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Oh. Mario is the first one. To come.
Back. In the United States and after a year and know and know each one. Equal is worth. Much he to invest yellow at the front. Power. On the band. Front power. My Cheetos when he signed. My Cheetos mumble in which had no alertness. But my Cheetah was still in the front with grass yellow living at the front power. But the real power was behind. And that was Mario. You. Are.
Being given that. But you probably. Didn't want the name. Is it ever present. And I'm waffle.
Depending. If. Mary was born in the work of any Cuban. And for a
Cuban who to make it at the top of any profession she had it feel not only disciplined but the best in his field. And. The godparents. Gave him the discipline that was needed. And by the time he was 16 he was already a season and a clarinetist and playing for the Havana symphony. Once the Americans started buying businesses in Havana and other the provinces of Cuba they started replacing the CU games with white American jazz bands. And he saw that most of the jobs in the hotels in the academies in the white districts of Cuba were given to one or more like the musicians. I used to play and where is my class. Oh.
Yes of course. Now we're used to play stock arrangements. Not even our own a restaurant or maybe music. We were supposed to be the star band and if you were musicians were related to second class status it's hard to say that that happened to me and I had to work in the band and I was the only black. There playing endless swanky places and making up with us. The day after I left. In the beginning to get it the drug began I caught up with the one the begins when they get a musician and I was there. And they used to say that given that we don't have one uses and it lays you to say that look funny. I was a young gator with about 15 years old then. We should see the picture man the orderly while does that mean that meeting here being there the. PRESS. And the band leader called me one day. He's a merry I'm going to have no idea who he is and what is he said the YOU'RE
BUSY the advertisement the awful feeling Merissa you always either give this a prelim arre you see there being the uni only using a yeah yeah seen them how you like to wear that I said log on web proxy like you in the end of a name and a class equals just like you and I want you to do that for the Mars Rover I will send for them are set meals here. So you think you had a blue oval all by themselves. What do you recommend. That people get that are not so not eating and they put any of you know what the ammo might wonder they think. They. Don't know what I pulled down.
The 1926 when he came here would Antonio my hero move to make that recording to RCA. He discovered Harlem. Harlem he saw that the blacks were congregated. They had business news. They had their run. Their own nightlife. And there was no interference. And he liked that. And. This will always remain on his mind when he went back to Cuba. He started to say. Speaking of months with his childhood princes Someday I'm going to go there live. There and the bomb all fit in and go do in a week engagement for white. Ball one of the King of the yes. Now the head of live here. I was really press that I stayed there for. The night of running one of the club in that. Place and so this is a base orchestra
and they had a satchel brand name from it and they had nothing. My life so I said just me I got to play such. A sad song but you will make. It when I get back to America and that it will lead. I was a saxophone player. When you stop writing. As if it's a pain by name on my chain. Yes the August when they came to America and the Big Bang. But you had a good side. Yes I'm in the board of a big. Band returned to. Let you know how I look from the. Recent what I will do now going or recording with what dead because Trump is the main thing is on a one to do
it all and hoping to hear nothing. I think that. Is. What he believes. Listen to we have.
To. Think again. I demand you looking for. Let me give it to you astri. You have what I mean. There which. Is international. You don't speak English. Just That's the thing in the world. I got it the two hiding place in my room with a lot of well the lesson wouldn't that that this is. For you Tracy gave it. But every time I've been hanging around the Savoy about it I was and be in their brain of the war
it was a good trick where with the river used when I when I'd come in when I come in from what I'd come shoot at straight for stand in front of Baz stand I know yet that she can see me with my heart hear me break with Freddie. Then he said Come on. And I grew up understanding because I read well yeah that's right. So I played in this and then he let me play it's like absorbing the wood now as it will not keep. I never understood that where I was and we wanted to trick and you know he was such a big star you know I didn't I was scared to even speak to him. And then I met my you. Lewdly. Will.
Lose. The little. Friendly Cab Calloway. And and so. Now you're. Reading to. Me. He's there and I think I might have a job where I would stab Galloway. That is you dream of every black musician and New York as a play with Cab Calloway the best money doing. I think it is a sparrow with more to come to the OP and more new I've played with Cab Calloway and me. So now you'll say OK we're. We're playing of the kind from. It was a conspiracy. The truth is that I want to send you down there in my place. You take the solos and I got a job. I didn't ask how much I was made and I had thought of it when than I thought and
that's when I joined and when they bought me an account. That. Was. All over. The. World. Oh. My. God. What. Do.
You. Think. When you look up Galileo. Get out of mine too and I said no much evil. Up there with me. He's a guy that used to rifle look up gun with. So they don't move didn't know nothing about his news is that you don't want the water but. I write. What I want you to do. Is they'll just trade. To get the sound. Of the big. Bang. Just be. There to get out he says. They will go. Slowly. AS.
If they were playing. The guys in the band want to break down just a wooden resin. Let's play. Was that what was going on was. Saul. There was a voice. So we got to the way of the voice and the man in the ballroom the balls the ball rolls. Free. Will go up. There we're on that. One we. Will with. Three the most obese frieze music. And it is all one can name one is then that the dust. Let's look at them in the day. The box office. You want to play. Well there. Are six more later. I was again a warning a fortnight from up to. Six more that when the didn't solve a lot of the debate. Ending up there that much you know when the sad you would never get this is the thing of it all. Thanks one then really quartz. Is at the
Tonga. See they had been working on a clip of midtown Manhattan and most of this Personal know were non-Latinos I'm talking about a Jewish clientele Italian The people love much. Because of its wiring nature. But once the Latin jazz came into the picture. And he started writing things that included jazz harmonies. That's when the music became more exciting and reach a broader public. Then you have. Time.
People. Incredible number so they can everybody. Just declare. That. You know. When. To walk.
Everything. Back you know. So. My.
Yard. On which side of my leg I had a thousand more one of the Sally had also known why we have privacy on there. Their lives the only television in our home I want to. Also you have a point where they all you know what I look to the record at the end of my cheat and say I might have done better but I want to address They are a dollar allowed a couch. Where an AFC come there I was feeling and all say you know how you put it all down. What I loved about you to see me and Akio is. I take a second but I want to hear dollar for dollar game thought any and all of the cause you don't want to go into someone just using our own name as they are made at MIT talk. Yet I want to get those dead didn't I let us know your talk also Terry mama touch and say I want to see the billion or really was known in California because of the remotes that they would have from New York all the wor wanted these big stations at home to
coast to coast to coast like Congo a club used to promote going and the Machida orchestra for 15 minutes from 12 midnight or 12 15 sometimes even later. So whenever there was a spot open so by the time that the being out there. Anticipating that with open arms people from nearby states. From the cities in California. Came. From there. Into Japan. They were there. For three months. It seems that the. Afro-Cuban music. When the order for Unocal. Chanting change. In the people. Yes.
Yes. Yes. Yes. Yes. Why should you. Be something. He. Is
not in the ACLU. If. Someone is nice something when as in the Bible is the when that they me this your time is going to. Be something mainboard they. Will. Wash. You.
Series
La Plaza
Program
Notes From The Mambo Inn: The Story of Mario Bauza
Episode Number
1309
Contributing Organization
WGBH (Boston, Massachusetts)
AAPB ID
cpb-aacip/15-2z12n4zk3v
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Description
Episode Description
First Broadcast in 1991. A special presentation tracing the work and history of Cuban musician and composer Mario Bauza, who participated in the creation and complete evolution of Latin Jazz.
Episode Description
This record is part of the Music section of the Soul of Black Identity special collection.
Date
1991-09-25
Topics
Race and Ethnicity
Public Affairs
Subjects
Bauza, Mario, 1911-1993; Latin Jazz; Cuban Music
Media type
Moving Image
Duration
00:30:03
Embed Code
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Credits
Writer: Estebanez, Natatcha
AAPB Contributor Holdings
WGBH
Identifier: dab17408ff49537e4b805b5bac34b734e2eadc56 (ArtesiaDAM UOI_ID)
Format: video/quicktime
Color: Color
Duration: 00:00:00
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Citations
Chicago: “La Plaza; Notes From The Mambo Inn: The Story of Mario Bauza; 1309,” 1991-09-25, WGBH, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 16, 2024, http://americanarchive.org/catalog/cpb-aacip-15-2z12n4zk3v.
MLA: “La Plaza; Notes From The Mambo Inn: The Story of Mario Bauza; 1309.” 1991-09-25. WGBH, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 16, 2024. <http://americanarchive.org/catalog/cpb-aacip-15-2z12n4zk3v>.
APA: La Plaza; Notes From The Mambo Inn: The Story of Mario Bauza; 1309. Boston, MA: WGBH, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-15-2z12n4zk3v