As the author of the first alleged Cuban jazz composition (Tanga, 1943) Bauzà, became the architect of an entire musical epoch. Latin jazz, as we know it today, would not exist without Bauzà, who defined the basic characteristics of said musical fusion during bis 35-year tenure with Machito & The Afro-Cubans. As Machito’s musical director, he did not hesitate in crossing the color line. He even had the audacity to use mainstream jazz musicians as soloists in a Cuban big band format.

It is mandatory to mention his roles as musical matchmaker, talent scout and generous mentor to several generations of jazz and Latin artists. Back in the 1930s, for example, he was responsible for the discovery of a young singer named Ella Fitzgerald, whom he introduced immediately to Chick Webb.
Shortly thereafter, Bauzà stage-managed the professional arrival of John Birks Gillespie (1917-1993) by devising an imaginative plot to get Cab Calloway to hire the rebellious trumpeter from South Carolina, whose clashing wardrobe helped ensure his alienation from the squares.

Known for his trademark guayaberas and thick glasses, Bauzà was a consumate musical matchmaker. In 1946, he took Dizzy to Harlem and introduced him to Luciano “Chano” Pozo (1915-1948), a Havanese rumbero known for his tendency to wear flashy zootsuits and expensive French cologne. “Chano, take that conga and hum some of the stuff you got for this man”, said Bauzà. The rest is history: That casual meeting on 111th Street marked the beginning of the Cuban revolution.
Years later, Bauzà propelled the U.S. career of Victor Paz, an outstanding Panamanian trumpet player that he had found in a city where taxis cut corners as if there were no mañana: Caracas, the capital of Venezuela.

Unlike other Cuban old-timers, Bauzà was not reluctant to share his wealth of knowledge. Take the case, for example, of the brilliant Dominican pianist Michel Camilo, whose personal style was significantly transformed in the early 1980s, when Bauzà turned him on to the vibrant pianist Iegacy of Ernesto Lecuona.
It is public knowledge that the central core of Machito’s orchestra was a family affair primarily conducted by Bauzà and his siblings-in-Iaw, vocalist Graciela Pérez (simply known as Graciela in the music business) and bandIeader/vocalist/maraquero Francisco “Machito” Grillo (1912-1986), who authored a couple of dance tunes with culinary themes La Paella (inspired by Valencia’s most delightful invention) and Sopa de Pichòn (or Pigeon Soup, inspired by an alleged aphrodisiac agent of the pre-Viagra days).
Machito’s extensive musical honeymoon with Bauzà and Graciela somehow survived the rock’n roll invasion, but it came to an end in 1975, when the Mariano-born leader decided, due to economic reasons, to turn his big band into an octet for an upcoming European tour. Machito lived long enough to regret what happened. His band was never able to recapture the splendid sonorities engineered by Bauzà, who did not enjoy a viable contract as a bandleader and remained unknown outside of the U.S. Latin jazz community until 1992, when the German label Messidor enabled him to step all the way into the spotlight, after spending so many years behind the throne. By that time, the octogenarian pioneer had put down his trumpet and alto sax, but as a bandleader, he remained a shining source of inspiration and a rare fountain of knowledge, always willing to nurture younger musicians such as Michael Philip Mossman and Marcus Persiani.
Six weeks after recording his final Messidor session (944 Columbus), Bauzà died in the same Manhattan apartment where he had resided for half a century. But his physical departure does not represent the end of the story. Bauzà’s dream has been kept alive, under the leading guidelines of his former roommates, the 70-year old singer/percussionist/composer Pedro “Rudy” Calzado. Despite inevitable personnel changes, Bauzà’s big band survived the passage of its founding leader. Although it acquired, for logistical reasons, a new denomination (Rudy Calzado & Cubarama), the essential artistic goal and modus operandi remained intact. Calzado has followed Bauzà’s footsteps by surrounding himself with the top big band, Latin jazz arrangers available. In fact, most of the present orchestrations were elaborated by a couple of authorities in that particular field: Michael Philip Mossman (Bauzà’s favorite protégé) and Paquito D’Rivera (Bauzàs favorite reedman).
Motivated by the ancient Castilian proverb Honor a quien honor merece (Honor the one who deserves to be honored), D’Rivera has appeared in most of Bauzàs solo recordings. On this occasion, as expected, D’Rivera blows up a storm through the following collection of originals and standards..
 

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