Viola Fair History of Music & Recording: Latin Recording 1

1916	María Teresa Vera

1921	Eusebio Delfín

1923	Rita Montaner

1925	Mario Bauzá

1926	Ignacio Piñeiro

1936	Compay Segundo (Repilado)

1937	Miguelito Valdés

1938	José Curbelo Machito Edmundo Ros

1939	Desi Arnaz Arsenio Rodríguez

1940	Cachao López

1941	Tito Rodríguez

1944	Bebo Valdés Carlos Patato Valdés

1945	Rubin Gonzalez Beny Moré

1946	Amalia Aguilar Mario Escudero Bruno Martino

1947	Jack Costanzo Charlie Palmieri Chano Pozo Ninón Sevilla

1948	Sabu Martinez Pérez Prado

1949	Lord Kitchener Chico O'Farrill Tito Puente

1950	Candido Camero

1951	Mongo Santamaria

1956	Joe Cuba Ibrahim Ferrer

1957	Cheo Feliciano Omara Portuondo

1958	Ray Barretto Johnny Pacheco

1964	Jose Feliciano

1965	Eddie Gómez

	Caveats in the employment of this page: 1. It descends in chronological order by the year the artist or band is first found on a commercial record issue (ideally) by year only, alphabetical thereat. One musician above another doesn't necessarily translate to earlier issue unless the year changed. 2. Though release dates are the aim with links to YouTube, some are recording dates and may not be everywhere clearly distinguished. 3. Reissues are used to represent originals without much discussion.
	This page addresses Latin recording in the Caribbean, directing our way toward the distinctive rhythms, including Afro-Cuban, that would connect w modern jazz in the United States largely, though not exclusively, via Cuba prior to Castro. Among the more obvious contributions of the Caribbean to Latin jazz was percussion, such as maracas originating in Puerto Rico, bongos probably imported from Africa like congas (tumbadoras in Spanish), and timbales arriving from Spain. Good sources to begin an examination of music in the Caribbean (Cuba the king pen to spread elsewhere like Mexico) include 1, 2. Elemental to Cuban music is son, a broad category developing out of the mixture of European music via Spain with African rhythms brought to Cuba by the slave trade (roughly half of Ciba's population prior to the 20th century being slaves). Son: 1, 2, 3, 4, 5, 6, 7. See also the national dance of Cuba, the danzon, initially European before merging with son. Danzon: 1, 2, 3, 4. See also Cuban music in general at 'Afro-Cuban Jazz: Third Ear' by Scott Yanow (Hal Leonard 2000) Britannica; 'Cuba and Its Music: From the First Drums to the Mambo' by Ned Sublette (Chicago Review Press 2007); 'Cuban Music from A to Z' by Helio Orovio (Duke U Press 2004); 'Culture and Customs of Cuba' by William Luis (Greenwood Publishing Group 2001); 'Music from Cuba' by Charley Gerard (Greenwood Publishing Group 2001); Jazz Piano; Piero Scaruffi; 'Rhythms of Race: Cuban Musicians and the Making of Latino New York City and Miami 1940-1960' by Christina Abreu (UNC Press Books 2015); Philip Sweeney; Wikipedia: 1, 2. Upon arriving to the United States in the sixties to merge with jazz Cuban son got branded as "salsa" (sauce): 1, 2. See also Modern Jazz Percussion including Latin or Afro-Cuban musicians born in the United States. Early Latin Recording The merging of Latin music with American jazz is as significant in the history of jazz as was swing, and a major cultural phenomenon in history. Dominating the rise of Latin jazz were musicians from Cuba, followed by Brazil and Puerto Rico. Pre-Revolution Havana was the place to be while Mexico City, though far from silent, remained largely isolated. Latin Jazz began to occur as Latin performers made their way to New York City, largely to record, as recording studios down south were as sparse as technologically arear. Nor was there the capability to distribute records (anywhere, much less in the United States) as was enjoyed by record companies in the States. One important example of the interweaving of Latin music and American jazz was Dizzy Gillespie's collaborations with Afro-Cuban musicians, Mario Bauza and Chano Pozo, as of the forties. However, like other pages in these histories, we like to start at the roots, concerning which was the rumba in Cuba [1, 2, 3, 4, 5, 6, 7, 8, 9, 10], also finding its way to Mexico. The earliest reference to the rumba on record was in 1899 on an Edison cylinder, 'Los Rumberos' by Arturo B. Adamini. The first use of the word "rumba" on a record label was in 1905: 'La Rumba', credited to the Orquesta Típica Velázquez for Victor (thought composed in Guadalajara, Mexico, by Cuban musician, Fernando Méndez Velázquez). The first appearance of the word "guaguancó" (rumba subgenre) is 'Guaguancó', by the Orquesta Reverón in 1918. The initial rumba to feature vocals is said to be 'Se Acabó la Rumba' by the Orquesta Felipe Valdéz in 1920. The first traditional rumba recorded is said to be 'El Yambú Guaguancó', circa 1920, by Manuel Corona & María Teresa Vera. Above information thanks to Vamos a Guarachar.
	Among the more important early Latin musicians was guitarist and vocalist, María Teresa Vera. She may have been able to escape confinement to linear time as well, as such as dates, discographies, etc., are largely missing from what information can be gleaned about her. Born in Guanajay, Cuba, in 1895, Vera was a highly popular trova [1, 2, 3, 4, 5, 6, 7] musician. Trova: song, by a trovador, an itinerate musician, usually a singing guitarist. The trovador in Cuba was something the equivalent of busking, especially by blues musicians, in the States. Credited w creating the trova as it came to be known is Pepe Sanchez who further developed trova into the Cuban bolero [1, 2, 3], of distinct origin from the Spanish bolero [1, 2, 3], boleros being in general slow-tempo sentimental Latin songs [1, 2, 3, 4, 5]. Vera began singing in an Havana theatre in 1911. She learned guitar fundamentals from Manuel Corona before forming a partnership with Rafael Zequeira in 1916, the year she also first recorded. The pair recorded more than a hundred sessions together before Zequeira's death in 1964. Vera then began working with Carlos Godinez. In 1925 she formed the Sexteto Occidente with Miguel García. She began partnering with Lorenzo Hierrezuelo in 1935, the same year she composed 'Veinte Anos', an apt example of the Cuban bolero that had developed out of the trova. Vera died in Havana on 17 December of 1965. The major portion of her recordings haven't survived. Of what is left, a couple of CDs have been compiled by Tumbao, one featuring her recordings with Zequeira from 1916 to 1924, another in 1926 with the Sexteto Occidente. References: 1, 2, 3. Sessions. Catalogs: 1, 2, 3, 4. IMDb. IA. Further reading: 1, 2. María Teresa Vera 1920? El Yambú Guaguancó With Manuel Corona Thought the first recorded rumba * María Teresa Vera 1926 Aurora With the Sexteto Occidente Composition: Manuel Corona María Teresa Vera 1956 Sobre una Tumba una Rumba Composition: Ignacio Piñeiro * Veinte Años (alt) With Lorenzo Hierrezuelo Music: Vera 1935 Lyrics: Guillermina Aramburu	Maria Teresa Vera Source: Artemiseno
Eusebio Delfin Source: DAHR	Born in 1893 in Palmira, Cuba, guitarist and singer Eusebio Delfín was a trova [1, 2, 3, 4, 5, 6, 7] and Cuban bolero [1, 2, 3] musician alike Vera (above). He was a Creole born into an aristocratic family in financial distress, he thus persuaded to study accounting, as he did violin, flute and guitar. His first public performance was in 1916 at the Terry Theatre in Cienfuegos. There was something of an irony as to Delfin's performances of the songs of the trovador (traveling musician) in that he was a bank director married into Bacardi wealth. His first recordings are dubitably said to have been in 1921 with Rita Montaner, 1923 possibly the correct year, both recording for the first time on the same day. Delfin composed numerously, including such as '¿Y tú qué has hecho?' and 'Que Boca la Tuya' for which he authored the lyrics, he also a poet. Ivan Garcia [Ref 2] has him writing his last composition, 'Never Again', in 1936, two decades before giving his final performance in 1956. Delfin hadn't risen to Vera's stature as a musician, as music wasn't so much his profession as a study to be indulged by performing boleros at private social gatherings. Delfin died on 28 April 1965 in Havana References: 1, 2, 3. Sessions. Catalogs: 1, 2, 3. Eusebio Delfin 1927 Abrazos de Fuego Bolero Composition: Delfin Aquella Boca Bolero Composition: Delfin Eusebio Delfin 1928 El Azul Encantador Duet with Luisa Maria Morales
	Born Rita Aurelia Fulcida Montaner y Facenda in 1900 in Guanabacoa, Cuba, spicy actress, pianist and vocalist Rita Montaner had a pharmacist for a father who sent her at age ten to study music at the Peyrellade Conservatory in Havana, from which she graduated with a gold medal. Montaner was both an opera and cabaret singer, as well as a recording, radio, theatre, film and television star. She largely put Cuba on the international map of music as she assumed roles in numerous Mexican films. Montaner began her professional career in 1922, and is said to have sung on Cuba's first radio broadcast in October that year. Her initial recordings were made in March 1923 for Victor, in catalog order: 'Amar, eso es todo', 'Por tus ojos', 'Presentimiento', 'Linda cubana', and 'Vivir sin tus caricias', all duets with Eusebio Delfin. Montaner pursued opera and toured internationally until she began working in theatre, her style transforming about that time. She began recording for Columbia in 1927. The three largest recording companies in the world at the time were RCA Victor, Columbia and Decca. In 1929 Montaner went to Paris to work with Josephine Baker, her style to further transform of that experience. She continued recording for Columbia and further toured Europe into 1930. In 1931 she joined Al Jolson on a road tour of the musical, 'Wonder Bar'. Montaner often returned to Cuba to perform, also traveling to Mexico City in 1933. The next year she began appearing in films, also emphasizing radio into the forties. In 1946 she began working at the Tropicana nightclub in Habana for the next four years. (The Tropicana first opened as a theatre and restaurant in 1939, closed during World War II, being dependent on tourism, then reopened in 1945.) She died yet actively pursuing her career on 17 April 1958 in Habana, several years into Castro's Cuban Revolution. References: 1, 2, 3, 4. Sessions. Catalogs: 1, 2, 3. Filmographies: 1, 2, 3. Compilations: 'Rita De Cuba' 1928-41 on Tumbao TCD-046 in 1994. IA. Facebook tribute. Further reading: Cuban History; Havana Music; HMR Project. Per below, film appearances in the forties and fifties have vanished from YouTube in the few years between the original draft of this profile and this present edit. Rita Montaner 1927 Ay, Mamá Inés! Composition: Antonio Castells/Aurelio Riancho Eliseo Grenet/Ernesto Lecuona Rita Montaner 1928 El Manisero (The Peanut Vendor) Recorded November 1927 Composition: Moisés Simons Jurame Composition: María Grever Lamento Esclavo Composition: Eliseo Grenet Negrita Composition: Ernesto Lecuona Quiero Besarte Composition: Félix B. Caignet	Rita Montaner Source: El Mirador Nocturno
Mario Bauzá Source: About Entertainment	Born in Cuba in 1911, alto saxophonist and trumpeter, Mario Bauzá, is considered the father of Afro-Cuban jazz, that is, Cuban rhythms like the mambo [1, 2] finding their way to the United States, there to get christened as "salsa" (sauce), bringing with it characteristic percussion such as bongos, claves and congas. As well, Bauza is the link from Chano Pozo to Dizzy Gillespie and the creation of "cubop" [1, 2]. Bauza began performing professionally at perhaps age nine, playing clarinet for three years in the Havana Philharmonic Orchestra. He was sixteen when he went to New York City to play clarinet in the charanga (Cuban dance) band of Antonio María Romeu. Bauzá also likely first recorded on the 7th of June 1927 on clarinet in Romeu's orchestra. He then returned to Cuba where he studied jazz and saxophone toward his return to NYC in 1930. It was 1933 when Bauzá began playing trumpet for Chick Webb. He recorded eight tracks with Webb in two separate sessions of four each in September 1934, in catalogue order: 'That Rhythm Man', 'On The Sunny Side Of The Street', 'Lona', 'Blue Minor', 'It’s Over Because We’re Through', 'Don’t Be That Way', 'What A Shuffle' and 'Blue Lou'. (Bauzá is thought first trumpet, Bobby Stark second, in samples below.) Bauza stuck to Webb until August 18 of 1938 for 'Who Ya Hunchin'?' and 'I Let a Tear Fall in the River'. He joined the Don Redman Orchestra for a session in December before signing up with Cab Calloway, first recording with Calloway's organization at Liederkranz Hall in NYC on July 17, 1939: 'Trylon Swing', 'Crescendo in Drums', etc.. Bauza's last session with Calloway is thought to have been January 16, 1941, for such as 'Run, Little Rabbit' and 'Willow Weep for Me'. Working with Calloway had meant numerous sessions with Dizzy Gillespie, the latter hiring on with Calloway for such as 'Twee-Twee-Tweet' and 'I Ain't Gettin Nowhere Fast' on August 30 of 1939. Bauza had first met Gillespie during his days with Webb. Together with such as Chano Pozo, Machito, Art Blakey, et al, they would became prime movers of what was to be called cubop. Bauza would partner with Gillespie much later in 1975 on 'Afro-Cuban Jazz Moods'. Bauzá had become musical director for Machito in 1941 beginning a lifelong collaboration during which he distinguished himself as an arranger. Among their numerous sessions was one held for Jazz at the Philharmonic at Carnegie Hall on January 11, 1949, resulting in 'Blen Blen', 'No Noise' et al. Saxophonist, Charlie Parker, was in on that, having joined Machito in latter 1948 to remain into 1950. Working with Machito also meant an important relationship with bandleader, Chico O'Farrill, who arranged and conducted for Bauza since late 1949. Albums issued by Bauza were 'La Botánica' ('76 with vocalist, Graciela), 'Afro-Cuban Jazz' ('86), 'Tanga' ('92), 'My Time Is Now' ('93) and '944 Columbus' ('94). The last was released posthumously: Recorded in latter May of '93, Bauza died a couple several weeks later on July 11, 1993. References: 1, 2, 3, 4, 5, 6, 7, 8. Sessions (descargas): DAHR; Lord (leading 4 of 87). Catalogs: 1, 2, 3. IMDb. IA. Stan Woolley interview 1989. Further reading: William Gottlieb; Nathan Miller. Mario Bauzá 1934 With Chick Webb Lona Composition: Bauza That Rhythm Man Composition: 1929: Andy Razaf Fats Waller Harry Brooks Mario Bauzá 1953 Mambo Inn Composition: Bauza Grace Sampson Bobby Woodlen Mario Bauzá 1976 Pensativo Composition: Arturo (Chico) O'Farrill With Dizzy Gillespie & Machito LP: 'Afro-Cuban Jazz Moods' Recorded 4/5 June 1975 NYC Note: 'Pensativo' not to be confused w 'Pensativa' composed by Clare Fischer and released in 1962. Mario Bauzá 1987 Que Falta Vocal: Graciela Grillo Mario Bauzá 1992 Medley Concert filmed live Mario Bauzá 1992 Mambo Rincon Composition: Ray Santos Arrangement: Ray Santos Album: 'Tanga' Mario Bauzá 1993 Jack the Knife Composition: Kurt Weill Arrangement: Ray Santos Album: 'My Time Is Now'
Ignacio Piñeiro Source: Ciber Cuba	Born Ignacio Piñeiro Martínez in Havana in 1888, bandleader and composer Ignacio Piñeiro is thought to have begun his career as a vocalist in 1903. The first of his 327 compositions is thought to have been his 1916 tango, 'Lo Típico de Cuba'. Listed as rumba, it was recorded by the group, Terceto Nano that year. In November 1926 Piñeiro made his first determinable recordings in New York upon being taught to play the double bass by guitarist and vocalist, Maria Teresa Vera. Piñeiro joined Vera's group, the Sexteto Occidente, to record: 'Meniet Suave', 'Cabo de Guardia', 'Aurora', 'Tienes Que Llorar', 'La Sangre Me Liama', 'Adriana', 'Tus Ojos' and 'Perdonala Señor' (none found). Later that month he made his first name recording apart from Vera, titled 'El Genio de la Fiesta' (unfound). In 1926/27 Piñeiro put together the band by which he would become known, the Septeto Nacional which he took to Seville in 1929, Chicago in 1933. Piñeiro is credited with the first mention of "salsa" on a recording, 'Echale Salsita' in 1933 [Harris] which he composed for a street vendor [Varela]. It's thought that Piñeiro's use of "salsita" translated to "danceable". He sometimes shouted "Salsa!" to indicate increase of tempo. Vocalist, Beny Moré, shouted the term to appreciate a certain performance or describe some facet of Latin American culture. It's thought the term came into wide usage thanks, in part, to Venezuelan DJ, Phidias Danilo Escalona. It later came to generally describe Cuban music mixed with whatever else, such as jazz, popular or rock. Piñeiro quit the Septeto Nacional in 1934, said for insufficient profit. Leadership passed to trumpeter, Lázaro Herrera, until the band dissolved in 1937. Piñeiro resurrected the band in 1954, leading it for the duration of his career. 'Septeto Nacional De Ignacio Piñeiro' saw release in 1965 on Areito LPA-3269. Piñeiro had been director of the Festival in Cuba during the fifties. He later led the rumba group, Los Roncos, as well. He died in Habana on 12 March 1969. References for Piñeiro: 1, 2, 3, 4. Sessions. Catalogs. 1, 2, 3. IA. References for the Septeto Nacional: 1, 2, 3, 4; sessions. References for Salsa: 1, 2, 3, 4, 5, 6. Ignacio Piñeiro 1927 Mamá, !Se quema la Maya! ('Maya Is Burning') Mentira Salomé Composition: Piñeiro Ignacio Piñeiro 1929 A la Loma de Belen Composition: Guillermo Castillo Ignacio Piñeiro 1933 Echale Salsita Composition: Piñeiro
Compay Segundo Photo: Javier-Salas Source: All Music	Born Máximo Francisco Repilado Muñoz in 1907 in Siboney, Cuba, vocalist, Compay Segundo, performed as Francisco Repilado during the earliest years of his career. He is thought to have begun composing in 1922. Segundo's significance in Latin recording is that of being one of the earliest Cuban musicians who romped through Havana's golden years before Castro's assumption to power in '59 and, like other Cuban musicians, Segundo's later comeback in the latter nineties. He also examples the Son, originating in the first decade of the century as a meeting between two different styles of rumba, Afro-Cuban and traditional Cuban. "Son" translates to "rhythm" in English. Segundo was raised in Santiago after age nine, where his first performances were in the Municipal Band of Santiago de Cuba prior to 1934, the year he moved to Havana, there also to perform in the Municipal Band. Segundo variously played clarinet, guitar and tres (six-string Cuban guitar) during different periods of his career. One source has him inventing his armónico, a seven-string guitar, by that time. In 1936 he traveled to Mexico City as a member of the Hatuey Quartet and made his first recordings, though we can find no documentation of them. (Sources wildly differ with Segundo. We throw up our hands and surrender per 121 Music Blog.) He did, however, make at least one film in Mexico, 'Tierra Brava', that in theaters in 1938. Segundo was meanwhile recording with the Trio Cuba for RCA Victor in Havana about that time. 'Billboard' newspaper has Segundo releasing between 45 to 50 records in the forties, little known about most. Segundo formed a duo with Lorenzo Hierrezuelo in 1942 called Los Compadres. Much later albums contain their early recordings: 'Cantando Enel Llano' bears tracks from 1949 to '51. 'Sentimiento Guajiro' carries songs from 1949 to '55, the year Segundo was replaced by Lorenzo's brother, Reinaldo. It was with Los Compadres that Repilado changed his name to Compay Segundo (Second Friend), Hierrezuelo being Compay Primo (First Friend). After his partnership in Los Compadres came to a break, Segundo formed Los Muchachos. Again, a much later album, 'Balcon De Santiago', holds Segundo recordings from 1956 to '57. That is, it contains the twelve tracks on Segundo's '57 album, 'Son Oriental', + three more. Upon Castro's assumption to power in 1959 music in Cuba went into limbo. Segundo returned to his old job at the H. Upman cigar factory. He retired from that in 1970, having put in a total of 18 years with the company. He continued, though, playing music, with an ever-present cigar. Segundo performed in groups in hotels in the early eighties and toured to the United States in 1989. In 1994 and '95 he took the Son to Spain to play aside Flamenco. The album, 'Yo Vengo Aquí' was released in 1996, followed the next year by 'Musique Traditionelle Cubaine'. Segundo's resurrection in the latter nineties was largely due to the 1997 release of 'Buena Vista Social Club', an album to which Ry Cooder was instrumental, winning a Grammy. Segundo performed only one track on that LP ('Chan Chan") but it traveled well [album: 1, 2; group; film directed by Wim Wenders 2010]. 'Lo Mejor de la Vida' saw release in '98, after which several more albums would follow during the several years left to him. Segundo performed 'Chan Chan' for Pope John Paul II in February 2000 at the Vatican. He remarked that his longevity was due to mutton and rum before dying at age ninety-five of kidney failure in Havana on 13 July 2003 [obits: 1, 2, 3, 4, 5]. Segundo's band continued onward as Grupo Compay Segundo [1, 2, 3, 4,]. References: 1, 2, 3, 4. Catalogs: 1, 2, 3, 4, 5. IMDb. IA. Interviews: Betto Arcos 1998(?); Rafael Lam 2000. Other profiles: . Compay Segundo 1957* Son Oriental Album * Compay Segundo 1997 Chan Chan Composition: Segundo Album: 'Buena Vista Social Club' Compay Segundo 1998 Live at Olympia Paris Film Compay Segundo 1999 Cien Años de Son Album Compay Segundo 2003 Las Flores de la Vida Album
Miguelito Valdés Source: Worldwide Cuban Music	Born in 1912 in Havana, Latin percussionist and crooner, Miguelito Valdés (aka Mr. Babalú), was a charanga musician born to a Spanish father and Mexican mother. A successful amateur boxer in his youth, Valdés began his professional career as a teenager with the Sexteto Habanero Infantil, moving onward to various Cuban ensembles and orchestras until joining the Orquesta Casino de la Playa in 1937, with which he is thought to have first recorded. Among those first tracks that year were 'Bruca Manigua', 'Ven Acá Tomas' and 'Fuñfuñando'. He first released the title by which he became known, 'Babalu', in 1939 on Victor 82634. Valdés emigrated to New York City in 1940, where he played with a number of leading Latin bands during the forties. In 1942 he and Machito w the latter's Afro-Cubans recorded what would get issued in 1992 as 'Cuban Rhythms'. Lord's disco finds him in Hollywood in Oct '45 backing the Johnny Otis Orchestra as the Jubilee All Stars w his Cuban rhythm section, that for the AFRS Jubilee broadcast #152. Titles witness released in 1986 on 'Start to Jump Because It's Jubilee' (Swingtime ST1009). He was among the earliest guests on the 'Ed Sullivan Show' (1948-71) when that aired in Feb of 1949. Also the composer of such as 'Ya no alumbra tu estrella' ('37) and 'Los Venecianos' ('38), Valdés died on 9 Nov 1978 while on tour to Bogotá, Colombia. References: 1, 2, 3, 4, 5, 6, 7, 8. Sessions 1937-51. Catalogs: 1, 2, 3, 4. IMDb. IA. Discussion. Further reading: Wolfsonian-FIU. Other profiles . Miguelito Valdés 1937* Bruca Manigua With the Orquesta Casino de la Playa Composition: Arsenio Rodríguez Miguelito Valdés 1939 Se va el caramelero With the Orquesta Casino de la Playa Composition: Arsenio Rodríguez Miguelito Valdés 1942 Chiu, Chiu With Lina Romay Composition: Nicanor Molinare Miguelito Valdés 1948 Babalu Composition: Margarita Lecuona Miguelito Valdés 1950 Rumba Rumbero Composition: Valdes Miguelito Valdés 1951 Bambarito Composition: Electo Rosell Álbum: 'Mr. Babalú Decca DL 5374 Arroz con Manteca Composition: Eduardo Angulo Miguelito Valdés 1953 Te han mentido 'Someone Has Lied to You' Composition: Jacinto Scull
	Born in 1917 in Havana, pianist, José Curbelo (not to be confused w the guitarist), graduated from the Molinas Conservatory at age 15. He played with various Havana orchestras before visiting New York City to record with Xavier Cugat for American (Victor) in April 1938: 'Perdon'. Briefly before or after that, in 1938, he became an original member of the Orquesta Havana Riverside, directed by Enrique González Mantici. Curbelo participated in at least three recordings with that orchestra in 1939: 'Perfidia', 'Naufragio' and 'Desconfianza de Amor'. Curbelo then moved to New York in May of 1939, where he worked again with Xavier Cugat, among others. In June of 1939 he recorded 'Nana' with Cugat, again for American in new York City. During the fifties Curbelo ventured into cha-cha [1, 2, 3, 4], releasing the album, 'Cha Cha Cha in Blue' w his Quintet in 1956 on Fiesta FLP 1204. Curbelo folded his band in 1959 to found the Alpha Artists agency for Latin musicians, managing the majority of notable bands in New York. He later involved himself in real estate, eventually moving to Miami where he died on 21 September 2012 [obit]. References: 1, 2. Catalogs: 1, 2, 3, 4. IA. Collections. José Curbelo 1946 From 'Live at the China Doll' Recorded 1946/'52-'54 NYC Tracks below recorded '46 Issued 1998 Europe Tumbao Cuban Classics TCD-074 Botamos la Pelota Composition: Silvio Contreras El Rey del Mambo Composition: Féliz Cárdenas José Curbelo 1947 From 'Rumba Gallega' Recorded 1947 NYC Issued 1994 Switzerland Tumbao Cuban Classics TCD-042 See also * Llora Vocal: Tito Rodríguez Composition: Luciano Chano Pozo Rumba Bomba Vocal: Tito Rodríguez Music: Ernesto Lecuona Lyrics: Harry Ruby La Ruñidera Vocal: Tito Rodríguez Composition: Alejandro Rodríguez José Curbelo 1951 Midnight Mambo Film José Curbelo 1952 From 'Rumba Gallega' Recorded 1952 NYC Issued 1994 Switzerland Tumbao Cuban Classics TCD-042 El Jibarito Vocal: Tito Rodríguez Composition: Rafael Hernández Paula Vocal: Tito Rodríguez Composition: B. Escoto End 'Rumba Gallega' Sun Sun Babae Composition: R. Martinez José Curbelo 1954 Guaguanco en New York Vocal: Tony Molina Composition: Justí Barreto José Curbelo 1955 From 'Wine, Women and Cha Cha' Equé Tumbao Composition: José Morán Sun Sun Babae Composition: R. Martinez José Curbelo 1956 La La La Vocal: Tony Molina Composition: Curbelo Note: Title above was released on the LP 'Make Mine Cha-Cha-Cha...Mambo for Me...Oooh! That Merengue...!' of unidentified issue date excepting Fiesta FLP-1207 in June of '56 in the United States per Discogs. The 1954 date in the edit above may refer to the French release which Discogs gives an unknown date? José Curbelo 1958 The Hissing Cha Cha Composition: E. Ortiz	Jose Curbelo Source: SecondHandSongs
Machito Source: All About Jazz	Hailing from Havana, Cuba, Machito (Francisco Raúl Gutiérrez Grillo) was a swing era jazz and salsa vocalist and band leader fond of maracas. Born circa 1908 in either Tampa, Florida, or Havana, Machito arrived to NYC in 1937 to first record with the Conjunto Moderno the next year among its chorus. He is said to have recorded with pianist, Noro Morales, Xavier Cugat and the Orquesta Hatuey in 1938 as well. But we find Machito in no discography for 1938 except six titles with the Cuarteto Caney on April 18 for such as 'Veinte Anos-Bolero Son' and 'Guajira Guantanamera', issues assumed. Those were backing vocalist, Alfredito Valdez. (Ethnic Music on Records Vol 4 by Richard Spottswood.) We find Machito in no discography with Xavier Cugat until September 27 of 1939 for 'La Cumparsita', 'Negro a Resa', 'Calientito' and 'Auto-Conga'. (American Dance Band Discography 1917-1942 Vol 1 by Brian Rust.) 1939 also occasioned Machito's first attempt to form a band with his brother-in-law, Mario Bauzá. That formation didn't fly, finding Machito in the Orchestra Siboney. The next year he and Bauzá formed the Afro-Cubans. Bauzá was a trumpeter who would arrange and direct for Machito for decades to come. After a session with Cugat in January of 1941 for 'Cachita' Machito's Afro-Cubans held a session on June 27 to lay out such as 'Intermezzo' and 'Yambu' for Decca. July of 1941 witnessed 'Llora Tmbero' with Cugat, again for Columbia. March 23 of 1942 saw Machito recording such as 'Chacumbele' and 'Sopa de Pischon' for Decca. Come July of 1942 it was 'Bim Bam Bum' with Cugat again. Machito was drafted into the United States Army in 1943, but returned to his band in a few months, discharged for a leg injury during training. In 1947 he played maracas in Stan Kenton's orchestra, leading to an engagement at the Town Hall in NYC of both his and Kenton's bands side by side. Dizzy Gillespie was collaborating with Chano Pozo the same year in NYC with what was quickly getting christened Cubop. (See 'Machito and His Afro-Cubans: Selected Transcriptions' by Paul Austerlitz and Jere Laukkanen for Machito in relation to Cubop. Another good biography at Amoeba.) A good example of the mixing of American jazz with Cuban music at that time was Machito's rendition of Mario Bauzá's 'Tanga' (1942), changing its title to 'Cubop City' (1948). Machito's work with Kenton brought collaborations with other big names such as Charlie Parker, leading to Carnegie Hall in 1949, billed side by side with such as Duke Ellington. By 1950 Machito's was a major name itself, he often touring Europe during the remainder of his career. Notable in the fifties was his 1957 release of the album, 'Kenya'. He issued 'Afro-Cuban Jazz Moods' with Gillespie in 1975. In April 1984 Machito took a stroke while waiting to appear on stage in London, dying four days later on the 19th. He had recorded the album, 'Machito!!!', with his Salsa Big Band as recently as July 16, 1983, in Holland. References: 1, 2, 3, 4, 5, 6. Sessions: DAHR; Lord (leading 52 of 57). Discos: 1, 2, 3, 4, 5. Compilations: 'Ritmo Caliente' 1941-51 on 4 CDs per Proper Records PROPERBOX 48; 'Mambo Mucho Mambo - The Complete Columbia Masters' 1951-55 on Columbia CK 62097 in 2002: 1, 2. IA. Further reading: William Gottlieb. Other profiles: 1, 2. Unfortunately, what few recordings that could be found by Machito between 1938 and 1940 at YouTube have been removed. But per 1939 below, Machito is the vocalist in the Xavier Cugat Orchestra. Machito 1939 Auto Conga Composition: Xavier Cugat Machito 1941 Bim Bam Bum Composition: Johnnie Camacho/Noro Morales Machito 1943 Noche De Ronda Vocalist: Graciela Composition: Maria Teresa Lara Machito 1948 Asia Minor Composition: Roger Mozian Cubop City Composition: Mario Bauzá El Sapon Composition: D.A.R. Tumba El Quinto Composition: Calixto Leicea Machito 1949 Tea for Two Composition: Victor Youmans Machito 1958 Kenya Composition: Mario Bauzá/Rene Hernandez Album: 'Kenya' Roulette R 52006 Recorded Dec '57 NYC Review Machito 1958 Cha Cha Loco Composition: Alberto Vera/Giraldo Piloto (Jr.) Album: 'Vacation at The Concord' Roulette R 52006 Recorded Oct '58 NYC Machito 1968 Hold On, I'm Comin' Composition: David Porter/Isaac Hayes Album: 'Machito Goes Memphis'
	Born in Trinidad in 1910, bandleader Edmundo Ros, was a master of the samba (Brazilian origin from Africa) and cha-cha-cha (Cuban origin), also introducing the calypso [1, 2, 3, 4, 5, 6, 7, 8] to Great Britain, a style conceived in Trinidad & Tobago just off the coast of Venezuela. Ros was relocated from Trinidad to Venezuela as a child. It was there that he was awarded a music scholarship, by the Venezuelan government, to study at the Royal Academy of Music in England in 1937. Which is how he came to meet Fats Waller who, in 1938, was visiting London. Ross first recorded as a sideman to Waller on August 21, playing drums on titles like 'Ain't Misbehavin'' (HMV BD 5415) and 'Pent Up in a Penthouse' (HMV BD 5399). In 1940 Ross formed his first rumba (Cuban origin) band in London. If to interpret Bob Johnson and Donald Clarke correctly, Ros' initial recordings w his rumba band were for Parlophone in April of 1941, the first track going down being 'Los Hijos de Buda' [Vintage Music/ Wikipedia] in 1941 on F 1832 [RYM]. That would put titles documented by DAHR for Decca in 1940 or '41 in 1941, such as 'No te importe saber' to see release in 1951 on 'Edmundo Ros & His Rumba Band' (Coral CRL-56027) [1, 2, 3]. As Queen Elizabeth II took a liking to Ross when she was a princess he and his band often played at Buckingham Palace (home to royalty and royal affairs) during the early forties. In 1944 he signed with Decca Records, to the result of above 800 sessions in the next thirty years with that label. With his early successes he rapidly began a number of business ventures, owning a nightclub, dance school, record company and artist agency in 1946 [Wikipedia]. In 1949 his 'Wedding Samba' sold three million 78s. The Cocoanut Grove in Boston that had opened its doors in 1927 met its demise in 1942 by fire [1, 2, 3, 4, 5, 6, 7]. The Cocoanut Grove in London at 100 Regent Street met its demise when Ros bought it in 1951 and changed its atmosphere along its name, eventually to become Edmundo Ros's Dinner and Supper Club. He spent the fifties and early sixties running his club orchestra as numerous broadcasts with the BBC maintained his prominent name by radio. Come titles going down in July of 1963 w his orchestra opposite that of Ted Heath toward 'Heath versus Ros' in 1964. Ros sold his nightclub the next year. A decade later in 1975 he permanently dismantled his orchestra. His final concert was in 1994 at Queen Elizabeth Hall. Having retired to Xàbia, Spain, he there died on 21 October of 2011, nigh 101 years old [obits: 1, 2, 3, 4]. Further references: 1, 2, 3, 4. Catalogs: 1, 2, 3, 4, 5. IMDb. IA. Other profiles: 1, 2. There are a few cha chas below with a couple of sambas. Edmundo Ros 1941 Los Hijos De Buda 1st issue: Parlophone F 1832 Composition: Rafael Hernandez Note: Not known how many versions of 'Los Hijos De Buda' that Ros recorded, the above might be the original that first brought him to notice. Edmundo Ros 1945 Chico Chico 1st issue: Decca F 8608 Music: Jimmy McHugh Lyrics: Harold Adamson Edmundo Ros 1949 Wedding Samba ('Samba de la Boda') Composition: Abraham Ellstein Allan Small Joseph Liebowitz Edmundo Ros 1950 Take Her to Jamaica Music: Irving Fields Lyrics: Jack Edwards Edmundo Ros 1954 Moulin Rouge Composition: Georges Auric Edmundo Ros 1958 I Talk to the Trees Music: Frederick Loewe Lyrics: Alan Jay Lerner Edmundo Ros 1959 I've Grown Accustomed to Her Face Music: Frederick Loewe 1956 Lyrics: Alan Jay Lerner For the musical 'My Fair Lady' Edmundo Ros 1963 Wedding Samba ('Samba de la Boda') Composition: Abraham Ellstein Allan Small Joseph Liebowitz Edmundo Ros 1964 The Peanut Vendor Composition: Moisés Simons Edmundo Ros 1965 The Girl from Ipanema Music: Tom Jobim Lyrics Portuguese: Vinicius de Moraes Lyrics English: Norman Gimbel Edmundo Ros 1966 A Banda Composition: Chico Barque de Hollanda Brazil Composition: Ary Barroso/Bob Russell Edmundo Ros 1967 Light My Fire Composition: The Doors: Jim Morrison/Robby Krieger John Densmore/Ray Manzarek Tico-Tico Composition: Zequinha de Abreu	Edmundo Ros Source: The Telegraph
	Rumba master, Desi Arnaz (Sr.), was most famous as Lucille Ball's [1, 2, 3, 4, 5, 6] husband, Ricky Ricardo, on the television comedy, 'I Love Lucy' [1, 2, 3, 4, 5, 6, 7]. He also performed the mambo [1, 2, 3, 4], a Cuban dance music pioneered by the charanga orchestra, Arcaño y sus Maravillas, in the thirties. Aracano's 'Mambo' issued in '38 had been composed by his cellist, Orestes López, brother of double bassist, Cachao López. Others famous for the mambo were Tito Rodríguez, Beny Moré, Pérez Prado and Tito Puente, none with whom Arnaz compared as a Latin musician or recording artist, though via television fame he brought such to the attention of an audience otherwise missed by nightclubs, radio and records. Born in 1917, Arnaz was a teenager when his family fled Cuba upon the revolution led by Batista in 1933. His family was of Bacardi wealth, all confiscated while he was jailed for half a year. Though Arnaz sang and played guitar he is better known as a bandleader and conga player. If we're reading the BIG BAND LIBRARY (Popa) rght we presume issue of his first 78s in 1939 for Columbia with his first rhumba orchestra in NYC, titles like 'La Conga en Nueva York' and 'Vereda Tropical' put down on July 21. He had actually earlier recorded transcriptions in 1937 with Xavier Cugat: 'Cachita', 'Piensa en Mi', et al. Arnaz also starred in the Broadway musical, 'Too Many Girls', in 1939, he to repeat his role in Hollywood in 1940. Thus Arnaz met and married Lucille Ball that year. Due to the draft and military service during World War II it would be seven years before Arnaz released another record with his second orchestra. In the meantime he worked in films. He and Ball, not the idiot she personified on her show, founded Desilu Productions [1, 2, 3, 4] in 1950, responsible for such as 'I Love Lucy', 'Star Trek' and 'The Untouchables'). The 'I Love Lucy' television series premiered October 1951 to run nine seasons. Arnaz divorce from Ball in 1960 was a parting of friends before his second marriage to Edith Mack Hirsch in 1953 until her heath in 1985. Remaining active in television into the seventies, his autobiography, 'A Book By Desi Arnaz' (Morrow), appeared in 1976. 'Another Book by Desi Arnaz' was soon on the burner but was never realized . Entering into semi-retirement in the seventies, he began to breed and race thoroughbreds in California. He also taught acting and television production at San Diego State University. Arnaz died on December 2 of 1986 of lung cancer in Del Mar, CA [obit], survived by his daughter, actress Lucie Arnez (b '51) and actor, Desir Arnaz Jr. (b 53). Among others with whom Arnaz had recorded were Tex Beneke in '48 and Peggy Lee in '52 [Lord]. References: collections: 1, 2, 3, 4; encyclopedias: 1, 2, 3; Richie Unterberger. Sessions: DAHR; Christopher Popa. Catalogs: 1, 2, 3, 4, 5. Compilations: 'The Best of Desi Arnaz: The Mambo King' 1946-49 released in 1992: 1, 2, 3; 'Cuban Originals' for RCA 1946-49 released in 1999: 1, 2. Film & television: 1, 2, 3. Further reading: Entrepreneur (w Lucille Ball). Collections: LOC. Other profiles: 1, 2, 3, 4. Desi Arnaz 1946* Babalu Composition: Margarita Lecuona Cuban Pete Composition: Jose Norman Guadalajara Composition: Pepe Guízar 1937 Desi Arnaz 1946 Jezebel Composition: Wayne Shanklin Desi Arnaz 1956 Forever Darling Music: Bronislau Kaper Lyrics: Sammy Cahn	Desi Arnaz Source: Bio
Arsenio Rodríguez Source: La Salsa Vive NY	Born in 1911 in Cuba, salsa bandleader and composer, Arsenio Rodríguez, played the tres [Cuban guitar: 1, 2] and tumbadora [Cuban conga: 1, 2]. Rodríguez was a popular developer of son montuno [1, 2], a subgenre of son Cubano (Cuban music), itself having arisen of mixing Spanish guitar with Afro-Cuban percussion and rhythms. Rodríguez had been blinded at age seven by a kick to the head by a horse or mule. His earliest known professional work was with El Sexteto Boston in 1936. The first recordings of his compositions followed the next year by vocalist, Miguelito Valdés: 'Bruca Manigua', 'Ven Acá Tomas' and 'Fuñfuñando'. His own debut recording followed two years later with Valdés: 'Se va el caramelero'. Eight years later on 7 Feb 1947 arrived the first session in NYC toward the 1992 compilation, 'Legendary Sessions' (Tumbao Cuban Classics TCD-017), on which Rodriguez contributes tres alongside Chano Pozo at congas and vocals w Machito's orchestra. Future sessions were held on 10 Feb in NYC, Feb and July of 1948 in Havana and 1953 in NYC, Rodríguez immigrating from Cuba to New York the latter year. A decade beyond that found him in NYC on 28 April of 1957 delivering congas, guitar and vocals toward Sabu's 'Pale Congo' (Blue Note BLP 1561). Eleven years later he issued his last album, 'Arsenio Dice' ('Arsenio Says'), in 1968 on Tico Records S/LP 1175. In 1970 he flew to Los Angeles to begin another phase in his career, but died one week later of pneumonia on 30 January, his corpse returned to New York for burial. References: 1, 2, 3, 4, 5. Catalogs: 1, 2, 3, 4, 5. Compositions. Compilations: 'Dundunbanza' 1946-1951 in Cuba by Tumbao Cuban Classics TCD-043 in 1994/04; 'The Godfather of Salsa: Como Se Goza En El Barrio' 1946-1962 in Havana and NYC by Grosso! Recordings GR026 in 2016: 1, 2. IA. Reviews. Further reading: Kevin Moore. Biblio: 'Arsenio Rodriguez and the Transnational Flows of Latin Popular Music' by David Garcia (Temple U Press 2006). Other profiles: 1, 2, 3, 4, 5, 6. All uncredited titles below were composed by Rodriguez, being the majority 1939-70. Arsenio Rodríguez 1939 Se va el caramelero Vocal: Miguelito Valdés Arsenio Rodríguez 1940 La Yuca Arsenio Rodríguez 1941 No hace na' la mujer Composition: Bienvenido Julián Gutiérrez Arsenio Rodríguez 1943 Intranquilidad Composition: Mercedes Valdés Arsenio Rodríguez 1946 El Reloj de Pastora Arsenio Rodríguez 1948 Hay Fuego en el 23 Composition: Lucia Martinez Arsenio Rodríguez 1953 Ahora Carpetillo Como Se Goza en el Barrio Esclavo Triste La Gente del Bronx Meta y Guaguanco Mulence Oye Mi Cantar Pa Que Gocen Arsenio Rodríguez 1955 Dundunbanza Arsenio Rodríguez 1957 El Cumbanchero Composition: Rafael Hernández Sabu album 'Palo Congo' Arsenio Rodríguez 1963 Lo Que Dice Justi Composition: Justí Barretoz Que Mala Suerte Rumba Guajira Arsenio Rodríguez 1970 Ahora Carpetillo
	Born Israel López Valdés in 1918 in Habana, double bassist and composer, Cachao López, was a charanga musician (charanga: smaller ensemble usually playing traditional Cuban dance music.) Like other important Latin musicians, there is little documentation concerning him. López may have recorded earlier than 1940 with the Havana Philharmonic: that's the earliest year determinable. Be as may, López was classically trained both at home and at a conservatory as a child. His brother was the cellist, Macho (Orestes López/ b 1908 d 1991), with whom he composed danzones numbering in the thousands. He began playing for the Orquesta Filarmónica de La Habana in 1930, age 13 at most. Per above, López likely recorded with that orchestra in the thirties, and played with it as late as 1960. In 1937 López, his brother, Macho, and Antonio Arcaño formed the Maravillas, with which band he performed while also with the Havana Philharmonic. Cachao is credited with having introduced the mambo [1, 2, 3, 4, 5, 6] along w his brother, Macho, who composed the danzón titled 'Mambo' in 1937 toward the very first recording and issue of the mambo on RCA Victor in 1938 by Arcaño y sus Maravillas w both Cachao and Orestes (Macho) in Arcano's orchestra. Wikipedia has Cachao co-writing 'Mambo' which Discogs has more specifically as arranging. The mambo was reworked into its more finished form via Cachao's 'Rarezas' ('Rareza de Melitón') recorded by Arcano on 29 April 1940 []. Arcano recorded it again in 1957 as 'Chancullo'. Titles from most of the years that Cachao and Orestes spent w Arcano's Maravillas are documented on the 1993 release of 'Antonio Arcano: Danzon Mambo 1944-51' (Tumbao Cuban Classics TCD-029). Notable in the fifties was Cachao's 1957 album, 'Cuban Jam Sessions in Miniature: 'Descargas'', for its improvisational approach to Cuban music during a late night recording session. In 1961 Cachao left his brother, Macho, in Havana to travel to Madrid. Touring Spain until 1963, he then moved to the United States where he freelanced with various salsa musicians, also performing in the outfits of Machito and Cándido Camero. The seventies found him working in Las Vegas until he moved to Miami about 1979. Ten years later he met actor, Andy Garcia, in San Francisco, who would make a project of reviving Cachao's renown. Notable in the nineties were Cachao's 'Master Sessions' albums of 1994 and '95, both produced by Garcia [Vol I/ Vol II]. Lopez was awarded a National Heritage Fellowship by the NEA in 1995. Garcia also produced a couple documentaries concerning Cachao: 'Como Su Ritmo No Hay Dos' ('With a Rhythm Like No Other') (1993) and 'Uno Más' (2008). López died on 22 March 2008 in Coral Gables, Florida, of complications due to kidney failure [obits: 1, 2, 3, 4, 5, 6, 6, 7]. References: 1, 2, 3, 4, 5, 6. Catalogs: 1, 2, 3, 4. IMDb. Jorge Socarrás interview 1995. Further reading: Leonardo Acosta; Ernest Barteldes; Roger Moore; Judy Cantor-Navas; Ted Panken. Other profiles: 1, 2. Cachao López 1938* Mambo The first mambo Orquesta Arcaño y Su Maravillas Composition: Orestes Lopez Arrangement: Cachau Lopez Cachao López 1945 Caballeros Coman Vianda Orquesta Arcaño y Su Maravillas Composition: Orestes Lopez Cachao López 1947 Centro La Libertad Orquesta Arcaño y Su Maravillas Composition: Orestes Lopez Nace Una Estrella Orquesta Arcaño y Su Maravillas Composition: Orestes Lopez Cachao López 1957 Como Mi Ritmo No Hay Dos ('With a Rhythm Like No Other') Composition: Cachao Lopez Trombon Criollo Composition: Gerardo Fortillo Cachao López 1994 A Gozar con Mi Combo Composition: Cachao Lopez Mambo Composition: Orestes Lopez Arrangement: Cachau Lopez Cachao López 2004 Guajira Clásica Composition: Cachao Lopez Cachao López 2006 Live at the Berklee Performance Center Cachao López 2011 Descarga Cachao Composition: Cachao Lopez Album: 'The Last Mambo'	Cachao Lopez Photo: Getty/AFP Source: The Telegraph
	Born Pablo Rodríguez Lozada in Santurce, Puerto Rico, in 1923, popular mambo singer Tito Rodríguez was the younger brother of Johnny Rodriguez, also a popular singer. Rodriguez began playing in the band of Ladislao Martínez at age thirteen. He is said to have first recorded at age 16 (1939) with Cuarteto Mayarí while yet in Puerto Rico (no documentation found). Upon both his parents dying in 1940 Rodriguez traveled to New York City where his brother, Johnny, had been performing for the last five years. Recordings with Eric Madriguera occurred in 1941, more with Xavier Cugat in 1942 before he joined the Army. Upon release from service he returned to New York City to play in the band of José Curbelo. In 1947 Rodriguez formed his first band, Los Diablos del Mambo, before matriculating into Julliard in 1950. (He studied percussion, including vibraphone and xylophone.) He soon after named his band the Tito Rodríguez Orchestra. It was with Rodríguez' orchestra that Cheo Feliciano got his big break in 1953. During the sixties Rodríguez' favored boleros (slow tempo Cuban dance music). He worked as a record producer before returning to Puerto Rico in 1970 where he hosted 'El Show de Tito Rodríguez' television program. He also founded TR Records before his last performance in February of 1973 with Machito at Madison Square Gardens. He died 26 days later of leukemia [obit]. Marriage to one Takeko Kunimatsu (aka Tobi Kei or Tubbi) in 1946 resulted in a daughter and a son, Tito Rodriguez Jr. [b NYC '55 1, 2]. References: 1, 2, 3, 4, 5, 6, 7. Discos: 1, 2, 3, 4. Compilations: 'The Best of Tito Rodriguez & His Orchestra' 1953-56 by BMG Vol 1, 2, 3; Luis Chaluisan ; 'Fania Anthology' . Other profiles: 1, 2. Tito Rodriguez 1942 Bim Bam Bum With Xavier Cugat Vocal: Noro Morales Composition: Johnnie Camacho/Noro Morales Tito Rodriguez 1949 Mambo Mona Composition: Cindy Rodriguez Tito Rodriguez 1961 El Inolvidable ('The Unforgettable') Composition: Julio Gutiérrez 1944 Bolero Tito Rodriguez 1962 Cuando Cuando Composition: Tony Renis/Alberto Testa Album: 'Back Home in Puerto Rico' Recorded during a trip to Puerto Rico Tito Rodriguez 1963 You're Driving Me Crazy Composition: Walter Donaldson Album: 'Live at Birdland' Tito Rodriguez 1968 Bilongo Composition: Guillermo Rodriguez Fiffe En La Oscuridad Album	Tito Rodriguez Source: Jazz Wax
	Born Dionisio Ramón Emilio Valdés Amaro in Quivicán, Cuba, in 1918, pianist, Bebo Valdés, was the grandson of a slave and son of a cigar factory worker. His son is pianist, Chucho Valdés [1, 2, 3, 4]. He finished his studies in classical music at the Conservatorio Municipal in Havana in 1943, after which he worked for four years as a pianist and arranger for radio station, Mil Diez. The earliest traceable recordings by Valdés date to 1944, he a bandleader by that time (Sabor de Cuba): 'A Romper El Coco' and 'A La United Café'. Those are available as the last two tracks on a CD titled, 'Butuba Cubana 1943-1944' (the first 14 tracks by Julio Cueva). From 1948 to 1957 Valdés was the house pianist at the Tropicana Club in Havana, where vocalist, Rita Montaner was the lead act. Notable in 1952 was his improvisational descarga (jam session), 'Con Poco Coco', for producer Norman Granz. In the latter fifties he recorded with Nat King Cole in Havana (the Cole album, 'Español', issued in 1958). Valdés left Cuba for Mexico in 1960, then went to Spain, then first worked in Sweden in 1963. He married that year and worked largely in Europe the remainder of his life. It's about that time that a gap of nearly four decades of his career occurs at YouTube. Though he released the album, 'Glorias De Cuba', in 1979, Valdés performed mostly in nightclubs and on tour until the nineties. He's enormously popular at YouTube for performances during the last decade of his life. Valdés died in Stockholm, Sweden, on 22 March 2013 [obits: 1, 2, 3]. References: 1, 2, 3. Sessions: DAHR. Discos: 1, 2, 3. IMDb. Documentaries: 'Old man Bebo' directed by Carlos Carcas 2008: 1, 2. IA. Reviews. Further reading: Raul da Gama. Biblio: 'Bebo de Cuba' by Mats Lundahl (RBA Libros 2008). Bebo Valdés 1951 Güempa Mambo Conjunto Casino Bebo Valdés 1952 Con Poco Coco ('Without Forethought') Live in Habana Composition: Valdes Bebo Valdés 1958 Caramba Mi Negra Guaracha Composition: Alberto Garcia Bebo Valdés 1959 Dejenme en Paz Composition: Justí Barreto El Gavilán Composition: Valdes Bebo Valdés 1995 Pa' Gozar Composition: Niño Rivera Album: 'Bebo Rides Again' Bebo Valdés 2002 Lagrimas Negras Composition: Miguel Matamoros Bebo Valdés 2004 Cuba Linda Bass: Javier Colina Cajon: Israel Porrina Pirana Guitar: El Nino Josele Vocal: Diego El Cigala Composition: Virgilio Marti Hubo un Lugar Bass: Javier Colina Cajon: Israel Porrina Pirana Guitar: El Nino Josele Vocal: Diego El Cigala Composition: Traditional Obsesion Bass: Javier Colina Cajon: Israel Porrina Pirana Guitar: El Nino Josele Vocal: Diego El Cigala Untitled Film: 'The Miracle of Candeal' With the Hip Hop Roots Se me olvidó que te olvidé Bass: Javier Colina Cajon: Israel Porrina Pirana Guitar: El Nino Josele Vocal: Diego El Cigala Composition: Lolita De La Colina Veinte Anos Bass: Javier Colina Cajon: Israel Porrina Pirana Guitar: El Nino Josele Vocal: Diego El Cigala Composition: Maria Teresa Vera Bebo Valdés 2005 Iballah Composition: Valdes Bebo Valdés 2007 Bebo's Blues Live at Village Vanguard Composition: Valdes Bebo Valdés 2008 Tres Palabras With Chucho Valdes Composition: Osvaldo Farrés Bebo Valdés 2010 La Bella Cubana Composition: Jose White	Bebo Valdes Source: Latin Jazz Network
	Born in 1926 in Habana, Cuba, conguero Carlos Valdés came by the nickname, Patato (Potato), as a youth due to his short stature. He came from a musical family, first learning to play tres (guitar) alike his father. He played all variety of percussion before joining the comparsa (conga band), Las Sultanas. In 1944 he became a member of the Orquesta Kubavana de Alberto Ruiz with which he also first recorded that year. (Recordings with Ruiz and the Orquesta Kubavana were compiled by Tumbao in 1994, covering the years 1944 through 1947, on a disc titled, 'Rumba En El Patio'.) Patato is thought to have first visited New York City with the Conjunto Casino in 1952, also recording with that group from 1953 to '55. (Tumbau released a compilation of Patato recordings with that band in 1996, covering years 1953 through 1955, titled, 'Mambo con Cha-Cha-Cha'.) Sources have Valdes moving to New York permanently in (October) 1954. Potato is the first Caribbean musician on this page with substantial coverage in Tom Lord's jazz sessionography. His first determinable recordings with an American jazz musician thusly appear in 1957 with trumpeter, Kenny Dorham, on the album, 'Afro-Cuban'. He played with Mongo Santamaria and Tito Puente in Harlem before recording with Art Blakey, Art Taylor and Max Roach. He appeared on two albums released by Dizzy Gillespie in 1959, 'The Ebullient Mr. Gillespie' and 'Have Trumpet, Will Excite!', and would accompany Gillespie on tours to Europe in the sixties followed by Gillespie's 'Portrait of Jenny' in 1970. Valdes was in Quincy Jones' orchestra in NYC in early '61 toward the latter's 'Around the World'. That was followed by a tour to Europe where Jones' 'Live in Ludwigshafen 1961' [] went down on 15 March in Germany. During the sixties Patato anchored with Herbie Mann for more than a decade, during which period he recorded 'Patato & Totico' [1, 2] in 1967 with conguero, Eugenio Totico Arango [1, 2], including Cachao López. That Totico isn't to be contused w the accordion player from the Dominican Republic, Tatico Henríquez [1, 2, 3]. Valdes released wo albums in 1976: 'Ready for Freddy' and 'Authority'. His album, 'Masterpiece', went down in NYC in 1984 toward release in 1993. During the nineties Valdes toured Europe with his band, Afrojazzia (not to confuse with the Afrojazziacs). In 2000 he released the album, 'The Conga Kings', with Cándido Camero and Giovanni Hidalgo. They recorded 'Jazz Desgargas' as the Conga Kings in 2001 for release in 2006. Valdes' album, 'El Hombre', issued in 2004. Come 'Live at the Canal Room' in 2006. Patato passed away of respiratory failure in Cleveland, Ohio, on 4 December 2007 [obits: 1, 2, 3]. References: 1, 2, 3, 4. Discos: 1, 2, 3, Lord (leading 12 of 121 jazz relevant only). Compilations: 'Rumba en El Patio' 1944-48 on Tumbao Cuban ClassicsTCD-034. IA. Other profiles: 1, 2, 3, 4. Synopses: 1, 2, 3, 4. Photos: . Further reading: AAJ. Biblio: 'From Afro-Cuban Rhythms to Latin Jazz' by Raul Fernandez (U of California Press 2006). Patato Valdes 1944 With the Orquesta Kubavana de Alberto Ruiz: Rumba en El Patio Composition: Alfredo Boloña/Hernández Sánchez Rumba Moderna Date uncertain Composition: Justi Barreto Sonaremos El Tambor Date uncertain Composition: Horacio de la Lastra Patato Valdes 1951 La Toalla Recorded Dec 1951 With the Conjunto Casino Composition: Ernesto Duarte Brito Patato Valdes 1955 Afrodisia Trumpet: Kenny Dorham Composition: Dorham Dorham album: 'Afro-Cuban' Patato Valdes 1961 Cookoo & Fungi Drums: Art Taylor Composition: Taylor Patato Valdes 1965 Live at the Newport Jazz Festival Flute: Herbie Mann Patato Valdes 1974 Masacote With José Mangual Patato Valdes 1976 From 'Ready for Freddy' Canto a Chango Composition: Traditional spiritual Como Suena Mi Son Composition: Patato La Ambulancia Composition: Papaito (Mario Muñoz Salazar) Patato Valdes 1984 Nica's Dream Composition: Horace Silver 1954 Patato Valdes 1994 Comelon Composition: Rafael Lay	Patato Valdes Source: All About Jazz
Beny Moré Source: Wikipedia	Born Bartolomé Maximiliano Moré Gutiérrez in Santa Isabel de las Lajas, Cuba, in 1919, vocalist Beny Moré (also Benny) is a good example of popular Cuban music. Moré never collaborated with American musicians like some of his contemporaries when Latin music and American jazz began mixing en force in the forties, such as the brief relationship between trumpeter, Dizzy Gillespie, and Afro-Cuban percussionist, Chano Pozo. Moré was the eldest of, well, eighteen children. His first venture to Havana at age seventeen resulted in selling fruit and herbs. Returning to Las Lajas, he cut cane until he earned the money to purchase his first guitar with the assistance of his brother, Teodoro. He then returned to Havana to play in bars and cafés for tips. His first employment was with the conjunto (folk ensemble) of Mozo Borgellá. He also began working in radio about that time. Before continuing w More another important figure in Cuban music requires mentioning, that being Miguel Matamoros [1, 2, 3, 4, 5] who formed the Trio Matamoros in 1926 which recorded titles like 'Olvido' (Victor 81274) and 'Juramentos' (Victor 81378) in 1928. He also recorded w his Septet that year (: 'Déjame Gozar Mulata' Victor 40677). Matamoros formed the Matamoros Ensemble on 1942 which later became the Conjunto Matamoros of which More replaced Lorenzo Hierrezuelo in latter 1944. Gino Curioso, FIU and Gaspar Marrero have More's initial recordings with the Conjunto Matamoros on 11 Sep of 1944 per 'Que Sera Eso' ('That Will Be That' Victor matrix CU 1262/ Victor issue 23-0326) and 'La Cazuelita' (Victor matrix CU 1267/ Victor issue 23-0237) per a discography by Diaz Ayala. Things immediately begin getting murky w that and thereon, but to continue with FIU without discussion of moot points, titles next went down on June 12 of 1945: 'Penicilina' w 'Me La Llevo' (Victor 23-0321). More left Habana for Mexico on 21 June of 1945 w the Conjunto Matamoros where they worked in cabarets as More commenced the Mexican portion of his career. FIU has the Conjunto Matamoros first recording in Mexico on 2 July of 1945 including titles like 'Ecos del Pasado-Potpourri' No. 3 and No. 4 (Victor 23-0389). Compilations of More w the Conjunto Matamoros include tracks 4-11 on 'Buenos Hermanos' per Musica Latina Nostalgia MLN 55012 in 1999. (Discogs' crossfired date in comments to be disregarded: not 1937). Tracks 1-8 on 'Conjunto Matamoros with Beny Moré' had been released prior to that on Tumbao Cuban Classics TCD-020 in 1992. (Discogs' recording date of '45 in Mexico should include '44 in Habana.) Tracks 1-6 of 'Cubanísimo - 1' had been issued in 1985 on Producciones Preludio LP017. More wasn't long in Mexico before he began performing w others, largely w orchestras. Other titles squared away by More in the latter forties while in Mexico were such as with Arturo Nunez (: 'Pensiamento' Columbia 6375-X), Mariano Mercerón (: 'Manzanillo' Victor 70-7494), Rafael de Paz, Chucho Rodriguez and Pérez Prado (: 'Anabacoa' Víctor 70-8451). Other titles gone down during More's career in Mexico included such as 'Dolor Karabalí' ('Dolor Caravali' '49) in '49 w Prado and Hermanas Gaona, and 'Bonito y Sabroso' in '51. Moré had also appeared in the film, 'En cada puerto un amor', in 1949 with Silvestre Méndez y Su Conjunto before leaving Mexico to return to Havana in 1952. He performed on radio with Bebo Valdés and Ernesto Duarte Brito, and recorded with the Orquesta Aragón before forming his Banda Gigante in 1953. He performed with that band at La Tropical and El Sierra in Havana. After the Cuban Revolution (1953-59) Moré remained in Cuba, though he toured the Caribbean during that conflict. His 'El Inigualable' was released in Cuba during that period in 1957 by RCA. His only known visit to the United States was to perform at Oscar ceremonies in 1957 [1, 2, 3]. He didn't like flying so kept touring to a minimum. 1958 saw 'Asi Es...Beny' released in the United States on Discuba. An alcoholic, Moré died of cirrhosis of the liver on 19 Feb of 1963, only 43 years of age. It is estimated that 100,000 people attended his funeral, having released the album, 'El Barbaro Del Ritmo', the previous year with Pérez Prado and Rafael de Paz. References academic FIU; books ; encyclopedic: 1, 2, 3; governmental ; musical: 1, 2, 3; radio stations: 1, 2. Sessions. Catalogs: 1, 2, 3, 4. IMDb. Compilations: 'El Barbaro Del Ritmo' 1947-62 on Grosso! GR 028LP in 2017; 'The Very Best of Beny Moré & His All Star Afro Cuban Big Band' 1951-58 by RCA Volumes: 1, 2, 3. Biblio: 'Benny Moré' by Amin Naser (Ciudad de La Habana: Ediciones Unión 1985): 1, 2; 'Wildman of Rhythm' by John Radanovich (U Press of Florida 2009) . Other profiles . See also Matamoros y su Conjunto above. All dates below are recording, not issue, dates per FIU. Why they may differ from those at YouTube is unidentified. Years composed? The FIU sessionography may otherwise be incomplete. Thus dates given below may in error where they differ from sources unknown. Beny Moré 1944 Buenos Hermanos Recorded 11 Sep 1944 Havana With the Conjunto Matamoros Composition: Miguel Matamoros Victor 23-0237 Beny Moré 1947 Manzanillo Recorded 17 April 1947 Composition: Ramón Cabrera Argote Victor 23-6201 Beny Moré 1949 Dolor Karabaly With Perez Prado Composition: Beny More Victor 23-1533 Beny Moré 1950 La Cocaleca Recorded 24 April 1950 Composition: Victor Cavalli/Mario Cajar Victor 75-8358 Beny Moré 1951 Bonito y Sabroso Composition: Beny More Victor 23-5729 Victor 75-8888 Mata Siguaraya Composition: Lino Frias Victor 78-8710 Victor 23-5673 Beny Moré 1954 La Vida Es Un Sueño With Pedro Vargas Recorded 30 Nov 1954 Composition: Arsenio Rodriguez Skull Victor 23-6574 Victor 75-9565 Beny Moré 1958 Rezo en la Noche (Prayer at Night) Composition: Francisco Escorcia Discuba 45-1009 Discuba LPD 531
	Born in 1924 in Matanzas, Cuba, rumbera, Amalia Aguilar (aka the Atomic Bomb), made no determinable recordings beyond her films. Largely a dancer, though also singer, Aguilar was close contemporary to rumbera, Ninón Sevilla, during their careers in Mexico City. (A rumbera is a rumba dancer or rumba star.) Aguilar studied ballet as a child, she and her sister, Cecilia, to later become employed by the Cuban Theatre Company in Havana. The pair began working as a team called the Aguilar Sisters, performing at La Cabana, a circus variety show, the Cabaret Tropicana and even touring to Panama. Cecilia eventually got married, to end up in Wichita, Kansas. Amelia continued solo at the Hotel Nacional. Her prior audition with dancer, Julio Richard, had failed. But now he took her to Mexico City with him, she with small notion that she was on the cusp of stardom, Mexico to adopt her as one of its own. She debuted in Mexico City at the Theatre Lírico, also working for XEW radio on the program, 'La Hora Mejoral'. Aguilar's first film, 'Pervertida', saw theaters in 1946. Unlike Sevilla, Aguilar had a strong interest in the United States and soon toured there, appearing at the Hollywood Bowl and making the film, 'A Night at the Follies', in Los Angeles, issued in 1947. She was soon back in Mexico City where she formed her own group, Los Diablos del Trópico, and settled down to shake things up with mambo (similar to the cha-cha or rumba but more complex) in Mexican cinema, releasing some 23 films in the ensuing ten years. Aguilar had the same problem as Sevilla and other rumberas (Miranda included, though not a rumbera proper), in that they weren't taken seriously in places like Brazil, considered sellouts to salacious audiences in Mexico or the States, leaving traditional Latin music behind. That they did, but in the process they created the rumbera genre in film, contributed to the evolution of Latin music in that regard, and danced like their critics couldn't. In 1955 Aguilar did it and got married (Dr. Raul Bedoya), generally regarded as the year of her retirement, though in the seventies she returned some to Mexican television and worked with Studio Varela in Peru in the eighties where she and her husband had settled. Though Bedoya died in a plane crash in 1962, the couple produced three children. Having established chains of beauty salons and taquerias in Peru, Aguilar currently resides in Mexico City for some years. References: 1, 2, 3. IMDb. Reviews. Facebook. Other profiles: 1, 2 3. Amalia Aguilar 1946 ¿Donde va María? Composition: Jesús Guerra Film: 'Pervertida' With Kiko Mendive Amalia Aguilar 1947 Afro Mood Soundie short film Burlesque Music directed by Gordon Harrison Amalia Aguilar 1949 Untitled Film: 'Calabacitas Tiernas' Amalia Aguilar 1950 ¿Al son del mambo? 'Who Invented the Mambo?' Film: 'Al son del mambo' With Perez Prado & Yeyo Music directed by Jorge Perez Sabrosura Film: 'Al son del mambo' Music directed by Jorge Perez Amalia Aguilar 1953 Untitled With Resortes Film: 'Mis Tres Viudas Alegres' ('My Three Merry Widows') Music directed by Manuel Esperón Amalia Aguilar 1955 Sabroso Cha Cha Cha Film: 'Las Viudas del Cha Cha Cha' ('The Cha Cha Cha Widows') Music directed by José de la Vega	Amelia Aguilar Source: El Rincon De La Anoranza
	Jack Costanzo See Jack Costanzo.
	Charlie Palmieri See Charlie Palmieri.
Chano Pozo Source: Find a Grave	Born Luciano Pozo González in Havana in 1915, rumba conguero Chano Pozo dropped out of school in third grade. By the time he was thirteen he had a record for assault and theft, landing him at a reformatory in Guanajay. There he learned to read and write, worked on auto bodies and steeped his mind in Santerían atmosphere. (Santería is a blend of Catholicism and Yoruba.) Upon release from Guanajy Pozo became a bootblack, then sold newspapers (1929), then worked as a bodyguard and bouncer, said to work as an enforcer as well. In the meantime he became a rumbrero (street drummer) and dancer in a troupe called The Dandy. About that time he began writing compositions for carnivals (street parades) and comparsas (troupes of street performers). Among his first compositions was in 1940, 'La Comparsa de los Dandys', composed for the Santiago Carnival that year. He had also recorded 'Lolo Lolo Lolo' that year on congas with the Havana Casino Orchestra, issue unknown. Pozo eventually began working for radio, Cadena Azul. Cuba was a different country before the Cuban Revolution, with a thriving tourist industry and no want of nightlife. It was, nevertheless, yet a frontier, Pozo emigrating to Chicago in 1942 in pursuit of opportunity. He joined a troupe called the Jack Cole Dancers before heading for New York where he knew Mario Bauzá, having met him while working in radio in Havana. Lord's disco has him back in Havana in December of 1946 to record 'El Cajon' in a sextet for Miguelito Valdés, issue unknown. He and Valdés, et al, were back in NYC soon enough to square away 'Ritmo Afro-Cubano' Parts 1-4 on 4 Feb of 1947, released on SMC 2517/2518. (Lord provides no data for SMC 2519 included below.) Pozo joined Arsenio Rodríguez in NYC on February 4 of 1948 for titles composed by himself like 'Abasi' and 'Ya No Se Puede Rumbear' ('Now They Can't Rumba'). Those were made available in 2001 on an extensive Pozo compilation called 'El Tambor de Cuba', that a box set of three CDs. On February 7 of '47 he joined Machito for titles composed by himself: 'Rumba en Swing', 'Porque Tu Sufres' and 'Cometelo To'. 'Paso en Tampo' was composed by Arsenio Rodríguez playing tres guitar. Those were made available in 1992 on a joint Pozo/Rodríguez album named 'Legendary Sessions'. Pozo's 'Ritmos Afro-Cubanos 1-8' were composed in 1947 as well. Pozo's was an historic relationship with trumpeter, Dizzy Gillespie. In September of 1947 Bauzá introduced Pozo to Gillespie and Charlie Parker at Pozo's apartment. Pozo first recorded with Gillespie at Carnegie Hall on the 27th, titles performed such as 'Cubana Be Cubana Bop' and 'Things to Come'. A concert at Cornell University on October 18 witnessed titles like 'Cool Breeze' and 'Yesterdays'. December 22 saw 'Algo Bueno', 'Cool Breeze', 'Cubana Be' and 'Cubana Bop' for Victor. Titles for Victor on the 30th included 'Manteca'. A tour to Europe saw sessions in February of 1948 in Stockholm and Paris. Upon returning to the States Pozo recorded 'Slits', among others, with Milt Jackson in April before joining Gillespie again on July 19 at the Civic Auditorium in Pssadena, CA, for such as 'Manteca' and 'Cubana Be Cubana Bop'. Charlie Parker joined Gillespie at the Pershing Ballroom in Chicago in latter 1948 for titles like 'Hot House' and 'Manteca'. On September 13 Pozo joined Tadd Dameron's septet for the tune, 'Jahbero', with trumpeter, Fats Navarro. Dameron had been one of Gillespie's arrangers since Pozo's first session with the latter in September of '47. Sessions followed with Gillespie and Dinah Washington at the Royal Roost in October. Come James Moody on October 25 for 'Tropicana', 'Cu-Ba', 'Moody's All Frantic' and 'Tin Tin Deo' with Pozo as vocalist on the last. Moody had contributed tenor sax to some of Gillespie's sessions with Pozo since their first in September of '47. On November 5 of 1948 Pozo joined Gillespie a last time at Cornell University for 'Duff Capers', 'Nyeche', 'Manteca', etc.. He was shot and killed in Harlem at a place called the Rio Bar on December 8, 1948, the violence said to concern dope not meeting Pozo's standards. Pozo died a few weeks short of his 34th birthday. Compositions on which he had collaborated with Gillespie and arranger, Gil Fuller, such as 'Tin Tin Deo' and 'Manteca', as well as his brief partnership with Gillespie, were among the more significant collaborations in the history of jazz. Such as Stan Kenton had before employed conga players in accessorial capacities, but no one had emphasized the conguero as central to both band and music before Gillespie and Pozo, thereat forming a bridge between American jazz and Latin music at the tail end of swing which would develop into an important genre rather beyond what bebopping Gillespie had called but cubop at the time. References: 1, 2, 3, 4, 5. Sessions: J-Disc; Lord (leading 1 of 20). Catalogs: 1, 2, 3, 4. Compilations: 'Rumbero Mayor' on Grosso! GR 035LP in 2019: 1, 2. Documentaries: 'The Legacy of Chano Pozo' directed by Ileana Rodriguez Pelegrin (Copyright 2005): 1, 2, 3. Further reading: Afro Cuba Web; De Cuba Jazz; Donald Clarke; Augustin Gurza; midlifefanclub; NY Times (archives 1981); Ricardo Oropesa (pdf); Dwight Sweeney Jr.. Biblio: 'Chano Pozo, La Vida (1915-1948)' by Rosa Marquetti Torres (Editorial Oriente 2018) . Other profiles: 1, 2, 3, 4, 5. Chano Pozo 1947* Compositions by Pozo: Nagüe Ritmo Afro-Cubano SMC 2517/2518/2519 Rumba en Swing With Machito Serende Vocal: Arsenio Rodriguez Ya no se puede rumbear Chano Pozo 1948 With Dizzy Gillespie Recorded Dec 1947 NYC: Algo Bueno Composition: Gillespie Cool Breeze Composition: Billy Eckstine/Gillespie/Tadd Dameron Cubana Be Composition: Gillespie/George Russell Cubana Bop Composition: Gillespie/George Russell/Pozo Manteca Composition: Gillespie/Gil Fuller/Pozo With Dizzy Gillespie Recorded 28 Feb 1948 Paris: Algo Bueno Live in Paris Composition: Gillespie Chano Pozo 1949 Tin Tin Deo With Art Blakey & James Moody Composition: Pozo/Gil Fuller
Ninon Sevilla Source: Wikipedia	Not only did Latin percussion find its way to the States to become an important element of much modern jazz, but Latin dance came to huge popularity largely via films. Spain had its flamenco flame who lived a world apart from jazz, Carmen Amaya. Brazil had produced dancer, Carmen Miranda, though she hadn't always been popular there, thought a sell-out for the sorts of films she made in America. As for Ninón Sevilla, being largely an actress and dancer, she would seem to have appeared on only a couple albums, one a soundtrack. Sevilla had been born Emelia Pérez Castellanos in 1921 in La Habana, Cuba. Beginning her career in cabarets and nightclubs, she assumed "Ninon" for a stage name after the courtesan, Ninon de l'Enclos. She eventually made her way to Mexico City with Argentine actress and popular singer, Libertad Lamarque. Mexico City soon adopted Sevilla as one of its own, she making her debut film, 'Carita de Cielo', released in 1947. Unlike Miranda, Sevilla felt no draw to Hollywood, thus didn't come to great fame in the United States. Perhaps like Lamarque, the inability to speak English was a barrier. In Mexico, however, she became the property of Producciones Calderón and became a huge star of the rumbera genra, staging her own choreography. Like Sevilla, rumba had originated in Cuba, migrating to Mexico to merge with film and produce a number of rumberas, such as Amalia Aguilar, also a Cuban immigrant to Mexico and close contemporary of Sevilla. 1959 saw the LP release of the soundtrack, 'A Mulher de Fogo'. In 1962 Sevilla released the LP, 'Sólo para Adultos' ('For Adults Only'), with the Luis Gonzalez Orchestra. In 1964/65 Sevilla made her first television appearance on the Mexican telenovela, 'Juicio de Almas' ('Judgment of Souls'). Making nearly two dozen films, Sevilla died of pneumonia January 1st of 2015 [obit]. References: 1, 2. Discos: 1, 2, 3. Compilations: 'Ninón Sevilla' on Calle Mayor ‎PC0187 in 2017. Facebook tribute. Other profiles: 1, 2, 3, 4, 5. Ninón Sevilla 1947 Por el Prado With Beny More Composition: Homero Jimenez Film: 'Carita de Cielo' Soundtrack: Antonio Díaz Conde Ninón Sevilla 1950 Nega Composition: 1947 Waldemar Gomes/Afonso Teixeira Film: 'Perdida' Soundtrack: Antonio Díaz Conde Arrangement: Perez Prado Ninón Sevilla 1951 La Cocaleca Composition: 1947 Victor Cavalli Cisneros Film: 'Víctimas del Pecado' ('Victims of Sin') premiere 2 Feb 1951 [IMDb] Soundtrack: Antonio Díaz Conde From the film 'Sensualidad' premiere 25 July 1951 [IMDb] Music Director: Antonio Díaz Conde Arrangement: Yoyo Casteleiro Dixie Mambo La Media Naranja Composition: Alberto Rodriguez Ninón Sevilla 1953 Excerpt Film: 'Aventura en Rio' Soundtrack: Hervê Cordovil
	Sabu Martinez See Sabu Martinez.
Pérez Prado Source: Cuban History	Born in Matanzas, Cuba, in 1916, bandleader Dámaso Pérez Prado specialized in mambo [1, 2], providing music for mambo dancers as the King of Mambo among his tasks. He worked as both an arranger and pianist in casino and club orchestras until leaving Cuba for Mexico in 1948. In 1949 his composition, 'Maravillosa', surfaced in the film, 'Coqueta'. He worked on a couple more films that year, his music appearing in eighteen more in 1950 (per Amoeba Music). Prado made his first recordings for RCA Victor in Mexico in 1949, believed to be 'Que Rico el Mambo' b/w 'Mambo No 5'. Those were issued in the United States in 1950 with one title changed to 'Mambo Jambo'. 'Mambo No 5' was also introduced to the United States via the film, 'The Brave Bulls', premiering 18 April 1951. Prado himself followed in 1951 per a tour to the United States in 1951 along w Beny Moré, first arriving to Chicago in April, next Los Angeles, then NYC where he and his orchestra backed vocalist, Johnny Hartman, on 19 Sep that year for 'Wild' (Victor 20-4433) and 'Safari' (Victor 20-4438), then back to Los Angeles before Texas where one of Prado's dancers and vocalists lost his life when control was lost of their touring bus. Prado returned to the States for a second tour in 1954, recording 'Voodoo Suite Plus Six All-Time Greats' (RCA Victor LPM1101 ) in Los Angeles on 8 April w Shorty Rogers. Prado's heydays were in the fifties, his popularity beginning to dip in the sixties. In the seventies he permanently returned to an apartment he kept in Mexico City, from there to pursue his career in terms of Mexican record labels and Mexican television, also touring Mexico and South America. He made a trip to Japan to record in concert in 1973. From 'Plays Mucho Mambo for Dancing' () in 1950 to 'El Rey del Mambo Pérez Prado Hoy' ('The King of Mambo Perez Prado Today') in 1981 Prado appeared on dozens of albums. He died of stroke in Mexico City on September 14, 1989. References: Wikipedia; All Music; DocumenTV; Vinyl Tourist: 1, 2, 3, 4; NNDB. Discos: 1, 2, 3, 4, 5, 6, 7. IMDb. Compilations: 'Prez the Mambo King' Vol 1, 2, 3. IA. Further reading: Donald Clarke; Raúl Fernandez; midlifefanclub. Other profiles: 1, 2, 3, 4. Pérez Prado 1948 El Manisero Rumba Composition: Moisés Simons First issue 1928: Rita Montaner Columbia 2965-X Pérez Prado 1950 Mambo #5 Composition: Prado Pérez Prado 1955 Music: Louiguy Lyrics French: Jacques Larue Lyrics English: Mack David Cherry Pink & Apple Blossom White Film Cherry Pink & Apple Blossom White Studio Pérez Prado 1956 Mambo #8 Composition: Prado Pérez Prado 1958 Cuban Rhythms Album Patricia Music: Prado Lyrics: Bob Marcus Pérez Prado 1967 Patricia Composition: Prado/Marcus
Chico O'Farrill Source: All About Jazz	Born Arturo O'Farrill in Havana, Cuba, in 1921 to an Irish father who was a lawyer and a German mother, Chico O'Farrill was to become a notable arranger for such as Machito and Stan Kenton. He began playing trumpet in Havana nightclubs while studying classical music at the Havana Conservatory. About that time he less emphasized trumpet and focused on composition. In 1948 he moved to New York to continue his classical studies at the Julliard School. Visiting jazz clubs by night, O'Farrill's expertise was to become Afro-Cuban jazz or, cubop. He quickly found employment as an arranger with Benny Goodman who named him "Chico". His first recorded arrangements for Goodman are thought to be thirteen tracks grooved on the 2nd and 5th of December 1948. Those first six tracks, on the 2nd, were 'Clarinet A La King', 'Don't Worry 'Bout Me', 'You Turned The Tables On Me', 'Chico's Bop', 'They Didn't Believe Me' and 'Undercurrent Blues'. O'Farrill spent an important half year with Goodman to July 5 of '49, arranging such as 'Fiesta Time' and 'Don't Worry 'Bout Me'. His next session was with who would become one of his more important musical associates, that Machito, arranging 'Mucho Macho' with Machito's Afro/Cuban Salseros in December of '49. O'Farrill worked with Machito on multiple occasions during his career, notably in 1975 with Dizzy Gillespie for 'Afro-Cuban Jazz Moods'. December 21 of 1950 saw him composing, arranging and conducting the 'Afro Cuban Jazz Suite' with Machito's band, Charlie Parker in on that. Though JDP (Jazz Discography Project), Discogs and Lord all comment as to a possible earlier date of late 1948, sources indicating Dec 1950 include Austerlitz/Laukkanen [Ref 1], Hip Wax, J-Disc, Latin Jazz Network and Peter Losin. See also Reid. As to the speculative 1948 date see Mike Tarrani's review at Amazon. January 21 of 1951 witnessed O'Farrill leading his own orchestra for the 'Second Afro Cuban Jazz Suite'. He recorded 'Afro-Cuban' on June 26 for issue in 1953. During the fifties O'Farrill toured with his Afro-Cuban Jazz Orchestra. Titles recorded in Habana, Cuba, in 1953 and Mexico in 1954 would get issued on 'Fiebre Tropical' in 2008. Returning to NYC, other examples of compositions and arrangements by O'Farrill went down w Gillespie on 24 May of 1954 per 'Contraste', 'Jungla' and 'Rumba-Finale' released that year on Gillespie's 'Afro' (Norgran MGN-1003). A similarly corresponding CD was released by Verve in 1992 per Gillespie's 'Manteca'. O'Farrill gigged at the Birdland in NYC before moving to Mexico City in 1957. He there recorded titles in 1958 with saxophonist, Hector Hallal, that would find issue in the new millennium as 'The Rhythmic Spell Of Chico O'Farrill & Hector Hallal'. 1957 witnessed O'Farrill playing trumpet in Habana on titles with the female vocal group, Cuarteto D'Aida. It was Habana again in 1959 for what would see issue in 1991 as 'Tumbao Cubano: Cuban Big Band Sound'. Returning to the Big Apple from Mexico in 1965, O'Farrill began arranging for CBS, Count Basie and Clark Terry ('66). Basie would become the principal figure in O'Farrill's career for the next several years. December 27 of 1965 saw the recording of O'Farrill's arrangements for 'Basie Meets Bond'. Countless titles ensued with Basie to January of 1970 for 'High Voltage'. Among others for whom O'Farrill either arranged or composed during his career were Art Farmer, the New Glenn Miller Orchestra and Gato Barbieri. During the nineties he returned to weekly engagements at the Birdland, also arranging for David Bowie and composing for Wynton Marsalis. Come his release of' Heart of a Legend' on Milestone MCD-9299-2 in 1999 [1, 2] followed in 2000 by his final album, 'Carambola'. O'Farrill was the father of jazz pianist, Arturo O'Farrill [born 1960/ 1, 2, 3, 4, 5, 6], who took over direction of O'Farrill's band upon the latter's retirement in March 2001. O'Farrill died on June 27 that year [obits: 1, 2, 3, 4]. The next year his were among master tapes lost to the Universal Studios fire of 2008 where they were stored. References: 1, 2, 3, 4, 5. Sessions: J-Disc (Count Basie 1967); Lord (leading 27 of 99+). Discos: 1, 2, 3, 4, 5. IMDb. Compositions w transcriptions. Compilations: 'Cuban Blues: The Chico O'Farrill Sessions' 1950-54 by Verve R533 256-2 in 1996. IA. Collections: Smithsonian. Other profiles: 1, 2, 3, 4, 5. Chico O'Farrill 1949 Trees With Benny Goodman Composition: Oscar Rasbach Undercurrent Blues With Benny Goodman Recorded December 1948 Composition: Chico O'Farrill Chico O'Farrill 1950 The Afro-Cuban Jazz Suite Machito & Charlie Parker Composition: Chico O'Farrill Arrangement: Chico O'Farrill Chico O'Farrill 1951 Frizilandia Vocal: Bobby Escoto Composition: Beque [Discogs] Chico O'Farrill 1952 It Ain't Necessarily So Composition: Gershwin Brothers 1935 For the opera 'Porgy and Bess' Chico O'Farrill 1954 La Comparsa Composition: Ernesto Lecuona Siiboney Composition: Ernesto Lecuona Chico O'Farrill 1966 Lady from Nine Flags Album: 'Nine Flags' Recorded Nov 1966 All comps by Chico O'Farrill Spanish Rice Composition: Chico O'Farrill/Clark Terry LP w Clark Terry 'Spanish Rice' Recorded July 1966 Chico O'Farrill 1999 Trumpet Fantasy Piano: Arturo O' Farrill Composition: Chico O'Farrill Arrangement: Chico O'Farrill Album: 'Heart of a Legend' Chico O'Farrill 2000 Carambola Composition: Chico O'Farrill/Dizzy Gillespie
	Tito Puente See Tito Puente.
	Born Cándido de Guerra Camero in Cuba in 1921, conguero Candido Camero was an NEA Jazz Master (alt). Carmen is credited with the employment of multiple congas, first two, with one for steady beat and the other for melody, then three to vary pitch. During his earlier career Carmen spent six years with the CMQ Radio Orchestra, and also played at the Cabaret Tropicana with the Carmen and Rolando dance team. He is thought to have first visited the States in 1946, age 25, with Carmen and Rolando. From 1947 to 1952 he played with the Armando Romeu Orquesta in Cuba. Camero's first recordings are a tough shell to crack. They are believed to have been with Frank Machito Grillo or others, such as mentioned above, in Cuba. Such appears likely, but no discographies of his Cuban sessions are found. He is familiarly said to have first recorded in the States in 1948 with Machito per 'El Rey del Mambo', but we find that in no discography until April 2 of 1949 at the Royal Roost in NYC with no mention of Camero (Lord's). He is also said to have recorded 'Tea For Two' at the Apollo Theatre in Harlem in 1950 with pianist, Joe Loco (José Estévez Jr.). Lord's estimates that in 1950 as well, with vibraphonist, Pete Terrace, but again, no mention of Camero. Lord's doesn't pick him up until January 21 of 1951 in NYC, playing bongos for Chico O'Farrill for 'The Second Afro-Cuban Jazz Suite' issued in 1952. Lord's has him in three more sessions with O'Farrill to November 24 that year: 'Peanut Vendor', 'Ill Wind', etc.. Camero would see O'Farrill again on occasion into the nineties: O'Farrill arranged Dizzy Gillespie's 'Manteca' in 1954, Camero's 'Drum Fever' in 1973, and employed Camero on 'Guaguasi' for his 1999 album, 'Heart of a Legend'. Camero is thought to have permanently moved to the States in 1952 to perform at the Clover Club in Miami for several weeks before heading to NYC again. Lord's next discovers him playing bongos and congas with Charlie Parker for a couple concerts at Carnegie Hall on November 15, 1952. The first has Camero performing on 'Just Friends', 'Easy to Love' and 'Repetition'. The second has Dizzy Gillespie joining for 'A Night in Tunisia' and '52nd Street Theme'. Camero and Parker would see a few more sessions together in the early fifties, but Gillespie would be the more significant figure in his career. Among numerous recordings with Gillespie were 'Manteca' per above on May 24 of 1954, 'Afro' on June 3 of 1954, 'Gillespiana' in November of 1960 and 'Melody Lingers On' on October 21 of 1966. Having been featured by or backing hundreds of musicians, recordings on which Camero appears are countless. During the fifties he put down titles with such as Wynton Kelly, Woody Herman, Dinah Washington, Stan Kenton ('54), Billy Taylor ('The Billy Taylor Trio with Candido' issued '55), Gene Ammons ('56, '69) and Art Blakey ('Oscalypso' '57). IMDb has Candido appearing w Blakey and Skitch Henderson on the 'Steve Allen Plymouth Show' in Oct of '57. In April of 1956 he and tenor saxophonist, Al Cohn, had recorded 'Candido Featuring Al Cohn'. February of 1957 saw the recording of Camero's album, 'The Volcanic Candido'. 'In Indigo' went down in '58, 'Latin Fire' in 1959. Albums recorded in the sixties were 'Conga Soul' ('62), 'Candido's Comparsa' ('63) and 'Thousand Finger Man' ('69). The sixties also witnessed sessions with guitarists, Wes Montgomery and Grant Green, in 1965. The seventies saw Camero's albums, 'Beautiful' ('70), 'Drum Fever' ('73) and 'Dancin' and Prancin' ('79). The seventies also found Camero on multiple occasions with Buddy Rich and Lionel Hampton ('77). Albums issued in the new millennium were 'The Conga Kings' ('00), 'Inolvidable' ('Unforgettable' '04 with Graciela), 'Manos de Fuego' ('Hands of Fire' '08) and 'The Master' ('14). As of this writing Camero is yet active as he approaches his 100th birthday a couple years from now upon a career exceeding seven decades. References: 1, 2, 3. Sessions: J-Disc, Lord (leading 16 of 140 sessions). Discos: 1, 2. Interviews: Hecot Corporan 1999, NAMM 2008, Molly Murphy 2009 (alt). Further reading: Chico Peraza. Other profiles: 1, 2. All recordings from 2010 onward below were filmed live. Candido Camero 1952 Easy to Love Saxophone: Charlie Parker Composition: Cole Porter Repetition Saxophone: Charlie Parker Composition: Neal Hefti Candido Camero 1956 From Ammons' 'The Happy Blues' Saxophone: Gene Ammons The Great Lie Composition: Cab Calloway/Andy Gibson The Happy Blues Composition: Art Farmer From 'Candido featuring Al Cohn' Saxophone: Al Cohn I'll Be Back for More Saxophone: Al Cohn Composition: Edgar Sampson Candido Camero 1957 Everybody Loves Saturday Night Vocal: Marianne Composition: Art Podell Oscalypso Composition: Oscar Pettiford Candido Camero 1969 Ger-Ru Saxophone: Gene Ammons Composition: Gene Ammons Madame Queen Saxophone: Gene Ammons Composition: Gene Ammons Mr. Jones Drums: Elvin Jones Composition: Elvin Jones From Jones' 'Mr. Jones' Candido Camero 1971 Madrid Composition: Camero/Tito Puente Candido Camero 1979 Jingo Composition: Michael Babatunde Olatunji Jingo Breakdown Composition: Michael Babatunde Olatunji Candido Camero 2010 Live at Dizzy's Club Candido Camero 2011 Conga Jam Composition: Camero Candido & Graciela LP: 'Inolvidable' Siboney Vocal: Xiomara Laugart Composition: Ernesto Lecuona Candido Camero 2012 Live at Dizzy's Club Candido Camero 2014 Live w Samuel Torres	Candido Camera Photo: Mosaic Images Source: America Pink
	Born in 1922 in Cuba, master of the rumba quinto (smallest of the three conga drums) Mongo Santamaria learned to play rumbas in the streets of Havana as a child. Santamaria was able to use his popularity as a jazz musician to promote folk rumba on record as well. It's thought he began his career playing bongos with the Septeto Beloña in 1937. During the forties he worked at the Tropicana nightclub. In the latter forties Santamaria spent a short time in Mexico before returning to Havana, then heading to NYC to join Gilberto Valdés for a brief time in 1950. 'Afro-Cuban Jazz' by Scott Yanow puts him with Tito Puente on congas in 1951. He made unissued recordings that year with Puente available on later compilations of Puente on CD, those tunes undetermined. His first issues are thought to have been from a September 19 session in 1951 with the Pérez Prado Orchestra supporting Johnny Hartman on 'Wild' and 'Safari'. He is thought to have appeared with Puente in 1952 on 'The Willie & Ray Mambo' and 'Tinguaro' among others. Santamaria would find occasions to record with Puente to as late as 1992 with the latter's Latin Jazz All Stars for the 1994 issue of 'In Session'. Santamaria also released his first album in 1952: a 10" titled 'Afro-Cuban Drums (Voodoo Rituals)' for SMC (Pro-Arte 535), recorded in Cuba during Carnival. ¡Vamos a Guarachar! has vocals added by Merceditas Valdés to make the 12" 'Tambores Afro-Cuban Drums' for SMC (Pro-Arte 592) which session Discogs dates as March 11, 1952. Wikipedia wants 'Chango', a suite of folk rumbas, recorded in 1954, reissued in 1977 as 'Drums and Chants'. Other albums addressing folkloric rumba were 'Yambú' (1958), 'Mongo' (1959) and 'Bembé' (1960). Santamaria had also backed Lenny Hambro's 'Mambo Hambro' on April 13 of 1954, as well as Dizzy Gillespie's 'Manteca' on May 24. December 19 of 1956 found Santamaria backing Chris Connor for titles issued in 1958 on 'A Jazz Date with Chris Connor'. Come Tito Puente in 1957 for 'The Weekend of a Private Secretary', backing Charlene Bartley, and 'Night Beat'. He also joined the Bethlehem Orchestra in '57 to support Sallie Blair on her album, 'Squeeze Me'. Santamaria's next session was with one of the more significant figures in his career, vibraphonist, Cal Tjader, that on November 20 of 1957 for 'Perdido', 'Mongorama' and 'Perfidia Cha Cha'. Beginning with 'Latin Concert' at the Blackhawk in San Francisco in September of '58 Santamaria would surface on above ten of Tjader's LPs to 'Live and Direct' at the Blackhawk in 1961. They would reunite at the Monterey Jazz Festival in 1974 for 'Manteca' and 'Afro Blue', the former for Toshiyuki Miyama. Santamaria recorded into the latter nineties, among numerous others with whom he'd left titles being Noro Morales, Victor Feldman and Steve Turre. Santamaria died on February 1 of 2003 in Miami [obits: 1, 2]. References: 1, 2, 3, 4. Discos: 1, 2, 3, 4, 5, Lord (leading 68 of 119 sessions). IMDb. Transcriptions: 'Sabroso'. IA. Other profiles: 1, 2, 3. Mongo Santamaria 1952 Abacua Composition: Julio Collazo LP: 'Afro-Cuban Drums' SMC-592 Recorded: 11 March 1952 Mongo Santamaria 1959 Afro Blue Composition: Santamaria Manila Composition: Santamaria Mongo Santamaria 1960 Our Man in Havana Note: The above is a 1993 compilation per Fantasy FCD-24729-2 of two albums recorded in Cuba in 1960. Composing credits at All Music. Sabroso! LP Mongo Santamaria 1961 Arriba-La Pachanga LP Mongo Santamaria 1962 Watermelon Man Battle 909 Composition: Herbie Hancock Mongo Santamaria 1963 Battle 917 Recorded Feb 1963 NYC Get the Money Composition: Marty Sheller Yeh Yeh Composition: Pat Patrick/Rodgers Grant From 'Mongo at The Village Gate' See also 1, 2 The Morning After Composition: Rodgers Grant My Sound Live solo Composition: Santamaria Mongo Santamaria 1965 From 'El Pussycat' El Pussycat Composition: Bobby Capersa Together Composition: Hubert Laws Mongo Santamaria 1967 Afro Blue Live Composition: Santamaria Mongo Santamaria 1968 Cold Sweat Composition: Alfred Ellis/James Brown Album: 'Soul Bag' Mongo Santamaria 1978 Drum Kuyi Composition: Silvestre Mendez Mongo Santamaria 1984 Afro Blue Television performance Composition: Santamaria Mongo Santamaria 1996 Sofrito Composition: Santamaria Album: 'Brazilian Sunset' Live	Mongo Santamaria Source: American Sabor
	Ibrahim Ferrer was born at a dance in 1927 in San Luis, Cuba [Wikipedia], ten or so miles north of Santiago. He wasn't an hour old when he got up and stole the only seat left from his grandmother during a round of musical chairs. The less amusing death of his mother when he was twelve saw him busking the streets and selling fruit. He began singing professionally at private functions the next year in a duet with his cousin. Also launching in the forties was the original Buena Vista Social Club [1, 2], a venue for members where dances were held and a pianist in need of a keyboard could find one. That club became a group of musicians in the latter nineties (as follows below) which has continued over the last score of years toward its current operation. Ferrer sang with various groups for a decade or so before hooking up with Pacho Alonso's Modernistas in 1953. It was 1956 when he saw issue singing vocals on 'El Platanal de Bartolo' ('Bartolo’s Banana Field') w 'Bodas de Oro' flip side. That was with the Orquesta Chepín Chóven [see 1, 2, 3, 4, 5]. Alonso's group moved with Ferrer to Havana in 1959, starting to call themselves Los Bucocos [1, 2]. (The bucoco is a type of carnival drum.) Ferrer was there employed by Beny More as a backup singer, but '59 was also the year of the Revolution that put Castro in office, thus the year that Havana's jumping nightlife came to a halt. Ferrer made numerous recordings in 1960 with pianist, Luis Castell, which can be found on the first ten tracks of the 1999 issue of 'Mi Oriente'. He toured Europe with the Bucocos in 1962. Being the year of the Cuban Missile Crisis that October, the band had trouble getting back to Cuba, after which the musical life largely evaporated. Ferrer continued with the Bucocos but spent the next few decades selling lottery tickets and shining shoes to sustain. In 1973 he and the Bucocos were featured on an album by various artists titled 'Selección Cubana'. Nine years later ('82) the album, 'Salsón', was released with the Bucocos. Ferrer's was the story of one of those musicians who had been around for decades until recognition beyond insiders came along. Such occurred for Ferrer in 1996 when British record producer, Nick Gold, of World Circuit Records, sent guitarist, Ry Cooder, to Habana to direct a recording project that resulted in three albums recorded in March and April for release in 1997: 'A Toda Cuba Le Gusta', 'Buena Vista Social Club' and 'Introducing ... Rubén González'. The last featured the piano of Gonzalez backed by his band, neither Cooder nor Ferrer performing. Ferrer's appearance on 'A Toda Cuba le Gusta' w the Afro-Cuban All Stars was recorded at the same March sessions as 'Buena Vista Social Club' [1, 2] with Cooder contributing to tracks on both. Ferrer appeared on only one track of the former ('Maria Caracoles') and four on the latter, but such as 'De Camino a la Vereda', written and sung by Ferrer, and Isolina Carrillo's 'Dos Gardenias' sung by Ferrer were sufficient to stir the pot for both Cuban son and Ferrer. Both albums were nominated for a 1998 Grammy, 'Buena Vista Social Club' receiving the vote. 'Introducing...Rubén González' received no nomination but it's a beautiful set essential to collections. Ferrer's sudden popularity arriving at the age of seventy (b '27) stimulated a recording career beginning at Carnegie Hall w the Buena Vista Social Club on 1 July of 1998, those titles not issued, however, until 2008 (posthumously). 1998 also saw the issue of the Ferrer-Los Bucocos 1970-88 compilation, 'Tierra Caliente' on Egrem MAGEGCD308 (reissue 2000). But it was the 1999 release of 'Buena Vista Social Club Presents: Ibrahim Ferrer', which permitted Ferrer to stop shining shoes, that album rising to #4 in Billboard's Tropical category, #10 in Latin, then #9 in 2000. Also assisting was the 1999 release of the documentary directed by Wim Wender, 'The Buena Vista Social Club'. Ferrer was 72 when he won the Latin Grammy for Best New Artist in 2000. Come 'Buenos Hermanos' in 2003 [1, 2, 3]. His last studio LP was his collection of boleros on 'Mi Sueño' [1, 2], issued posthumously in 2006 after his death on 6 August of 2005 in Havana [obits: 1, 2, 3, 4]. Though not a major musician in the United States as like those who had unleashed salsa starting in the sixties, the freeze in Cuba upon Castro assuming power in 1959 wasn't of great assistance. Forty-five years later travel restrictions prevented Ferrer from obtaining a visa to enter the States to personally accept a Grammy for 'Best Traditional Music'. That he was ready to go in his seventh decade was remarkable in itself. References: 1, 2, 3, 4, 5, 6. Discos: 1, 2, 3, 4. IMDb. Compilations: 'Mi Oriente' 1956/1960-61 by Tumbao Cuban Classics ‎TCD 704 per 1999. Further reading: Angel Romero. Other profiles: 1, 2. Ibrahim Ferrer 1956 Bodas de Oro Chepin y su Orquesta Oriental Composition: Electo Rosell El Platanal de Bartolo Chepin y su Orquesta Oriental Composition: Electo Rosell Ibrahim Ferrer 1998 Dos Gardenias Filmed live Composition: Isolina Carrillo 1945 Ibrahim Ferrer 1999 Buena Vista Social Club Presents Album Silencio With Omara Portuondo Composition: Rafael Hernández 1932 Bolero Ibrahim Ferrer 2001 Candela Filmed live Composition: Faustino Oramas Ibrahim Ferrer 2003 Buenos Hermanos Album Ibrahim Ferrer 2004 Candela Filmed live in Amsterdam Composition: Faustino Oramas Ibrahim Ferrer 2005 Filmed live at Festival de Montreux: Candela Composition: Faustino Oramas Quiéreme Mucho Music: Gonzalo Roig c 1916 Lyrics: Augustin Rodriguezs First recorded 1922 by Tito Schipa	Ibrahim Ferrer Source: Numerocero
	Born José Luis Feliciano Vega in Ponce, Puerto Rico, in 1935, popular salsa [1, 2] and bolero crooner, Cheo Feliciano, attended the Escuela Libre de Música Juan Morel Campos in Ponce, where he studied percussion upon graduation from primary school. In 1952 he moved to Spanish Harlem in NYC where his debut employment as a musician was with the Ciro Rimac's Review band, playing percussion. He soon moved onward to Tito Rodriguez, then played conga with Luiz Cruz. In 1955 he joined the Joe Cuba Sextet with which he remained the next decade. His debut recording was 'Perfidia', with Joe Cuba, in October 1957, the same year he married Puerto Rican dancer, Coco (Socorro Prieto León). The next several years saw him singing on nine albums [Wikipedia] w the Joe Cuba Sextet, beginning w 'Cha-Cha-Cha's to Soothe the Savage Beast' which AuioKat has released in 1958. In 1967 Feliciano joined the Eddie Palmieri Orchestra for a couple years. The first recordings of Feliciano's solo career arrived in 1972 on the album, 'Cheo'. Jazz Times has Feliciano hooking up with the Fania All-Stars [1, 2, 3, 4] in 1972, a band representing Fania Records [1, 2] founded in 1964 in New York City by Jerry Masucci. The Fania All-Stars would be a major element in Feliciano's career for the next four decades. Feliciano contributed vocals to both volumes of 'Live at the Cheetah' issued by Fania in 1972 (: 'Anacaona' on Vol 1). He sang 'Inolvidable' on the Fania All-Stars release of 'Tribute to Tito Rodriguez' in 1976. Come 'La Borinquena' on 'Commitment' in 1980. Feliciano founded Coche Records in 1982. During the nineties he toured internationally, which he continued to the year of his death. His final performance w the Fania All-Stars arrived in October of 2013 in San Juan, Puerto Rico, that celebrating 40 years since the group first performed in Juan. Not old age, but accident, killed Feliciano in April of 2014, colliding into a lamppost on the highway in San Juan, Puerto Rico [obits: 1, 2, 3, 4, 5, 6]. Having issued above 30 albums, Feliciano shared one with Ruben Blades in 2012 titled 'Eba Say Ajá'. References: 1, 2, 3. Discos 1, 2, 3, 4, 5. IMDb. Compilations: 'Mr. Sentimental' by GussiDJ (podcast 2018). Further reading: Primera Hora: 1, 2. Other profiles . Cheo Feliciano 1958* Cha-Cha-Cha's to Soothe the Savage Beast Joe Cuba LP Note: Record above is an unidentified reissue approximating the original album at AudioKat above. Cheo Feliciano 1962 With Joe Cuba: Cachondea Composition: Cheo Feliciano A las Seis Composition: Jimmy Sabater Salsa y Bembe Composition: Jimmy Sabater Cheo Feliciano 1971 Anacaona Composition: Tite Curet Alonso Cheo Feliciano 1974 El Raton ('The Mouse') Composition: Cheo Feliciano Cheo Feliciano 1981 Ritmo Alegre With Eddie Palmieri Composition: Bobby Collazo/D.R. Cheo Feliciano 1984 La Belleza de Mi Negra Musica Live Composition: Cesar A. Reyes Gracias Live Composition: Jose Nogueras/Cheo Feliciano Cheo Feliciano 1993 Experto en Ti Composition: Pedro Arroyo Cheo Feliciano 2002 Otro Bolero Composition: Amaury Gutiérrez Album: 'En La Intimidad' Cheo Feliciano 2012 Anacaona Filmed live Composition: Tite Curet Alonso Manuela Composition: Ruben Blades Album: 'Eba Say Ajá' Album review	Cheo Feliciano Source: Peter Jackknife
	Born in 1930 in Havana, Cuba, colorful Omara Portuondo was daughter to a professional baseball player. At age twenty she signed up to dance at the famous Cabaret Tropicana where her elder sister, Haydee, had preceded her. Her early years were spent dancing and singing both solo and with her sister at various clubs and theatres. In 1950 Portuondo formed the Cuarteto D'Aida [1, 2, 3] with her sister, Elena Burke and Moraima Secada to release 'An Evening at the Sans Souci' for RCA Victor in 1957. Director was pianist, Aida Diestro. The group had toured to great popularity in the States and had attracted Nat King Cole to the Tropicana [1, 2]. Those were yet golden years in Havana and the exchange with musicians in NYC was having major effect in jazz in the States. That would change with Castro's boot to Batista in 1959, the year Portuando issued her solo LP, 'Magia Negra'. Haydee left the quartet in 1961, heading to the States. Omara stayed with the group until 1967 when she traveled to Poland, venturing upon a solo career. She then embarked upon a life of touring while releasing a good number of albums, as well as appearing in film and on television. Her latter career was notable in working w the Buena Vista Social Club (BVSC) formed upon the issue of the famous LP, 'Buena Vista Social Club' [1, 2] in 1997 along w Ibrahim Ferrer and US guitarist, Ry Cooder, who directed the project. Among recordings by Portuondo with the Buena Vista Social Club is 'Lost and Found' gone down in March of 1996 but not issued until 2015 [1, 2]. In 2004 Portuondo became International Ambassador for the International Red Cross. She and the BVSC performed for President Obama at the White House in latter 2015 on the BVSC 'Adios' tour. Portuondo's most recent album of 38 listed at Wikipedia, 'Omara Siempre', was issued in 2018. Come her international 'Last Kiss' tour of 2019 at age 88 w first stop in Los Angeles [1, 2, 3]. Portuondo yet actively performs in clubs in Havana where she resides. References: 1, 2, 3, 4, 5. Discos: 1, 2, 3, 4, 5. IMDb. IA. Documentaries: 'Buena Vista Social Club: Adios' directed by Lucy Walker 2017: 1, 2, 3. Interviews: Harvard Crimson 2010; LA Daily News 2019; Shepard Exress 2019. Website. Facebook. Further reading: Maggy Donaldson; Ivan Garcia; Geoffrey Himes; Angel Romero. See also Buena Vista Social Club: 1, 2, 3. Cuarteto D'Aida 1957 From 'An Evening at the Sans Souci' Chico O'Farrill & His Orchestra Cachita Composition: Rafael Hernández Rumba Cuanto Me Alegro Composition: Armando Orefiche Guaracha Las Mulatas del Cha Cha Chá Composition: Evelio Landa Cha cha cha Nocturno Antillano Composition: Julio Gutierrez Cancion No Se Que Voy Hacer Composition: Osvaldo Farrés Bolero Profecía Composition: Adolfo Guzmán Beguine bolero Tabaco Verde Composition: Eliseo Grenet Bolero Totiri Mundachi Composition: Pepe Delgado Cha cha cha Ya No Me Quieres Composition: María Mendez Grever Bolero cancion Omara Portuondo 1959 From 'Magia Negra' Besame Mucho Composition: Consuelo Velázquez 1940 Oguere Composition: Gilberto Valdés Omara Portuondo 1999 Veinte Años Heineken Concert Filmed live with Compay Segundo Composition: María Teresa Vera Omara Portuondo 2008 Live in Montreal Filmed concert Omara Portuondo 2012 Live in Belgrade Filmed concert Omara Portuondo 2015 Candela Filmed live Composition: Faustino Oramas	Omara Portuondo Source: 섬 머리안
	Ray Barretto See Ray Barretto.
	Jose Feliciano See Jose Feliciano.
	Eddie Gomez See Eddie Gomez.
	We suspend this history of Latin recording in the Caribbean with Omara Portuaondo.