special thanks to Victor Paz, Jorge Millet, Mario Grillo, Doug Jones
The singer is Machito.
Machito and the musicians, especially the bata drummers, are evoking the Orisha.
“ ‘Boru ‘buya,” a contraction of the Yorùbá-Cuban greeting “ìbo rú di (ì)’bo ye,” routinely bestowed upon high priests, or babalawo in Cuba. The phrase’s literal meaning is: “The sacrifice that is carried becomes the sacrifice that is suitable.” (Source: “Machito and His Afro-Cubans: Selected Transcriptions”)
“Ashe. Mucho ashe.” – Creative force. Much creative force.
“Suerte y salud para todos mis hermanos.” – Luck and health to all my brothers.
Elegua – Orisha of beginning, of crossroads, of doorways, of fate
Babalu Aye (San Lazaro) – Orisha of the healing spirit, protector of the weak and the ill
Yemaya – Orisha of the Ocean’s surface, of love, fertility and family
Shango – Orisha of thunder, drumming, dancing, fire and male virility
Oshun – Orisha of beauty and sexuality
Obatala – Sky Father and creator of Orishas and human beings, rules all
Great news!
You can now watch this video – and all Spanish language videos – with English subtitles. It’s free!
Click here for instructions on how to turn on English subtitles.
– Ken McCarthy
Jazz on the Tube
P.S. Our unique programming is made possible by help from people like you. Learn how you can contribute to our efforts here: Support Jazz on the Tube
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From Tiny Desk Concerts, one of the best things NPR does.
Recent work from the Pedrito Martinez Group…
“Tuve Una Revelación” (I had a revelation)
Medicina para el alma en el siglo XXI.
Great news!
You can now watch this video – and all Spanish language videos – with English subtitles. It’s free!
Click here for instructions on how to turn on English subtitles.
– Ken McCarthy
Jazz on the Tube
P.S. Our unique programming is made possible by help from people like you. Learn how you can contribute to our efforts here: Support Jazz on the Tube
Thanks.
Rene Lopez pays tribute to Arsenio Rodríguez (Ignacio de Loyola Rodríguez Scull) born Güira de Macurijes, Matanzas, Cuba, August 30, 1911.
The Arsenio piece that Lopez refers to in his talk: “Yo Nací en África” (“I Was Born in Africa”)
A tasty instrumental version of “Bruca Manigua” recorded in 1963. Ffrom the album “La Magia de Rodríguez”
And while we’re at it, why not the original 1937 recording with Miguelito Valdés and Casino de la Playa?
– Ken McCarthy
Jazz on the Tube
P.S. Our unique programming is made possible by help from people like you. Learn how you can contribute to our efforts here: Support Jazz on the Tube
Thanks.
Imagine being able to go back in time and actually SEE classic Son ensembles of the 1920s perform in Havana.
Thanks to an unexpected discovery hidden in the archives of the University of South Carolina’s Moving Image Research Collections you can do that now.
Ensembles like this are the root of everything.
In the late 1930s, they evolved into the conjunto format with trumpets, piano, and tumbadora with Conjunto Casino, Canjunto Kubavana, and Arsenio Rodríguez learning the way.
What do we know about the musicians in this footage?
Not much.
We do know that Havana was a popular tourist destination for people from the United States during this period. Prohibition was on in the US and there was no Prohibition in Cuba.
The first video show two different groups. (There’s a second video on this page. Don’t miss it.)
1. A sexteto – filmed December 24, 1928.
2. Fragments of a second group with a very able bongocero – filmed May 30, 1930
The bongo made its way to Havana and Western Cuba from Oriente, the eastern part of the island, and was the first instrument with an distinctly African character to appear in gatherings of “polite” Cuban society.
The then-new medium of radio started putting Son on the map in 1922 and by the time these films were made Son was Cuba’s most popular music
Son was a socially controversial form of music (considered “too rough”) until Cuba’s president Gerardo Machado, who held office from 1925 to 1933, invited the group La Sonora Matancera to perform at his birthday party.
The second video filmed on October 31, 1929 is an octet with a drum that looks and sounds like an early variation of the timbales.
The banner for the group says “La Estudiantina Invencible.” – The Invincible Students.
Great news!
You can now watch this video – and all Spanish language videos – with English subtitles. It’s free!
Click here for instructions on how to turn on English subtitles.
– Ken McCarthy
Jazz on the Tube
P.S. Our unique programming is made possible by help from people like you. Learn how you can contribute to our efforts here: Support Jazz on the Tube
Thanks.
Merry Christmas from Jazz on the Tube
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