Afro Cuban Jazz Moods

構成数 : 1枚
合計収録時間 : 00:32:12
Personnel: Dizzy Gillespie (trumpet); Frank "Machito" Grillo (Clavinet, maracas); Chico O'Farrill (arranger, conductor); Mauricio Smith (alto saxophone, piccolo, flute); Mario Bauza (alto saxophone, clarinet); Mario Rivera (tenor saxophone, alto flute); Jose Madera, Sr. (tenor saxophone, clarinet); Leslie Yahonikan (baritone saxophone, bass clarinet); Manny Duran, Raul Gonzalez Jr., Victor Paz (trumpet, flugelhorn); Jerry Chamberlain, Jack Jeffers, Lewis Kahn, Barry Morrow (trombone); Don Corrado, Bob Stewart, Brooks Tillotson (tuba); Jorge Dalto (electric piano); Dana McCurdy (synthesizer); Carlos Castillo (bass); Mickey Roker (drums); Julito Collazo, R. Hernandez (African drums); Mario Grillo (bongos, cowbell); Pepin Pepin (congas); Jose Madera Jr. (timbales). Recorded in New York, New York on June 4 & 5, 1975. Originally released on Pablo (2310-771). Includes liner notes by Chico O'Farill. Here we have a summit meeting late in the careers of the pioneering titans of Afro-Cuban jazz: Dizzy Gillespie fronting the Machito orchestra on trumpet, with Mario Bauza as music director, alto saxophonist/clarinetist, and organizing force, and Chico O'Farrill contributing the compositions and arrangements. This could have been just a nostalgic retro gathering 25 years after the fact, but instead, these guys put forth an ambitious effort to push the boundaries of the idiom. The centerpiece is a 15-minute trumpet concerto for Gillespie called "Oro, Incienso y Mirra," where O'Farrill melts dissonant clusters, electric piano comping, and synthesizer decorations together with hot Afro-Cuban rhythms into a coherent, multi-sectioned tour de force. Gillespie, who had apparently never been in the same room with synthesizers before, is magnificent as he peels off one patented bebop run after another over Machito's band and in the gaps between. There is also an equally sophisticated suite of O'Farrill pieces grouped under the title "Three Afro-Cuban Jazz Moods," which mixes rock elements into the rhythms. Parts of "Pensativo" sound as if O'Farrill had been carefully listening to Santana, the teacher learning from the student, as it were. It adds up to a paltry 32 minutes of music, yet one can forgive the short length, this being all there is of a historic recording session. ~ Richard S. Ginell
録音 : ステレオ (Studio)