GOOD SUNDAY MORNING, P.O.U.!
To kick off President Obama’s historical trip to Cuba, enjoy the sounds of Mario Bauza and His Afro-Cuban Jazz Orchestra…
Mario Bauzá (April 28, 1911 – July 11, 1993) was a Afro-Cuban jazz musician. He was one of the first to introduce Latin music to the United States by bringing Cuban musical styles to the New York City jazz scene. While Cuban bands had popular jazz tunes in their repertoire for years,[2][3] Bauzá’s composition “Tangá” was the first piece to blend jazz with clave, and is considered the first true Afro-Cuban jazz or Latin jazz tune.
Biography
Trained as a classical musician, he was a clarinetist in the Havana Philharmonic Orchestra by the age of nine, where he would stay for three years. Bauzá traveled to New York in 1925 to record with Maestro Antonio María Romeu’s band, a charanga, shortly after his fourteenth birthday.[citation needed]
Bauzá had been hired as lead trumpeter and musical director for Chick Webb’s Orchestra by 1933, and it was during his time with Webb that Bauzá both met fellow trumpeter Dizzie Gillespie and discovered and brought into the band singer Ella Fitzgerald. Importantly, Bauzá introduced the young Havana virtuoso Chano Pozo to Dizzy, when the latter wanted to add a Cuban percussionist to his band; though Pozo was killed in a Harlem bar fight just a year later, he left an indelible and long-lasting mark on Dizzy’s playing and compositions, co-writing several legendary compositions such as “Manteca” and “Tin Tin Deo”.
In 1938 Bauzá joined Cab Calloway’s band, later convincing Calloway to hire Dizzy Gillespie as well. Bauzá continued to work with Gillespie for several years after he left Calloway’s band in 1940. The fusion of Bauzá’s Cuban musical heritage and Gillespie’s bebop culminated in the development of cubop, one of the first forms of Latin jazz.
In 1941, Bauzá became musical director of Machito and his Afro-Cubans, a band led by his brother-in-law Machito. The band produced its first recording for Decca in 1941, and in 1942 Bauzá brought in a young timbalero named Tito Puente.[4]
“Cubop City” and “Mambo Inn” followed the success of “Tanga.” Machito and his Afro-Cubans often played straight-ahead big band mambo music. Many of the numbers were covers of recordings which had proved popular in Cuba. The band played mambo-style dance numbers at venues such as Manhattan’s Palladium Ballroom. Bauzá kept his post as director of the Afro-Cubans until 1976. After this he worked sparingly, but was always highly respected. He recorded a few Cuban jazz albums which had limited sales. His last band made a guest appearance on a 1992 episode of The Cosby Show.
“Tangá” and the creation of Latin jazz
The band had a major hit with “Tangá,” initially a descarga (Cuban jam) with jazz soloists, spontaneously composed by Bauzá. “Tangá”, which was over time arranged with more complexity, is generally considered the first true Latin jazz or Afro-Cuban jazz tune.
The first descarga [Cuban jam session] that made the world take notice is traced to a Machito rehearsal on May 29, 1943, at the Park Palace Ballroom, at 110th Street and 5th Avenue. At this time, Machito was at Fort Dix (New Jersey) in his fourth week of basic training. The day before at La Conga Club, Mario Bauza, Machito’s trumpeter and music director, heard pianist Luis Varona and bassist Julio Andino play something which would serve as a permanent sign off (end the dance) tune.
On this Monday evening, Dr. Bauza leaned over the piano and instructed Varona to play the same piano vamp he did the night before. Varona’s left hand began the introduction of Gilberto Valdes’ El Botellero. Bauza then instructed Julio Andino what to play; then the saxes; then the trumpets. The broken chord sounds soon began to take shape into an Afro-Cuban jazzed up melody. Gene Johnson’s alto sax then emitted oriental-like jazz phrases. By accident, Afro-Cuban jazz was invented when Bauza composed “Tanga” (African word for marijuana) that evening.
Thereafter, whenever “Tangá” was played, it sounded different, depending on a soloist’s individuality. In August, 1948, when trumpeter Howard McGhee soloed with Machito’s orchestra at the Apollo Theatre, his ad-libs to “Tangá” resulted in “Cu-Bop City,” a tune which was recorded by Roost Records months later. The jams which took place at the Royal Roots, Bop City and Birdland between 1948 and 1949, when Howard McGhee, tenor saxophonist Brew Moore, Charlie Parker and Dizzy Gillespie sat in with the Machito orchestra, were unrehearsed, uninhibited, unheard of before jam sessions which at the time, master of ceremonies Symphony Sid called Afro-Cuban jazz.
The Machito orchestra’s ten- or fifteen-minute jams were the first in Latin music to break away from the traditional under-four-minute recordings. In February, 1949, the Machito orchestra became the first to set a precedent in Latin music when it featured tenor saxophonist Flip Phillips in a five-minute recording of “Tangá.” The twelve-inch 78 RPM, part of The Jazz Scene album, sold for $25—Salazar (1997).[5]
(SOURCE: Wikipedia)