Israel "Cachao" López (September 14, 1918 – March 22, 2008) was a Cuban dou… Read Full Bio ↴Israel "Cachao" López (September 14, 1918 – March 22, 2008) was a Cuban double bassist and composer who helped popularize mambo in the United States in the early 1950s.
He has a star on the Hollywood Walk of Fame, won several Grammy Awards, and has been described as "the inventor of the mambo". He is considered a master of descarga (Latin jam sessions).
Cachao was born in 1918 in Havana, into a family of musicians, many of them bassists—around forty or more in his extended family.
As an 8-year-old bongo player, he joined a children's septet that included a future famous singer and bandleader, Roberto Faz. A year later, already on double bass, he provided music for silent movies in his neighborhood theater, in the company of a pianist who would become a true superstar, the great cabaret performer Ignacio Villa, known as Bola de Nieve.
His parents made sure he was classically trained, first at home and then at a conservatory. In his early teens he was already playing contrabass with the Orquesta Filarmónica de La Habana, under the baton of guest conductors including Herbert von Karajan, Igor Stravinsky and Heitor Villa-Lobos. He played with the orchestra from 1930 to 1960.
He played the acoustic bass with his late, older brother, the multi-instrumentalist/composer Orestes López, who was known as "Macho". The brothers composed literally thousands of songs together and were a major influence on Cuban music from the 1930s to the 1950s. They introduced the nuevo ritmo ("new rhythm") in the late 1930s, which transformed the danzón by introducing African rhythms into Cuban music, which led to mambo. They co-wrote the danzón "Mambo" which was called the "Mother of all Mambos" by Cuban writer G. Cabrera Infante.
A possibly more important move took place in 1957, when Cachao gathered a group of musicians in the early hours of the morning, energized from playing gigs at Havana's popular nightclubs, to jam in front of the mikes of a recording studio. The resulting descargas, known to music aficionados worldwide as Cuban jam sessions, revolutionized Afro-Cuban popular music. Under Cachao's direction, these masters improvised freely in the manner of jazz, but their vocabulary was Cuba's popular music. This was the model that would make live performances of Afro-Cuban based genres, from salsa to Latin jazz, so incredibly hot.
These descargas were released in 1957 by the Panart label under the title "Descargas: Cuban Jam Sessions In Miniature." They have been named by many critics as one the most essential contributions to the Latin-jazz genre, including being cited by the book "1,000 Recordings To Hear Before You Die."
In the early 1960s, according to the documentary film La Época, Cachao was one of two of the most in-demand bassists in New York City (the other being Alfonso "El Panameño" Joseph, who was the bassist of legendary Cuban tres player Arsenio Rodríguez for eight years until Arsenio's death in December 1970). Joseph and López substituted for each other over a span of five years, performing at New York City clubs and venues such as the Palladium Ballroom, The Roseland, The Birdland, Havana San Juan, and Havana Madrid. Mentioned in the film, La Época, while Cachao was performing with Machito's orchestra in New York, Joseph was recording and performing with Cuban conga player Cándido Camero. When Joseph left Cándido's band to work with Charlie Rodríguez and Johnny Pacheco, it was Cachao who took his place in Cándido's band. Cachao was recently scheduled to be interviewed by Executive Producer Josue Joseph of the film in New Haven, CT where Cachao and Palladium-era dancer Cuban Pete were scheduled to perform at Yale University. The film is about the evolution of Latin music and dance during the Palladium-era to present day, and Cachao was scheduled to discuss his contribution of the mambo rhythm, which he derived from Arsenio Rodríguez, documented in the film.
For a while, he had two distinct musical personae. In the New York salsa scene he was revered as a music god, with homage concerts dedicated to him, and records of his music produced by Cuban-music collector René López. In Miami, he was an ordinary working musician who would play quinceañeras and weddings, or back dance bands in the notorious Latin nightclubs of the Miami Vice era.
In the '90s, actor Andy García produced the recordings known as Master Sessions and big concerts honoring his legacy. Since then, Cachao became again a household word among Cubans and his reputation continued to grow.
His nephew, Orlando "Cachaíto" López became one of the mainstays of the famed Buena Vista Social Club group.
In July 2006, three young artists from Miami owners of Leiter Gallery, Sinuhe Vega, Jesús Rojas Torres and Ben Abounassif showcased the work by Miami Herald photographer Carl P. Juste with an exhibition entitled "Cachao & Friends" as a living tribute to the Cuban master.
Cachao played and/or recorded with many top instrumentalists and vocalists, artists such as Antonio Arcaño, Niño Rivera, Pedro "Peruchín" Jústiz, Guillermo Barreto, Alejandro "El Negro" Vivar, Tata Güines, Arsenio Rodríguez, Eugenio "Totico" Arango, Carlos "Patato" Valdés, Juan "Curba" Dreke, Virgilio Martí, Lino Frías of the famed Sonora Matancera, Mario "Papaíto" Muñoz (also of La Sonora Matancera), Gonzalo Fernández, Julito Collazo, Marcelino Guerra, Alfredo "Chocolate" Armenteros, Félix "Pupy" Legarreta, Bebo Valdés, Celia Cruz, Rolando Laserie, Tito Puente, Tito Rodríguez, Charlie Palmieri, Eddie Palmieri, Barry Rogers, Manny Oquendo, Andy González, Paquito D'Rivera, Nelson González, Willie Colón, and Willy Chirino, and his music has been featured in movies such as The Birdcage and on the Grand Theft Auto: Vice City soundtrack. Andy García produced two documentaries about this music, Cachao ... Como Su Ritmo No Hay Dos ("With A Rhythm Like No Other") (1993) and Cachao: Uno Más, which premiered in April 2008 at the San Francisco International Film Festival. The inspiration for Cachao: Uno Más, made by San Francisco State University's DOC Film Institute, came largely from a concert Cachao played at Bimbo's 365 Club in San Francisco, and the film's premiere was followed by a tribute concert with the John Santos Band at Yoshi's Jazz Club SF.
López died on the morning of March 22, 2008 in Coral Gables, Florida, at the age of 89. He died from complications resulting from kidney failure.
His recording of "La Guajira" was used in the film "The Birdcage" (1996).
López has won several Grammy Awards for both his own work and his contributions on albums by Latin music stars, including Gloria Estefan. In 1994, he won a Grammy for Master Sessions Volume 1. In 2003, he won a Latin Grammy for Best Traditional Tropical Latin Album together with Bebo Valdés and Carlos "Patato" Valdés for El Arte del Sabor.
On June 11, 2006, López was honored by Union City, New Jersey with a star on the Walk of Fame at Union City's Celia Cruz Park.
López won a further Grammy in 2005, again for his own work, ¡Ahora Sí!.
In 2012, a posthumously released album, The Last Mambo, won the Grammy Award in the Best Tropical Latin album category.
He has a star on the Hollywood Walk of Fame, won several Grammy Awards, and has been described as "the inventor of the mambo". He is considered a master of descarga (Latin jam sessions).
Cachao was born in 1918 in Havana, into a family of musicians, many of them bassists—around forty or more in his extended family.
As an 8-year-old bongo player, he joined a children's septet that included a future famous singer and bandleader, Roberto Faz. A year later, already on double bass, he provided music for silent movies in his neighborhood theater, in the company of a pianist who would become a true superstar, the great cabaret performer Ignacio Villa, known as Bola de Nieve.
His parents made sure he was classically trained, first at home and then at a conservatory. In his early teens he was already playing contrabass with the Orquesta Filarmónica de La Habana, under the baton of guest conductors including Herbert von Karajan, Igor Stravinsky and Heitor Villa-Lobos. He played with the orchestra from 1930 to 1960.
He played the acoustic bass with his late, older brother, the multi-instrumentalist/composer Orestes López, who was known as "Macho". The brothers composed literally thousands of songs together and were a major influence on Cuban music from the 1930s to the 1950s. They introduced the nuevo ritmo ("new rhythm") in the late 1930s, which transformed the danzón by introducing African rhythms into Cuban music, which led to mambo. They co-wrote the danzón "Mambo" which was called the "Mother of all Mambos" by Cuban writer G. Cabrera Infante.
A possibly more important move took place in 1957, when Cachao gathered a group of musicians in the early hours of the morning, energized from playing gigs at Havana's popular nightclubs, to jam in front of the mikes of a recording studio. The resulting descargas, known to music aficionados worldwide as Cuban jam sessions, revolutionized Afro-Cuban popular music. Under Cachao's direction, these masters improvised freely in the manner of jazz, but their vocabulary was Cuba's popular music. This was the model that would make live performances of Afro-Cuban based genres, from salsa to Latin jazz, so incredibly hot.
These descargas were released in 1957 by the Panart label under the title "Descargas: Cuban Jam Sessions In Miniature." They have been named by many critics as one the most essential contributions to the Latin-jazz genre, including being cited by the book "1,000 Recordings To Hear Before You Die."
In the early 1960s, according to the documentary film La Época, Cachao was one of two of the most in-demand bassists in New York City (the other being Alfonso "El Panameño" Joseph, who was the bassist of legendary Cuban tres player Arsenio Rodríguez for eight years until Arsenio's death in December 1970). Joseph and López substituted for each other over a span of five years, performing at New York City clubs and venues such as the Palladium Ballroom, The Roseland, The Birdland, Havana San Juan, and Havana Madrid. Mentioned in the film, La Época, while Cachao was performing with Machito's orchestra in New York, Joseph was recording and performing with Cuban conga player Cándido Camero. When Joseph left Cándido's band to work with Charlie Rodríguez and Johnny Pacheco, it was Cachao who took his place in Cándido's band. Cachao was recently scheduled to be interviewed by Executive Producer Josue Joseph of the film in New Haven, CT where Cachao and Palladium-era dancer Cuban Pete were scheduled to perform at Yale University. The film is about the evolution of Latin music and dance during the Palladium-era to present day, and Cachao was scheduled to discuss his contribution of the mambo rhythm, which he derived from Arsenio Rodríguez, documented in the film.
For a while, he had two distinct musical personae. In the New York salsa scene he was revered as a music god, with homage concerts dedicated to him, and records of his music produced by Cuban-music collector René López. In Miami, he was an ordinary working musician who would play quinceañeras and weddings, or back dance bands in the notorious Latin nightclubs of the Miami Vice era.
In the '90s, actor Andy García produced the recordings known as Master Sessions and big concerts honoring his legacy. Since then, Cachao became again a household word among Cubans and his reputation continued to grow.
His nephew, Orlando "Cachaíto" López became one of the mainstays of the famed Buena Vista Social Club group.
In July 2006, three young artists from Miami owners of Leiter Gallery, Sinuhe Vega, Jesús Rojas Torres and Ben Abounassif showcased the work by Miami Herald photographer Carl P. Juste with an exhibition entitled "Cachao & Friends" as a living tribute to the Cuban master.
Cachao played and/or recorded with many top instrumentalists and vocalists, artists such as Antonio Arcaño, Niño Rivera, Pedro "Peruchín" Jústiz, Guillermo Barreto, Alejandro "El Negro" Vivar, Tata Güines, Arsenio Rodríguez, Eugenio "Totico" Arango, Carlos "Patato" Valdés, Juan "Curba" Dreke, Virgilio Martí, Lino Frías of the famed Sonora Matancera, Mario "Papaíto" Muñoz (also of La Sonora Matancera), Gonzalo Fernández, Julito Collazo, Marcelino Guerra, Alfredo "Chocolate" Armenteros, Félix "Pupy" Legarreta, Bebo Valdés, Celia Cruz, Rolando Laserie, Tito Puente, Tito Rodríguez, Charlie Palmieri, Eddie Palmieri, Barry Rogers, Manny Oquendo, Andy González, Paquito D'Rivera, Nelson González, Willie Colón, and Willy Chirino, and his music has been featured in movies such as The Birdcage and on the Grand Theft Auto: Vice City soundtrack. Andy García produced two documentaries about this music, Cachao ... Como Su Ritmo No Hay Dos ("With A Rhythm Like No Other") (1993) and Cachao: Uno Más, which premiered in April 2008 at the San Francisco International Film Festival. The inspiration for Cachao: Uno Más, made by San Francisco State University's DOC Film Institute, came largely from a concert Cachao played at Bimbo's 365 Club in San Francisco, and the film's premiere was followed by a tribute concert with the John Santos Band at Yoshi's Jazz Club SF.
López died on the morning of March 22, 2008 in Coral Gables, Florida, at the age of 89. He died from complications resulting from kidney failure.
His recording of "La Guajira" was used in the film "The Birdcage" (1996).
López has won several Grammy Awards for both his own work and his contributions on albums by Latin music stars, including Gloria Estefan. In 1994, he won a Grammy for Master Sessions Volume 1. In 2003, he won a Latin Grammy for Best Traditional Tropical Latin Album together with Bebo Valdés and Carlos "Patato" Valdés for El Arte del Sabor.
On June 11, 2006, López was honored by Union City, New Jersey with a star on the Walk of Fame at Union City's Celia Cruz Park.
López won a further Grammy in 2005, again for his own work, ¡Ahora Sí!.
In 2012, a posthumously released album, The Last Mambo, won the Grammy Award in the Best Tropical Latin album category.
Mambo
Cachao Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Mambo, mambo, mambo, mambo
Mambo, mambo, mambo, mambo
Mambo, mambo, mambo, mambo
...
Mambo, mambo, mambo, mambo
Mambo, mambo, mambo, mambo
...
The lyrics of Cachao's "Mambo" are relatively simple, as they consist almost entirely of the repeated word "mambo". However, within this simplicity lies a wealth of meaning and emotion. The repetition of the word creates a sense of rhythm, of movement, of primal energy. The word "mambo" itself is of African origin, and it is often associated with music and dance, particularly as it relates to Latin American culture.
The nature of the repeated phrase also invites interpretation. One could see the repetition as an invocation, a beckoning to the listener to join in the mambo, to let go of their inhibitions and embrace the music. Alternatively, the insistent repetition could be seen as a sort of challenge, daring the listener to keep up with the energetic and complex rhythms of the mambo.
In either case, the lyrics of "Mambo" are a powerful distillation of the essence of this energetic and exciting style of music. They capture the sense of joy and abandon that the mambo can inspire, while also hinting at the deeper cultural and historical roots that give the music its power and significance.
Line by Line Meaning
Mambo, mambo, mambo, mambo
Let's dance the mambo rhythm over and over again
Mambo, mambo, mambo, mambo
The music is calling us to move our feet to the beat of the mambo
Mambo, mambo, mambo, mambo
This is a joyous celebration of the Afro-Cuban culture and its musical traditions
Lyrics © Sony/ATV Music Publishing LLC
Written by: ANGEL LOPEZ
Lyrics Licensed & Provided by LyricFind
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Hermano Amor
Este si que es el Rey Del Mambo
Jose M. Aura
Allá, en el Cielo, o donde esté, seguro que estarán de fiesta y con buen humor. ¡¡¡Viva Cachao !!!
Destrozando sueños con la verdad!!
Lo q la lajuria gozo y perdicion para el humano es terrenal! Dios seria ante nuestra vista o entendimiento aburrido!!
@messenger.goodnews
Me encanta
Luis Lozano
CUBAN MUSIC FOREVER 💪🔥♥️ CACHAO= MAMBO✓ CUIDAO CONMIGO 🇨🇺
enrique ponce
es dificil que un contrbajista salga a relucir al exito, pero cachao es unico y que ritmo...
Sailor473
Dificil? Pq exactamente?
enrique ponce
@Sailor473 el contrabajo no es un instrumento, fácil de tocar y es el más difícil de afinar, por lo general son los pianistas o trompetista los que mas fama tienen, quizas Oscar de león con su bajó, pero es difícil conocer contrabajistas famosos en la salsa. Por eso lo dije nada más
Sailor473
enrique ponce Feliciano Arango? Alain Perez? Carlos del Puerto?
enrique ponce
@Sailor473 no es tema de discusión, solo fue un comentario, y hablo de contrabajistas de música salsa o afrolatina, NO de todos los géneros, fin del tema y gracias por sus acotaciones