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Latin Recording 1

A YouTube History of Music

The Caribbean

Group & Last Name Index to Full History:


Tracks are listed in chronological order by year, then alphabetically.

Listings do not reflect proper order by month or day: later oft precedes earlier.

Not on this page? See history tree below.



Amalia Aguilar    Desi Arnaz

Ray Barretto    Mario Bauzá
Candido Camero    Jack Costanzo    Xavier Cugat    José Curbelo
Eusebio Delfín
Cheo Feliciano    Jose Feliciano    Ibrahim Ferrer
Eddie Gómez
Cachao López
Machito    Sabu Martinez    Rita Montaner    Beny Moré
Chico O'Farrill
Johnny Pacheco    Charlie Palmieri    Ignacio Piñeiro    Omara Portuondo    Chano Pozo    Pérez Prado    Tito Puente
Francisco Repilado    Arsenio Rodríguez    Tito Rodríguez    Edmundo Ros
Mongo Santamaria    Compay Segundo    Ninón Sevilla
Bebo Valdés    Miguelito Valdés    Carlos Patato Valdés    María Teresa Vera



Featured on this page loosely in order of first recording if not record release (as possible).

Names are alphabetical, not chronological, per year:



María Teresa Vera

1921 Eusebio Delfín
1923 Rita Montaner
1925 Mario Bauzá    Xavier Cugat
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 Beny Moré
1946 Amalia Aguilar    Mario Escudero    Bruno Martino    Ninón Sevilla
1947 Jack Costanzo    Charlie Palmieri    Chano Pozo
1948 Sabu Martinez    Pérez Prado
1949 Chico O'Farrill    Tito Puente
1950 Candido Camero
1951 Mongo Santamaria
1955 Ibrahim Ferrer
1957 Cheo Feliciano    Omara Portuondo
1958 Ray Barretto    Johnny Pacheco
1964 Jose Feliciano
1965 Eddie Gómez


  This page addresses Latin recording in the Caribbean as an appendix to modern Latin jazz. Latin tempos so distinctive in modern jazz are of a long heritage all to themselves important in the history of music. This page connects jazz in the United States to Afro-Cuban Caribbean rhythms 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. Also to note is Modern Jazz Percussion including Afro-Cuban musicians of Latin heritage 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, 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 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.) She 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. Vera died in Havana in December of 1965. The major portion of Vera's 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 her recordings in 1926 with the Sexteto Occidente.

María Teresa Vera   1920?

   El Yambú Guaguancó

      With Manuel Corona

María Teresa Vera   1921

   Veinte Años

      With Rafael Zequeira

María Teresa Vera   1926


      With the Sexteto Occidente

María Teresa Vera   1956?

   Sobre una Tumba una Rumba


Birth of Modern Jazz: Maria Teresa Vera

Maria Teresa Vera

Source: Artemiseno

Birth of Modern Jazz: Eusebio Delfin

Eusebio Delfin

Source: DAHR

Born in 1893 in Palmira, Cuba, guitarist and singer Eusebio Delfín was a trova 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 occurred in 1921. He also sang duets with Rita Montaner. Delfin wasn't to rise 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. He nevertheless lends aspect to early Latin recording. Delfin died in 1965 in Havana.

Eusebio Delfin   1927

   Abrazos de Fuego


   Aquella Boca


Eusebio Delfin   1928

   El Azul Encantador

      Duet with Luisa Maria Morales


  Born Rita Aurelia Fulcida Montaner y Facenda in 1900  in Guanabacoa, Cuba, spicy 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 wasn't a jazz vocalist, but as 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. 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' (none found). 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 during that era were RCA Victor, Columbia and Decca.) About that time 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 until she headed for Broadway in 1931 to work with Al Jolson on the musical, 'Wonder Bar'. During those years she regularly 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 working in 1958 in Habana, several years into Castro's Cuban Revolution.

Rita Montaner   1928

   El Manisero (The Peanut Vendor)

      Recorded November 1927


   Lamento Esclavo


   Quiero Besarte

Rita Montaner   1948



Rita Montaner   1951




Birth of Modern Jazz: Rita Montaner

Rita Montaner

Source: El Mirador Nocturno


Birth of Modern Jazz: Mario Bauza

Mario Bauzá

Source: About Entertainment


Born in Cuba in 1911, alto saxophonist and trumpeter Mario Bauzá began performing professionally at perhaps age nine, playing clarinet for three years in the Havana Philharmonic Orchestra. He was fourteen when he went to New York City to play clarinet in the charanga (Cuban dance) band of Antonio María Romeu. Bauzá also first recorded in 1925 with Romeu. (Of the ten recordings Romeu made for Victor that year, none are found.) He then returned to Cuba, later moving 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 support Gillespie and Machito 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 Machito since late 1949. Albums issued by Bauza were 'La Botánica' ('77 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 weeks later on July 11, 1993.

Mario Bauzá   1934


      With Chick Webb

   That Rhythm Man

      With Chick Webb

Mario Bauzá   1953

   Mambo Inn

Mario Bauzá   1975


      With Dizzy Gillespie & Machito

Mario Bauzá   1987

   Mambo Inn

Mario Bauzá   1992


      Concert filmed live

Mario Bauzá   1993

   Jack the Knife

   Mambo Rincon

Mario Bauzá   1999


      Filmed live in Japan


  Xavier Cugat   See Xavier Cugat.


Birth of Modern Jazz: Ignacio Pineiro

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 1927 Piñeiro put together the band by which he would become known, the Septeto Nacional. Piñeiro is credited with the first mention of "salsa" on a recording, 'Echale Salsita' in 1933. It's thought that Piñeiro's use of "salsita" translated to "danceable". It's said that Piñeiro 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 1935, said for insufficient profit. (Leadership passed to trumpeter, Lázaro Herrera, until the band dissolved in 1937.) Piñeiro later became leader of the rumba group, Los Roncos. He died in March of 1969.

Ignacio Piñeiro   1927

   Mamá, !Se quema la Maya!

   Mentira Salomé

Ignacio Piñeiro   1929

   A la Loma de Belen

Ignacio Piñeiro   1933

   Echale Salsita


Birth of Modern Jazz: Compay Segundo

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. '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 in July 2003.

Compay Segundo   1957

   Son Oriental


Compay Segundo   1997

   Chan Chan

      Album: 'Buena Vista Social Club'

Compay Segundo   1998

   Live at Olympia Paris


Compay Segundo   1999

   Cien Años de Son


Compay Segundo   2003

   Las Flores de la Vida




Birth of Modern Jazz: Miguelito Valdez

Miguelito Valdés

Source: Worldwide Cuban Music

Born in 1912 in Havana, Latin crooner, Miguelito Valdés (aka Mr. Babalú), was more a charanga musician than a jazz vocalist. Valdés was 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'. Valdés emigrated to New York City in 1940, where he played with a number of leading Latin bands before his recording debut as a band leader in 1949. Also a composer, Valdés died in 1978 while on tour to Bogotá, Colombia.

Miguelito Valdés   1937

   Bruca Manigua

      With the Orquesta Casino de la Playa

Miguelito Valdés   1939

   Se va el caramelero

      With the Orquesta Casino de la Playa

Miguelito Valdés   1942

   Chiu, Chiu

      With Lina Romay

Miguelito Valdés   1948


Miguelito Valdés   1950

   Rumba Rumbero

Miguelito Valdés   1951


      Álbum: Mr.Babalú

   Arroz con Manteca

Miguelito Valdés   1953

   Te han mentido



Birth of Modern Jazz: Jose Curbelo

José Curbelo

Source: America Pink

Born in 1917 in Havana, pianist José Curbelo 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. 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 in September 2012.

José Curbelo   1946

   Botamos la Pelota

      Album: 'Live at the China Doll'

   El Rey del Mambo

      Album: 'Live at the China Doll'

   El Jibarito

      Vocal: Tito Rodríguez


      Vocal: Tito Rodríguez


      Vocal: Tito Rodríguez

   Rumba Bomba

      Vocal: Tito Rodríguez

   La Ruñidera

      Vocal: Tito Rodríguez

José Curbelo   1951

   Midnight Mambo


José Curbelo   1952

   Sun Sun Babae

José Curbelo   1954

   Guaguanco en New York

      Vocal: Tony Molina

   La La La

      Vocal: Tony Molina

José Curbelo   1955

   Equé tumbao

      Álbum: 'Wine, women and Cha Cha'

   Sun Sun Babae

      Álbum: 'Wine, women and Cha Cha'

José Curbelo   1958

   The Hissing Cha Cha

José Curbelo   2012

   Live at Xichú Festival

      Filmed live



Birth of Modern Jazz: 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 with a fondness for 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. He had recorded the album, 'Machito!!!', with his Salsa Big Band as recently as July 16, 1983, in Holland. 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

Machito   1941

   Bim Bam Bum

Machito   1943

   Noche De Ronda

      Vocalist: Graciela

Machito   1948

   Asia Minor

   Cubop City

   El Sapon

   Tumba El Quinto

Machito   1949

   Tea For Two

Machito   1957


    Album: 'Kenya' 

Machito   1958

   Cha Cha Loco

Machito   1968

   Hold On, I'm Comin'

    Album: 'Machito Goes Memphis' 



Born in Trinidad in 1910, bandleader Edmundo Ros, master of the cha-cha-cha and samba, was relocated 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. 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 22 for HMV, titles like 'Don't Try Your Jive on Me' and 'Ain't Misbehavin''. In 1940 Ross formed his first rumba band in London, recording a tune called 'Los Hijos de Buda' the next year among other tracks for Parlophone. 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. In 1949 his 'Wedding Samba' sold three million 78s. The fifties saw the addition of a casino in London and radio appearances on BBC. During the sixties he collaborated with Ted Heath, releasing 'Heath versus Ros' in 1964. He permanently dismantled his orchestra in 1975. His final concert was in 1994 at Queen Elizabeth Hall. Having retired to Xàbia, Spain, he there died in October of 2011, nigh 101 years old. There are a few cha chas below with a couple of sambas. Per 1941 below, it's not impossible that 'Los Hijos De Buda' could be a later recording.

Edmundo Ros   1941

   Los Hijos De Buda

Edmundo Ros   1945

   Chico Chico

Edmundo Ros   1949

   Wedding Samba

Edmundo Ros   1950

   Take Her to Jamaica

Edmundo Ros   1954

   Moulin Rouge

Edmundo Ros   1958

   I Talk to the Trees

Edmundo Ros   1959

   I've Grown Accustomed To Her Face

Edmundo Ros   1963

   Samba de la Boda

Edmundo Ros   1964

   The Peanut Vendor

Edmundo Ros   1965

   The Girl From Ipanema

Edmundo Ros   1966

   A Banda


Edmundo Ros   1967

   Light My Fire

      Doors cover 



Birth of Modern Jazz: Edmundo Ros

Edmundo Ros

Source: The Telegraph


Rumba master, Desi Arnaz (Sr.), was most famous as Lucille Ball's husband on the television comedy, 'I Love Lucy'. Born in 1917, he 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 right 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 Americanized, working Broadway and in films. He and Ball (not the idiot she personified on her show) founded Desilu Productions 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. Remaining active in television into the seventies, he eventually entered into semi-retirement in California to breed and race thoroughbreds. 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. Though not a major Latin musician, Arnaz brought such to the attention of a much wider audience than only records could. Among others with whom he had recorded were Tex Beneke and Peggy Lee. 1956 below is an instance of how diversified Arnaz became upon being in America for several years.

Desi Arnaz   1946


   Cuban Pete


Desi Arnaz   1956

   Forever Darling


Birth of Modern Jazz: Desi Arnaz

Desi Arnaz

Source: Bio


Birth of Modern Jazz: Arsenio Rodriguez

Arsenio Rodríguez

Source: La Salsa Vive NY

Born in 1911 in Cuba, bandleader and composer, Arsenio Rodríguez, played the tres (Cuban guitar) and tumbadora (Cuban conga). Rodríguez wasn't a jazz musician, but a popular developer of son montuno, a subgenre of son Cubano (Cuban music), itself having arisen of mixing Spanish guitar with Afro-Cuban percussion and rhythms. Rodríguez had been blinded as a child 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'. On the earliest recording found at YouTube for Rodríguez he plays tres, backing vocalist René Scull. Rodríguez left Cuba for New York in 1953. He issued his last album, 'Arsenio Dice', in 1968. In 1970 he flew to Los Angeles to begin another phase in his career, but died one week later, his corpse returned to New York for burial.

Arsenio Rodríguez   1939

   Se va el caramelero

Arsenio Rodríguez   1940

   La Yuca

Arsenio Rodríguez   1941

   No hace na' la mujer

Arsenio Rodríguez   1943


Arsenio Rodríguez   1946

   El Reloj de Pastora

Arsenio Rodríguez   1948

   Fuego en el 23

Arsenio Rodríguez   1953

   Ahora Carpetillo

   Como Se Goza en el Barrio

   Esclavo Triste

   La Gente del Bronx

   Meta y Guaguanco


   Oye Mi Cantar

   Pa Que Gocen

Arsenio Rodríguez   1955


Arsenio Rodríguez   1957

   El Cumbanchero

Arsenio Rodríguez   1963

   Lo Que Dice Justi

   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 rather than jazz musician. (Charanga: smaller ensemble usually playing traditional Cuban dance music.) Be as may, if Lopez didn't jazz then no one did. Like other important Latin musicians, there is little documentation concerning him. (Some few are yet missing from these histories for that reason.) 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 Macho (Orestes López), 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 composed the first mambo, a danzón titled 'Mambo', with his brother in 1938, apparently not recorded. He is said to have recorded the first mambo, 'Rarezas', in 1940 (unfound). An album titled, 'Danzon Mambo 1944-1951', compiles Cachau's recordings with Arcaño during those years. Notable in the fifties was his 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. Notable in the nineties were his 'Master Sessions' albums of 1994 and '95, both produced by actor, Andy Garcia. Garcia also produced a couple documentaries concerning Cachao: 'With A Rhythm Like No Other' (1993) and 'Uno Más' (2008). López died in 2008 in Coral Gables, Florida, of complications due to kidney failure.

Cachao López   1945

   Caballeros Coman Vianda

      Orquesta Arcaño y Su Maravillas

Cachao López   1947

   Centro La Libertad

      Orquesta Arcaño y Su Maravillas

   Nace Una Estrella

      Orquesta Arcaño y Su Maravillas

Cachao López   1957

   Como Mi Ritmo No Hay Dos

   Trombon Criollo

Cachao López   1994

   A Gozar con Mi Combo


Cachao López   2004

   Guajira Clásica

Cachao López   2006

   Live at the Berklee Performance Center

Cachao López   2011

   Moises Salsa Salsa

      Album: 'The Last Mambo'


Birth of Modern Jazz: Cachao Lopez

Cachao Lopez

Photo: Getty/AFP

Source: The Telegraph

  Born Pablo Rodríguez Lozada in Santurce, Puerto Rico, in 1923, popular 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.

Tito Rodriguez   1942

   Bim Bam Bum

      Vocal: Noro Morales

Tito Rodriguez   1949

   Mambo Mona

Tito Rodriguez   1963

   El Inolvidable (The Unforgettable)

      Album: 'Live at Birdland'

   You're Driving Me Crazy

      Album: 'Live at Birdland'

Tito Rodriguez   1967

   En La Oscuridad


Tito Rodriguez   1968



Birth of Modern Jazz: Tito Rodriguez

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. 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, in 2013.

Bebo Valdés   1951


      Mambo   Conjunto Casino

Bebo Valdés   1952

   Con Poco Coco

      Live in Habana

Bebo Valdés   1958

   Caramba Mi Negra


Bebo Valdés   1959

   Dejenme en Paz

   El Gavilán

Bebo Valdés   1995

   Pa' Gozar

      Album: 'Bebo Rides Again'

Bebo Valdés   2002

   Lagrimas Negras

Bebo Valdés   2004

   Hubo un Lugar/Cuba Linda

      Bass: Javier Colina

      Cajon: Israel Porrina Pirana

      Guitar: El Nino Josele

     Vocal: Diego El Cigala


      Bass: Javier Colina

      Cajon: Israel Porrina Pirana

      Guitar: El Nino Josele

      Vocal: Diego El Cigala


     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

   Veinte Anos

      Bass: Javier Colina

      Cajon: Israel Porrina Pirana

      Guitar: El Nino Josele

      Vocal: Diego El Cigala

Bebo Valdés   2005


Bebo Valdés   2007

   Bebo's Blues

     Live at Village Vanguard

Bebo Valdés   2008

   Tres Palabras

      With Chucho Valdes

Bebo Valdés   2010

   La Bella Cubana


Birth of Modern Jazz: Bebo Valdes

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'.) It isn't certain just how that jives with one of the dates given for his permanent move to the States, being October 1954. Howsoever, his first recordings with an American jazz musician were 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. During the sixties Patato anchored with Herbie Mann for more than a decade. He later toured Europe with Dizzy Gillespie and Quincy Jones. Notable in the seventies were his recordings with Cachao López. During the nineties he 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. His album, 'El Hombre', followed in 2004. Patato passed away of respiratory failure in Cleveland, Ohio, in December 2007.

Patato Valdes   1944

   Rumba En El Patio

      Orquesta Kubavana de Alberto Ruiz

   Rumba Moderna

      Date uncertain

      Orquesta Kubavana de Alberto Ruiz

   Sonaremos El Tambor

      Date uncertain

      Orquesta Kubavana de Alberto Ruiz

Patato Valdes   1951?

   La Toalla

      Date uncertain

      With the Conjunto Casino

Patato Valdes   1957


      Album   Trumpet: Kenny Dorham

Patato Valdes   1961

   Cookoo & Fungi

      Drums: Art Taylor

Patato Valdes   1965

   Live at the Newport Jazz Festival

      Flute: Herbie Mann

Patato Valdes   1974


      With José Mangual

Patato Valdes   1976

   Canto a Chango

   Como Suena Mi Son

   La Ambulancia

Patato Valdes   1984

   Nica's Dream

Patato Valdes   1994



Birth of Modern Jazz: Patao Valdes

Patato Valdes

Source: All About Jazz

Birth of Modern Jazz: Benny More

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. In 1942 he got together with Conjunto Matamoros, with whom he traveled to Mexico in 1945 to work in cabarets. Moré first recorded with Matamoros in 1945. He also recorded with Arturo Nunez, Rafael de Paz, Chucho Rodriguez and Perez Prado in the latter forties. (A few of such may exist at YouTube, but want of information makes such indistinguishable from possible later recordings. Latin music in general was not well documented at the time. He recorded 'Bonito y Sabroso' and 'Dolor Karabalí' ('Dolor Caravali') only once, but dates can only be estimated.) Moré also recorded with Mariano Mercerón and began acting in films in Mexico, prior to his 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. If he ever visited the United States (debated) it was to perform at Oscar ceremonies. He didn't like flying so kept touring to a minimum. An alcoholic, Moré died of cirrhosis of the liver in 1963, only 43 years years of age. It is estimated that 100,000 people attended his funeral.

Beny Moré   1945

   Buenos Hermanos

      Recording year probable

      With Conjunto Matamoros

Beny Moré   1947


Beny Moré   1949

   Bonito y Sabroso

      Recording year estimated

   Dolor Karabalí

      Recording year estimated

      With Perez Prado

   Mata Siguaraya

   La Vida Es Un Sueño

      With Pedro Vargas

Beny Moré   1950

   La Cocaleca

Beny Moré   1957

   Rezo en la Noche (Prayer at Night)


  Born in 1924 in Matanzas, Cuba, rumbera, Amalia Aguilar (aka the Atomic Bomb), made no recordings that we can determine beyond her films for which no soundtracks are found either. Largely a dancer, 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.

Amalia Aguilar   1946

   ¿Donde va María?

      Film: 'Pervertida'

      With Kiko Mendive

Amalia Aguilar   1947

   Afro Mood

      Soundie short film

Amalia Aguilar   1948

   ¡Ay, que bonitas piernas!

      'Oh How Beautiful Legs!

Amalia Aguilar   1950

   ¿Al son del mambo?

      'Who Invented the Mambo?'

      Film: 'Al son del mambo'

      With Perez Prado & Yeyo


      Film: 'Al son del mambo'

Amalia Aguilar   1953

   Mis Tres Viudas Alegres

      Film with Resortes

Amalia Aguilar   1955

   Sabroso Cha Cha Cha

      Film: 'Las Viudas del Cha Cha Cha'


Birth of Modern Jazz: Amelia Aguilar

Amelia Aguilar
Birth of Modern Jazz: Ninon Sevilla

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 1946. Unlike Miranda, Sevilla felt no draw to Hollywood, thus didn't come to great fame in the States. Perhaps like Libertad 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.

Ninón Sevilla   1950



Ninón Sevilla   1951

   La Cocaleca

      Film: 'Víctimas del Pecado'

     ('Victims of Sin')


      Film: 'Víctimas del Pecado'

     ('Victims of Sin')

Ninón Sevilla   1953

   Aventura en Río



  Jack Costanzo   See Jack Costanzo.

  Charlie Palmieri   See Charlie Palmieri.


Birth of Modern Jazz: Chano Pozo

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 Valdes, issue unknown. He was back in NYC soon enough to join Arsenio Rodríguez 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. With the exception of one live performance in Paris, all tracks below for year 1948 were recorded with Gillespie in December 1947.

Chano Pozo   1947


   Rumba en Swing


      Vocal: Arsenio Rodriguez

   Ya no se puede rumbear

Chano Pozo   1948

   Algo Bueno

   Algo Bueno

      Live in Paris


   Cubana Be/Cubana Bop


Chano Pozo   1949

   Tin Tin Deo

      With Art Blakey & James Moody


  Sabu Martinez   See Sabu Martinez.


Birth of Modern Jazz: Pérez Prado

Pérez Prado

Source: Cuban History

Born in Matanzas, Cuba, in 1916, bandleader Dámaso Pérez Prado specialized in mambo dance, often called the King of Mambo. 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'. Such were mambo recordings that he brought to Hollywood in 1951, starting the mambo craze, which he then took to New York City in 1952. Prado's popularity waned in the sixties in comparison to its explosion in the fifties. 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. 

Pérez Prado   1948

   El Manisero

Pérez Prado   1950

   Mambo #5

Pérez Prado   1955

   Cherry Pink & Apple Blossom White


   Cherry Pink & Apple Blossom White


Pérez Prado   1956

   Mambo #8

Pérez Prado   1958

   Cuban Rhythms



Pérez Prado   1967



Birth of Modern Jazz: Chico O'Farrill

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 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 and conducting the 'Afro Cuban Jazz Suite' with Machito's band, Charlie Parker in on that. January 21 of 1951 witnessed him 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, he gigged at the Birdland 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, Gato Barbieri and Stan Kenton. During the nineties he returned to weekly engagements at the Birdland, also arranging for David Bowie and composing for Wynton Marsalis. In 2000 O'Farrill released his final album, 'Carambola'. O'Farrill was the father of jazz pianist, Arturo O'Farrill (born 1960), 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.

Chico O'Farrill   1949


      Benny Goodman

   Undercurrent Blues

      Benny Goodman   Recorded December 1948

Chico O'Farrill   1950

   The Afro-Cuban Jazz Suite

      Machito & Charlie Parker

   It Ain't Necessarily So

      Album: 'Cuban Blues: The Chico O'Farrill Sessions'

Chico O'Farrill   1951


      Vocal: Bobby Escoto

Chico O'Farrill   1954

   La Comparsa


Chico O'Farrill   1966

   Lady From Nine Flags

      Album: 'Nine Flags'

   Spanish Rice

      Album: 'Spanish Rice'   Clark Terry

Chico O'Farrill   1999


      Piano: Arturo O' Farrill

Chico O'Farrill   2000



  Tito Puente   See Tito Puente.

  Born Cándido de Guerra Camero in Cuba in 1921, conguero Candido Camero was an NEA Jazz Master.  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). 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 upon a career exceeding seven decades. All recordings from 2010 onward below were filmed live.

Candido Camero   1952

   Easy to Love

      Saxophone: Charlie Parker


      Saxophone: Charlie Parker

Candido Camero   1956

   The Great Lie

      Saxophone: Gene Ammons

   The Happy Blues

      Saxophone: Gene Ammons

   I'll Be Back For More

      Saxophone: Al Cohn

Candido Camero   1957

   Everybody Loves Saturday Night

      Vocal: Marianne


Candido Camero   1969


      Saxophone: Gene Ammons

   Madame Queen

      Saxophone: Gene Ammons

   Mr. Jones

      Drums: Elvin Jones

Candido Camero   1971


Candido Camero   1979


   Jingo Breakdown

Candido Camero   2010


Candido Camero   2011

   Conga Jam


      Vocal: Xiomara Laugart

Candido Camero   2012


Candido Camero   2014



      With Samuel Torres


Birth of Modern Jazz: Candido Camero

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.

Mongo Santamaria   1952


      Album: 'Afro-Cuban Drums'

Mongo Santamaria   1959

   Afro Blue


Mongo Santamaria   1962

   Watermelon Man

Mongo Santamaria   1963

   Get the Money

   The Morning After

   My Sound

      Live solo

   Yeh Yeh

Mongo Santamaria   1965

   El Pussycat

      Album: 'El Pussycat'


      Album: 'El Pussycat'

Mongo Santamaria   1967

   Afro Blue


Mongo Santamaria   1969

   Cold Sweat

      Album: 'Soul Bag'

Mongo Santamaria   1978

   Drum Kuyi

Mongo Santamaria   1984

   Afro Blue

      Television performance

Mongo Santamaria   1996


      Album: 'Brazilian Sunset'   Live


Birth of Modern Jazz: Mongo Santamaria

Mongo Santamaria

Source: American Sabor

  Ibrahim Ferrer was born at a dance in 1927 in San Luis, Cuba. The death of his mother at age twelve saw him busking the streets. He began singing professionally at private functions the next year in a duet with his cousin. He sang with various groups for a decade of so and was working with Pacho Alonso in Santiago when his 1955 recording of 'El Platanal de Bartolo' ('Bartolo’s Banana Field') saw release. That was with the Orquesta Chepín Chóven. Alonso's group moved with Ferrer to Havana in 1959, starting to call themselves the Bucocos. (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. Ferrar 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 1997. His appearance on 'A Toda Cuba le Gusta' by the Afro-Cuban All Stars was recorded at the same March sessions as 'Buena Vista Social Club' with guitarist, Ry Cooder, both albums issued in 1997. Ferrer appeared on only one track of the former and four on the latter, but that stirred the pot. The Bucocos issued the LP, 'Tierra Caliente', in 1998. But it was the 1999 issue of 'Buena Vista Social Club Presents: Ibrahim Ferrer', which permitted Ferrer to stop shining shoes, he thereafter issuing one or two albums per year until his death in Havana in August 2005. Though not a major musician, the freeze in Cuba upon Castro assuming power wasn't of great assistance. Ferrer's comeback in his seventh decade and great popularity thereafter was nevertheless remarkable. Ferrer also something illustrates the struggle of Latin music versus the Latin military regime nigh everywhere but Mexico during the 20th century. (The Mexican Revolution circa 1910 to 1920 saw the disappearance of such as generals, Porfirio Diaz and Victoriano Huerta, and the installation of Venustiano Carranza by election in 1917. Albeit Mexico hadn't staged a legitimate election until 1994, Ernesto Zedillo to assume office.) 'A Toda Cuba le Gusta' by the Afro-Cuban All Stars had been nominated for a Grammy. 'Buena Vista Social Club' won one. Ferrar was 72 when he won the Latin Grammy for Best New Artist in 2000. He won a Grammy in 2004 but complications prevented him from obtaining a visa to enter the States to receive it. His last studio LP was his collection of boleros on 'Mi Sueño', issued posthumously in 2006.

Ibrahim Ferrer   1960

   El Platanal de Bartolo

      Chepin y su Orquesta Oriental

Ibrahim Ferrer   1998

  Dos Gardenias

      Filmed live

Ibrahim Ferrer   1999

  Buena Vista Social Club Presents



      With Omara Portuondo

Ibrahim Ferrer   2001


      Filmed live

Ibrahim Ferrer   2003

  Buenos Hermanos


Ibrahim Ferrer   2004


      Filmed live in Amsterdam

Ibrahim Ferrer   2005


      Filmed live at Festival de Montreux

  Quiéreme Mucho

      Filmed live at North Sea Jazz Festival


Birth of Modern Jazz: Ibrahim Ferrer

Ibrahim Ferrer

Source: Numerocero

  Born José Luis Feliciano Vega in Ponce, Puerto Rico, in 1935, popular and salsa singer 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 (unfound). (Cuba's first release, 'To Be With You', wasn't until 1962, putting him just a touch beyond the scope of this page.) In 1967 Feliciano joined the Eddie Palmieri Orchestra, before issuing his first solo recordings in 1970 on the album, 'Cheo'. He also began recording boleros in the seventies. Feliciano founded Coche Records in 1982. During the nineties he toured internationally, which he continued to the year of his death. Not old age, but accident, killed Feliciano in April of 2014, colliding into a lamppost on the highway in San Juan, Puerto Rico.

Cheo Feliciano   1962


      With Joe Cuba

   A las Seis

      With Joe Cuba

   Salsa y Bembe

      With Joe Cuba

Cheo Feliciano   1971


Cheo Feliciano   1974

   El Raton

Cheo Feliciano   1981

   Ritmo Alegre

      With Eddie Palmieri

Cheo Feliciano   1984

   La Belleza de Mi Negra Musica




Cheo Feliciano   1993

   Experto en Ti

Cheo Feliciano   2012


      Filmed live


Birth of Modern Jazz: Cheo Feliciano

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 joined the Cuarteto D'Aida 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. 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. In 2004 Portuondo became International Ambassador for the International Red Cross. She yet actively performs in clubs in Havana where she resides. Per 1957 below, all tracks are from the LP, 'An Evening at the Sans Souci'.

Cuarteto D'Aida   1957


  Cuanto Me Alegro

  Las Mulatas del Cha Cha Chá

  Nocturno Antillano

  No Se Que Voy Hacer


  Tabaco Verde

  Totiri Mundachi

  Ya No Me Quieres

Omara Portuondo   1959

   Besame Mucho

      Album: 'Magia Negra'


      Album: 'Magia Negra'

Omara Portuondo   1999

   Veinte Años

      Heineken Concert

      Filmed live with Compay Segundo

Omara Portuondo   2008

   Live in Montreal

      Filmed concert

Omara Portuondo   2012

   Live in Belgrade

      Filmed concert

Omara Portuondo   2015


      Filmed llve


Birth of Modern Jazz: Omara Portuondo

Omara Portuondo

Source: 섬 머리안

  Ray Barretto   See Ray Barretto.

  Eddie Gomez   See Eddie Gomez.



We suspend this history of Latin recording in the Caribbean with Omara Portuaondo.




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