Buddy Collette (fl), Tommy Tedesco (g), Eddie Cano (p), Tony Reyes (b), Larry Bunker (d), Carlos Mejía, Darias (perc)
Reference: BMCD 1604
Bar code: 8427328016049
01. Jazz Heat Bongo Heat 3:19
02. Azul 4:04
03. Selvatico 2:52
04. Guajiro cha cha cha 3:08
05. Tobasco 2:49
06. Bongosville 2:54
07. Rapture 3:19
08. Pesadilla 3:16
09. Tenura 2:41
10. Goza Nena 3:20
Totalt time: 31:42 min.
Originally issued in Stereo as Crown CLP 5159
Buddy Collette (flute, piccolo flute), Eddie Cano (piano), Tommy Tedesco (guitar), Tony Reyes (bass), Larry Bunker (drums), Carlos Mejia (bongos), Darias (conga).
Recorded in Los Angeles, 1959
Original liner notes: John Marlo
Photography: 3 Lions Inc.
Cover design: Hobco Arts
Produced for CD release by Jordi Pujol
"An important force in the Los Angeles jazz community, Buddy Collette was an early pioneer at playing jazz on the flute. Collette started on piano as a child and then gradually learned all of the woodwinds. He played with Les Hite in 1942; led a dance band while in the Navy during World War II; and then freelanced in the L.A. area with such bands as the Stars of Swing (1946), Edgar Hayes, Louis Jordan, Benny Carter, and Gerald Wilson (1949-1950). An early teacher of Charles Mingus, Collette became the first black musician to get a permanent spot in a West Coast studio band (1951-1955). He gained his greatest recognition as an important member of the Chico Hamilton Quintet (1955-1956), and he recorded several albums as a leader in the mid- to late '50s for Contemporary. Otherwise, he mostly stuck to the L.A. area, freelancing, working in the studios, playing in clubs, teaching, and inspiring younger musicians. Although a fine tenor player and a good clarinetist, Collette's most distinctive voice is on flute; he recorded an album with one of his former students, the great James Newton (1989). In addition, Collette participated in a reunion of the Chico Hamilton Quintet, and recorded a two-disc "talking record" for the Issues label in 1994, in which he discussed some of what he had seen and experienced through the years."
Scott Yanow -All Music Guide
"Pianist Eddie Cano spent most of his career connecting the dots between jazz and Latin styles. He found an appreciative audience for a series of albums under his own name released in the '50s and '60s by labels such as Atco, Reprise, and RCA, his following similar to that of vibraphonist Cal Tjader and bandleader Les Baxter. Cano also drew on dance crazes such as the cha cha and the Watusi to promote his efforts. His family was rich musically, Cano's father a bass guitarist, his grandfather a member of the Mexico City Symphony. Cano studied bass with his grandfather and private teachers, also studied piano and trombone, spent two years in the Army beginning in 1945, and then began hitting stages in a group led by Miguelito Valdés.
He soon made a connection with Herb Jeffries, a singer whose forte was balladry and with whom Cano would collaborate off and on over the next decade. The pianist had his own bands going as early as 1948, but continued working with Jeffries, Bobby Ramos, and Tony Martinez. As a composer, Cano came up with a large repertoire, including the tasty "Algo Sabroso," the friendly "Cal's Pals," the wiggly "Watusi Walk," and the thrilling "Ecstasy" not to mention "Honey Do," which could be a cross-genre answer song to Carl Perkins' popular "Honey Don't." While many of his peers concentrated on the peerless thrust of Latin rhythms, Cano hardly ignored this component but seemed equally intent on emphasizing the kind of complex, provocative harmonic and melodic structures associated with modern jazz."
Eugene Chadbourne -All Music Guide
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