The Revisiting series features albums from the past that played a significant role in Latin Jazz history. The purpose of this series is to introduce new Latin Jazz listeners to important albums and look back at these albums in historical perspective. Each entry will jump to a different point in Latin Jazz history - this week we jump back to the 1950s.

Certain musical elements stick to a listener like glue, and define memorable moments that change an album into an instant classic. In some cases, a musician’s pure virtuosity becomes the album’s centerpiece, locking the recording’s place in history with never before attempted feats of instrumental daring. An artist’s bold harmonic approach often shapes a recording’s sound, painting vivid colors into the soundscape that cannot be forgotten. Some musicians bring together a variety of styles, creating a unique mixture that appeals to traditional fans and new listeners alike. Many times a composer brings such an original voice to their work that they create exciting and sometimes even shocking music that signals a genre’s new artistic direction. Music can mark a high point in a social movement, reflecting the restlessness of a generation and their desire for change. More often than not, musicians combine several of these elements into an unforgettable statement.

Cuban musicians existed in a duality world during the mid-fifties; an extremely talented group of musicians thrived artistically, yet the majority of their work required very little high level performance. Havana maintained a busy tourist industry, which employed a good number of these musicians providing light and enjoyable experiences. Cabaret shows brought together risqué dancing and “exotic” music; some of the music followed Cuban tradition, still more watered it down. Swing big bands performed for American tourists, playing popular dance charts from the 1930s and 1940s. Yet, the modern sounds from the North rang with bebop improvisation and intensity; Havana’s top musicians longed to explore the bebop’s challenges publicly. After hours jam sessions served as training grounds, yet these existed as musicians playing music for musicians. After extensive debate, Havana’s Panart studios agreed to open their doors to these musicians, allowing them to record their jam sessions during the night, after paying clients had left for the day.

The resultant three albums brought together Havana’s best musicians into an inspired and spontaneous setting, producing over three hours of classic descargas. Volume one features tracks from Julio Gutierrez y Su Orquesta as well as Niño Rivera y Sus Cubans All Stars. “Theme On Mambo” features extensive solos and impressive montuno work from Gutierrez. Rivera’s tres establishes the foundation on “Montuno Guajiro,” and later provides a rhythmic lesson on phrasing over the Cuban Son. Volume two captured more music from Gutierrez’s group as well as classic jam sessions from Israel “Cachao” Lopéz’s band. Several pieces here feature outstanding wind players: “Guaseo De Saxos,” “Estudio En Trompeta,” and “Trombon Criollo” all offer open space for these instruments to improvise. Perhaps the most enduring descarga was released as part of this album - “Descarga Cubana,” which became intimately associated with Cachao. Volume three focuses solely upon the music of Fajardo y Sus All Stars. This album brings Fajardo’s Charanga instrumentation into the improvisational descarga setting, with plenty of flute solos from the leader. All three albums captured an exciting period in the development of Cuban music and its integration into jazz.

The Cuban Jam Session albums brought together so many contagious musical elements that today they remain necessary courses of study for the modern Latin Jazz musician. Most musicians involved in the sessions were contemporary virtuosi that applied their immense knowledge and talent to the recordings, leaving defined examples of performance techniques. While many of the songs’ harmonic foundations were simplistic, the applied a “collective improvisation as songwriting” approach that sharply contrasted the highly arranged dance music of the era. Each session indulged the musicians’ desire to improvise, leaving behind concerns about sales or marketability. The musicians simply needed to enjoy the session and display the musical ideas that they cherished; as a result, the albums sound just as fresh and exciting today as they did fifty years ago. The recordings signaled the merger between Cuban rhythms and jazz improvisation - this existed years earlier in New York, but musicians in the United States improvised within a composed context while these artists collectively improvised over Cuban rhythms. The Cuban Jam Sessions opened the door for a looser descarga aesthetic that would serve as the foundation for the Fania All Stars, the Alegre All Stars, and the Tico All Stars. These sessions were a rare moment in time that explored these artists’ musical world, and left an imprint all serious Latin Jazz lovers should hear.

Revisit more classic recordings:
Paunetto’s Point, Bobby Vince Paunetto
Tanga, Mario Bauza and his Afro-Cuban Jazz Orchestra
Concepts In Unity, Grupo Folklorico y Experimental
Palmas, Eddie Palmieri
Cal Tjader’s Latin Concert

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