Very Rare Early PANART Album P-101 (6 Record Set) CUBA

$

68

Very Rare Early PANART Album P-101

(6 Record Set) 10" Made in Pre-Castro Cuba


The album cover, itself, is a masterpiece! It's a rich signed art study of tropical sophistication is silk-screen printed in 10 vivid colors: Red, Yellow, Blue, Green, Turquoise, Aqua, Brown, Tan, Flesh and Black. The spine is covered with brown textured leather.


TEXT ON COVER:

Souvenir of Havana / PANART Album P-101 / "Twelve Authentic Cuban Rhythms"

Made in Cuba • Cuban Plastics & Record Corp. Havana Cuba • Printed in Cuba



Grandma and Grandpa brought this set home from their vacation in Cuba as a souvenir for Mom, who proceeded to write her name (Ann) on it. Unfortunately, she was young and restless, and she didn't take very good care of her possessions...Then neither did the movers years later. So, sadly, there are scratches, and only the first 3 of these 6 records are still intact (the pieces broken off the edges are included in a plastic bag).  Nevertheless, there is plenty of enjoyment still to be had from this very rare piece of history.


ALBUM MEASUREMENTS: 12-1/8" x 10-1/2" x 3/4"


RECORD 1

#1172-A
CAMPANITAS DE CRISTAL
Bolero-Son (Rafael Hernandez)
SEPTETO FAVORITO

#1172-B
ENTRE PRECIOSOS PALMARES
Guarjira (Ignacio Pinero)
SEPTETO FAVORITO


RECORD 2

#1187-A
MIRA QUE VIVA E
Guaracha (Pablo Cairo)
Conjunto SONORA MATANCERA
Cantan: Bienvenido y Rogelio

#1187-B
TU FRACASO
Bolero (Gonzalez Giral)
Conjunto SONORA MATANCERA
Cantan: Bienvenido y Rogelio


RECORD 3

#1188-A
GUAJEITO
(A LAS QUE HICE SUFRIR)
Son Montuna (Julio Brito)
GUILLERMO PORTABALES
y su RITMO

#1188-B
AL VAIVEN DE MI CARRETA
(Tema Radial de Guillermo Portabales)
GUILLERMO PORTABALES
y su RITMO


RECORD 4 (broken edge)

#1189-A
COMPRENSION
Bolero (Cristobal Deval)
CONJUNTO NIAGARA
Cantan: Nolo Sosa y Alfredo Leon

#1189-B
ARRIMATE CARINITO
Mambo (Ernesto Duarte)
CONJUNTO NIAGARA
Canta: Nolo Sosa


RECORD 5 (broken edge)

#1201-A
MUJERES
(A LAS QUE HICE SUFRIR)
Mambo (Eliseo Grenet)
GUILLERMO PORTABALES
Con el Conjunto Niagara

#1201-B
CHINA BONITA
San Guajiro (M. Sanchez)
GUILLERMO PORTABALES
Con el Conjunto Niagara


RECORD 6 (broken edge)

#1215-A
AY DE MI
Bolero (Osvaldo Farres)
RENE CABEL
Orq. Rey Diaz Calvet

#1215-B
NO ME BUSQUES MAS
Mambo (Orlando de la Rosa)
RENE CABE
Con las HNAS. LAGO




History of PANART RECORDS (Pre-Castro Cuban Jazz)


Panart Records, the first independent Cuban record label, was founded in 1943 by Ramon S. Sabat, a musician and engineer. He set up his business in a refurbished colonial house bordering Havana's downtown shopping district. Offices were at San Miguel 410, between Campanario and Lealtad in Havana, with the factory outside of the city. He christened his new label Panart -- short for Pan-American Art.

"The best catalogue of Cuban music was on Panart," asserts Pedro Alvarez Cepero, owner of Casino Records, a Latin music store. "No one has produced popular Cuban music like Panart did."

Panart captured Cuban music's pre-Castro years, fondly recalled by many as a golden era. Notable among these many pioneer recordings were the Cuban Jam Sessions, the first albums to preserve the spontaneity of Havana's rumbitas, late-night parties where musicians got together to play after their gigs at the city's then-roaring nightclubs. These remain some of the best Cuban albums ever made, recording the height of the moment when Cuban dance rhythms and traditional Afro-Cuban ritual melded with the jazz sounds introduced by the American big bands hanging out all over Havana at the time. This amalgam would later become known as Latin jazz.

Panart released the first recorded cha-cha-cha, Enrique Jorrín's "La Engañadora." Sabat signed mambo king Dámaso Pérez Prado before he went on to fame in the United States. Bolero star Olga Guillot recorded her first album for the label, including a Spanish rendition of "Stormy Weather."

Sabat was also the first to really break down Cuban color barriers in the studio and record the music of an Afro-Cuban religious ceremony. The spine-tingling Santero features santeria practitioners including Celia Cruz, before she moved to the States and became the salsa queen. (Cruz once said in an interview that she changed her tune away from overtly Afro-Cuban music when she found it was not commercially viable in the U.S. market.)

In the early Sixties, the Panart parade of hits became the stuff of memories. Those sounds of that period ended when the Cuban revolution began. Fidel Castro's government claimed possession of the label's master tapes and then took over the studio, and it became the house studio for the state label, Egrem. (It is also the same place Ry Cooder -- seeking an analog sound -- would produce the Buena Vista series 50 years later.


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