Cachaito

Q - 4 stars out of 5 - "...A hugely rewarding adventure, blending Hammond-friendly dub effects, jaw-dropping strings and Manuel Galvan's extraordinary spaced-out guitar with the coolest and slinkiest set of Latin jazz rhythms..." The Wire - "...Lopez is recorded dry and heavy, and pushed right to the front pf the mix....The rhythms are Channel One-era mid-tempo and sounds like it has been lifted from a Scientist album." CMJ - "...mirrors some BVSC arrangements, but overall [Lopez] favors a darker, harder-edged sound..." Mojo - "...It's fresher and far more contemporary....CACHAITO is filled with descargas, jams that allow the musicians to express their empathy without restrictions..." Down Beat - 4.5 stars out of 5 - "...Delves deep into the bassist's amoury, crossing musical boundaries and utilizing sophisticated technology....there are enough ideas on this ambitious offering to fuel several albums." Spin - 8 out of 10 - "...Future-gazing with gusto...showcasing his savage side....neurotic pomo gusto, crossfading from big-band splendor to surf-guitar riffing to hip-hop mixology..."

Cuban native Orlando 'Cachaito' Lopez found fame relatively late in life as part of the now-legendary Buena Vista Social Club (and as one of the stars of the accompanying 1997 documentary), but his humble musical beginnings made a great impression on this debut solo outing. During the 1950s Lopez was a key innovator in the descarga music style, and much of the rhythmic intricacy and verve symptomatic of the genre is noticeable here. From the lazy groove of 'Redencion' to the almost-waltzing 'A Gozar El Tumbao', the instrumental prowess displayed on 'Cachaito' is second-to-none. It may be a surprise to some to hear some more contemporary elements, notably the hip-hop fusion of 'Cachaito In Laboratory'.|

Buena Vista Club mainstay Orlando "Cachaito" Lopez, who is widely regarded as the best bassist in Cuba, could have taken the safe route and recorded a straightforward collection of Cuban son/Latin jazz music. The resulting album may have been a bit predictable and mild, but the high level of musicianship would have ensured a quality product, particularly considering the impressive international cast that appears with Cachaito on this album. To their credit, however, Cachaito and his colleagues were willing to take some chances. Some tracks approach a Cuban version of dub music, as Jamaican organist Bigga Morrison's Hammond prods or Cuban surf guitarist Manuel Galban's instrument reverberates while the bottom drops in and out of the mix. French DJ Dee Nasty even scratches on "Cachaito in Laboratory," a partially successful experiment that yields interesting results even though it doesn't quite gel with the rest of the album. At times the tracks seem more like studio jams than fully realized songs, but the album's overall feel -- self-assured, relaxed, warm, even somewhat jocular -- is quite appealing. The musicianship, of course, is impeccable, including the amazing rhythm section of Cachaito, Miguel "Anga" Diaz on congas, Amadiot Valdes on timbales, and Carols Gonzalez on bongos. Other highlights include Ibrahim Ferrer's cameo appearance on "Wahira," the album's only vocal track; the full orchestral string arrangements by Demetrio Muniz and horn arrangements by James Brown saxophonist Pee Wee Ellis; and "Tumbao No. 5 (Para Charlie Mingus)," which was inspired by the Mingus classic "Haitian Fight Song." ~ Todd Kristel