Annotations for Dates: 1930s

[Transition--Afro-Cuban jazz]

Latin jazz great Mario Bauzá died July 11 of cancer in his Manhattan home, just blocks from where I live. Mario Bauzá, an integral part of New York's Latin jazz scene, was 82 years old.

I remember this great musician sitting on a milk crate outside a bodega, surrounded by friends, drinking coffee, and enjoying the simple things of life. You would've never known it by seeing him that this small, tender, smiley man had totally revolutionized American music.

In the 1940s, he influenced popular music by innovating a new musical style which mixed popular Afro-Cuban rhythms with American jazz.

Emilio San Pedro prepared this remembrance of Latin jazz legend Mario Bauzá.

[Afro-Cuban jazz]

Mario Bauzá was first exposed to American jazz in 1926, when he visited New York. In 1930, anxious to become a part of that scene, Bauzá left his native Havana for New York, frustrated that in Cuba, Afro-Cuban music was considered merely the music of the streets, not the music of the sophisticated nightclubs, country clubs, and hotels of pre-revolutionary Havana.

Had to happen outside of Cuba before the Cuban people convinced themself what they had, themself over there. They didn't pay no attention to that. When I got big in United States, Cuba begin to move into that line of music.

[Afro-Cuban jazz]

In the 1930s, Bauzá performed with some of New York's best-known jazz musicians, like Chick Webb and Cab Calloway. In fact, in those days, Bauzá was responsible for introducing singer Ella Fitzgerald to Chick Webb, thus helping to launch her career. It was also Bauzá who gave Dizzy Gillespie his first break, with the Cab Calloway Orchestra.

During their time touring and working with Cab Calloway, Mario Bauzá and Dizzy Gillespie, along with the Afro-Cuban percussionist Chano Pozo, played around with Afro-Cuban rhythm and jazz arrangements and created something entirely new: Afro-Cuban jazz.

[Machito--Sopa de pichon]

In the early 1940s, Mario Bauzá formed the legendary band Machito and his Afro-Cubans, along with his brother-in-law, Francisco Perez, who was called Machito. Bauzá was the musical director of the band, and he composed and arranged some of the group's most memorable songs.

[Machito--Sopa de pichon]

The sensation caused by Machito and his Afro-Cubans and by other Latin musicians in the 1940s made New York the focal point of a vibrant Latin music scene.

It's the scene of the Mambo kings you know, and that's why a lot of people will say Mambo is not Cuban music or it's not Mexican music. Mambo is New York music.

Enrique Fernandez writes about Latin music for the Village Voice.

It was here that this kind of music became very hot, that it really galvanized a lot of people, that had really attracted a lot of musicians from different genres that wanted to jam with it, and that created those great encounters between Latin music practitioners and jazz practitioners, particularly Black American jazz practitioners, that brought all this stuff together that later on, generated salsa and it generated Latin jazz and a lot of other things.

[Machito--Si si no no]

Groups like Machito and his Afro-Cubans were responsible for sparking a Latin dance craze in the United States, from New York to Hollywood. Mario Bauzá's sister-in-law, Graciela Pérez, began singing with Bauzá's orchestra in 1943.

Pero jurate que la música de esta…[transition to English dub] The music made by Machito's orchestra created such a revolution that you could say people began to enjoy because dance schools sprang up to teach the mamba and the guaguanco and all that [transition back to original audio]…el guaguanco todo todo.

Graciela and Mario left Machito's band in 1976 to form their own group, Mario Bauzá and his Afro-Cuban jazz Orchestra. Achieving recognition came slowly for the new band as general audiences lost interest in the traditional Afro-Cuban jazz sounds.

But in the late 1980s, Bauzá's music experienced a resurgence in popularity. His orchestra played to packed houses in the United States, Canada, and Europe. And in the last two years, Bauzá still active and passionate about his music, recorded three albums worth of material.

Meringue, meringue from San Domingo. Cumbia's cumbia from Colombia. Afro-Cuban is Cuban. That's why I've got to keep a bunch of these Afro-Cuban rhythms. Danzón Cubano, la danza Cubano, el bolero Cubano, el cha-cha-cha Cubano, el mambo es Cubano, guaguanco Cubano, la Colombia es Cubana.So I've got to call it Afro-Cuban, yeah.

In a 1991 interview, I spoke with Mario Bauzá about his extraordinary musical output.

You've brought out these great musicians, you've helped create or created Afro-Cuban jazz, brought Latin music and Latins to Broadway.

That's it.

And you're 80 years old.

Yes.

Many people at 80 years old are sitting by the pool or in the rocking chair and whatever. You don't look like it.

You know me. It ain't going to be like that.

What else could you do at this point, what more?

I don't know. I ain't through, I ain't through. I just wanted my music to be elevated. That's why I want to record this suite now. I want to see the word, music is music. You tell me what kind of music. I like any kind of music that we're playing. And that's what I tried to do, present my music different way. Some people might don't like this, don't like that, but when they hear that, they have a right to choose for. That's what I want them to do.

[Mario Bauza--Carnegie Hall 100]

Mario Bauzá worked steadily until his death. He recently released a compact disc on the German record label Messidor called My Time is Now.

For "Latino USA," I'm Emilio San Pedro.

[Mario Bauza--Carnegie Hall 100]

One of the featured musicians on Gloria Estefan's recent recording of traditional Cuban music, "Mi Tierra", is Israel Lopez. Also known as Cachao, Lopez now in his seventies, is just beginning to gain recognition for creating many of the familiar rhythms associated with styles like the mambo and el cha-cha-cha. From Miami, Emilio San Pedro prepared this musical profile.

[Transition--Cuban Music]

(Background music) In his younger days, Israel Lopez was known for his interpretation of traditional Cuban musical styles, like el son and danzón. Lopez comes from one of Cuba's oldest musical families and got his nickname, Cachao, from his grandfather, a one-time director of Havana's municipal band. Cachao recalls how after a while he and his brother, Orestes, became bored with playing the same old traditional danzónes, and created a new dance music called the mambo.

[Descarga Mambo--Israel “Cachao” Lopez]

Entonces en el año 37 entre mi Hermano y yo nos… [transition to English dub] In 1937, between my brother and I, we took care of this mambo business. We gave our traditional music, our danzón, a 180-degree turn. What we did was modernize it… [transition back to original audio] …lo que hicimos fue modernizarlo.

In the late 1950s, Cachao got a group of Cuba's top musical artists together for a set of 4:00 AM recording sessions that started after the musicians got off work at Havana's hotels and nightclubs. The group included Cachao's brother, Orestes, El Negro Vivar, Guillermo Barreto, and Alfredo León of Cuba's legendary Septeto Nacional. Cachao says he called those jam sessions descargas, literally discharges, because of the uninhibited atmosphere that surrounded those recordings.

En la descarga se presa uno libremente, cuando uno esta leyendo música no es los mismo… [transition to English dub] In the descarga you express yourself freely. When you are reading music it's just not the same. You are reading the music and so your heart can't really feel it. That's why that rhythm is so strong and everyone likes it so much… [transition to original audio] Fuerte! Y muy bien, todo el mundo encantado.

[Descarga Mambo--Israel “Cachao” Lopez]

Cachao left Cuba in 1962, but his association with the descarga, el mambo, and el danzón kept him busy in this country playing everything from small parties and weddings to concerts with top musicians like Mongo Santamaria, and Tito Puente. For young Cubans growing up in the United States, the music of Cachao and other artists has served as a link to their cultural roots.

His music has inspired me over the years and has brought solace to me and many times and has been a companion for me. Anybody who knows me will know that I carry tapes of Cachao with me in my pocket.

Actor Andy Garcia is one of those young Cubans on whom Cachao's music made a lasting impact. Garcia recently directed a documentary on the musician's life titled "Cachao...Como Su Ritmo No Hay Dos." "Like His Rhythm, There's No Other."

Cachao has been, in a sense, overlooked for his contributions musically to the world of music, world internationally. Musicians know of him and anyone say, "Oh, he's the master," but in terms of the general public, he's been really ignored. So it's important to document something, so somehow that would help bring attention to his contributions to music.

The documentary mixes concert footage with the conversation with Cachao. The concert took place last September in Miami, bringing together young and older interpreters of Cuban and Latin music in a tribute to Cachao and his descarga.

Very modest, extremely modest man. Quiet, shy.

One of the musicians who played with Cachao in that concert is violinist Alfredo Triff. He says, "The 74 year old maestro has lessons to teach young musicians that go beyond music."

He's such a modest person that in fact, I realized that he was the creator of this thing, this mambo thing. And I'll tell you what, not only me, I remember Paquito once in Brooklyn, we were playing, or in the Bronx, we were playing the Lehman College. And Paquito comes to the room and he says, Alfredo, you know that mambos, Cachao invented this thing.

Andy Garcia's documentary, "Como Su Ritmo No Hay Dos", is bringing Cachao some long-delayed recognition. And these days, Cachao is quite busy promoting the film, working on a new album, and collaborating with Gloria Estefan on her latest effort, "Mi Tierra", "My Homeland," a tribute to the popular Cuban music of the 1930s and '40s.

[No Hay Mal Que Por Bien No Venga--Gloria Estefan]

The album "Mi Tierra" has become an international hit in the few weeks since its release. The documentary, "Cachao, Como Su Ritmo No Hay Dos", has been shown at the Miami and San Francisco film festivals. Cachao also plans to go into the recording studio later this year to put together an album of danzónes.

Es baile de verdad Cubano, y se ha ido olvidado… [transition to English dub] It's the traditional Cuban dance, and it's being forgotten. Here you almost never hear a danzón. I wish the Cubans would realize that this is like the mariachi. The Mexican never forgets his mariachi. Wherever it may be, whatever star may be performing, the mariachi is there. It's a national patrimony, as the danzón should be for us and we should preserve it... [transition to original audio] …danzón…y debemos preservarlo también.

Cachao strongly believes in preserving Afro-Cuban culture and its musical traditions. He hopes to keep those traditions alive with his music. For Latino USA, I'm Emilio San Pedro.

[No Hay Mal Que Por Bien No Venga--Gloria Estefan]

[Background--music--Chicano world] It's been an integral experience throughout. I mean whether we're Chicanos in Texas, we had the influence of the Louis Armstrongs and the Dixielands way back. I mean Ernie Caceres, Emilio Caceres, the jazz musicians, they're tremendous, in the thirties were influenced by Afro-Americans a lot from New Orleans. And then throughout the forties and fifties, the blues have been strong. It's one of our greatest blues singers that Chicano blue singers have been tremendously influenced by the blues. Freddy Fender wrote “Wasted Days”, the first Chicano blues.