Mamey Colorao: 1952-1962 Spanish Harlem / Various Mamey Colorao: 1952-1962 Spanish Harlem / Various Vinyl LP
|Condition||BRAND NEW & SEALED
(unless otherwise stated - see description)
|Artist||MAMEY COLORAO: 1952-1962 SPANISH HARLEM / VARIOUS|
|Title||MAMEY COLORAO: 1952-1962 SPANISH HARLEM / VARIOUS|
In this series, Grosso! Recordings bring in some of the names of the Latin bands based in New York between the '40s and early '60s and other recordings done in Cuba by Orquestas or Conjuntos likes FÎlix ChappottÏn, JosÎ Curbelo, and La Playa Sextet that were a big influence for Latinos in New York. Think musicians of the stature of Eddie Palmieri, Mongo SantamarÏa, Noro Morales, Francisco Aguabella, Cal Tjader, or Machito. "Mamey Colorao", a well-known composition by Peruchin JustÏz, is the album title of third volume from the Afro-Cuban Roots Of Boogaloo compilation series by Grosso! Recordings, performed by Tito Puente and later covered on a more electric version by Ocho. Side A opens out a variety of more traditional Cuban numbers such as "No Tiene TelaraÂ±a" by JosÎ Curbelo's Orquesta, "El Baile Suavito", a heavy duty tune performed by Orquesta Aragâ¤n, and a very well-known cha-cha-chÃ "Rico Vacilâ¤n" written by Rosendo RuÏz Quevedo on the inimitable voice of Machito & his Afrocubans. "Garbage Man's ChachachÃ (La Basura)" by La Playa Sextet highlights an electric guitar sound that anticipates the fusion of the traditional and the new sounds that would lead into the 'Boogaloo' and 'Salsa'. A couple of montunos round off the A side, "Quimbombâ¤" from FÎlix ChappotÏn Orchestra with the legendary Miguelito CunÏ and "Bolita" with a double entendre of Bimbi and his TrÏo Oriental. Noro Morales opens the B side with "Vitamina", a traditional mambo followed by "Palo Mayombe", a pachanga rhythm with the distinctive Afro-sound of Mongo Santamaria. An exquisite version of "El GavilÃn" is performed by Eddie Palmieri on piano with an outstanding brass section that would years later identify the Fania All Stars' sound. The last three tracks bring about a turning point on the concept of the album: "Wachi Wara" by Dizzy Gillespie in a Latin jazz vein performed by the always modern and elegant Cal Tjader, a version of "Titoro", by Tito Puente, with a Brazilian vibe at times interpreted by vibraphonist Bobby Montez and concluding, Francisco Aguabella with "Shirley's Guaguanco", a jazzy tune with a traditional guaguancâ¤ rhythm and sound on the congas and bongo with a final coro reminiscent of the very Cuban "rumba de solar".
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