Joe Cain-HUGO MONTENEGRO, Orizaba- Latin Au Go Go classic-Latin Explosion!
RIGHT OFF THE TOP! 3 Classic timeless songs by Joe Cain.
taken from the album :
From the Time Records (Bob Shad) early 60's library.
Focusing on Joe Cain here,
the 3 Cain tracks (in the video clip) also appear on Latin Explosion, Time S-2123 and also
known as Latin Au Go Go!
info about Joe Cain !
from : dustygroove.com and spaceagepop.com
One of the few albums ever issued as a leader by the great Joe Cain -- a wonderful Latin arranger with a really mad ear for a groove! Cain's approach is often quite choppy in the rhythms -- short, hard, and very very sharp -- then topped with sweeter, jazzier lines -- played on this set by Clark Terry on trumpet, Jerome Richardson on tenor and flute, and Frank Anderson on piano and some especially nice organ lines! Percussion is super-heavy throughout -- played by Jose Mangual, Chocolate, and Marcelino Valdes with a vibe that's just right for the rhythms -- and additional support is from Cachao on bass and Herbie Lovelle on drums. The grooves are incredible -- quite different than anything else on Mainstream Records at the time, and even different than most of the New York scene -- and titles include the amazing "Mambo Au Go Go (parts 1 & 2) (also known elsewhere as "It's a Mad Mad Mad Mad Mambo") -- a cut that sounds like some sort of crazy avant garde percussion banging, all made to keep in time to a mambo beat, with jazzy organ solos over the top. Other titles include "Mongo Mongo Baby", "Papa Bajo", "Que Paso", "Tanga Pa Katanga", and "Chunga A Go Go".
Joe Cain
Born Joe Caiani, 31 January 1929, Philadelphia, Pennsylvania
Joe Cain's name shows up on quite a few Space Age Pop albums, but his primary contribution to music has been as a producer rather than a performer. Despite the fact that he doesn't speak Spanish, he's been one of the more influential producers of Latin music in America for over 40 years.
Cain moved with his family to the Bronx as a kid, and was inspired to become a trumpet by the example of Harry James. After graduating from high school, he became a professional musician, first going to work in the brass section of Rey Davila's Latin band. He had a knack for Latin music, and his ability to sight-read music enabled him to land jobs with some of the best Latin bands playing in New York City at the time, including Tito Rodriguez's, Marcelino Guerra's, and Charlie Palmieri's. He would often work the first part of the evening in the orchestra of a Broadway show and then head to a club to play with a dance band into the wee hours of the morning.
He also started to arrange and compose for the bands he played with, and sought out Hugo Montenegro for tutoring in the art of arrangement. Cain later acknowledged Montenegro's recommendation not to "over-arrange to compete with the singer" as the best advice he ever received.
In the mid-1950s, he was hired to replace trumpeter Al Stewart in Vicentico Valdes' band, and Cain and Valdes struck up a collaboration that would last until Valdes' death in 1995. Valdes was perhaps the greatest Latin balladeer of the era, and Cain had a talent for writing slow-tempo arrangements that set his voice to best advantage.
By the end of the decade, Cain was able to move from performing to producing. He worked with a variety of labels, both those like Seeco and Tico that specialized in Latin repertoire and mainstream pop lines like MGM. His credits from the early 1960s look like a random sample from a copy of a Schwann LP catalog: covers of Broadway tunes, albums cashing in on dance crazes like the pachanga, work with pop and wanna-be rock singers, instrumental albums under his own name--even an exercise record for Modern Screen magazine. His best album is probably Latin Explosion, a Latin jazz session featuring Jerome Richardson, Clark Terry, and other jazz-cats-turned-studio-pros, which was recently reissued on vinyl.
Gradually, though, he was able to weed out the fluff and concentrate on Latin music. By the early 1970s, he was working almost exclusively for Morris Levy's Tico label, and he convinced Levy to revive the Alegre Records label to showcase artists like Eddie Palmieri, who were pioneering what would become the great salsa movement of the 1970s. Cain was instrumental in producing some of the best Latin recordings of the period, and would have continued to do so had not Levy sold the label to a competitor, who quickly deactivated it again.
Since then, Cain's juggled A&R, production, management, and other musical jobs--still focusing on Latin music, but also leading the Red Parrot Orchestra, a New York-based swing revival big band.
taken from the album :
music festival-SPAIN-time records-STEREO-S320-canada 196?
(full album available now)
A stunning collection of Latin infused tracks
recorded with amazing clarity in the studios
of Bob Shad in New York early 1960s.
features :
HUGO MONTENEGRO
AL CAIOLA
ORIZABA
JOE CAIN
MANHATTAN POPS ORCHESTRA
(I used to have a video link but the youtube account it was associated with is closed)
From the Time Records (Bob Shad) early 60's library.
Focusing on Joe Cain here,
the 3 Cain tracks (in the video clip) also appear on Latin Explosion, Time S-2123 and also
known as Latin Au Go Go!
from : dustygroove.com and spaceagepop.com
One of the few albums ever issued as a leader by the great Joe Cain -- a wonderful Latin arranger with a really mad ear for a groove! Cain's approach is often quite choppy in the rhythms -- short, hard, and very very sharp -- then topped with sweeter, jazzier lines -- played on this set by Clark Terry on trumpet, Jerome Richardson on tenor and flute, and Frank Anderson on piano and some especially nice organ lines! Percussion is super-heavy throughout -- played by Jose Mangual, Chocolate, and Marcelino Valdes with a vibe that's just right for the rhythms -- and additional support is from Cachao on bass and Herbie Lovelle on drums. The grooves are incredible -- quite different than anything else on Mainstream Records at the time, and even different than most of the New York scene -- and titles include the amazing "Mambo Au Go Go (parts 1 & 2) (also known elsewhere as "It's a Mad Mad Mad Mad Mambo") -- a cut that sounds like some sort of crazy avant garde percussion banging, all made to keep in time to a mambo beat, with jazzy organ solos over the top. Other titles include "Mongo Mongo Baby", "Papa Bajo", "Que Paso", "Tanga Pa Katanga", and "Chunga A Go Go".
Joe Cain
Born Joe Caiani, 31 January 1929, Philadelphia, Pennsylvania
Joe Cain's name shows up on quite a few Space Age Pop albums, but his primary contribution to music has been as a producer rather than a performer. Despite the fact that he doesn't speak Spanish, he's been one of the more influential producers of Latin music in America for over 40 years.
Cain moved with his family to the Bronx as a kid, and was inspired to become a trumpet by the example of Harry James. After graduating from high school, he became a professional musician, first going to work in the brass section of Rey Davila's Latin band. He had a knack for Latin music, and his ability to sight-read music enabled him to land jobs with some of the best Latin bands playing in New York City at the time, including Tito Rodriguez's, Marcelino Guerra's, and Charlie Palmieri's. He would often work the first part of the evening in the orchestra of a Broadway show and then head to a club to play with a dance band into the wee hours of the morning.
He also started to arrange and compose for the bands he played with, and sought out Hugo Montenegro for tutoring in the art of arrangement. Cain later acknowledged Montenegro's recommendation not to "over-arrange to compete with the singer" as the best advice he ever received.
In the mid-1950s, he was hired to replace trumpeter Al Stewart in Vicentico Valdes' band, and Cain and Valdes struck up a collaboration that would last until Valdes' death in 1995. Valdes was perhaps the greatest Latin balladeer of the era, and Cain had a talent for writing slow-tempo arrangements that set his voice to best advantage.
By the end of the decade, Cain was able to move from performing to producing. He worked with a variety of labels, both those like Seeco and Tico that specialized in Latin repertoire and mainstream pop lines like MGM. His credits from the early 1960s look like a random sample from a copy of a Schwann LP catalog: covers of Broadway tunes, albums cashing in on dance crazes like the pachanga, work with pop and wanna-be rock singers, instrumental albums under his own name--even an exercise record for Modern Screen magazine. His best album is probably Latin Explosion, a Latin jazz session featuring Jerome Richardson, Clark Terry, and other jazz-cats-turned-studio-pros, which was recently reissued on vinyl.
Gradually, though, he was able to weed out the fluff and concentrate on Latin music. By the early 1970s, he was working almost exclusively for Morris Levy's Tico label, and he convinced Levy to revive the Alegre Records label to showcase artists like Eddie Palmieri, who were pioneering what would become the great salsa movement of the 1970s. Cain was instrumental in producing some of the best Latin recordings of the period, and would have continued to do so had not Levy sold the label to a competitor, who quickly deactivated it again.
Since then, Cain's juggled A&R, production, management, and other musical jobs--still focusing on Latin music, but also leading the Red Parrot Orchestra, a New York-based swing revival big band.
que buen trabajo gracias esperare el link
ReplyDeletegracias!!
ReplyDeletei'll keep reading
Greetings from Tenmerife Island