Assuming no music fan would be interested in an album under Machito's name, Verve decided to name this release after the popular movie. In reality, this is Machito's album--his Afro-Cuban Orchestra is featured on 11 of the 13 cuts. That being said, the music included herein is consistently vibrant, innovative, and zesty.
Machito and close friend (and brother-in-law) Mario Bauza brought the exotic rhythms and piquant melodies of Cuba to New York in 1937. Combining these elements with the arrangements of big-band jazz and the advanced harmonies of then-fledgling bebop, they produced the first wave of Latin jazz, known as Afro-Cubop. The key factor in its success: the high quality of musicianship, whether from the Latino orchestra members or the frequent American guest stars. Rather than "dumbing down" jazz, Machito and Bauza insisted on holding up their Latin music to jazz's high standards.
Undervalued tenor Flip Phillips makes invaluable contributions to many cuts. His exquisite solo on Bauza's "Tanga" bristles with enthusiasm and invention while the Machito steamroller urges him on. On Lionel Hampton's "Flying Home," Phillips shifts from furious Latin rhythms to "straight" time without missing a beat. The intricate rhythms of Afro-Cubop were perfectly suited to Charlie Parker, whose rhythmically advanced improvisations grace the wonderful "'Okiedoke" and "Mango Mangue." A match made in jazz heaven. Bop dignitaries Howard McGhee (trumpet) and Brew Moore (tenor) are the featured soloists on "Cubop City." Moore's fluid Bird-influenced turn contrasts with McGhee's passionate blaring. Chico O'Farrill's 17-minute "Afro-Cuban Jazz Suite" represents the pinnacle of Latin jazz's early period, with Parker, Phillips, and drummer Buddy Rich all making noteworthy statements.
The two non-Machito tunes turn out to be much-appreciated bonuses. The first, "Con Poco Loco," is the original Cuban descarga (jam session), recorded in Havana in 1952. (The purpose, as legend has it, was to prove that Cubans were capable of playing jazz.) The finale is Dizzy Gillespie's 1954 "Manteca Suite," which includes a wealth of jazz stars such as J.J. Johnson, Hank Mobley, Lucky Thompson, Wade Legge, Candido, and Mongo Santamaria. Gillespie shines as the band moves from mysterious Latin syncopation to straight blues-based passages. Chico O'Farrill's lively arrangements drive both of the extended suites.
Danceable, exciting, and masterfully played, this set is indispensable to fans of both jazz and Latino music.
If you like this album check out:
Marc Ribot Y Los Cubanos Postizos
Sergent Garcia Un poquito quema'o
Cuba Classics Volume II Dancing With the Enemy
Machito Mucho Macho
-- Marc Greilsamer
