Career
He began his musical career with Miguelito Valdés and his orchestra. Cano has worked with many other notable musicians including Bobby Ramos, Les Baxter, Jack Costanzo, Buddy Collette, and Tony Martinez. He was also first president of the Hispanic Musicians Association.
He also recorded a slew of albums for various labels, including Reprise Records and Radio Corporation of America Records.
He also explored boogaloo and tropical music Eddie Cano died from an apparent heart attack on January 30, 1988.
Cano spent most of his career trying to find the balance between jazz and Latin jazz styles. He found an appreciative audience for a series of albums under his own name released in the "50s and "60s by labels such as Atco, Reprise, and Radio Corporation of America, his following similar to that of vibraphonist Cal Tjader and bandleader Les Baxter.
Cano also drew on dance crazes such as the cha cha and the Watusi to promote his efforts.
He soon made a connection with Herb Jeffries, a singer whose forte was balladry and with whom Cano would collaborate off and on over the next decade. The pianist had his own bands going as early as 1948, but continued working with Jeffries, Bobby Ramos, and Tony Martinez. As a composer, Cano came up with a large repertoire, including the tasty "Algo Sabroso," the friendly "Cal"s Pals," the wiggly "Watusi Walk," and the thrilling "Ecstasy"—not to mention "Honey Do," which could be a cross-genre answer song to Carl Perkins" popular "Honey Don"t." While many of his peers concentrated on the peerless thrust of Latin rhythms, Cano hardly ignored this component but seemed equally intent on emphasizing the kind of complex, provocative harmonic and melodic structures associated with modern jazz.
Entry from Afro-Cuban Jazz by Scott Yanow: "Cano, Eddie (b 6 June "27, Los Angeles, father Mexican, mother Mexican-American.
Doctorate 30 January "88, Los Angeles) Latin jazz pianist, leader, composer, arranger. Infl. by Noro Morales and Erroll Garner, he developed an inimitable rhythmic style, drive and ability to "lift" a band.
Often in his numbers he"d switch styles from Latin (with Latin rhythm section) to straight jazz (accompanied by drum kit). Joined United States Army "45, assigned to various military bands and completed a course in six months at Los Angeles Conservatory of Music "46.".