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CD |
| 3.566 Ft
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| 1. | Igor's Dream
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| 2. | Pura Emociaon
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| 3. | Pianitis
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| 4. | Campina
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| 5. | Variations on a Well-Known Theme
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| 6. | Get Me to the Church on Time
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| 7. | En la Obscuridad
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| 8. | Perdido
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| 9. | Chico and the Men
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| 10. | El Loco Blues
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PURE EMOTION was nominated for a 1996 Grammy Award for Best Latin Jazz Performance
Jazz / Cuban Jazz; Bop
Recorded in February 1995
Chico O'Farrill - , Arranger, Conductor
Andy Gonzalez - , Bass
Angel Papo Vasquez - , Trombone
Arturo O'Farrill - , Piano
Bob Franceschini - , Clarinet, Flute, Sax (Soprano), Sax (Tenor)
Dan Collette - , Trumpet
Earl McIntyre - , Trombone
Elisabeth Monder - , Coro
Gerald Chamberlain - , Trombone
Jerry Gonzalez - , Conga
Jim Seeley - , Trumpet
Lenny Hambro - , Clarinet, Flute, Sax (Alto)
Manny Oquendo - , Bells, Bongos
Mario Rivera - , Clarinet, Flute, Sax (Soprano), Sax (Tenor)
Michael Mossman - , Trumpet
Pablo Calogero - , Sax (Baritone)
Papo Vasquez - Trombone
Robin Eubanks - , Trombone
Rolando Napoleon Briceno - , Clarinet, Flute, Sax (Alto)
Sharon Moe - , French Horn
Steve Berrios - , Coro, Drums, Percussion, Quinto
Tim Ouimette - Trumpet
Victor Paz - , Trumpet
* Bob Blumenthal - Liner Notes
* Burt Goldblatt - Cover Art
* George Horn - Digital Mastering
* Jamie Putnam - Design
* John Abbott - Photography
* Michael Semanick - Mixing
* Phil Carroll - Art Direction
* Todd Barkan - Liner Notes, Producer
* Troy Halderson - Engineer
After not having led a recording session under his own name in 29 years, O'Farrill came from seemingly out of nowhere to lead a terrific Afro-Cuban big band date on this CD. O'Farrill claims that he turned down offers to lead standard seven or eight-piece salsa bands on records over the years, preferring to wait until a big band opportunity came along - and clearly, he was bursting with accumulated charts dating from the 1960s through the 1990s. Not too much has changed since O'Farrill's exciting string of albums for Clef in the 1950s; if anything, his arranging hand has become surer, more sophisticated, thoroughly in touch as ever with a wide variety of influences. Most striking of all is how O'Farrill was able to build a fire underneath the musicians in the band, which includes leaders in their own right like trombonist Robin Eubanks, conguero Jerry Gonzalez and drummer Steve Berrios, as well as Tito Puente's tenor sax/flute player Mario Rivera and O'Farrill's son Arturo Jr. on piano. The most ambitious track is also the most entertaining one, an extended 1964 O'Farrill composition called "Variations on a Well-Known Theme" ("La Cucaracha"!) that deftly welds together various big band idioms, near-parodies of Muzak and television writing, and Afro-Cuban percussion workouts. Latin jazz fans will be pulverized and delighted by this recording.
---Richard S. Ginell, All Music Guide
Chico O'Farrill
Active Decades: '40s, '50s, '60s, '70s and '90s
Born: Oct 28, 1921 in Havana, Cuba
Died: Jun 27, 2001 in New York, NY
Genre: Jazz
Styles: Bop, Latin Jazz, Afro-Cuban Jazz
Chico O'Farrill was right in the thick of the Afro-Cuban and Latin waves that hit jazz in the late '40s and '50s. His sophisticated writing for Latin big bands of the early '50s was often bold, brassy, and tense, yet he could also achieve a delicate, almost classical ambience in such pieces as "Angels' Flight" and work capably in larger forms (the groundbreaking "Afro-Cuban Jazz Suites").
O'Farrill took up the trumpet while in military school in Georgia, returning to Cuba as a full-fledged jazz fan after hearing the top American big bands. He studied composition in his native Havana and led his own band there before moving to New York City in 1948, where he soon made a name for himself writing music for Benny Goodman ("Undercurrent Blues"), Stan Kenton ("Cuban Episode"), and Machito ("Afro-Cuban Jazz Suite"). From 1950 to 1954, O'Farrill made six fiery 10" albums of Latin and American big band jazz for Clef and Norgran, all of which have been reissued on a Verve two-CD set, Cuban Blues. He also appeared with his own band at Birdland and toured the U.S. Toward the end of the decade, he moved to Mexico City, returning to New York in 1965 to work as arranger and music director of the TV series Festival of the Lively Arts and to write arrangements for Count Basie. O'Farrill also put his classical training to use by writing pieces for symphony orchestra such as "Three Cuban Dances" and "Symphony No. 1." Though he continued to write pieces for Machito, Kenton, Gato Barbieri, and Dizzy Gillespie into the '70s, there were no recording sessions under O'Farrill's name from 1966 until 1995, when he came roaring back on the scene, his imagination and vigor miraculously intact, with the outstanding Pure Emotion CD (Milestone). He recorded two more strong albums for Milestone, the last being Carambola, released in October 2000. Eight months later, on June 27, 2001, Arturo "Chico" O'Farrill died while hospitalized in New York.
---Richard S. Ginell, All Music Guide |
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