Cuban Jam Sessions in Miniature

Cuban Jam Sessions in Miniature is the debut album by Cuban double bassist Cachao, released in 1957 by Panart. The album is composed of descargas, improvised jam sessions with Cuban themes. It was the fourth installment in Panart's Cuban Jam Session series after Julio Gutiérrez's Cuban Jam Session Vol. 1 and Vol. 2, and Niño Rivera's Vol. 3. Unlike the other installments, Cachao's session comprised short improvisations instead of extended jams. The album sold over a million copies and became "a Latin music milestone".[1] In 2013, it was induced into the Latin Grammy Hall of Fame and the National Recording Registry.[2][3]

Cuban Jam Sessions in Miniature
Studio album by
Cachao
Released1957
Recorded1957
StudioPanart Studios, Havana
GenreDescarga
Length34:34
LabelPanart
Cachao chronology
Cuban Jam Sessions in Miniature
(1957)		 Camina Juan Pescao
(1958)

Background and recording
See also: Descarga § 1950s: the Panart sessions
Cachao and his band, as depicted by the March 1961 edition of the Cuban "Show" magazine. Left to right: Cachao (bass), Gustavo Tamayo (güiro), Tata Güines (tumbadora), Alejandro "El Negro" Vivar (trumpet), Rogelio "Yeyo" Iglesias (bongos) and Guillermo Barreto (timbales). This picture was taken during the same photo shoot that yielded the cover of Cuban Jam Sessions in Miniature.

Israel López, better known as Cachao, and his brother Orestes López, nicknamed Macho, were founding members of Cuba's most popular charanga during the late 1930s and 1940s, Arcaño y sus Maravillas, directed by flautist Antonio Arcaño. The repertoire of the group consisted almost exclusively of compositions by the López brothers. Cachao played double bass, whereas Orestes performed on the piano, double bass and cello. They became key innovators of the danzón genre, creating the danzón nuevo ritmo, which led to the mambo in the 1940s and chachacha in the 1950s.[4]

Apart from charangas, Cuban music in the 1940s saw the rise of conjuntos which specialized in son cubano and big bands which played all types of ballroom music from upbeat guarachas to boleros and mambos. With the advent of the filin movement, it became common for artists to improvise extended sessions of boleros and sones, which became known as descargas. In addition, by the early 1950s, jazz was already an important influence on Cuban musicians, and in 1952 Norman Granz recorded pianist Bebo Valdés in an improvised jam session in Havana, based more on Afro-Cuban jazz in the vein of Dizzy Gillespie and Charlie Parker, than son cubano. However, the rise of the descarga genre came in 1956 with Panart's initiative to record jam sessions directed by pianist Julio Gutiérrez.[4] The success of his two albums (Cuban Jam Session Vol. 1 and Vol. 2) led Panart to record a third session directed by tresero Niño Rivera in 1957. The same year, Cachao was called up to record his own sessions. At the time, Las Maravillas were no longer an active band, only recording under Cachao's direction, and they would give their final concert shortly after in 1958.[5] The album was recorded at Panart Studios in Havana for five hours starting at 4 AM after all the musicians had finished their regular nightclub performances.[6]

Release and promotion

The album was released in Cuba and the US by Panart in 1957. The title in Cuba was Descargas cubanas, which was translated in the US as Cuban Jam Sessions in Miniature, with the subtitle "Descargas"; other issues aimed at the Latin American market retained the title Descargas cubanas. The original Cuban issue and its American counterpart were released with different pictures on the cover from the same photo shoot. After its release and despite the turbulent situation in Cuba, the album managed to sell over a million copies.[1] According to Colin Larkin, it "achieved the status of a classic and acted as the launch-pad for Cachao's widespread acclaim".[7] To promote the LP, Panart released four singles containing eight out of the twelve tracks on the album.[8]

Following the nationalization of Panart's assets, the LP was re-issued in 1961 by "Panart Nacionalizada" and shortly after the EGREM logo began to be printed it.[9] During the 1980s, it was re-released in Colombia by Discos Fuentes under the Descargas cubanas title. In 1994, an expanded edition of the album was issued by Caney under the title From Havana to New York, including previously unreleased tracks recorded in New York in the early 1960s.[8][10] In 1996 the album was issued on CD by EGREM for the Cuban market. In 2004 it was reissued on CD with bonus tracks by the Spanish label VampiSoul.[11]

A remastered CD version was released in November 2018 by Craft Recordings as part of The Complete Cuban Jam Sessions, which also includes the other four jam session LPs originally released by Panart.[12]

Critical reception
Professional ratings
Review scores
SourceRating
AllMusic[13]

Cuban Jam Sessions in Miniature has been described as a "historic recording" with a "classic rhythm section" and "the true salsa musician's bible on record".[11] Producer Al Santiago (founder of Alegre Records) considered it his "favorite recording of all time", and Larry Harlow called it "a recording that will live forever".[11] Ned Sublette wrote a very favourable review for AllMusic, giving it 4.5 out of 5 stars.[13] It was included in Tom Moon's 1000 Recordings to Hear Before You Die.[14]

The musicianship on the album is universally praised, with reviewers considering the lineup as "Havana's top musicians",[15] "Cuba's best",[16] and "the best soloists and rhythm section of the time. All Hall-of-Famers".[11] Master conguero Frank Malabé praised the performance of Tata Güines, who was very young at the time.[17] According to José Claussell, the album marked "the beginning of a dramatic change in the ideas and practices concerning Afro-Caribbean percussion, especially the conga drum".[18]

Track listing
Side A
No.TitleWriter(s)Length
1."Trombón criollo"Gerardo Portillo3:12
2."Controversia de metales"Israel López3:04
3."Estudio en trompeta"Israel López2:24
4."Guajeo de saxos"Emilio Peñalver2:24
5."Oye mi tres montuno"Andrés Echevarría2:46
6."Malanga amarilla"Silvio Contreras3:18
Side B
No.TitleWriter(s)Length
1."Cógele el golpe"Andrés Castillo Jr.2:46
2."Pamparana"Alfredo León2:38
3."Descarga cubana"Osvaldo Estivill3:06
4."Goza mi trompeta"Osvaldo Estivill3:02
5."A gozar timbero"Osvaldo Estivill3:04
6."Sorpresa de flauta"Osvaldo Estivill2:51

Personnel
  • Cachao – music direction, double bass, piano (track A1)[19]
  • Orestes López – piano (tracks A2, A6, B1, B2)
  • Alejandro "El Negro" Vivar – trumpet
  • Virgilio Vixama – baritone saxophone (track A4)
  • Emilio Peñalver – tenor saxophone (track A4)
  • Generoso "Tojo" Jiménez – trombone (tracks A1, A2)
  • Richard Egües – flute (track B6)
  • Niño Rivera – tres (track A5)
  • Guillermo Barreto – timbales
  • Tata Güines – tumbadora, double bass (track A1)[19]
  • Rogelio "Yeyo" Iglesias – bongos
  • Gustavo Tamayo – güiro
  • Rolito – vocals
  • Reyes – vocals

Singles

The following singles were released by Panart to promote the LP:[8]

  • Descarga cubana / Goza mi trompeta (Panart 2095)
  • A gozar timbero / Sorpresa de flauta (Panart 2140)
  • Pamparana / Cógele el golpe (Panart 2212)
  • Trombón criollo / Oye mi tres montuno (Panart 2292)
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References
  1. Méndez Méndez, Serafín; Cueto, Gail A. (2003). Notable Caribbeans and Caribbean Americans. Westport, CT: Greenwood Press. p. 75. ISBN 9780313314438.
  2. "Latin Grammy Hall of Fame - 2013". Latin Academy of Recording Arts & Sciences. Retrieved 17 October 2014.
  3. "New National Recording Registry Entries". Library of Congress. March 21, 2013. Retrieved 16 April 2015.
  4. Acosta, Leonardo (2006). "La realidad sobre la descarga". Otra visión de la música popular cubana (in Spanish). Barranquilla, Colombia: La Iguana Ciega.
  5. Fernández-Larrea, Ramón (2007). Kabiosiles: los músicos de Cuba (in Spanish). Barcelona, Spain: Linkgua. p. 53. ISBN 9788498166194.
  6. Stavans, Ilan (2014). Latin Music: Musicians, Genres, and Themes. Santa Barbara, CA: ABC-CLIO. pp. 102–103. ISBN 9780313343964.
  7. Larkin, Colin (1995). The Encyclopedia of Popular Music, Vol. 1 (4th ed.). Oxford, UK: Oxford University Press. p. 318.
  8. Díaz Ayala, Cristóbal (Fall 2013). "Cachao" (PDF). Encyclopedic Discography of Cuban Music 1925-1960. Florida International University Libraries. Retrieved April 17, 2015.
  9. Delannoy, Luc (2012). ¡Caliente! Una historia del jazz latino (in Spanish) (1st electronic ed.). Mexico City, Mexico: Fondo de Cultura Económica. p. 67. ISBN 9786071612724.
  10. Various reviewers. "Cuban Jam Sessions in Miniature "Descargas"". Descarga.com. Archived from the original on April 2, 2015. Retrieved April 17, 2015.
  11. Various reviewers. "Cuban Jam Sessions in Miniature "Descargas"". Descarga.com. Archived from the original on April 2, 2015. Retrieved April 17, 2015.
  12. Montagna, John (November 4, 2018). "Cuban Jam Sessions: Havana at Its Hottest". Culture Sonar. Retrieved November 13, 2018.
  13. Sublette, Ned. "Cuban Jam Sessions in Miniature". AllMusic. Rovi. Retrieved April 17, 2015.
  14. Moon, Tom (2008). 1000 Recordings to Hear Before You Die. New York, NY: Workman Publishing. pp. 454–455. ISBN 9780761153856.
  15. Fernández, Raúl A. (2006). From Afro-Cuban Rhythms to Latin Jazz. Los Angeles, CA: University of California Press. p. 77. ISBN 9780520939448.
  16. Conzo, Joe; Pérez, David A. (2010). Mambo Diablo: My Journey With Tito Puente. Bloomington, IN: Authorhouse. p. 204.
  17. Malabé, Frank; Weiner, Bob (1994). Afro-Cuban Rhythms for Drumset. Los Angeles, CA: Alfred Music. p. 62. ISBN 9780897245746.
  18. Caruba, Glen (August 2006). "Essential Conga Recordings for Every Percussionist". DRUM! Magazine. Retrieved 27 April 2015.
  19. Tamargo, Luis (August 1, 2004). "Cachao: a conversation with the godfather of the Cuban bass". Latin Beat Magazine. Archived from the original on October 18, 2017.
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