The Source Of The "Shave And A Hair Cut. Two Bits" Tune

Edited by Azizi Powell

Latest update- April 22, 2024

This is Part I of a two part pancocojams series on the tune that is commonly known in the United States as "Shave and a hair cut. Two Bits". Part I provides information about the source of the tune which is commonly known in the United States by the words "Shave and a hair cut. Two bits." This post also provides an explanation of the meaning of "two bits" (or "six bits", another common ending in the United States or "two bobs", a common ending in the United Kingdom.) A few sound files and video examples the "Shave and a hair cut. Two bits" tune also are included in post.

Click http://pancocojams.blogspot.com/2014/01/examples-of-shave-and-haircut-childrens.html for Part II of this series.

Part II of this post provides examples of "clean" children's rhymes that contain the line "shave and a hair cut".

The content of this post is presented for folkloric, cultural, and recreational purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post. Thanks also to the musicians and singers who are featured in videos, and thanks to the publishers of those videos on YouTube.

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PART I: SOURCE OF "SHAVE AND A HAIRCUT. TWO BITS"
From http://tvtropes.org/pmwiki/pmwiki.php/Main/ShaveAndAHaircut
"Shave and a Haircut
Two bits!

Probably the most infamous seven beats of music in the modern world, or at least high on the list, this five-and-two lick appears everywhere. In music, it's a sting to end a piece; in other media, it appears in a joke and/or as a recognition signature, usually a knock—the first person taps out "shave-and-a-hair-cut," and waits for the "two bits" response.

While the rhythm is flexible, and the words change, it's always to a similar tune, though some different versions of it exist."

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Shave and a Haircut (two bits!)



Camille BaptistaPublished on Jul 18, 2012
-snip-
This post focuses on this tune's ending notes.

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From https://www.facebook.com/permalink.php?id=164335963612731&story_fbid=234031866739872 "Unlocking Clave" April 9, 2013 at 11:32am
"The "shave and a haircut—two bits" riff is a commonly known example of a clave-based phrase that can be heard in a wide variety of North American music, such as bluegrass and show tunes."

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From http://www.rhythmweb.com/clave/ "The Clave Page"
"'Claves' is the name for an instrument used in Caribbean music, composed of two short but thick sticks, usually of as hard a wood as possible, often rosewood. They have great cutting power despite their small size, and play a very important role in certain types of music, especially Latin music.

The Term 'clave' also refers to the rhythms played on these instruments, and to the concept which is embodied in these rhythms. The clave acts as a sort of backbone, a guide, if you will, to which the other instruments and the dancers synchronize themselves..If the other rhythms line up properly with the clave rhythm, the music is said to be "in clave". Traditionally the clave rhythm was always heard on the claves, but nowadays, a timbalero or other percussionist may be playing the clave rhythm on a wood or plastic block, along with other parts."

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From http://en.wikipedia.org/wiki/Clave_(rhythm) 
"The clave rhythmic pattern is used as a tool for temporal organization in Afro-Cuban music, such as abakúa, rumba, conga de comparsa, son, son montuno, mambo, salsa, Latin jazz, songo and timba. The five-stroke clave pattern represents the structural core of many Afro-Cuban rhythms.[1]

The clave pattern originated in sub-Saharan African music traditions, where it serves essentially the same function as it does in Cuba. In Ethnomusicology, clave is also known as a key pattern,[2][3] guide pattern,[4] phrasing referent,[5] timeline,[6] or asymmetrical timeline.[7] The clave pattern is also found in the African diaspora musics of Haitian vodou drumming, Afro-Brazilian music and Afro-Uruguayan music (Candombe). The clave pattern is used in North American popular music as a rhythmic motif or ostinato, or simply a form of rhythmic decoration...

Etymology

Anglicized pronunciation: clah-vay

 Clave is a Spanish word meaning 'code,' 'key,' as in key to a mystery or puzzle, or 'keystone,' the wedge-shaped stone in the center of an arch that ties the other stones together. Clave is also the name of the patterns played on claves; two hardwood sticks used in Afro-Cuban music ensembles—Peñalosa (2009).[8]

The key to Afro-Cuban rhythm

Just as a keystone holds an arch in place, the clave pattern holds the rhythm together in Afro-Cuban music.[8] The two main clave patterns used in Afro-Cuban music are known in North America as son clave and the rumba clave.[9] Both are used as bell patterns across much of Africa...

Both clave patterns are used in rumba. What we now call son clave (also known as Havana clave) used to be the key pattern played in Havana-style yambú and guaguancó.[17] Some Havana-based rumba groups still use son clave for yambú.[18] The musical genre known as son probably adopted the clave pattern from rumba when it migrated from eastern Cuba to Havana at the beginning of the 20th century...

Rumba clave.

The other main clave pattern is the rumba clave. Rumba clave is the key pattern used in Cuban Rumba. Use of the triple-pulse form of rumba clave in Cuba can be traced back to the iron bell (ekón) part in abakuá music. The form of rumba known as columbia is culturally and musically connected with abakuá which is an Afro Cuban cabildo that descends from the Kalabari of Cameroon. Columbia also uses this pattern. Sometimes 12/8 rumba clave is clapped in the accompaniment of Cuban batá drums. The 4/4 form of rumba clave is used in yambú, guaguancó and popular music."..
-snip-
This article continues with information and examples of clave rhythms in various musical genres in Cuba, Africa, Brazil, and the United States.

This Wikipedia page was retrieved in 2014 and is different than the page that I read on April 22, 2024.

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Son Clave vs Rhumba Clave



thisguy41487, Published on Dec 21, 2012

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INFORMATION ABOUT THE UNITED STATES PHRASE "SHAVE AND A HAIRCUT"
From http://en.wikipedia.org/wiki/Shave_and_a_Haircut
"In music, the call "Shave and a Haircut" and the associated response "two bits" is a simple, 7-note musical couplet or riff popularly used at the end of a musical performance, usually for comic effect. It is used both melodically and rhythmically, for example as a door knock.

"Two bits" is an archaism in the United States for 25 cents, a quarter. "Six bits" is occasionally used. The final words may also be "get lost" or some other facetious expression. In England, it was often said as "five bob" (slang for five shillings), although words are now rarely used to accompany the rhythm of the tune.

History
An early occurrence of the tune* is from an 1899 Charles Hale song, "At a Darktown Cakewalk".[2] Other songs from the same period also used the tune. The same notes form the bridge in the "Hot Scotch Rag", written by H. A. Fischler in 1911.

An early recording used the 7-note tune at both the beginning and the ending of a humorous 1915 song, by Billy Murray and the American Quartet, called "On the 5:15".

In 1939, Dan Shapiro, Lestor Lee and Milton Berle released "Shave and a Haircut – Shampoo"[3] which used the tune in the closing bars, and is thought to be the origin of the lyric…
The Bo Diddley beat is derived from "Shave and a Haircut".[14][18]

"Shave and a Haircut" was used in many early cartoons, particularly Looney Tunes cartoons, played on things varying from car horns to window shutters banging in the wind. It was also used as an ending to many cartoon shows, just after the credits. Decades later, the couplet became a plot device used by the chief antagonist Judge Doom in the film Who Framed Roger Rabbit, the idea being that Toons cannot resist finishing with the "two bits" when they hear the opening rhythm."...
-snip-
* [My asterisk] "An early occurance" here means "in the United States". As the earlier excerpts on this post indicate, that tune is a clave pattern which "originated in sub-Saharan African music traditions".

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ADDITIONAL YOUTUBE VIDEOS & SELECTED COMMENTS

Stella 17-Inch Music Box Playing "At A Darktown Cakewalk"



MusicBoxBoy, Uploaded on Mar 22, 2009

Here's my 17" Stella Console Grand playing "At A Darktown Cakewalk". Cakewalks, a largely forgotten part of our musical past, were popular during the heyday of Minstrel shows well over 100 years ago and were always performed in a quick and lively tempo. Hope you enjoy this.
-snip-
Here are three comments from this sound file's viewer comment thread:
2009
JohnnyDandMe55
"shave and a haircut 2 bits!

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2011
Kirke182
"@telesniper2 Cakewalks as musical pieces were white. The dance was devised by blacks as a way of mocking the way white people danced. All the written cakewalks were written by white composers--especially Kerry Mills, J. Bodewalt Lampe and Abe Holzmann. The Joplin-Marshall piece "Swipesy Cakewalk" is an exception although a lot of musicologists don't consider it a cakewalk."

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Kirke182
"@telesniper2 Darktown was an imaginary black section of a given town…"

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mario bauza y afro cuban jazz orq. tanga.



MrRobertopagan21, Uploaded on Sep 28, 2010
-snip-
From Wikipedia: Clave (rhythm)
"Although clave-like phrases are found in early twentieth-century African American music, the use of the clave pattern as an overt rhythmic motif does not appear until the 1940s with the birth of Afro-Cuban jazz (or Latin jazz). The first original jazz composition to be overtly based in-clave was "Tanga" (1942) by Mario Bauza."

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Bo Diddley -"Hey! Bo Diddley"



Jorge Michelini, Uploaded on Sep 14, 2010

Apresentação no TAMI SHOW em 1964.
-snip-
The Bo Diddley beat (Hambone beat) is an example of the "Shave and a hair cut. Two bits" tune.
-snip-
From
The "Bo Diddley beat" (1955) is perhaps the first true fusion of 3-2 clave and R&B/rock 'n' roll. Watch: "Hey Bo Diddley" performed live by Bo Diddley (1965). There is no documentation of a direct Cuban connection to Bo Diddley's adaptation of the clave rhythm. Bo Diddley has given different accounts of the riff's origins. However, Ned Sublette asserts: "In the context of the time, and especially those maracas [heard on the record], 'Bo Diddley' has to be understood as a Latin-tinged record. A rejected cut recorded at the same session was titled only 'Rhumba' on the track sheets."[89] Johnny Otis' "Willie and the Hand Jive" (1958) is another example of this successful blend of 3-2 clave and R&B". Otis used the Cuban instruments claves and maracas on the song. The song "Little Darling" is also built around clave"

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"WILLIE AND THE HAND JIVE" - Johnny Otis



TheGoodlucks, Uploaded on Jan 20, 2012

Johnny Otis (and friends) perform "Willie and the Hand Jive". 1958

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ADDENDUM: The "Shave and a haircut Two bits" tune DID NOT come from a Morse Code.
From http://dan.hersam.com/2004/09/21/shave-and-a-haircut-two-bits/ "Amidst a tangled web: shave and a haircut, two bits"
[comment #10] "I know this little tune as “Shave and haricut, two bits” but I am more familiar with it as an ending to some folk music (I play a violin). I was once told that this was morse code for hello or ‘hi’, but the only thing this rhythm comes close to spelling is TINA (- .. -. .-)…so I disregarded that comment. I have also been told that this is an explative in Mexico" (involving ones mother and other things I will leave out).
-snip-
"explative" = expletive

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From http://en.wikipedia.org/wiki/Talk:Shave_and_a_Haircut
The Morse code " dah-di-di-dah-di, di-dit " (shave and a haircut, "two bits") is fairly common in the radioamateur service, usually as a sign-off, but is only easily recognised because the "two bits" musical version pre-existed. Dunno if this had a counterpart in landline telegraphy. With all the digital tinkering in amateur radio, this risks going full-circle and becoming "two bits", driven largely by the introduction of microprocessors in the 1970s and 1980s. K7L (talk) 14:10, 23 August 2013 (UTC)
-snip-
That Wikipedia talk page also includes a comment about the Mexican expletive that has the same tune as "Shave and a haircut. Two bits".

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This concludes Part I of this pancocojams post.

Thank you for visiting pancocojams.

Visitor comments are welcome.

"The Flea Fly Flow" ("Cuma La Vista") Rhyme & Songs That Helped It Grow

Edited by Azizi Powell
Latest revision April 15, 2023

This pancocojams post presents three examples of songs that I believe helped influence the development & popularity of the playground rhyme "Flea Fly Flow" ("Cumala Vista"). One video & six text examples of "Flea Fly Flow" are also included in this post.

The content of this post is presented for historical, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

FEATURED SONG EXAMPLES
Example #1: Desi Arnaz - El Cumbanchero (1946)



Uploaded by MaryLouBrown on Sep 18, 2008

... with pics of the first "I Love Lucy" Season.
-snip-
It's my theory that the 1940 Latin Jazz song "El Cumbanchero" is the primary source of the R&B songs Cu Ma La Be Stay (Chubby Checker - 1964), "Oh, No! Not the Beast Day!" (Marsha Hunt- 1973), and the numerous playground rhyme which are known as "Flea Fly Flow" ("Cumala Vista"). 

My theory is based on the similarity of the word "Cumbanchero" and the title of those other songs & rhymes, as well as the similarity between the first two lines of "El Cumbanchero" and lines in those other composition. Also, my theory is based to a lesser extent, to "El Cumbanchero"'s tune, and the tune of those other compositions.

A rendition of "El Cumbanchero" was performed by Cuban American musician Desi Arnez in 1946. It's likely that the popularity of Desi Arnez as the producer & star of the mega-hit American television show "I Love Lucy" which first aired in 1951, helped familiarize people in the United States with the "El Cumbanchero" song.

Here's information about the composer of the song "El Cumbanchero":
From http://en.wikipedia.org/wiki/Rafael_Hern%C3%A1ndez_Mar%C3%ADn

Rafael Hernández (October 24, 1892 – December 11, 1965), was one of the most important composers of Puerto Rican popular music during the 20th century....
[Among the song's composed by Rafael Hernandez was]
"El Cumbanchero"[6] (also known as "Rockfort Rock" or "Comanchero" (sic) to reggae aficionados)"...

Click https://genius.com/Ruben-gonzalez-cumbanchero-lyrics to find the lyrics to the song "El Cunbanchero" by Rafael Hernandez. Here's an excerpt of those lyrics:

"A cumba-cumba-cumba cumbanchero
A bongo-bongo-bongo bongocero
Pri-qui-ti que va sonando
El cumbanchero bongocero que se va
Bongocero que se va"

-snip-
UPDATE: July 4, 2021
Here's part of a comment  that was published in this post's comment section by Carlos Arias on July 3. 2021. (The complete comment is found below)
"What about this. "El Cumbanchero" from Desi Arnaz (1946), has cuban origins, with spanish lyrics, presents a similar melodic phrase. In 1964 Chubby Checker presents (Cum-ba-la-be-stay), then in 1973 Marsha Hunt (Oh, no! Not the beast day!) (¡Oh no!, ¡No el día de la bestia!), all three of them sharing afro - caribbean roots. What if they present a transliteration from Spanish lyrics: "Ama la macumba, la macumba, la viste. ¡Oh, no, no, no!; ¡No debiste¡" (Thou! Love the Macumba! The macumba, you saw it!, oh no! no, no, no you shouldn't)"...
-snip-
Thanks for your comment, Carlos Arias!
  

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Example #2: Chubby Checker - Cu Ma La Be Stay

Soul Sauce, Feb, 8, 2015

-snip-
Here's the summary for the sound file that was originally published in this post, but is no longer available:
"After he'd finished with all the twistin', limboing, flying and mashed potatoing, Chubby came along with this great sound that was actually issued as a B side over here in the UK. It went on to be a big sound in the soul discos of the late sixties and early seventies. Always a floor-filler, so bounce around with Chubby to this one."- jimmytheferret, Uploaded on May 12, 2008

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Example #3: Marsha Hunt - Oh, no! Not the Beast Day! [1973]



mackiemesser, ploaded on Feb 11, 2009

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Example #4 "Kuma La Vista" with the kids of Sola Fe [2010]



Uploaded by amandastacyhill on Mar 28, 2010

TEXT EXAMPLES OF THE PLAYGROUND RHYME FLEA FLY FLOW (CUMULA VISTA)

FLEA FLY FLO (Example #1)
...Used to sing it as a brownie and guide. the rhythm is done by slapping your thighs then clapping your hands.

FLEA
(All lines are done by the leader then echoed)

Flea
Flea fly
Flea fly flo
vista

Cumala, cumala, cumala vista
Oh no no no no da vista
Eeney meaney decimeaney ooh wala wala meaney ex a meaney sal a meaney ooh wala wa
Beat biddley oten doten bobo da beeten doten Shhhhht.

Then you do it FAST!!!
-alison,://www.mudcat.org/thread.cfm?threadid=8951 meaning -musha ring dumma do dumma da, February 1, 1999
-snip-
"Brownies and guides" are Girl Scouts levels. Notice that this example includes lines from the huge "Eeny Meanie" playground rhyme family.

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FLEA FLY FLO (Example #2)
My version is the same as Alison's until the first line that ends with vista (but I learned vistey not vista).
FLEA

Each line is echoed back to the leader.

Flea (Flea) Flea fly (Flea fly) Flea fly flo (Flea fly flo) Vistey (Vistey)

Cumala, cumala, cumala vistey

Oh no no no not the vistey

Vistey ( and then it really changes!)

Eeney meney dis a leenee, ooh ahh ahh meleenee Otchicotchee oochirachee, ooh ahh ooh. Ish bibili oaten doten, why not in doten toten, bo bo ski doten toten hey don areema!

This was always a camp song that was lots of fun because you got faster each time until everyone just collapsed in laughter. I've heard other versions but this is the only one I've ever been able to learn.
-karen k, "://www.mudcat.org/thread.cfm?threadid=8951 meaning -musha ring dumma do dumma da, February 1, 1999

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FLEA FLY FLEW (Example #3)
flea (flea)
fly (fly)
flea fly flew (ditto)
coomalata coomalata coomalata beestay
no no no no not the beestay

and ended in a sort of scat-rhythm: eee-biddlety-oaten-doaten-wahbat-skee-watten-tatten-SHHHHHHHHHHHHH !!!!
-Bonnie S.; http://www.mudcat.org/thread.cfm?threadid=47148 RE: eena meena mackeracka (children's rhymes);7/1/2006

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FLEA (Example #4, #5, #6)
In this song, the song leader sings (says) a line and the audience repeats the line. Keep the beat by alternately slapping thighs and clapping hands:

Flea!
Flea Fly!
Flea Fly Mosquito!
Oh no no no no Mosquito!
Get that big bad bug with the bug spray!
PSSSSSSSSSSH (spray can sound)

Repeat three or more times, each time a little faster.

Another Version:

Flea!
Flea Fly!
Flea Fly Flo!
Eenie, meenie, decimeenie, oo wall a wall a meenie!
Ex a meenie, zoll a meenie, oo wall a wall!
Beep billy ott in dotten oh bo ba beaten dotten shh!

Flea!
Flea fly!
Flea fly flow!
Kumalata kumalata kumalata veeslay!
Oh, no no no, not the veeslay.
Ich a mini, satch a mini, oo walla walla mini.
Des a mini, satch a mini, oo walla wall.
A beat billy oaten bobin obo a boatin bobin obo a boatin bobin boatin bobin boatin bobin boatin bobin sssshhh...

Fleas (audience repeats)
Fleas Flies (audience repeats)
Fleas Flies Mosquitos (audience repeats)
Calimine, calimine, calimine lotion
Oh no, no more calimine lotion
Itsy bitsy, teeny weeny, itty bitty
Nasty bitey mosquito -- SQUASH (squash is yelled at top of lungs)

Flea!

Flea Fly!
Flea Fly Flo!
Vista
Coo-ma-la, Coo-ma-la, Coo-ma-la Vista
Oh no-no, no, not the vista
Eenie, meenie, decimeenie, oo walla walla meenie!
Ex a meenie, zoll a meenie, oo walla wall!
Beep billy ott in dotten oh bo ba beaten dotten shh!
- Susan Best, Ev Holm, Cathy Porter, http://www.macscouter.com/songs/Repeat.asp [retrieved 1/27/2013]
-snip-
Click http://cocojams.com/content/handclap-jump-rope-and-elastics-rhymes for examples of the rhyme "bobo ski otten botten (or similar titles) which is often included in "Flea Fly Flow" rhymes.

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ACKNOWLEDGEMENT AND THANKS
Thanks to the composers of these songs, and all of the musicians, vocalists, and other performers in the featured videos. My thanks also to the websites and individuals whose examples of this playgroup rhyme are featured in this post. In addition, thanks to the uploaders of these featured sound files and video.

Also, thank you for visiting pancocojams.

Viewer comments are welcome.

Latin Jazz - Performances Of "El Cumbanchero"

Edited by Azizi Powell

This post showcases three videos of Latin Jazz groups' performances of Puerto Rican composer Rafael Hernandez's 1940s composition "El Cumbanchero".

The content of this post is provided for historical, recreation, and aesthetic purposes.

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FEATURED VIDEOS

Video #1: The Four Amigos - El Cumbanchero - Puerto Rico



Uploaded by wattachee on Mar 7, 2010

The Four Amigos sing Rafael Hernandez's "El Cumbanchero" on the Bill Dana Show in 1964. This Puerto Rican quartert also known as "Los Borincanos" performed with Elvis Presley in two movies; Viva Las Vegas & Girls, Girls, Girls

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Video #2: Tito Puente - El Cumbanchero



Uploaded by carlosaleon on Feb 18, 2007

Rare, non-commercial 1965 clip of Tito Puente playing "El Cumbanchero" by Rafael Hernandez, one of the most prolific and important Puerto Rican composers of the century. This is from a tribute show to Hernandez that El Banco Popular sponsored in 1965.

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Video #3: Perez Prado - El Cumbanchero



Uploaded by cesarchalon on Jan 28, 2011

...Pérez Prado ejecutó en 1947, el mambo QUE RICO EL MAMBO, usando la orquesta tipo jazzband, haciendo una reestructuración distinta del nuevo ritmo en las sonoridades de trompetas y saxos, con percusión cubana y un desarrollo melódico sobre la base de esquemas percusivos en secuencias. El uso de la voz con textos incoherentes, pero de valor percusivo también, fueron sus características más notables

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RELATED LINKS

Here's a link to biographical information about Rafael Hernandez:

http://en.wikipedia.org/wiki/Rafael_Hern%C3%A1ndez_Mar%C3%ADn.

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Click http://cocojams.com/content/flea-fly-flow-cumala-vista-sources-and-examples for examples, and videos of and comments about the English language playground & camp song "Flea Fly Flow" ("Cumala Vista"). It's my position that the song "El Cumbanchero" is the Spanish source for the song "Flea Fly Flow" song.

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Thanks for visiting pancocojams.

Viewer comments are welcome.

Latin Jazz - Machito And His Afro-Cuban Orchestra

Edited by Azizi Powell

MACHITO -FRANK GRILLO : EL ECO DEL TAMBOR - FOREVER



Uploaded by jvum on Feb 27, 2007

Machito y sus Afrocubanos , Embajadores Musicales de Cuba en USA desde los cuarentas. Junto con MARIO BAUZA Padres del LATIN JAZZ.

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This post provides information about "Machito" (Francisco Raúl Gutiérrez Grillo) and features five videos of Machito And His Afro-Cuban Orchestra.

Enjoy!

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BIOGRAPHICAL INFORMATION
From http://en.wikipedia.org/wiki/Machito

Machito, born Francisco Raúl Gutiérrez Grillo on February 16, 1908, was an influential Latin jazz musician who helped refine Afro-Cuban jazz and create both Cubop and salsa music.[1][2] He was raised in Havana alongside the singer Graciela, his foster sister.

In New York City, Machito formed the band the Afro-Cubans in 1940, and with Mario Bauzá as musical director, brought together Cuban rhythms and big band arrangements in one group. He made numerous recordings from the 1940s to the 1980s, many with Graciela as singer. Machito changed to a smaller ensemble format in 1975, touring Europe extensively. He brought his son and daughter into the band, and received a Grammy Award in 1983, one year before he died...

Machito's music had an effect on the lives of many musicians who played in the Afro-Cubans over the years, and on those who were attracted to Latin jazz after hearing him. George Shearing, Dizzy Gillespie, Charlie Parker and Stan Kenton credited Machito as an influence. An intersection in East Harlem is named "Machito Square" in his honor...

Young Francisco Raúl Gutiérrez Grillo, the son of a cigar manufacturer, was nicknamed "Macho" as a child because he was the first son born to his parents after they had three daughters.[“Machito” means little macho (man)”]...

Machito's music greatly inspired such North American jazz giants as Dizzy Gillespie, Charlie Parker and Stan Kenton. One of the most famous performances of the Kenton band is an idiomatic Afro-Cuban number known as "Machito", composed by Stan Kenton with Pete Rugolo and released as a Capitol 78 in 1947

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SELECTED VIDEOS
Video #1: MACHITO -FRANK GRILLO : EL ECO DEL TAMBOR - FOREVER

This video is posted at the top of this page.

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Video #2

MACHITO AND HIS AFRO CUBAN ORCHESTRA - Ay Que Mate


Uploaded by ramoburg on Oct 27, 2009

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Video #3: Machito y Graciela - "Changó Ta' Vení" (Mambo-inn.com)


Uploaded by enriquemambo on Oct 30, 2007

Frank Grillo Machito y Graciela con el Salsa Big Band.

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Video #4: The Machito Orchestra con Herman Olivera (Mambo-inn.com)



Uploaded by enriquemambo on Jul 2, 2008

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Video #5: MACHITO - YO SOY LA RUMBA



Uploaded by augustoaranzazu on Apr 16, 2011

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My thanks to the performers on these videos, with special thanks to Machito for his legacy. Thanks also to the uploaders of these videos.

Thanks you for visiting this page.

Viewer comments are welcome.