Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

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.

September 14, 2010 Posted by | latin music, Music, music, concert, review, Reviews, Uncategorized, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Some Sweet Retro Cuban Sounds for Summer

Sierra Maestra were one of the original son revivalists in Cuba back in the 70s. Had that era’s Cuban music been widely available for export – or widely available island-wide, for that matter – they would have beaten the Buena Vista Social Club to the punch by about twenty years. What differentiates Sierra Maestra is that they mixed classic covers with original compositions done retro style. With all but two of the original members still alive, their new album Sonando Ya continues in that vein. Their sound is a lot more rustic than the Fania-style salsa that everybody knows and loves, more rustic than Machito, for that matter. This is Cuban roots music, bouncing and shuffling along with a clatter of a four-man percussion section, guiro, tres, guitar, bass, trumpet and vocals. But unlike what the title suggests, it’s not really dreamy at all. There’s a joy and swing to everything here – this is dance music, after all, and it’s no less vital than the stuff the band was doing thirty years ago.

Vocals rotate around the band in a sometimes exuberant, sometimes sly call-and-response. The opening son montuno tune is a tribute to mountain roots, with a characteristically catchy trumpet chorus. A trio of voices resound throughout a bouncy, dramatically tinged guaracha son ballad, reminding not to hate on them for their good fortune. A cautionary tale about a gold-digging girlfriend works a contemporary salsa tune quietly and bucolically, fretted instruments taking the place of the piano; a plaintive oldschool son number pleads for forgiveness, lit up with a long tres solo that vividly underscores son’s contemporaneous relationship with jazz. The rest of the album mixes bustling  dance tunes with a handful of ballads. Maybe it’s the time of year, but this cd has a visceral heat to it, evoking a Hemingway-era milieu, rum and sugarcane and heavy Caribbean night air. With summer going full blast, albums like this makes more and more sense. It’s out now on World Village Music.

July 8, 2010 Posted by | latin music, Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , | Leave a comment