HI FI TIMES 1.2
Album Review: Orlando "Cachaito" Lopez | Cachaito
Imagine a world where Willie Bobo got seriously high and had all the technology of today when he recorded his masterpiece, Spanish Grease
and you have some idea where this is going. Nothing had prepared me for this other than an interest in Cuban music brought on by The Buena Vista Social Club
(of which Orlando "Cachaito" Lopez
was the bass player) and Roy Hargrove’s Habana
.
It begins with a phone ringing, a really old phone like one that hangs on the wall with a crank and Cachaito is summoned by an old lady to take the call. He answers, “Si, Si…” Little do we know that phone call was coming from another dimention. Then the familiar sounds of a crack Cuban percussion team start laying down the basis for what will become a groundbreaking mash up of old and new, traditional and experimental.
The first cut "Redencion" opens innocently enough with a funky Latin acoustic bass line and sounds like a straight ahead Cuban jazz number. It slowly begins to unfold into an atmospheric mix of flute and dub reggae synthesized strings and a flugel horn solo that is to die for. By its end this cut shows its hand and you know you are not in 1957 Cuba anymore; you have just passed into an unknown area where Cuba can be seen from a distance, but is now part of a bigger picture.
Now just lay back and groove. Open your mind to it, and this album will transport you. I can hear dub reggae Hammond organ stabs, sweet smooth electric guitar, gorgeous flute interplay, lush synthesizer washes, a sax reminiscent of Electric Ladyland
, and some light hip hop even makes it into the sonic stew. There’s no secret why the playing is so good with Hugh Masekela
(flugel horn) and Pee Wee Ellis
(sax formerly with James Brown Revue) on board to bring the sauce. All the while that ever-present driving Cuban percussion keeps everything tied together as tight as a dovetail joint.
Take a ride in this old custom cruiser and you will never need to stop for gas … See you on the flip boys and girls!
-mke
and you have some idea where this is going. Nothing had prepared me for this other than an interest in Cuban music brought on by The Buena Vista Social Club (of which Orlando "Cachaito" Lopezwas the bass player) and Roy Hargrove’s Habana.It begins with a phone ringing, a really old phone like one that hangs on the wall with a crank and Cachaito is summoned by an old lady to take the call. He answers, “Si, Si…” Little do we know that phone call was coming from another dimention. Then the familiar sounds of a crack Cuban percussion team start laying down the basis for what will become a groundbreaking mash up of old and new, traditional and experimental.
The first cut "Redencion" opens innocently enough with a funky Latin acoustic bass line and sounds like a straight ahead Cuban jazz number. It slowly begins to unfold into an atmospheric mix of flute and dub reggae synthesized strings and a flugel horn solo that is to die for. By its end this cut shows its hand and you know you are not in 1957 Cuba anymore; you have just passed into an unknown area where Cuba can be seen from a distance, but is now part of a bigger picture.
Now just lay back and groove. Open your mind to it, and this album will transport you. I can hear dub reggae Hammond organ stabs, sweet smooth electric guitar, gorgeous flute interplay, lush synthesizer washes, a sax reminiscent of Electric Ladyland
, and some light hip hop even makes it into the sonic stew. There’s no secret why the playing is so good with Hugh Masekela (flugel horn) and Pee Wee Ellis (sax formerly with James Brown Revue) on board to bring the sauce. All the while that ever-present driving Cuban percussion keeps everything tied together as tight as a dovetail joint.Take a ride in this old custom cruiser and you will never need to stop for gas … See you on the flip boys and girls!
-mke
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