Pianist Eddie Cano spent the majority of his profession connecting the dots between jazz and Latin designs. He discovered an appreciative viewers for some albums under his very own name released in the ’50s and ’60s by brands such as for example Atco, Reprise, and RCA, his pursuing much like that of vibraphonist Cal Tjader and bandleader Les Baxter. Cano also drew on dance crazes like the cha cha as well as the Watusi to market his initiatives. His family members was wealthy musically, Cano’s dad a bass guitarist, his grandfather an associate from the Mexico Town Symphony. Cano researched bass along with his grandfather and personal teachers, also researched piano and trombone, spent 2 yrs in the Military from 1945, and began hitting levels in an organization led by Miguelito Valdés. He shortly made a reference to Natural herb Jeffries, a vocalist whose forte was balladry with whom Cano would collaborate on / off over the following 10 years. The pianist experienced his own rings going as soon as 1948, but continuing dealing with Jeffries, Bobby Ramos, and Tony Martinez. Like a composer, Cano developed a big repertoire, like the tasty “Algo Sabroso,” the friendly “Cal’s Pals,” the wiggly “Watusi Walk,” as well as the exciting “Ecstasy” — not forgetting “Honey Perform,” that could be considered a cross-genre solution track to Carl Perkins’ well-known “Honey Don’t.” Even though many of his peers focused around the peerless thrust of Latin rhythms, Cano barely ignored this element but seemed similarly intention on emphasizing the type of complicated, provocative harmonic and melodic constructions associated with contemporary jazz.
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