Salsa En La Calle Presents Frank Grillo Machito y Mario Bauza
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- Опубліковано 29 лис 2015
- Machito (born Francisco Raúl Gutiérrez Grillo, February 16, 1908?-April 19, 1984) was an influential Latin jazz musician who helped refine Afro-Cuban jazz and create both Cubop and salsa music.
He was raised in Havana alongside the singer Graciela, his foster sister.
In New York City, Machito formed the band the Afro-Cubans in 1940, and with Mario Bauzá as musical director, brought together Cuban rhythms and big band arrangements in one group. He made numerous recordings from the 1940s to the 1980s, many with Graciela as singer. Machito changed to a smaller ensemble format in 1975, touring Europe extensively.
Machito's music had an effect on the lives of many musicians who played in the Afro-Cubans over the years, and on those who were attracted to Latin jazz after hearing him. George Shearing, Dizzy Gillespie, Charlie Parker and Stan Kenton credited Machito as an influence. An intersection in East Harlem is named "Machito Square" in his honor.
Career:
"Macho" moved to New York City in 1937 as a vocalist with "La Estrella Habanera" (Havana Star). He worked with several Latin artists and orchestras in the late 1930s, recording with Conjunto Moderno, Cuarteto Caney, Orchestra Siboney, and the bandleader Xavier Cugat. After an earlier attempt to launch a band with Mario Bauza, in 1940 he founded the Afro-Cubans, their first gig on December 3 at the Park Plaza Hotel. "Macho" was at this time going by "Machito" out of respect for his new bride. A big band-style brass section with trumpets and saxes was backed by a Cuban rhythm section. Machito took on Bauza the following year as musical director; a role he kept for 34 years. Bauza also played trumpet and alto saxophone.
Machito's bands of the 1940s, especially the band named the Afro-Cubans, were among the first to fuse Afro-Cuban rhythms with jazz improvisation and big band arrangements. Machito was the front man, conductor, and maraca player of the Afro-Cubans and its successors while Bauza determined the character of the band. Bauza, Machito's brother-in-law from his marriage to Machito's sister Estela, hired jazz-oriented arrangers and musicians. As a result, Machito's music greatly inspired such North American jazz giants as Dizzy Gillespie, Charlie Parker and Stan Kenton. One of the most famous performances of the Kenton band is an idiomatic Afro-Cuban number known as "Machito", composed by Stan Kenton with Pete Rugolo and released as a Capitol 78 in 1947.
Machito and Graciela in 1947:
In April 1943 during World War II, Machito was drafted into the United States Army. After a few months of training, he suffered a leg injury and was discharged in October. Earlier, anticipating a long absence of the band's leader, Bauza had sent for Machito's younger foster sister Graciela, who traveled to New York from Havana where she had been touring with El Trio Garcia, and singing lead with the all-female Orquesta Anacaona. Graciela served as the lead singer of the Afro-Cubans for a year before Machito returned to front the band. Graciela stayed on-at performances, the two singers alternated solo songs and created duets such as "Si Si No No" and "La Paella". Adding to the percussion, Graciela played claves alongside Machito's maracas.
Beginning in 1947, teenager Willie Bobo helped move the band's gear to gigs in Upper Manhattan, just so he could watch them play. Near the end of the evening, if there were no musician's union leaders in sight (he was underage), he borrowed bongos from José Mangual and played with the band. Later, Machito helped him get positions in other Latin bands. Many years later, George Shearing pointed to Machito and Willie Bobo as two musicians who helped him learn "what Latin music was about".
Each summer from the mid-1940s to the late 1960s, a period of 22 years, Machito and his band played a ten-week engagement at the Concord Resort Hotel in the Catskills. Machito's album Vacation at the Concord was issued in 1958 as a representative experience of an evening's performance, but it was not recorded at the resort. Five-year-old Mario Grillo learned to play the timbales during the 1961 summer series, with lessons from Uba Nieto, then returned to New York with his father's band and played his first gig, taking a single timbales solo at the Palladium Ballroom while standing on a chair next to Tito Puente.
In 1975, Machito's son Mario Grillo, known as "Machito Jr", joined the band for its recording with Dizzy Gillespie, Afro-Cuban Jazz Moods; the album, featuring arrangements by Chico O'Farrill, was nominated for a Grammy Award. Later in 1975, Machito determined that he would accept an invitation to tour Europe with a smaller eight-piece ensemble. Bauza quit; he had grave doubts that such an enterprise would work musically. Graciela left as well.
In 1983, Machito won a Grammy Award in the Best Latin Recording category for Machito & His Salsa Big Band '82.
Todos Maestros!! papá...Leyendas ojala qu esta musica vuelva a revivir algun dia. LA MUSICA DE HOY ES CACOFONICA.
Fernando mi hermano , esta música vive en ti y en mi. Tu le das vida cada vez que la escucha o la compartes con otra persona.
#QueVivaLaMusicaLatina
Cuban rhythm! Cuban Jazz and many more rhythm! The elements that they call Salsa are Cuban genres mix up
Excelente documento genial
Its amazing,the Salsa of yesteryear,Papo Pepin is without a doubt the verybest,This is Salsa,thank you Willie
Thank you! This is absolutely beautiful, amazing. & historical. Que viva la musica.
Excelente Villegas ! Gracias Bro
Great I' m from chiririqui good salsa sigue así brother
thank you for this 👍
While Puente is probably the most influential of artists in Latin music....I can't help but wonder if his course would not have been different, had there not been the predecessor Machito & the Afro Cubans.
That group just opened everything up!
Right?? Exactly
In what way did they "open everything up?"
That said, couldn't the same be said about the predecessors of Machito and his orchestra?
its cuban music.....
@@yc7806100%
@@yc7806😂😂😂
Great`
Man Machito desbordó NY de pura Cultura Cubana, conga con tambores Bata’ al estilo de las congas de San Agustin o Los Hoyos de Santiago de Cuba aunque el primero en hacer esto y traerlo a la TV de USA fue Desiderio Arnaz.. gracias Machito !! 🇨🇺
YO! Desi Arnaz was NOT the first to expose the U.S. masses to a Tumbadora, bata or any other form of percussion. Before television there was film/cinema. Before film/cinema there were the theaters. Before Desi Arnaz, there was Miguelito Valdes, Francisco "Chino" Pozo, Vicente del Valle and Sexteto Habanero (via the 1930 film "Hell Harbor," which was screened theatrically across the U.S.) and others exposing the mAsses to authentic Afro-Cuban percussion. The Miami version of Afro-Cuban music history is #fakenews. Don't believe it. Tommy Mottola and Andy Garcia are NOT authorities.
@@richieblondet2310 YO too much crap to make a correction. What I meant was Ricky was the first one to bring it to a comedy set up. So for that I’m rectifying idk why you mixing the rest of that crap you wrote.
And who was Francisco CHINO Pozo ? 🤨
@@richieblondet2310 Good morning asere Richie. Again, here digitally to correspond with my brother concerning names of endearment. First, let's start with a "Chino" vs a "Chano".😂😂👍👍🎵🎶
@@afroqbnoyque3512 This Mo'Fo' doesn't know who Chino (and not Chano) Pozo was. And he has the gall to be talking about who the top percussionists are?!? Maaaaaan... git the...! Damn millenials. Make me sick. 🙄
@@jc4liferesearch5 And that would be incorrect as well. About being the first to.bring it to a comedy set up. Google Miguelito Valdes. Who was appearing in cinema when Desi was still playing the club circuit before moving to Hollywood.
Firme!
Could you please tell me the name of the Latin Jam Mario Bauza the first one when you started with part 2. Thank You
People danced salsa better then...Yes!! They did. Ok
Sabrooo9o
❤❤❤❤❤❤❤❤❤❤❤❤❤😂😂😂😂😂😂❤❤❤😂😂😂😂
Saludos desde Bayamon, Puerto Rico. So can we say that Salsa was created by the Puertoricans in NYC? When I listened to mambo or any cuban music our salsa sounds different, like a refresh rhythm from the mambo & plena combined. Please reply, I’m interested in reading your reply papa. Gracias!
You would have to follow the start of Cuban music that we now call Salsa without going in depth, I'll just high light the progression.
Trio Matamoros & Ignacio Piñiero played the Son, Alberto Socarras & Arcaño y sus Maravillos played Charanga, prior to Arsenio Rodriguez it was a bongo & campana, a Tres (guitar) contra bajo, one trumpet and singer who played the maracas... Arsenio took the son to the next level by incorporating the conga, piano and 3 trumpets with actual arrangements which became a conjunto.
Then came Beny More, Israel Cachao Lopez and popularized the Mambo which was an up tempo from the Son. Perez Prado introduced it to the American public and became and instant hit in the states.
New York the music mecca capital of the world had jazz, bebop, swing y por ahi. Cab Calloway, & Duke Ellington were the top act and this is where it gets super important Mario Bauza the creator of Latin Jazz came from Cuba and started playing with Cab and his impeccable musicians.
Mario tried to teach them the Cuban clave and how it was essential in performing the arrangements that Mario penned, but they laughed and told him it would never be accepted truth be told they just couldn't play it.....
So Mario sent for his brother in law Frank Grillo better known as Machito from Cuba got a few Boricuas together from from El Barrio and formed Machito & his Afro Cubans. This is the birth of the band that recorded the 1st Latin Jazz tune ever Tanga.
There after from la escuela de Machito sale Tito Puente & Tito Rodriguez each with their own style & following and they were called The Big 3 who went from playing in Harlem to downtown mid Manhattan at the famous Palladium ballroom. No 3 had any equal.
The next generation who is now influenced by Doo Wop and Rock & Roll gave the big 3 a run for their money with The Joe Cuba Sextet and Eddie Palmieri who bought a whole generation in to the mix. Keep in mind it was still called Mambo, Guaracha, Son Montuno, Cha Cha, Bolero etc.
A new sound was emerging combining the soulful sounds of Motown and American Popular music which was the choice of that generation born in New York from Puerto Rican parents.
Fania label is created and they start scouting for bands that were emerging from the street that had the it sound which was the NY gritty sound.
Willie Colon, Pacheco, Larry Harlow and many others became a household name selling countless records & packing the clubs.
In conclusion the Term Salsa became the umbrella name that covered the aforementioned rhythms.
I remember playing with Frankie Ruiz with a band that was formed here in NY and I'll leave you with this he said and I Quote "Que Deferencia de aquí y alla con el sonido".
salsaenlacalle
Muchas Gracias por ese reply. I think nosotros los Boricuas took the base & perfected it and created what’s called now Salsa. My opinion of course. God Bless papa & take care.
@@Will-yp6ny and @salsaenlacalle
Hey brothers.... First off thanks to salsaenlacalle for producing this episode of "Salsa En La Calle" on the great MACHITO. If you don't mind I'd like to contribute something to what @Will23 23 expressed about the Puerto Rican community and its relationship to Afro Cuban music. If one goes back far enough you'll find that one cannot discuss a history of Cuban Popular Music (which are the rhythms and dance genres comprising "Salsa.") without mentioning the Puerto Rican presence and contribution. While the dance rhythms were primarily created in Cuba, there is a Puerto Rican element who is reinterpreting and is also adding to the Afro Cuban catalog. By way of compositions. Unlike today where one can simply take a classic tune, re-interpret or re-arrange it, re-record it and produce an updated version of a song, "product" in the 1920s and 1930s were scarce. That was a period of creativity where a musical artist of the era had no choice but to sit down and put pen to paper and write lyrics and music. Musicians were plenty and to distinguish oneself from the competition and secure work you had to create new music. It's in the period of the 1920s that Puerto Ricans AND Dominicans (a community that has been completely overshadowed in the 20th century narratives of Cuban Popular music in New York) are contributing to the Afro Cuban dance styles of the day. Bolero, the most popular genre of all and to this day. Danzon. Guaracha. Traditional Son in the THEN-modern Sexteto format (with a muted trumpet). New York is an important center for Afro Cuban music development for one reason and one reason alone. The recording industry. Prior to 1940, the recording industry was exclusively along the eastern seaboard. Starting out in places like Camden and Edison New jersey and, of course, the city of New York. Back then only U.S. based companies as Victor, Columbia, Pathe, and later Decca Records, were the U.S. labels who were exclusively producing Afro Cuban based music. The history of Cuban music is a dual origin story. The music itself develops in Cuba. While its overall documentation starts out as strictly taking place in the USA. Much like every other ethnic music, including that of Puerto Rico, the USA, and namely New York City, is where Cuban Music is launched from (at the turn of the century, 19th to 20th) throughout the rest of the world. THAT is the reason why NYC is integral to this story and should be considered as a part and parcel of Cuban Music history. Despite an element that sweeps it under the rug. I strongly recommend acquiring a book which is pretty expensive. But if you want to see who exactly is recording, producing and composing Afro Cuban Music from 1893-1942, pick up ETHNIC MUSIC ON RECORDS, 1893-1942: Vol. 4," by Richard Spottswood. Every serious cat with a deep interest in this music should have it. It's not a book of analysis or anecdotes. It's structly information. Every single recording ever produced or released in the United States having to do with ethnic music can be found in this series of volumes of this book. Vol. 4 happens to have a "Latin American" section, which details both Cuban and Puerto Rican involvement within the output of early Cuban music, as well as other musicians from other nations throughout Latin America and Europe. A recording can never lie. Whatever is on it is there forever. There's no taking it out of context. It simply is what it is. It is our most valuable resource and our most important archive. That's where you find the history of this music.
~ Richie Blondet
Will23 23 Will Salsa is a term used in 1969 it was named by Johnny Pacheco! Which was Domenicano The Nyc puertorriqueños adopted many rhythm that came from Cuba ! The Congas are Cuban bongos and timbales are Cuban instruments and the Clave that is one of the most important instrument in Cuban music and in Salsa. The term Salsa was used to market Cuban music after the Cuban revolution. Those are some facts. But Rumba/ cha cha cha /mambo/ Guaguanco/ guracha/ el Son Cubano are many Cuban genres mixed in the term Salsa
miguel cabrera
For me it doesn’t really matter because the base could be Cuban but the flavor, the sofrito & sazón the Boricuas put it on it. Is like Basketball, just because the Canadians invented it doesn’t mean that they’re the best, the Americans are so that’s my take on it. Cubans keep bringing the same point into place and is getting ridiculous instead of embracing what Puertoricans did and that was take it to a whole another level. Take care.
quien es el.master en las congas?
Sergio Cruz Sergio el maestro de las congas Cubana era Chano pozo / Miguelito Valdés / paquito de rivera todos son cubanos aquerda todos esos ritmos eran Cubano
Giovanni Hidalgo.
@@richieblondet2310 Okay Richie, you've been on point so far, but this time you're wrong. That wasn't Giovanni on the congas, but a much older gentleman.
@@afroqbnoyque3512 hello...I thought the question he asked was who was the best tumbador player. Not who the tumbador player was in the film clip. The post before mine mentioned Chano so I figured the question revolved around who is the best of all timd.
@Richie Blondet...hello hello, anybody home? Brother Richie I'm back to correspond a little about my music passion. I carefully read your other post and agree with your very informative and enlightening comments. I also was very impressed with how correct and on point your overall perspective on Afro Cubans major contributions to Latin dance music/Salsa aka Rumba.