The early 1990s signaled a change in Cachao’s dismal Miami music career and the beginning of a drive back into the spotlight. He built a relationship with actor Andy Garcia, who resonated with strong childhood memories of Cachao’s music. Garcia realized Cachao’s significance, and he became determined to share Cachao’s genius with the world. Garcia rallied support from Miami’s Cuban community, who avidly supported him. Cachao performed on Paquito D’Rivera’s 40 Years of Cuban Jam Session, reminding the Latin Jazz community of his significance. After hearing him on this album, Latin Jazz musicians and fans, both old and new, were begging for more. A huge concert at the Miami Arena was arranged that would highlight Cachao’s history and involve a number of significant musical figures. Both musically and financially, the concert was a success, but it marked the beginning of a more important period in Cachao’s life.

The Miami Arena concert was filmed and became the core of a documentary about Cachao entitled Como Su Ritmo No Hay Dos. Interspersed between the concert footage, Cachao shared history and wisdom, showing the audience his good humor and love of Cuban music. Guests such as Paquito D’Rivera shared their insights and exposed an obvious respect for Cachao’s work. The documentary worked on several levels; experienced fans got a live concert that showcased the best of Cachao while new listeners were introduced to a gentle genius with addictive music. Garcia remained deeply involved in both the production of the documentary and its promotion, lending some powerful star quality to the overall process. The film appeared nationwide and became a quick success. Cachao’s time in obscurity ended quickly, and the world began to recognize him as a true legend of Cuban music.

The following albums represent the best of the final years of Cachao’s life. He made appearances on a variety of other albums, including tracks from Gloria Estefan and Albita, but these albums showcase Cachao’s most important work during this period. These albums also enjoyed the financial backing that allowed Cachao to fully realize his musical ideas. The musicians, the repertoire, and the sound all specifically reflect Cachao’s knowledge and style. At this point in his life, the recordings revealed years of experience, the culmination of a life’s work. The quality and musicality captured on these recordings serve as an apt tribute to a genius that shaped Cuban music.

Master Sessions, Volume 1
The release of Master Sessions, Volume 1 coincided with the debut of Como Su Ritmo No Hay Dos, and the momentum from the documentary drove the project forward. With the help of Gloria and Emilio Estefan, Andy Garcia secured a contract with Sony Discos for Cachao’s recording. The major label resulted in a large budget and mass promotion. Cachao brought together a large ensemble that allowed him to explore his full musical background from danzónes to descargas. He carefully chose a top-notch cast of musicians both young and experienced, ranging from Francisco Aguabella and Orestes Vilato to Jimmy Bosch and Richie Flores. The musicians came together at The Record Plant in Los Angeles to create a crystal clear digital recording that captured both the elegance of Cachao’s compositions and the spontaneous excitement of his descargas. For the first time in years, Cachao presented his complete musical vision, performed exactly to his likings, and recorded at a high quality.

The album contained a combination of classic songs and diverse pieces of Cuban culture. Cachao revived both his groundbreaking song “Mambo” and his theme “Descarga Cachao.” Rather than presenting dry recreations though, Cachao brought both these pieces to life. “Mambo” gained a much quicker tempo and an extended piano improvisation from Alfredo Valdés, Jr. while “Descarga Cachao” became a true jam session with solos from Chocolate Armenteros, Paquito D’Rivera, Jimmy Bosch, Justo Almario, and Cachao himself. The album reflected the richness of Cuban music as well, including the son “El Son No Ha Muerto,” the rumba “Lindo Yambú,” the guajira “Mi Guajira,” and the conga “El Alcalde.” The album opens with the danza “Al Fin Te Ví,” performed with delicate mastery as a duet between Cachao and Paquito D’Rivera. Cachao filled out the repertoire with additional danzónes and descarga, emphasizing his contributions to the music. The album brought a strong picture of Cachao and his history to the public, and revealed his continued vitality, even at the age of 76.

The success of the film Como Su Ritmo No Hay Dos brought deserved attention to Cachao and Master Sessions, Volume 1. Latin music fans rushed to acknowledge the force behind so many classic recordings, but Cachao also gained a new audience. Both young and old listeners loved his music and respected his place in history. His success supported tours both across the United States and eventually to Europe. His association with Garcia led him onto talk shows and resulted in high profile appearances. Cachao consistently captured the public’s hearts at these events, solidifying his success in the music industry. Master Sessions, Volume 1 enjoyed healthy sales, ensuring Sony’s support for future releases. Cachao won a Grammy Award for Master Sessions, Volume 1, bringing his spotlight into an even wider public eye. The master musician that changed Cuban music multiple times finally gained the massive recognition that he deserved.

Master Sessions, Volume 2, Cuba Linda, & Ahora Si!
Cachao continued his career revival with 3 more albums over the next decade. He continued his relationship with Sony, ensuring a continued high profile and quality releases. Andy Garcia remained involved with Cachao throughout all his releases, acting as producer and at times a musician. He emerged as Cachao’s biggest supporter during the last portion of Cachao’s life, finding time within his film career to prioritize music. Since Cachao employed a variety of busy musicians on Master Sessions, Volume 1, his touring groups included a combination of those artists and lesser-known musicians. His final albums reflected this diversity in musicians, integrating many new faces. Each release attained successful sales, and his final album, Ahora Si!, won a 2003 Grammy award for Best Tropical album. The biggest consistent factor throughout Cachao’s final recording through is the musical integrity and overall quality performances. Until his final days, Cachao maintained his high musical standards and shared those with the world.

Master Sessions, Volume 2 continued the energy and momentum built by Como Su Ritmo No Hay Dos and Master Sessions, Volume 1. Recorded during the same sessions that produced Master Sessions, Volume 1, it contains the same roster of musicians and the same repertoire formula. A number of descargas appear on the album, including the up beat “Bemba ‘e Cuchara,” that brings together a conga rhythm with improvisatory energy. Cachao included several danzónes, including the jazz-tinged tribute to Paquito D’Rivera, “Sigue A Paquito Si Puedes.” The album once again begins with a touching duet between D’Rivera and Cachao on the danza “Los Tres Golpes.” Cachao reaches past his Cuban roots with the “Africa Suite,” a collection of 4 songs that include Yoruba chants, a danzón, and a descarga. In many ways, Master Sessions, Volume 1 & Volume 2 share a common theme, and they need to be heard together.

The next two albums, Cuba Linda and Ahora Si!, bring together a greater variety of musicians performing a similar combination of music. The 2000 release Cuba Linda includes an elegant interpretation of the Gershwin classic “Rhapsody In Blue” as a danzón. The up-tempo descarga “Why? Why Not!” includes some fantastic improvisations from violinist Federico Britos, trombonist Jimmy Bosch, and saxophonist Rafael “Tata” Palau. Cachao also makes an inspired return to the mambo with “Goza Mi Mambo Cubano,” an exciting ride full of rhythmic moñas and high energy solos. Ahora Si! primarily features the same musicians, but they are renamed the Cineson All-Stars, which became the group’s touring name following this release. “Una Descarga A Cachao” exists as the album’s highpoint; Cachao takes an extended solo that finds the 86-year-old bassist slapping the bass, bowing above the bridge, and showing an unusual amount of virtuosity. The best part about this album remains the accompanying DVD that brings the listener into the recording session and shows the group in action. Ahora Si! includes outstanding music, but the included DVD makes this release a must-have for any serious Cachao listener. Both these albums showed Cachao reveling in his success, taking the opportunity to share the music he loved.

El Arte del Sabor, Bebo Valdes Trio
In the midst of Cachao’s revitalized career, another Cuban music legend experienced a boost in notoriety, pianist Bebo Valdes. He spent years in obscurity, playing small venues in Europe. Paquito D’Rivera helped Valdes produce an exciting Latin Jazz release, Bebo Rides Again, which brought Valdes back into the eyes of the Latin Jazz audience. The success of Buena Vista Social Club helped classic Cuban musicians such as Valdes and Cachao. In many ways, they followed the same set of aesthetics as the Buena Vista musicians, making their music appealing to the new audience that “discovered” the Buena Vista Social Club. In 2001, the Latin Jazz documentary Calle 54 found similar success, propelling a number of artists into the spotlight. A highpoint of the movie was the collaboration between Valdes and Cachao, showing the two masters at work. Audiences adored the duets, which set the stage for the soon to be released album featuring the two musicians.

Valdes’ 2001 release El Arte del Sabor brings the pianist together with Cachao and conguero Carlos “Patato” Valdes in a trio setting. The collective experience between the three veterans breeds classic performances throughout the album, as they display taste and stylistic knowledge at every turn. For the most part, the group performs Cuban classics such as “Lamento Cubano,” “Son del la Loma,” and “Pare Cochero,” but their youthful exuberance for the material breathes new life into the age-old songs. Paquito D’Rivera joins the group on three tracks, performing on both alto sax and clarinet. He fits into the picture perfectly, reveling in the musician’s classy approach to the music. Cachao sounds strong in this intimate setting, and it reveals a side of his playing not heard on many other recordings. The thin texture allows for his bass to play an audible and major interactive role and his solo work takes on a new character against Valdes’ playing. Just hearing Cachao among these masters, coupled with the small setting, makes El Arte del Sabor an essential piece of any Cachao collection.

———-
For more on Cachao, check out the early editions of this series: Part 1, Cachao In Cuba, Part 2, Cachao In New York, and Part 3, Cachao’s Early Miami Years.

———-
Click here to have these posts delivered via email. Or, click here to subscribe to the full text RSS feed and never miss another post!

Stumble it!