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CD 7032
1. La Patti Negra - Orquesta Pablo Valenzuela
2. Yama, Yama - Orquesta De Enrique Pena
3. La Gatita Blanca - Orquesta De Enrique Pena
4. Rigoletto - Orquesta De Felipe Valdes
5. Unknown Title - Orquesta De Felipe Valdes
6. Alza Colombia - Orquesta De Felipe Valdes
7. La Machicha - Orquesta De Felipe Valdes
8. El Automovil - Orquesta De Enrique Pena
9. Agapito Ven, Ven - Orquesta De Pablo Valenzula
10. Amalia Molina - Orquesta De Pablo Valenzula
11. El Premio Gordo - Orquesta Babuco
12. El Calvito De O'Reilly 89 - Orquesta De Felipe Valdes
13. La Conga - Orquesta De Jaime Prats
14. El Deutschland - Orquesta De Felix Gonzalez
15. No Te Mueras Sin Ir A Espana - Orquesta De Felipe Valdes
16. Eden Concert - Orquesta De Enrique Pena
17. Sandunguita - Orquesta Francesa De Tata Pereira
18. Linda Cubana - Orquesta Francesa De Tata Pereira
19. Huyendale A Un Raton - Orquesta Romeu
20. General Machado - Orquesta De Felix Gonzalez
21. Julian El El Cabaret - Orquesta Tipica Criolla
22. Aprieta, Pero No Pises - Orquesta De Felix Gonzalez
23. El Capitolio - Orquesta Francesa De Felipe B. ValdesREVIEWS
“A fascinating look at the early Cuban danzÛn, the first African -American music to be recorded in depth. In the 1870s it evolved from the contradanza, a distinctive creole blend of African rhythms with melodic elements drawn from the European contredanse. The earliest examples (recorded in 1905-6) have survived for nearly a century and were made years before North American record firms saw fit to document the black music which was flourishing on their own continent.”
(Dick Spottswood — Ethnomusicologist)“I was interested in the sound of the [Buddy] Bolden Band and I was very aware that there was a Caribbean connection . . . I really wanted to know what the band sounded like so I thought I'll find out from the musicians themselves. I found the guys who had actually played with the band, or heard the band and were musicians, and they hummed me what they played and I put it together with a bunch of New Orleans musicians . . . What I really hadn't expected was that the sound was totally different from what we'd gotten used to in the 20s . . . it's a bowed bass, a gut-string guitar played straight to the bar, the drummer's using light press rolls and they all played a unison melody so when I put it together it really sounded like the Cuban danzÛn! . . . There was a different rhythmic emphasis because African-American music has always had a stronger 4-4 emphasis, it didn't have the Cuban shifting accents, but the sound was music that someone in the Caribbean would have recognized and it became the root source - unless it happened in America - but there's a whole Caribbean relationship that it's a shame it's been lost.”
(Sam Charters — Author, Jazz Historian and Record Producer)
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