Great cover version of the  1930 hit by DON ASPIAZU HAVANA CASINO Orch  On anonymous Firestone Philharmonic record



The Philharmonic Label was produced between 1939-1944. It was produced by two or more companies for sale through Firestone Tire & Rubber Company dealers and service stations. Labels sport a border of a stylized tire print.

The Air Chief version drew upon masters produced by Columbia, American Record Corporation and The Gramophone Co. Ltd., and was introduced in 1939. Later issues (ca. 1942-44) used material originally recorded for Eli Oberstein's Hit records and Varsity labels.

Xavier Cugat And His Orchestra – The Peanut Vendor / Mama Inez
 Firestone Philharmonic  Air Chief  FR-21, Originally Columbia – 35799

Genre: Jazz, Latin

A  The Peanut Vendor (El Manisero)
Written-By – Sunshine*, Simons*, Gilbert*
B  Mama Inez (Oh! Mom-e-Nez)
Written-By – Grenet*, Gilbert*

Please see top of the page for condition

April 1930, the Cuban orchestra of Don Aspiazu started the New York salsa era when it overwhelmed its audiences with its version of "The Peanut Vendor." From the RKO Palace in midtown Manhattan, the tune's infectious melodies filtered to all of New York. RCA Victor recorded it on May 13, 1930, and released it five months later. "El Manisero" was the background music for the 1931 movie Cuban Love Song. By the mid-'30s, every Latin music aggregation included el son in its repertoire. The most popular groups were those of Vicente Sigler, Nilo Melendez, Alberto Socarras, Rafael Hernandez's Grupo Victoria, Augusto Coen, Xavier Cugat, Montecino's Happy Boys and Alberto Iznaga's La Siboney. In Cuba during the late '30s, Afro-Cuban rhythms were demonstrating further innovations. Orestes Lopez, a revered musician of Antonio Arcano's charanga (a piano, flute, strings, and rhythm section) invented the danzon mambo rhythm in 1938. The mambo became the standard third part of the danzon, adding an overwhelming excitement that has not yet been improved upon. During the '40s, the Cuban guaracha rhythm joined el son in popularity; the best recordings were by Miguelito Valdes, Machito and the Afro-Cubans, Anselmo Sacassas, Noro Morales, Jose Curbelo and Marcelino Guerra.