Shorty Rogers - Afro-Cuban Influence

Afro-Cuban music is probably the only musical import to come to America and become an integral part of our own music. The pulsating rhythms of Africa and Cuba 

have been liberally sprinkled into our pop music. It has influenced our religious and spiritual songs. It has found its way into our folk tunes. But nowhere has it left such an indelible mark as in the jazz music of our country — an art form that was essentially bred in America and which we now export with great pride throughout the world.

Without going into all the causes and effects, the term "Afro-Cuban Jazz" has been in use here for many years. Many great American bands have made use of its exciting musical colors — Duke Ellington, Stan Kenton and Dizzy Gillespie, to mention a few, are American-born musicians whose bands have come under the Afro-Cuban influence. Bands like those of Tito Puente, Machito and Perez Prado are also exciting examples of basically Afro-Cuban groups influenced by our native 

American jazz. Whichever way you look at it, the simplest way to describe the result is "Afro-Cuban Jazz".

This album is the result of collaboration by Carlos Vidal, Modesto Duran and myself. The three of us have always been fascinated by the richness, the moods, the color, the variety and the often wild excitement that Afro-Cuban music generates.

Throughout this album, we have given free reign to our impulses, fully conscious that we were leaning on, and affected by, what is perhaps the most dominant single factor in American music today — the AFRO-CUBAN INFLUENCE. *Shorty Rogers (liner notes)*

Shorty Rogers acknowledges the influence of Afro-Cuban music on this RCA Victor date, with a big band that is augmented by no fewer than eight Latin percussionists, along with drummer Shelly Manne. The leader is heard on flügelhorn exclusively. The entire first side of the record is devoted to "Wuayacañjanga Suite", a collaborative work by Rogers, Carlos Vidal, and Modesto Duran. Although the vocal segments can grow tiresome quickly, the variety within this extended suite is compelling. The flip side salutes earlier Afro-Cuban compositions by a number of jazz masters. His percolating arrangement of Dizzy Gillespie's "Manteca" is stretched out considerably, while the less well-known Duke Ellington-Juan Tizol piece "Moon Over Cuba" demonstrates the lyrical dimension of this style. Bud Powell's thrilling "Un Poco Loco" is played at a furious tempo, with a brilliant exchange between the individual horns and brass. Sadly, none of the soloists are identified on this highly recommended LP, which has been reissued overseas as Manteca Afro-Cuban Influence, but it has not reappeared in the U.S. *Ken Dryden*

A wonderful album of Latin grooves from Shorty! The record is one of his best, and features a whopping array of percussionists — including Carlos Vidal, Modesto Durán, and Mike Pacheco all coming into play with Shorty's west coast style of arrangements, tweaked greatly here to pick up an Afro Cuban sound. Players include Bud Shank, Bill Holman, Frank Rosolino, Herb Geller, and Bob Cooper — and the album is very similar to Perez Prado's Voodoo Suite álbum, which was also recorded for RCA around the same time. Includes the cuts "Un Poco Loco", "Manteca", "Viva Puente", and the extended suite "Wuayacañjanga".  *dustygroove.com*

Side 1

1 - Wuayacañjanga (Suite)

(Vidal, Durán, Rogers)

Side 2

2 - Manteca

(Fuller, Gillespie, Pozo)

3 - Moon Over Cuba

(Duke Ellington, Juan Tizol)

4 - Viva Puente

(Shorty Rogers)

5 - Un Poco Loco

(Bud Powell)

Shorty Rogers (flügelhorn); Al Porcino, Buddy Childers, Ed Leddy, Don Fagerquist, Ray Triscari (trumpets); Frank Rosolino, Harry Betts (trombones); Bob Enevoldsen (valve trombone); George Roberts, Kenny Schroyer (bass trombones); Bud Shank (flute, alto sax); Herb Geller (alto sax); Bob Cooper (oboe, tenor sax); Bill Hood (tenor sax, baritone sax); Chuck Gentry (baritone sax); Joe Mondragon (bass); Shelly Manne (drums); Frank Guerrero (timbales); Carlos Vidal (conga); Modesto Durán, Luis Miranda (conga, percussion); Mike Pacheco (bongos); Juan Cheda (bongos, vocal); Manuel Ochoa Kaskara (vocal, percussion); Sirelda González (maracas, vocal).

Recorded at Radio Recorders, Los Angeles, California, June 19 (#1) and June 26 (#2, #3, #4, #5), 1958.