Grant Green, being known mainly as a soul-jazz guitarist, eventually gravitated into the popular boogaloo sound, a derivation of Latin music. The Latin Bit is the natural bridge to that next phase, though a bit premature for most in 1961-1963, even relative to the subsequent bossa nova craze. Pianist Johnny Acea, long an underrated jazzman, is the nucleus of this session, grounding it with witty chops, chordal comping, and rhythmic meat. The Latino rhythm section of drummer Willie Bobo and conga player Carlos "Patato" Valdes personify authentic, seasoned spice, while at times the chekere sound of Garvin Masseaux makes the soup too thick. At its collective best, the group presents a steady, serene, and steamy "Besame Mucho" and the patient, slow, slinky, sultry "Tico Tico." Just a small step below is a classy take on Charlie Parker's "My Little Suede Shoes," a premier jazz bebop (emphasis) tune with a Latin undertow and Green's tiniest staccato phrases, slightly marred by the overbearing constant chekere, but still classic. "Mambo Inn" is played inaccurately, but forgivable. "Mama Inez" ranks high for its calypso-infused happy feeling and wry stop-start lines. The straight-ahead hard bopper "Brazil" and lone soul-jazz tune, "Blues for Juanita," display the single-note acumen that made Green's style instantly recognizable. Tacked on the end are two selections with pianist Sonny Clark and tenor saxophonist Ike Quebec. While Clark is not known for Latin or soul-jazz, he's quite good, while Quebec, who emphasized Brazilian rhythms in the last years of his life, plays hip secondary harmonies on the bossa nova-flavored "Granada," but is in the complete background and a non-factor on the pop tune "Hey There." This CD always yielded mixed results for staunch fans of Green, but a revisit shows it to be a credible effort, even if slightly flawed in part. [This edition of The Latin Bit was remastered by Rudy Van Gelder in 2007.] ~ Michael G. Nastos, All Music Guide
Jazz has utilized Latin rhythms on at least an occasional basis since virtually its beginning. W.C. Handy's St. Louis Blues from 1914 used a tango rhythm, and The Peanut Vendor became a standard by 1931. The mixture of bebop and Cuban rhythms became a reality in 1947 when Dizzy Gillespie had conga master Chano Pozo as a member of his big band. By the 1950s, Afro-Cuban jazz was quite popular. In the early 1960s the combination of gentle Brazilian rhythms with cool jazz became bossa novas. And in the years since, jazz musicians have often utilized melodies, rhythms and instruments from a variety of South and Central American countries.
Guitarist Grant Green usually played bebop, hard bop or soul jazz during the first half of the 1960s. One of the main guitarists associated with the Blue Note label, Green's single-note lines had the power of a horn. The Latin Bit, his only Afro-Cuban jazz recording as a leader, is a gem. Joined by bass, drums (Willie Bobo), conga (Patato Valdez) and chekere, Green swings hard on such tunes as Mambo Inn, Besame Mucho, Mama Inez and Tico Tico. Three added selections add to the value of this essential disc which features Green at his most melodic and driving.
This exotic and unique recording is highly recommended, a standout in the career of Grant Green.
-Scott Yanow
Remastered!
Mambo Inn; Besame Mucho; Mama Inez; Brazil; Tico Tico; My Little Suede Shoes; Blues for Juanita*; Grenada*; Hey There*.
(*Bonus tracks.)
Grant Green, Guitar; Ike Quebec, Tenor Sax; Sonny Clark, Johnny Acea, Pianos; Wendell Marshall, Bass; Willie Bobo, Drums; Carlos Patato Valdes, Congas; Garvin Masseaux, Chekere.
| Album Credits | |
Performance Credits |
|
| Carlos "Patato" Valdes | Conga |
| Garvin Masseaux | Chekere |
| Grant Green | Guitar |
| Ike Quebec | Sax (Tenor) |
| John "Johnny" Adriano Acea | Piano |
| Sonny Clark | Piano |
| Wendell Marshall | Bass |
| Willie Bobo | Drums |
Technical Credits |
|
| Alfred Lion | Producer |
| Amanda Wray | Reissue Design |
| Bob Blumenthal | Liner Notes |
| Francis Wolff | Photography |
| Gordon Jee | Reissue Director |
| Michael Cuscuna | Reissue Producer |
| Nat Hentoff | Liner Notes |
| Reid Miles | Design |
| Rudy Van Gelder | Remastering |