Chano Pozo & Arsenio Rodriguezwith Machito and his Orchestra -Legendary Sessions, Tumbao 1992

Chano Pozo & Arsenio Ridriguez, front

Yesterday I got so pleasantly surprised. I watched that
wonderful animated picture that flellow blogger ‘Coleção
de Sons’ posted recently. Chico & Rita is a movie that plays
in Cuba in the 1940’s. It contains passages dealing about
the great Chano Pozo. Now it is not a habbit of mine to post
music from CD, but in this case I must make an exception.
Check out this superb album on ‘Tumbao’. You can find loads
of Cuban classics on that label, highly recommended. Listen.

tracks;

1 Serende
2 Seven seven
3 Rumba en swing
4 Porque tu sufres
5 Cómetelo to’
6 Pasó en Tampa
7 Tumba palo cucuye
8 Apurruñenme mujeres
9 Tintorera ya llegó
10 Yo no engaño a las nenas
11 Tocoloró
12 Monte adentro
13 Cumaye, Semilla de caña, Brava so caballo
14 Los guapos en Yatera, La yuca de Catalina, El reloj de pastora
15 No vuelvo a Moron, Las tres Marias, Apurrúñenme mujeres
16 Qué caña, Mi China me botó, Cangrejo fue a estudia

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19 thoughts on “Chano Pozo & Arsenio Rodriguezwith Machito and his Orchestra -Legendary Sessions, Tumbao 1992

  1. Chano Pozo, Arsenio Rodríguez, Machito, Lili Martinez Chapottín, Marcelino Rodriguez, Tito Rodríguez … is part of the constellation that can be heard on this CD label Tumbao. These characters represent the prehistory of the music we danced since the seventies, when we come to the great feast of the sauce. The sound and music took two strands, one in New York and one in Havana, the island was cut, the big apple of youth expanded and mounted newyorrican saoco tremendous inspiration from Arsenio Rodriguez, in fact, much of the years sixties and seventies, in the sauce, are based on sound and approach to the music of Arsenio. (See Larry Harlow ) .
    What Chano is something else, not only was the inspiration of Latin Jazz, created at the time of Palladium with Bauza and Gillespie, but he was leader in that geography and santero his death he was mythologized as pure legend Caribbean thing. Habanero born in times of Machado, danced and played the skins like nobody, Mario Bauza recruits him for immortality led to New York in 46, when he starts to play in the Machito Orchestra, where the singer is Miguelito Valdés. In 47 sets up his own combo of tresista Arsenio Marcelino Guerra and Panchito RISET more as a singer (in this CD there are two issues at this time).
    In addition, the compact four-piece brings with Machito’s orchestra and Afrocuban with Pozo, Arsenio again in three and a boy named Tito Rodriguez Puerto Rico, where we witness the great singer has not had the elegance of crooner enshrine it as Latin the finest of the singers of the Caribbean.

  2. Chano Pozo, Arsenio Rodríguez, Machito, Lili Martinez Chapottín, Marcelino Rodriguez, Tito Rodríguez … is part of the constellation that can be heard on this CD label Tumbao. These characters represent the prehistory of the music we danced since the seventies, when we come to the great feast of the sauce. The sound and music took two strands, one in New York and one in Havana, the island was cut, the big apple of youth expanded and mounted newyorrican saoco tremendous inspiration from Arsenio Rodriguez, in fact, much of the years sixties and seventies, in the sauce, are based on sound and approach to the music of Arsenio. (See Larry Harlow ) .
    What Chano is something else, not only was the inspiration of Latin Jazz, created at the time of Palladium with Bauza and Gillespie, but he was leader in that geography and santero his death he was mythologized as pure legend Caribbean thing. Habanero born in times of Machado, danced and played the skins like nobody, Mario Bauza recruits him for immortality led to New York in 46, when he starts to play in the Machito Orchestra, where the singer is Miguelito Valdés. In 47 sets up his own combo of tresista Arsenio Marcelino Guerra and Panchito RISET more as a singer (in this CD there are two issues at this time).
    In addition, the compact four-piece brings with Machito’s orchestra and Afrocuban with Pozo, Arsenio again in three and a boy named Tito Rodriguez Puerto Rico, where we witness the great singer has not had the elegance of crooner enshrine it as Latin the finest of the singers of the Caribbean.

  3. Was the first conga player Chano bebop, 47 recorded their classics with Gillespie Manteca and Tin Tin Deo. That year at Carnegie Hall, Dizzy rides his Afro Cuban Suite in a concert that would go down in history, all thanks to Bauza Chano and prodigy. But the journey was too short Chano Pozo, a year later, a little over fifty years, died dead in a street in Harlem. Only two years were enough for so much.
    But there is more to this album and the title role falls on the figure of the blind man great Arsenio Rodriguez, Matanzas, born in the year 11, to arrive at Havana on 30. The disc comes with six tracks recorded in 1948 in Havana, Lili Martinez on piano, Rene Scull on vocals and a boy named Felix Chapottín on trumpet, sweet and pure wire (three Rodriguez) composer There’s fire in 23.
    When Arsenio leaving Cuba for good in 1953 Chapottín be responsible for this band, which was understood to mark the definitive sound that is imposed three and four decades later in Afro-Caribbean music. Delight in big with songs like Why you suffer, I do not cheat the girls or shark is here, of which there have been many versions later, and Lili killing the keys Chapottín, blowing a trumpet desperate, and the voice of René Scull forgotten. Xariell Sarabia, anapapaya. com
    Chano Pozo and Arsenio Rodriguez Legendary Sessions With Machito and His Orchestra. Tumbao Cuban Classics, 1992. TCD-017 tracks recorded in New York and Havana in 1947, 1948 and 1953
    Other participants:
    For the session February 10, 1947 in New York (Chano Pozo y su Conjunto)
    Chano Pozo: congas
    Arsenio Rodriguez: three
    Gilberto Ayala Frank: piano
    Panchito RISET: voice
    Alonso Guerra: voice
    Rapindey Marcelino Guerra: voice
    For the session of February 7, 1947 in New York ( Machito Orchestra with Chano Pozo)
    Chano Pozo: congas, vocals
    Tito Rodriguez: vocals
    Arsenio Rodriguez: vocals
    René Hernández: piano
    José Mangual: bongos
    Carlos Vidal, congas
    Ubaldo Nieto: timbales
    Mario Bauza : trumpet
    Frank Davila: Trumpet
    George Lopez: Trumpet
    Julio Andino: under
    Jose Pin Madera: tenor sax
    Eugene Johnson: alto sax
    For sessions in Havana in February and July 1948 (Set of Arsenio Rodríguez)
    Arsenio Rodriguez: three
    René Scull: voice
    Lili Martinez: piano
    Carlos Ramirez: guitar, vocals
    Rafael Corbacho: Trumpet
    Felix Chappotín: Trumpet
    Ruben Footwear: Trumpet
    Felix Alonso : conga
    Lázaro Prieto under
    Antolin Suarez: bongo
    For the New York session of 1953 (Set of Arsenio Rodríguez)
    Arsenio Rodriguez: three
    René Scull: vocals
    René Hernández: piano
    Mario Cora: Trumpet

    thx

  4. Was the first conga player Chano bebop, 47 recorded their classics with Gillespie Manteca and Tin Tin Deo. That year at Carnegie Hall, Dizzy rides his Afro Cuban Suite in a concert that would go down in history, all thanks to Bauza Chano and prodigy. But the journey was too short Chano Pozo, a year later, a little over fifty years, died dead in a street in Harlem. Only two years were enough for so much.
    But there is more to this album and the title role falls on the figure of the blind man great Arsenio Rodriguez, Matanzas, born in the year 11, to arrive at Havana on 30. The disc comes with six tracks recorded in 1948 in Havana, Lili Martinez on piano, Rene Scull on vocals and a boy named Felix Chapottín on trumpet, sweet and pure wire (three Rodriguez) composer There’s fire in 23.
    When Arsenio leaving Cuba for good in 1953 Chapottín be responsible for this band, which was understood to mark the definitive sound that is imposed three and four decades later in Afro-Caribbean music. Delight in big with songs like Why you suffer, I do not cheat the girls or shark is here, of which there have been many versions later, and Lili killing the keys Chapottín, blowing a trumpet desperate, and the voice of René Scull forgotten. Xariell Sarabia, anapapaya. com
    Chano Pozo and Arsenio Rodriguez Legendary Sessions With Machito and His Orchestra. Tumbao Cuban Classics, 1992. TCD-017 tracks recorded in New York and Havana in 1947, 1948 and 1953
    Other participants:
    For the session February 10, 1947 in New York (Chano Pozo y su Conjunto)
    Chano Pozo: congas
    Arsenio Rodriguez: three
    Gilberto Ayala Frank: piano
    Panchito RISET: voice
    Alonso Guerra: voice
    Rapindey Marcelino Guerra: voice
    For the session of February 7, 1947 in New York ( Machito Orchestra with Chano Pozo)
    Chano Pozo: congas, vocals
    Tito Rodriguez: vocals
    Arsenio Rodriguez: vocals
    René Hernández: piano
    José Mangual: bongos
    Carlos Vidal, congas
    Ubaldo Nieto: timbales
    Mario Bauza : trumpet
    Frank Davila: Trumpet
    George Lopez: Trumpet
    Julio Andino: under
    Jose Pin Madera: tenor sax
    Eugene Johnson: alto sax
    For sessions in Havana in February and July 1948 (Set of Arsenio Rodríguez)
    Arsenio Rodriguez: three
    René Scull: voice
    Lili Martinez: piano
    Carlos Ramirez: guitar, vocals
    Rafael Corbacho: Trumpet
    Felix Chappotín: Trumpet
    Ruben Footwear: Trumpet
    Felix Alonso : conga
    Lázaro Prieto under
    Antolin Suarez: bongo
    For the New York session of 1953 (Set of Arsenio Rodríguez)
    Arsenio Rodriguez: three
    René Scull: vocals
    René Hernández: piano
    Mario Cora: Trumpet

    thx

  5. Pingback: Exitos de Arsenio Rodriguez y su ConjuntoTropical / Seeco | Global Groove Independent

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