¡Cocinando!: Fifty Years of Latin Album Cover Art by Pablo Ellicott Yglesias (auth.)

By Pablo Ellicott Yglesias (auth.)

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World Pacific’s own Castro-era series, The Music of Cuba, was the first of its kind. El jazz cubano actually utilizes a painting depicting flamenco artists in Málaga, Spain. Continuing that bright, festive feeling, Cubanborn muralist and painter Viredo Espinosa’s 1997 acrylic The Cabildo Is Coming graces Poncho Sanchez’s Picante release, Afro-Cuban Fantasy. Viredo spent years 43 It has been said that Mongo Santamaría was reticent to mix the sacred and the profane in his music, but he had no problem adapting his friend Silvestre’s fiveconga attack to his own sound.

LATIN JAZZ Back in 1953, Tjader, a vibist, along with bassist Al McKibbon and pianist George Shearing, heard Tito 1940s–PRESENT Puente and Machito at the Palladium and were thus inspired to incorporate Latin rhythms and melodies into Machito’s LP [ Afro-Cuban Jazz ] was one of those their arrangements. Shearing’s Latin Escapade sold documents that changed my life. I made my fellow fifty-thousand copies, an unprecedented number for roommates at Yale listen to it in 1951. We mar- Latin jazz at the time.

With this new jacket RELIGIOUS MUSIC design, we see the move from exoticism to nativism, with Rosario consciously reveling in his African roots. 1950s–PRESENT Figures and landscape are purposefully stylized, simply cut from recycled fabric swatches, and the entire field is The vibrancy of Latin music springs from its vigorous flattened—not to poke fun at folkways, but to call atten- root system. Whether the listener labels it folklore, típico, tion to the record’s ties with tradition. A modern font religious music, or music of the people, there is no deny- and a halftone portrait of Mongo’s face (collaged from ing that the traditional wellspring of the music is a living, newsprint media) convey a sense of contemporary style.

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