Review by John Bush
It's no accident that Eddie Cano's most exciting LP is a live one, recorded in 1967 at the infamous club P.J.'s -- also the site of a great Kool & the Gang live album. Cano's piano playing had the energy required for dancers as well as the subtlety needed by jazz aficionados, and although his group at the time included few leading lights, there's little doubt they were moving the crowd with numbers like Cano's own "Slip, Slip" and covers of everything from "La Bamba" to Young-Holt Trio's "Wack Wack" to the Mamas & the Papas' "Monday Monday."
https://www.allmusic.com/album/brought-back-live-from-pjs-mw0001453292
Biography by Eugene Chadbourne
Pianist Eddie Cano spent most of his career connecting the dots between jazz and Latin styles. He found an appreciative audience for a series of albums under his own name released in the '50s and '60s by labels such as Atco, Reprise, and RCA, his following similar to that of vibraphonist Cal Tjader and bandleader Les Baxter. Cano also drew on dance crazes such as the cha cha and the Watusi to promote his efforts. His family was rich musically, Cano's father a bass guitarist, his grandfather a member of the Mexico City Symphony. Cano studied bass with his grandfather and private teachers, also studied piano and trombone, spent two years in the Army beginning in 1945, and then began hitting stages in a group led by Miguelito Valdés.
He soon made a connection with Herb Jeffries, a singer whose forte was balladry and with whom Cano would collaborate off and on over the next decade. The pianist had his own bands going as early as 1948, but continued working with Jeffries, Bobby Ramos, and Tony Martinez. As a composer, Cano came up with a large repertoire, including the tasty "Algo Sabroso," the friendly "Cal's Pals," the wiggly "Watusi Walk," and the thrilling "Ecstasy" -- not to mention "Honey Do," which could be a cross-genre answer song to Carl Perkins' popular "Honey Don't." While many of his peers concentrated on the peerless thrust of Latin rhythms, Cano hardly ignored this component but seemed equally intent on emphasizing the kind of complex, provocative harmonic and melodic structures associated with modern jazz.
https://www.allmusic.com/artist/eddie-cano-mn0000166146/biography
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Reseña de John Bush
No es casualidad que el LP más emocionante de Eddie Cano sea en vivo, grabado en 1967 en el infame club P.J.'s, donde también se encuentra un gran álbum en vivo de Kool & the Gang. El piano de Cano tenía la energía necesaria para los bailarines así como la sutileza necesaria para los aficionados al jazz, y aunque su grupo en ese momento incluía pocas estrellas, no hay duda de que estaban conmoviendo a la multitud con números como el propio "Slip, Slip" de Cano y portadas de todo, desde "La Bamba" al "Wack Wack" del Young-Holt Trio a "Monday Monday" de Mamas & the Papas.
https://www.allmusic.com/album/brought-back-live-from-pjs-mw0001453292
Biografía de Eugene Chadbourne
El pianista Eddie Cano pasó la mayor parte de su carrera conectando los puntos entre el jazz y los estilos latinos. Encontró un público agradecido por una serie de álbumes bajo su propio nombre publicados en los años 50 y 60 por sellos como Atco, Reprise y RCA, sus seguidores son similares a los del vibrafonista Cal Tjader y el director de banda Les Baxter. Cano también recurrió a locuras del baile como el cha cha y el Watusi para promover sus esfuerzos. Su familia era rica musicalmente, el padre de Cano un bajista, su abuelo un miembro de la Sinfónica de la Ciudad de México. Cano estudió el bajo con su abuelo y profesores particulares, también estudió piano y trombón, pasó dos años en el Ejército a partir de 1945, y luego comenzó a tocar en los escenarios en un grupo dirigido por Miguelito Valdés.
Pronto se relacionó con Herb Jeffries, un cantante cuyo fuerte era la balada y con el que Cano colaboraría de vez en cuando durante la siguiente década. El pianista tenía sus propias bandas ya en 1948, pero siguió trabajando con Jeffries, Bobby Ramos y Tony Martínez. Como compositor, Cano creó un amplio repertorio, incluyendo el sabroso "Algo Sabroso", el amistoso "Cal's Pals", el ondulante "Watusi Walk" y el emocionante "Ecstasy", sin mencionar "Honey Do", que podría ser una canción de respuesta cruzada con el popular "Honey Don't" de Carl Perkins. Mientras muchos de sus compañeros se concentraban en el empuje sin igual de los ritmos latinos, Cano apenas ignoraba este componente pero parecía igualmente decidido a enfatizar el tipo de estructuras armónicas y melódicas complejas y provocativas asociadas con el jazz moderno.
https://www.allmusic.com/artist/eddie-cano-mn0000166146/biography
A1 - Slip, Slip - 2:35
A2 - La Bamba - 3:20
A3 - Wack Wack - 2:35
A4 - Mira Como Es - 3:38
A5 - I Can't Cry Anymore - 3:10
A6 - Monday Monday - 3:13
B1 - Louie Louie - 2:05
B2 - Guantanamera - 2:16
B3 - Brown & Blue - 2:35
B4 - I'll Never Forget You - 2:58
B5 - Don't Ever Change - 2:12
B6 - El Pito (I'll Never Go Back To Georgia) - 2:42
Credits:
Bass – David Troncoso
Congas – Max Garduno
Drums – Eddie Talamantes
Percussion – Frank Gutierrez
Piano – Eddie Cano
Producer – Bones Howe
Label: Dunhill – DS-50018
Released: 1967
Genre: Jazz, Latin
Style: Latin Jazz, Boogaloo
https://www.discogs.com/Eddie-Cano-His-Quintet-Brought-Back-Live-From-PJs/release/443449
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