Machito Albums Get to the Root of Latin Jazz

His name has become a mere footnote in the history of Latin music--an artist mentioned occasionally in tributes, but largely unknown to a younger generation of salseros.

For those who do remember him, however, Machito stands as a giant in Afro-Cuban music, a singer and bandleader whose copious discography is nothing short of remarkable. By playing the Mario Bauza tune “Tanga” in 1943, the Machito Orchestra was single-handedly responsible for the birth of Latin jazz.

Now, the reissue of seven classic Machito albums by Sonido Records could help new listeners discover his infectious music.

Recorded between 1956 and 1971, the releases “Si-Si, No-No,” “Asia Minor,” “The Sun Also Rises,” “Mi Amigo, Machito,” “Cha Cha Cha at the Palladium,” “Tremendo Cumban” and “Soul of Machito” are excellent works filled with spontaneous warmth and joy.

“You don’t need to be 50 years old to fall in love with his music,” offers Rudy Regalado, a Los Angeles-based Venezuelan percussionist who at age 16 sneaked into the New York Palladium to see Machito perform and subsequently formed a friendship with him. “The man was a magician.”

From the ‘40s to the early ‘60s, Machito (he was born Frank Grillo in Havana in 1912) and his band were one of New York’s most celebrated Latin outfits. Besides collaborating with Dizzy Gillespie, Machito performed regularly at the mythic Palladium alongside Tito Puente, Eddie Palmieri and Tito Rodriguez.

Machito’s vocal skills were somewhat limited, but he had the rare ability to turn every one of his songs into a party. Backed by a jazzy big band, he was aided by, among others, his sister Graciela on vocals. Machito sang the upbeat material, mostly simple tales about pretty women, tasty food and life in New York. Graciela, whose exuberant personality matched that of her brother, took over whenever the outfit performed a torrid bolero.

Some of the most exciting moments in these reissues include the doo-wop flavored “Freezilandia,” an ode of sorts to the city of New York, as well as “Sabrosona,” a sticky bit of salsa that shows the band’s frisky vocal interplay at its best.

Considering that this music sounds so fresh, one can’t help but wonder why Machito died in 1984 without achieving the mainstream fame of such contemporaries as Puente.

“I remember that toward the end of his career, he sometimes had to set up his own sound system before the shows,” recalls Regalado. “Machito never got the recognition he deserved, but those who know his music are well aware of its importance within the genre.”

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WELCOMING GUACO: For two decades, connoisseurs of Latin music have raved about a band by the name of Guaco, mentioning it alongside such Afro-Cuban sensations as Los Van Van, the Fania All Stars and Oscar D’Leon.

Although Guaco has superstar status in its native Venezuela and neighboring countries, the 18-piece outfit is still relatively unknown in the U.S. In fact, none of the group’s albums has ever been released by a major U.S. label--until now.

The release this month of two of its collections finally makes it easy for U.S. audiences to experience Guaco’s vibrant style. “Exitos,” released by Universal Music Latino Records, is an ideal introduction--a 12-track greatest-hits compilation. “Como Era y Como Es,” released by Latin World Records, finds the group’s current lineup rerecording some old favorites as well as new material.

In these albums, Guaco’s sound is a gentler, more pop-oriented version of Cuba’s Los Van Van. Like that group, Guaco mixes the folklore of its native land with old-school salsa and an ever-present mainstream U.S. influence, with moments clearly lifted from Top 40 rock and pop productions.

“I think the most accurate description would be saying that we make Latin music,” said Gustavo Aguado, one of the group’s three singers. “We started up as a group that played traditional dances like the gaita and the tambora. Like everybody else, we were also mesmerized by rock. We love Santana, Brazilian music, even contemporary stuff like the Red Hot Chili Peppers.”

Among the most intriguing moments in “Exitos”: “Regalame Tu Amor,” an electrifying salsa number that remains true to the genre’s roots, and “La Grey Zuliana,” a bucolic gaita (a traditional dance for acoustic strings and drums) drenched in cushiony synthesizers.

Even in Venezuela, it took a while for Guaco to be accepted by the mainstream. In the beginning, audiences were puzzled by the radical fusion of styles. Guaco ended up selling out stadiums in its native land, sharing the stage with such respected artists as Santana and Ruben Blades. As the years went by, the musicianship became more sophisticated and the live shows more explosive.

Interestingly, the group’s search for mainstream acceptance has been helped by newer Venezuelan outfits such as rockers King Chango and Los Amigos Invisibles. Both groups share with Guaco an irreverent approach to fusing disparate genres.

Aguado hopes last year’s commercial upswing in Latin music will help Guaco to join the ranks of other tropical acts that spend part of the year touring outside their homelands.

“A number of people outside of Venezuela are already familiar with our musical movement,” he says when asked about a possible crossover. “As far as we are concerned, we never stopped hoping.”