Tags: Cuban Jazz

Review: Cuban bandleader, composer and rumba magician Ramon Santamaria had a huge influence throughout his 40 year career, notably writing Coltrane's famous "Afro Blue". Here are two of many stand-out cuts from his 1963 album Watermelon Man! While most the album's focus was on his Herbie Hancock cover, it's tracks like these that really gave the album its spirit and unique character; "Yeh Yeh!" is a samba shaking horn-led cut laced with crackling percussion and party cries while "Get The Money" leans back with rhythm and blues sass and a rhythm that's as powerful as Ramon's legacy. Moneymaker shaking guaranteed.

Review: Gilles Peterson's obsession with Cuba is long running and well documented over various compilations from across the years. His latest focusses on Experiments in Latin Music from 1975 to 85 and the title suggests it will be the first of an ongoing series on Soul Jazz, compiled in collaboration with Stuart Baker. Across three vibrant sides of vinyl all manner of grooves are offered up, some more traditional, some bravely out there, all drawing on the jazz, funk, Brazilian tropicalia and disco - mixed with classic Latin and salsa - which made it to the island in the 70s.

Review: This second instalment of Jazz Room's Pure Latin re-releases comes in the form of Orquesta Mayombe's masterpiece, Con Ritmo Del Tambo. First emerging in 1980 and now considered to be a classic example of Nu Yorican El Barrio sound, this is an essential record for fans of Tata Vasquez. Featuring Afro-Cubano jazz heavyweights including Chocolate Armenteros, Jose Mangual, Mauricio Smith, and Orestes Vilato, as well as an astounding seven-person percussion section, it's safe to say this release packs a punch. Travelling through ten dazzling, floor-filling cuts of Afro-Cuban via New York Jazz age tracks, this is a must-have for fans of Latin jazz.

Review: Given that Gilles Peterson and Stuart Baker's Cuba: Music and Revolution - Culture Clash in Havana is one of the standout compilations of 2021, hopes are naturally sky-high for this speedy sequel. Like its predecessor, volume 2 focuses on music and made and released on the Caribbean island between 1975 and '85, this time round largely focusing on rare fusions of salsa, Latin jazz, disco, soul and funk, mostly licensed from records that have never been available outside Cuba. It's another stunning selection all told, with highlights including the heady Cuban disco/salsa fusion of Orquesta Los Van Van, the fiery disco-funk of FA 5, the heavily percussive hedonism of Luis Carobonell and the fuzzy psychedelic rock of Grupo De Experimentacion Sonora Del ICAIC. In a word: essential.

Review: Mr Bongo's Cuban Classics Series now looks to highlight Los Reyes 73 and their sensational 1975 debut LP. This Afro-Cuban-funk gem combines psych rock with deep funk, cementing its status as a 70s Cuban masterpiece and a favourite with those who know. Despite releasing only two albums and a few singles, the band was highly influential in Cuba and gained international recognition through 2000s compilations. Produced by Raul Gomez and featuring Cuban music heavyweights, the album blends traditional Cuban Son with funk and psychedelic elements. The reissue uses the beautiful bird illustration cover art from the Mexican Pentagrama Records release.

Review: Caracoles propels Orquesta Akokan's GRAMMY-nominated mambo into the contemporary era here with sounds infused with akokan-a Cuban Yoruba term for heartfelt expression. Led by producer Jacob Plasse and pianist Michael Eckroth, the album is their third and it delves deep into mambo's rich tapestry. Collaborating with Cuban artist Kiko Ruiz, who is known for his work with Buena Vista Social Club, the album intertwines everyday Cuban narratives with Palo Mayombe spirituality that adds layers of depth. Rooted in the traditions of Benny More and Perez Prado, Caracoles revives mambo's essence as both celebration and prayer here while invoking spiritual resonance through impassioned grooves.

Review: Spain's Zanja Records is a new label dedicated to the promotion of Cuban music and culture. Its inaugural EP The Zanja All Stars: Cuban Jam Session Vol 1 features singers El Indio, Maria Victoria, El Nene, and Ondy, under the musical direction of Julito Padron. All are top Cuban talents who perform "Descargas, Montunos, Instrumental Jazz, and Son" with authenticity and great charm. These percussive, shuffling grooves are alive with wandering basslines and expressive vocals that take you to the heart of the country in an instant. Big horns and jazzy keys, orchestral grandeur and street-wise realness all make them brilliantly irresistible.

Review: Cuban-born Modesto Dura was a disciple of mambo innovator Perez Prado but also played his own crucial role in Latin dance music's mid-century evolution. His distinctive percussion work features on numerous 1950s hits including tracks by Esquivel, Belafonte, Eartha Kitt, and Lena Horne. On his 1960 solo debut, Duran assembled a stellar lineup of conga players in Mongo Santamaria, Willie Bobo, and Juan Cheda and they created a cinematic blend of Afro-Cuban, cha-cha, and exotic jazz styles. This album offers a rich, percussive vibe while showcasing Duran's influential contribution to Latin music.

Review: Bebo Valdes was born in Cuba but is now celebrated as a pioneer of Afro-Cuban jazz and Latin jazz all around the globe. A trained pianist, arranger and conductor, he collaborated with legends like Olga Guillot, Celia Cruz, Josephine Baker and Nat King Cole and a trip to Haiti in the 1940s sparked his interest in African-rooted rhythms, which he then incorporated into his music while performing at Havana's Tropicana cabaret. After surviving a near-fatal bomb explosion during a performance, he left Tropicana to find success on Cuban television before emigrating to Mexico and eventually Sweden. Bebo Valdes Y Su Gran Orquesta is a wonderful window into his colourful rhythms and lively sounds.

Review: This wonderful album (with equally wonderful artwork) presents a rich, percussive experience that highlights Cuban-born Modesto Duran's significant influence on Latin music and this version is on nice translucent red wax which conveys the heat the music. Duran was a protege of mambo pioneer Perez Prado and his distinctive percussion work graced numerous 1950s hits by artists like Esquivel, Belafonte, Eartha Kitt, and Lena Horne. On his 1960 solo debut, Duran brought together top conga players Mongo Santamaria, Willie Bobo, and Juan Cheda to craft a cinematic fusion of Afro-Cuban, cha-cha, and exotic jazz styles.