Arturo Sandoval & Y El Tren Latino
1995
Tracks:
01. Be-Bop 4:18
02. La Guarapachanga 3:59
03. A La P.P. 2:47
04. Waheera 5:13
05. I Can't Get Started 4:25
06. MarteBelona 3:47
07. Royal Poinciana 3:16
08. The Latin Trane 5:15
09. Candela (Yo Si Como Candela) / Quimbombo 4:50
10. Drume Negrita 2:45
11. Orula 6:01
12. I Can't Get Started (Instrumental) 4:25
1995
Tracks:
01. Be-Bop 4:18
02. La Guarapachanga 3:59
03. A La P.P. 2:47
04. Waheera 5:13
05. I Can't Get Started 4:25
06. MarteBelona 3:47
07. Royal Poinciana 3:16
08. The Latin Trane 5:15
09. Candela (Yo Si Como Candela) / Quimbombo 4:50
10. Drume Negrita 2:45
11. Orula 6:01
12. I Can't Get Started (Instrumental) 4:25
Personnel:
Arturo Sandoval (trumpet, flugelhorn, piano, percussion); Celia Cruz, Oscar D'Leon, Luis Enrique, Joe Williams (vocals); Kenny Anderson, Ed Calle (saxophone, flute); Dana Teboe (trombone); Otmaro Ruiz (piano); Rene Toledo (guitar); David Enos (bass); Aaron Serfaty (drums); Manuel "Egui" Castrillo, Luis Henrique, Edwin Bonilla (percussion); Vicente Rojas, Laura Pifferver, Cheito Quinones (background vocals).
Arturo Sandoval (trumpet, flugelhorn, piano, percussion); Celia Cruz, Oscar D'Leon, Luis Enrique, Joe Williams (vocals); Kenny Anderson, Ed Calle (saxophone, flute); Dana Teboe (trombone); Otmaro Ruiz (piano); Rene Toledo (guitar); David Enos (bass); Aaron Serfaty (drums); Manuel "Egui" Castrillo, Luis Henrique, Edwin Bonilla (percussion); Vicente Rojas, Laura Pifferver, Cheito Quinones (background vocals).
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Trumpet Player Arturo Sandoval of Hidden Hills, California was born on November 6, 1949, in Artemisa, a small town east of Havana in the Pinar Del RÃo province, home of Cuba's finest tobacco growing region, the Vuelta Abajo. Arturo's family was poor, existing on an income from his father's mechanics business. By the age of six, Arturo had a strong desire to be a musician.
Arturo began playing the congas and put together a mini-circus act with a cat on a high wire. He charged the neighborhood kids a penny to see his show. When his village organized an orchestra for local events, he joined and tried out a bunch of instruments, including the trombone, bass drum and the flute, which he didn't like because it made him dizzy. Arturo started looking at the trumpet and decided that's what he wanted to play.
The band didn't have an extra trumpet, and the family had no money to buy one; however, his Aunt bought him a Cornet. Arturo states that he started to blow the cornet and just figured it out. Arturo sought out a respected local trumpet player for some training and was rebuffed and told not to waste his time. Arturo left that meeting in tears but more determined than ever.
Amazingly, Arturo never received formal trumpet lessons. He played and practiced, but that was it. One day in 1963, Arturo saw a flyer for a scholarship program offering classical music training at the National School of Arts. He applied, and secretly went to Pinar Del RÃo for an aptitude exam that was mostly gauged to test his musical ear. When the telegram arrived with his acceptance, he announced to his parents that he was going to go to Havana to become a full-time musician. Arturo continued his education and musical training until he was about 16, when the government formed a big band, known as the Cuban Orchestra of Modern Music. The first trumpet in the national symphony, Luis Escalante, also was chosen as lead trumpet in the big band. The announcement energized Arturo, who had begun to chafe under the restrictions that he could only play classical music at the school. "I was dying to meet Luis Escalante," says Arturo. Escalante's hobby was fixing cars, and because of Arturo's experience helping his father, he established a connection with the vaunted trumpeter. They became friends, and finally Arturo told Escalante that he was a trumpet player, too. They started playing duets, and one day, Escalante asked if Arturo would like to take his place in the big band group. "I was speechless," Arturo says. "I told him they wouldn't let me play." But after Escalante intervened, the young Sandoval became the last chair in the trumpet section. Three years later, at the age of 20, he became the first trumpet in the orchestra, which in big band parlance meant he really became the band's leader...
Arturo began playing the congas and put together a mini-circus act with a cat on a high wire. He charged the neighborhood kids a penny to see his show. When his village organized an orchestra for local events, he joined and tried out a bunch of instruments, including the trombone, bass drum and the flute, which he didn't like because it made him dizzy. Arturo started looking at the trumpet and decided that's what he wanted to play.
The band didn't have an extra trumpet, and the family had no money to buy one; however, his Aunt bought him a Cornet. Arturo states that he started to blow the cornet and just figured it out. Arturo sought out a respected local trumpet player for some training and was rebuffed and told not to waste his time. Arturo left that meeting in tears but more determined than ever.
Amazingly, Arturo never received formal trumpet lessons. He played and practiced, but that was it. One day in 1963, Arturo saw a flyer for a scholarship program offering classical music training at the National School of Arts. He applied, and secretly went to Pinar Del RÃo for an aptitude exam that was mostly gauged to test his musical ear. When the telegram arrived with his acceptance, he announced to his parents that he was going to go to Havana to become a full-time musician. Arturo continued his education and musical training until he was about 16, when the government formed a big band, known as the Cuban Orchestra of Modern Music. The first trumpet in the national symphony, Luis Escalante, also was chosen as lead trumpet in the big band. The announcement energized Arturo, who had begun to chafe under the restrictions that he could only play classical music at the school. "I was dying to meet Luis Escalante," says Arturo. Escalante's hobby was fixing cars, and because of Arturo's experience helping his father, he established a connection with the vaunted trumpeter. They became friends, and finally Arturo told Escalante that he was a trumpet player, too. They started playing duets, and one day, Escalante asked if Arturo would like to take his place in the big band group. "I was speechless," Arturo says. "I told him they wouldn't let me play." But after Escalante intervened, the young Sandoval became the last chair in the trumpet section. Three years later, at the age of 20, he became the first trumpet in the orchestra, which in big band parlance meant he really became the band's leader...
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