Master Sessions, Vol. 1

1	Al Fin Te Ví (I Finally Saw You) 1:18
2	Isora Club 6:38
3	Mambo 3:13
4	El Son No Ha Muerto (The Son Has Not Died) 7:04
5	Lindo Yambú (Beautiful Yambú) 8:33
6	Mi Guajira (My Country Girl) 9:24
7	Lluvia, Viento y Caña (Rain, Wind and Reeds) 7:21
8	Club Social de Marianao (Marianao Social Club) 7:29
9	A Gozar con Mi Combo (To Rejoice With My Combo) 6:19
10	Cachao's Güiro 5:49
11	El Alcalde (The Mayor) 6:51
12	Descarga Cachao 6:22

Barnes & Noble

In the unending debate over who created the mambo, brothers Orestes and Israel "Cachao" Lopez's names are often mentioned. But in the discussion of who created the "descarga" -- the Cuban jam session -- most agree it was the great bass virtuoso Cachao. In the early '90s -- with "Mambo King" fever briefly in the air -- actor Andy Garcia and Miami Sound Machine honcho Emilio Estefan gave the Miami-based bassist free rein to record his music. From the pure grace of traditional Cuban danzóns and mambos to the freewheeling swing of descargas, Cachao steered a stellar revolving cast -- including Paquito D'Rivera, "Chocolate" Armenteros, Nestor Torres, and Francisco Aguabella -- in a beautifully constructed tribute to the sounds of his abandoned homeland. Ry Cooder later went to Havana to organize his Buena Vista Social Club, but Cachao found the same glory among his fellow expatriates; one danzón, in fact, is titled "Mariano Social Club." Lee Jeske

All Music Guide

Cachao's Master Sessions, Vol. 1 could not be more aptly named. There has not been a bass player to date who has done more to develop and refine the instrument's role or to better demonstrate its power and importance than Israel "Cachao" Lopez. Several of the selections on the collection originate from the Descarga sessions, in which Cachao de-emphasizes the role of the piano as the primary comping instrument in Cuban music, and effortlessly rocks the entire band with his thunderous tumbao. There is a slant toward danzon and son styles on this collection, which gives the record a very refined, almost stately feel. The first track, "Al Fin Te Vei," a clarinet and bass duo in danzon, is performed with such skill, grace, and class as to be fit for kings. Cachao does not, of course, ignore the beautiful folkloric traditions of his country. "Lindo Yambu," a creeping rhumba that moves into a carefree mambo, is performed with equal reverence and class. The fidelity of the recordings is amazing, a crystal-clear sonic treat. Cachao takes the listener on a tour of the sights and sounds of his homeland like no one else could. From the conservatories and recital halls to the cigar shops and street parties, Cachao brings his listener inside to encounter the diverse and mysterious character of Cuban music. Lindisimo. ~ Evan C. Gutierrez, All Music Guide