Lost and Found (Remaster) Buena Vista Social Club

Album Info

Album Veröffentlichung:


Label: World Circuit

Genre: Latin

Subgenre: Latin Jazz

Interpret: Buena Vista Social Club

Das Album enthält Albumcover

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  • 1Bruca Maniguá (feat. Ibrahim Ferrer) (Live)05:15
  • 2Macusa (feat. Eliades Ochoa & Compay Segundo)04:04
  • 3Tiene Sabor (feat. Omara Portuondo)03:17
  • 4Bodas de Oro (feat. Rubén González & Jesús Ramos)04:39
  • 5Black Chicken 37 (feat. Orlando 'Cachaíto' López & Angá Díaz)03:33
  • 6Habanera (feat. Manuel Mirabal)02:16
  • 7Como Fue (feat. Ibrahim Ferrer) (Live)04:00
  • 8Guajira en F (feat. Jesús Ramos)04:21
  • 9Quiéreme Mucho (feat. Eliades Ochoa)01:28
  • 10Pedacito de Papel (feat. Eliades Ochoa)02:37
  • 11Mamí Me Gustó (feat. Ibrahim Ferrer) (Live)05:18
  • 12Lágrimas Negras (feat. Omara Portuondo)04:04
  • 13Como Siento Yo (Live)01:53
  • 14Rubén Sings! (feat. Rubén González)00:48
  • Total Runtime47:33

Info zu Lost and Found (Remaster)

Unreleased recordings from the original Buena Vista Social Club sessions, artists sessions and iconic live performances. Buena Vista Social Club released in 1997 is one of the biggest selling world music album of all time and its great, this collection will fulfill any long-term fans!

Coming almost two decades after the release of the original Grammy-winning, self-titled LP, Buena Vista Social Club's Lost and Found album is a collection of previously unreleased tracks—some of which were recorded during the original album’s sessions in Havana and others from the years that followed.

The studio tracks on Lost and Found were recorded at the 1996 Egrem studio sessions in Havana and during a period of rich and prolific creativity stretching into the early 2000s following the recording of the original album. Lost and Found also features live recordings from the world tours of Buena Vista’s legendary veterans.

"Over the years we were often asked what unreleased material was left in the vaults," says World Circuit’s Nick Gold. "We knew of some gems, favorites amongst the musicians, but we were always too busy working on the next project to go back and see what else we had. When we eventually found the time, we were astonished at how much wonderful music there was."

The original Buena Vista Social Club album became a surprise international best seller and the most successful album in the history of Cuban music. It was recorded for World Circuit Records by Ry Cooder over seven days in Havana in 1996, bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.

In the years that followed the original release, Buena Vista veterans toured the world and were the subject of a celebrated feature film directed by Wim Wenders. Further acclaimed recordings followed including solo releases by the singers Ibrahim Ferrer and Omara Portuondo, virtuoso pianist Rubén González and bassist Cachaíto López.

„It's hard to believe that it took Nick Gold and his World Circuit team to plunder the vaults for unreleased Buena Vista Social Club recordings. This loose-knit group of all-but-forgotten all-star musicians from pre-Revolutionary Havana was assembled by Juan de Marcos González and American guitarist Ry Cooder -- and supported by a cast of players they influenced -- to record its self-titled 1997 album that went platinum in the wake of Wim Wenders' 1999 film of the same name. Its members subsequently recorded solo and together, and various versions of the group have continued to tour internationally, but some of its foundational members have since passed on -- singers Ibrahim Ferrer and Compay Segundo, pianist Rubén González, bassist Orlando "Cachaito" Lopez, and bassist Miguel "Angá" Díaz. Lost and Found compiles unreleased vault tracks from the original 1996 EGREM studios sessions, live tracks, and rehearsal sessions from subsequent albums. But this music is anything but a hodgepodge, half-baked assortment. It is assembled with care and attention to the group's legacy. For starters, opener "Bruca Manigua" is one of three excellent live tracks to feature Ferrer on his 2000 tour in support of his debut album, backed by a killer large band. "Macusa" is a vocal duet between Eliades Ochoa and Segundo from the 1996 sessions. The pair delivered the album's standout hit, "Chan Chan." Omara Portuondo's gorgeous reading of the Cuban standard "Lágrimas Negras" could have easily made the cut on the 1997 album; that it didn't is a head scratcher. Likewise, "Tiene Sabor" is sultry and steamy; it's all roiling passion underscored by a saucy female backing chorus and a sizzling violin solo. (This may be the album's finest track.) "Black Chicken 37," a duet between Díaz and Cachaito (playing arco), reveals the improvisational power in Afro-Cuban jazz. Two solo tracks by Ochoa, the guitar instrumental "Quiéreme Mucho" and the bolero "Pedacito de Papel," are haunting in their intimacy. They were recorded after-hours during the album sessions. González is also represented handsomely and poignantly: first by his last ever recorded solo on "Bodas de Oro," a swinging danzón from a session led by trombonist Jesús "Aguaje" Ramos; by the elegant live piano solo "Como Siento Yo"; as well as by his informal scat singing on set closer "Rubén Sings!" Lost and Found is better served as a companion volume to the painstakingly curated Buena Vista Social Club album than as a general listener's introduction to the various musicians. That said, for anyone who ever wished there was more music in the can, this all-killer, no-filler program is indispensable.“ (Thom Jurek, AMG)

Buena Vista Social Club

Recorded March 1996 at Egrem Studio, Havana, Cuba
Engineered by Jerry Boys
Produced by Nick Gold, Ry Cooder

Digitally remastered

Buena Vista Social Club
There are a few times in your life when you hear a piece of music that instantly sparks something in your core; that awakens a new but somehow familiar awareness, illuminating a connection to your past that had been there all the while.

I had such an experience the first time I listened to 'Buena Vista Social Club,' a beautiful reunion of some of CubaÆs legendary musicians orchestrated by musical treasure hunter Ry Cooder. Though I am not of Cuban descent (my roots are in Colombia), listening to this album transported me to a steamy nightclub in 1950s Havana.

Cooder, himself a musical journeyman, has been performing and recording his own work since 1970, and has collaborated with such varied artists as Arlo Guthrie, the Rolling Stones, Taj Mahal, and Randy Newman. In recent years he has taken on the ambitious challenge of preserving and celebrating international musical treasures in danger of vanishing. 'Buena Vista Social Club' is one such project.

The album is a compilation by the players and singers of the æson de CubaÆ style, an eclectic musical tradition that flourished from the 1920s to the 1950s. The music is as varied and colorful as the Pan-American landscape: from the languid country sound of 'Chan Chan,' to the urban piano of 'Pueblo Nuevo,' to the American jazz-influenced 'Amor de Loca Juventud,' to the pulsating Afro-Cuban rhythms of 'El Cuarto de Tula' and 'Candela.' These latter two songs, which are impossible to listen to sitting still, capture the spirit of the day. Their extended vocal improvisations are laced with sexual innuendo and double meanings û a reminder of what romance was like in a more refined era.

They are my two favorite songs also because they feature the performer who embodies the spirit of the sonero: 72-year-old Ibrahim Ferrer. According to Cooder's extensive liner notes, Ferrer was a star during this golden age, but his soothing velvet voice later fell out of fashion. Before this album was recorded, Ferrer, a shy and unassuming man, lived in old Havana, in a rundown apartment building, and shined shoes to pay the rent. He was called into the studio from his daily walk on the day of recording, and these songs are the priceless result.

In an interview with The New York Times, Ferrer proclaimed that 'an angel came and picked me up and said, 'Chico, come and do this record.' I didn't want to do it, because I had given up on music. But now I have my own record, the first one ever, so I'm very happy. I don't have to shine shoes anymore.'

Astonishingly, this album, along with two others featuring several of the same artists, was cut during a frenetic two-week recording session. And listening to the CD, itÆs not hard to imagine the palpable energy that must have flowed through the studio.

The overwhelming public embrace of the album and the group had to surprise even Cooder. An immediate smash, the CD soon went platinum and became the best-selling Afro-Cuban album of all time. In its sole U.S. appearance last summer, the group sold out New YorkÆs Carnegie Hall and brought the house down. The elder legends also played to adoring crowds throughout a lengthy world tour. The music also has garnered critical acclaim, winning a 1998 Grammy award. One critic even compared its universal impact and appeal to the BeatlesÆ 'Sergeant PepperÆs Lonely Hearts Club Band.'

Thanks to Ry Cooder and the enduring genius and charm of the soneros, the music of CubaÆs golden age lives on, to be celebrated by new generations far beyond the Caribbean.

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