Septeto Nacional Make the Buena Vista Social Club Seem Like New Jacks

How’s this for oldschool: Septeto Nacional have been around since 1927. The current incarnation of the band made its US live debut last year; this album, Sin Rhumba, No Hay Son, their debut recording outside of Cuba, makes the Buena Vista Social Club seem modern by comparison. Their founder, bassist Ignacio Piniero (1888-1969) is credited with introducing horns to Cuban music: sin Ignacio, no hay Machito? It’s rustic, roughhewn, often joyous but also plaintive oldtime latin music. The African clave beat is there as it is in so many latin styles, but Crispin Diaz Hernandez’s deft percussion lurks behind a thicket of richly jangly acoustic guitar from Dagoberto Sacerio Oliva and tres by Enrique Collazo, spiced with Agustin Someillan Garcia’s trumpet, with Raul Acea Rivera on bass and the aptly nicknamed Eugenio “Raspa” Rodriguez on lead vocals. It’s a mix of originals along with a couple of vintage Piniero numbers in several vintage styles including son montuno, rhumba, guaracha and the sad, pretty bolero that’s the third track here – did Willie Nelson hear that before he wrote Let It Be Me?

Collazo steals the show here, particularly on the album’s best cut, El Plato Roto (The Broken Plate) and its stinging, spiky solo at the end. The catchy, sly minor-key dance number, Mueve Tu Cintura (literal translation: shake your hips) has the tres casually whipping through a long, biting series of chords at the end. And his incisive jangle drives the sassy La Mulata Rumbera (featuring an inspired vocal by guest Bertha Portuondo) and the bouncy Me Dieron la Clave (They Gave Me the Clave), with a solo that literally snarls. The Piniero tracks share a vibe that’s antique yet ahead of its time: Arrollo Cubano foreshadows what will become calypso, while Donde Andabas Lanoche (Where Did You Go Last Night) is an island take on flamenco. La Rhumba No Es Como Ayer is actually so ayer it’s not funny and it’s a fun trip back in time: what mento is to reggae, this is to salsa. There’s also the slow stately swinging bolero En Tus Ojos Yo Veo (I Look in Your Eyes), the wry El Discreto (a cautionary tale – be careful who you confide in) and the boisterous, jazzy La Fiesta de los Animales that closes the album. It’s a lot of fun and it’s out now on World Village Music.

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The Colorado Saxophone Quartet’s Movie for the Ears

The new album 12 Preludes and Fugues by the Colorado Saxophone Quartet is a showcase for composer Michael Pagan’s seemingly boundless eclecticism, not to mention his sense of humor. There’s a centuries-old precedent for this: timbrewise, it’s just a little grittier than your typical wind ensemble. Imagine the baritone sax as the bassoon and the soprano as the oboe and you won’t be far off.  Most of these pieces clock in at around three minutes or less, many of them imaginatively interpolating elements of the baroque, jazz, and film music, frequently with trick endings and unexpected tempo shifts. Often the fugue will embellish the preceding prelude’s theme but just as often it’ll change the mood completely. The ensemble: Pete Lewis, Clare Church, Tom Myer, Andrew Stonerock and Kurtis Adams (yes, there are five in all, but apparently not all at once) – display an often stunning ability to get their fingers around all the styles here, some of which are pretty foreign to the saxophone. The album starts out baroque, goes in a darkly cinematic, more jazz-inflected direction, followed by brief detours into the Romantic era and 1950s latin pop.

The most stunning cut here is also the longest. Vividly alluding to the preceding fugue, Prelude IV expands on the noir atmosphere that will take centerstage throughout the following several segments, Bernard Herrmann as arranged by Gil Evans, maybe. Pagan’s use of interlocking voices is dizzying, to the point where the ensemble sounds many times larger than a simple four-piece. This segment is a suspense theme that goes up with an uneasy trill, then back down where it percolates darkly. Baritone sax maintains a magnificently burnished cello-like tone on the brooding fugue that comes afterward, followed by Prelude V which is actually a prelude and a fugue in itself, slow, methodical noir swing followed by a bustling, intricately orchestrated chase scene. A bit later, after a lull in the suspense, there’s a break with a baroque/jazz-infused tango, a jaunty ragtime/early swing number but without the cornball affectations, another series of noir interludes, a sad, atmospheric waltz and finally a break from the moody intensity with a warm nocturne that wouldn’t be out of place in Brahms.

The rest of this is isn’t as dark, often serving as a vehicle for Pagan’s abundant humor. Prelude XIX is a darkly comedic theme with almost a reggae beat and Middle Eastern tinges. The most overtly baroque works here which open the album are somewhat over-the-top in a Victor Borge/Raymond Scott kind of way and are often uproariously funny. As is the concluding piece, a genial, bouncily swinging tarantella melody that takes on the feel of a bumbling gangster movie theme. The ensemble clearly have as much fun playing this as Pagan must have when he wrote it – now it’s your turn.

Top Ten Songs of the Week 9/13/10

This is sort of our weekly, Kasey Kasem-inspired luddite DIY version of a podcast. Every week, we try to mix it up, offer a little something for everyone: sad songs, funny songs, upbeat songs, quieter stuff, you name it. We’ve designed this as something you can do on your lunch break if you work at a computer (and you have headphones – your boss won’t approve of a lot of this stuff). If you don’t like one of these songs, you can always go on to the next one: every link here will take you to each individual song. As always, the #1 song here will appear on our Best Songs of 2010 list at the end of the year.

1. Botanica – Who You Are

The lure of comfort and complacency punctured with vivid, characteristically savage skill by this era’s greatest art-rock band, the title track from their shockingly diverse latest album. Click the link and then on the music player in the upper righthand corner of the page.

2. Serena Jost – A Bird Will Sing

Intriguing solo version of the title track to the art-rock siren’s forthcoming album. In case you’d rather hear the finished version sooner than later you can always contribute to her kickstarter campaign.

3. Brass Menazeri – Da Zna Zora

Wild live version of a Serbian folksong by the blazing Bay Area brass band.

4. Gamelan Dharma Swara – Tour Medley 2010

New York’s own community gamelan orchestra went on competition tour to Bali this past summer: this is a series of hypnotic, beguiling excerpts from those performances, including Tabuh Pisan Bangun Anyar, the rarely played Kebyar Legong, Sikut Sanga and Sudamala. Scroll down to the “listen” link on the left side of the page. They’re playing the Fat Cat on 10/24 at 8.

5. Matthew McCright – Dance Prelude #3

Scroll down to hear the Minnesota pianist have a great time with a ragtime song that sounds like vintage Scott Joplin – but it’s a brand new piece by Daniel Nass. He’ll be playing this possibly at Merkin Hall on 9/25 at 8.

6. The Black Angels – The Sniper/Bad Vibrations

Deliciously rever-drenched, dark garage stuff from their new album Phosphene Dream, recorded live at a secret show at the Orensanz Center last week.

7. Carl Wayne – Midnight Blue

A rare b-side from 1983 – the late frontman of the Move finds the inner pop gem in a song bastardized in its only previous appearance on ELO’s Discovery album.

8. The Mike Baggetta Quartet – Olive Tree

The noir-tinged jazz guitarist and his combo in warm lyrical mode.

9. Radio I Ching – untitled

This is free jazz legend/impresario Dee Pop’s latest crazy project – this is a dark and twistedly cool dub reggae tune.

10. Christian Marclay compositions streaming live at the Whitney

In case you’ve gotten over to the Whitney Museum recently (we haven’t), they’re doing a Christian Marclay retrospective there year and streaming it live. The next one is at 1 PM on the 15th and features accordionist Guy Klucevsek.