You know you love Shakori for the free spirited fashion:
This was the scene 'on the ground' as The Beast played yesterday, making the most of a choice spot in the Saturday lineup.
As promised, Eric Hirsh's new arrangements featuring guests Andy Kleindienst and Tim Smith on horns were exciting. Pierce Freelon tells me that--get ready now, hold on to your seats--Orquesta GarDel is coming in the studio to record the track you see here, "Translation," in which Tim and Andy rip a few moñas:
Sunday, April 19, 2009
Captain Luke at the MusicMaker Showcase
The MusicMaker Relief Foundation, a Hillsborough organization that aids North Carolina blues musicians, had its usual blues showcase at Shakori on Saturday. John Dee Holeman was there, among others, including one of my favorite gentlemen, the deep-voiced Captain Luke.
Dig that old Shakori wristband decorating his cap! They say the "L" around his neck stands for "Love." Captain Luke is all right.
Links:
Enhance your Captain Luke knowledge with this audio piece and slide show by Richard Ziglar and Barry Yeoman. (link added 5/10/09)
Dig that old Shakori wristband decorating his cap! They say the "L" around his neck stands for "Love." Captain Luke is all right.
Links:
Enhance your Captain Luke knowledge with this audio piece and slide show by Richard Ziglar and Barry Yeoman. (link added 5/10/09)
Friday, April 17, 2009
Welcome to Shakori Hills!
Scroll down for daily updates...
Why are Eric Hirsh and Jose Sanchez smiling?
They are about to take the stage with Orquesta Gardel for the WORLD PREMIERE of a new timba tune written by trombonist Andy Kleindienst. It's entitled, get this: "Welcome to Shakori Hills"!
A song, written FOR the gig? That's like, 111% percent commitment. That's like a renaissance-scale luxury.
VIDEO of this blessed event will be posted as soon as I can get it uploaded!
Team Paso was there (Cuban-style dance school led by Stephanie and Eduardo Winston) to validate this experiment of timba-in-the-wildnerness.
I feel like I was present for something historic Thursday night: not only Gardel's first original, fresh out of the gate (with more soon to follow), but very possibly the first timba song ever written in the Triangle, and almost certainly the first timba song dedicated to Shakori Hills. The sound of timba, with its dynamic piano lines and punchy metales, really suits Gardel. Even though he talked a lot about "salsa gorda," Puerto Rican sonero Nelson Delgado carried the Cuban timba style convincingly right down to his "ahi nama's".
This band was born to play timba. Congratulations Andy! Gardel continues to set the bar higher.
It was in this same spot a year ago that their April performance at Shakori sparked my awe and the Indy cover story that ensued. There's something magical about that Dance Tent, where great evenings with Plena Libre, Bio Ritmo, and Ricardo Lemvo y Makina Loca have gone before.
Jose Conde y Ola Fresca
Jose Conde y Ola Fresca played the Meadow Stage in the shank of the evening.
His touring five-piece (which plays twice more on Friday) features Cuban-born bassist Jorge Bringas; New York Cuban and DUKE GRADUATE ('94) Alex Fernandez Fox on tres and jazz guitar; Venezuelan jazz percussionist Pablo Bencid, as versatile on cajon as drumset; and a surprise: conguero Gabo Tomasini of Bio Ritmo! Jose was born in Chicago, raised in Miami and makes his home in Brooklyn, but he and the Richmond-based Ritmo are good friends. There was a lot of diversity to his set, and Jose charmed with his laid-back sonero style and personal, often whimsical songs in styles from Haitian to joropo. They closed with some son and salsa, and Jose tells me TONIGHT'S SET (Friday night, Dance Tent) will be tailored to the dancer.
This performance from Thursday night, when they were fighting cold temperatures to keep their instruments in tune, shows their Cuban dance music side. "Puente a Mi Gente," about ending the embargo, features a frisky tres solo by Alex Fernandez Fox.
Jose didn't realize that the festival organizers found him via his nifty Obama video.
UPDATE added Saturday, 4/18:
Ok, I wondered what he meant. Here is Friday night's performance of the tune "Respondeme," which he adapted for the Obama video. It's a smart-sexy love song (appropriate):
Again, Alex Fernandez Fox takes a searing solo on tres. Alex says his first instrument was piano. At some point, he made his own tres, and then figured out how to play it. (Cubano hasta el hueso.) If I got the story straight, he played guitar in the Duke Jazz Band in the early '90s, under the direction of Paul Jeffries.
Jose Conde's singing voice reminds me a little of Bono, if Bono were an 80-year-old Cuban man living in the mountains. Maybe the Catskills. In any case someone like Alex and his tasty tres would never be far away.
Saturday at Shakori: Get Horny with The Beast
Today at 5 pm: Take a ride in Pierce Freelon's jazz hip hop vehicle The Beast with its new, pimped out horn section. Arranger/pianist Eric Hirsh says to expect new arrangements and more Latin soul flavor. Other Gardelites on hand: Pete Kimosh, Andy Kleindienst and Tim Smith. Vaya!
*****
Shakori Hills Grassroots is a great festival because unless all you listen to is opera and death metal, it has music for everybody. There's so much going on in 4 days I can't survey it all, so see the website for schedule, directions, ticket info, etc.
Some Shakori tips:
Bring a cozy for your beer, and maybe a stash of your own toilet paper (just in case the portapotty village runs out). I love the New York Pizza and the Indian food vendors, and the way the stars in the night sky always look brighter when you are out in the country. If you stay late, bring warm clothes in case the temperature cools down, and if you leave the festival at night, watch for small critters on the roads (I slowed for quite a few deer and bunnies). Drive safely! It's definitely worth the mileage.
Why are Eric Hirsh and Jose Sanchez smiling?
They are about to take the stage with Orquesta Gardel for the WORLD PREMIERE of a new timba tune written by trombonist Andy Kleindienst. It's entitled, get this: "Welcome to Shakori Hills"!
A song, written FOR the gig? That's like, 111% percent commitment. That's like a renaissance-scale luxury.
VIDEO of this blessed event will be posted as soon as I can get it uploaded!
Team Paso was there (Cuban-style dance school led by Stephanie and Eduardo Winston) to validate this experiment of timba-in-the-wildnerness.
I feel like I was present for something historic Thursday night: not only Gardel's first original, fresh out of the gate (with more soon to follow), but very possibly the first timba song ever written in the Triangle, and almost certainly the first timba song dedicated to Shakori Hills. The sound of timba, with its dynamic piano lines and punchy metales, really suits Gardel. Even though he talked a lot about "salsa gorda," Puerto Rican sonero Nelson Delgado carried the Cuban timba style convincingly right down to his "ahi nama's".
This band was born to play timba. Congratulations Andy! Gardel continues to set the bar higher.
It was in this same spot a year ago that their April performance at Shakori sparked my awe and the Indy cover story that ensued. There's something magical about that Dance Tent, where great evenings with Plena Libre, Bio Ritmo, and Ricardo Lemvo y Makina Loca have gone before.
Jose Conde y Ola Fresca
Jose Conde y Ola Fresca played the Meadow Stage in the shank of the evening.
His touring five-piece (which plays twice more on Friday) features Cuban-born bassist Jorge Bringas; New York Cuban and DUKE GRADUATE ('94) Alex Fernandez Fox on tres and jazz guitar; Venezuelan jazz percussionist Pablo Bencid, as versatile on cajon as drumset; and a surprise: conguero Gabo Tomasini of Bio Ritmo! Jose was born in Chicago, raised in Miami and makes his home in Brooklyn, but he and the Richmond-based Ritmo are good friends. There was a lot of diversity to his set, and Jose charmed with his laid-back sonero style and personal, often whimsical songs in styles from Haitian to joropo. They closed with some son and salsa, and Jose tells me TONIGHT'S SET (Friday night, Dance Tent) will be tailored to the dancer.
"It will be more of the dance stuff, and a couple funky things. We have a wide repertory," says the urban sonero.
"I like to sing in rhythm, and I like to tell stories. I'm trying to take the son spirit into funk," says Jose.
This performance from Thursday night, when they were fighting cold temperatures to keep their instruments in tune, shows their Cuban dance music side. "Puente a Mi Gente," about ending the embargo, features a frisky tres solo by Alex Fernandez Fox.
Jose didn't realize that the festival organizers found him via his nifty Obama video.
"Oh wow," says Jose. "Well we're going to have to do it tomorrow then. That was written for the election, so we'll do it in its original incarnation."
UPDATE added Saturday, 4/18:
Ok, I wondered what he meant. Here is Friday night's performance of the tune "Respondeme," which he adapted for the Obama video. It's a smart-sexy love song (appropriate):
Again, Alex Fernandez Fox takes a searing solo on tres. Alex says his first instrument was piano. At some point, he made his own tres, and then figured out how to play it. (Cubano hasta el hueso.) If I got the story straight, he played guitar in the Duke Jazz Band in the early '90s, under the direction of Paul Jeffries.
Jose Conde's singing voice reminds me a little of Bono, if Bono were an 80-year-old Cuban man living in the mountains. Maybe the Catskills. In any case someone like Alex and his tasty tres would never be far away.
Saturday at Shakori: Get Horny with The Beast
Today at 5 pm: Take a ride in Pierce Freelon's jazz hip hop vehicle The Beast with its new, pimped out horn section. Arranger/pianist Eric Hirsh says to expect new arrangements and more Latin soul flavor. Other Gardelites on hand: Pete Kimosh, Andy Kleindienst and Tim Smith. Vaya!*****
Shakori Hills Grassroots is a great festival because unless all you listen to is opera and death metal, it has music for everybody. There's so much going on in 4 days I can't survey it all, so see the website for schedule, directions, ticket info, etc.
Some Shakori tips:
Bring a cozy for your beer, and maybe a stash of your own toilet paper (just in case the portapotty village runs out). I love the New York Pizza and the Indian food vendors, and the way the stars in the night sky always look brighter when you are out in the country. If you stay late, bring warm clothes in case the temperature cools down, and if you leave the festival at night, watch for small critters on the roads (I slowed for quite a few deer and bunnies). Drive safely! It's definitely worth the mileage.
Monday, April 13, 2009
19 Days
Yesterday, on Easter Sunday, The New York Times finally published an obituary for Manny Oquendo. In English, by A. E. Velez. Nice photo. Recommended.
Here is an older video of Libre with Manny on bongo and bell. Nice crowd shots; Jerry Gonzalez takes a conga solo. The tune, by Cuban conguero Francisco Aguabella, was recorded by Tito Puente in the '50s when Aguabella was in his orchestra. Check out this trombone-dense arrangement, classic of the Libre sound.
Now, check out this TV appearance of Libre screaming their Puerto Rican heritage with the classic plena, "Elena Elena." The fluid, forceful Herman Olivera was never more at ease on lead vocal, and count 'em, FIVE TROMBONES feature a young Jimmy Bosch soloing. Manny follows this with a signature solo on timbales:
I also like this one a lot, it tells you why Libre was, is, a great band: flexibility and an inimitable chemistry of groove. Look at flutist Dave Valentin pumping his cintura as he plays! Que sabor maravilloso, reminds me of old Orquesta Broadway videos. The camera blacks out for a little while during Willie Rodriguez' tremendous piano solo, but hang in there; visuals are back for Manny's extended treatment of the pailas. The tune, "Suavecito," is a traditional Cuban son by Ignacio Piñeiro, refitted with Libre's "free" sensibility. They aren't showing off or inventing some esoteric idiom, they're embedding deeply personal and modern utterances in the historical repertoire. It's music made primarily for musicians (themselves) that remains, first and foremost, music of the people.
For more media links, tributes from fellow musicians, and video footage:
Search Onda Carolina for Manny Oquendo
Here is an older video of Libre with Manny on bongo and bell. Nice crowd shots; Jerry Gonzalez takes a conga solo. The tune, by Cuban conguero Francisco Aguabella, was recorded by Tito Puente in the '50s when Aguabella was in his orchestra. Check out this trombone-dense arrangement, classic of the Libre sound.
Now, check out this TV appearance of Libre screaming their Puerto Rican heritage with the classic plena, "Elena Elena." The fluid, forceful Herman Olivera was never more at ease on lead vocal, and count 'em, FIVE TROMBONES feature a young Jimmy Bosch soloing. Manny follows this with a signature solo on timbales:
I also like this one a lot, it tells you why Libre was, is, a great band: flexibility and an inimitable chemistry of groove. Look at flutist Dave Valentin pumping his cintura as he plays! Que sabor maravilloso, reminds me of old Orquesta Broadway videos. The camera blacks out for a little while during Willie Rodriguez' tremendous piano solo, but hang in there; visuals are back for Manny's extended treatment of the pailas. The tune, "Suavecito," is a traditional Cuban son by Ignacio Piñeiro, refitted with Libre's "free" sensibility. They aren't showing off or inventing some esoteric idiom, they're embedding deeply personal and modern utterances in the historical repertoire. It's music made primarily for musicians (themselves) that remains, first and foremost, music of the people.
For more media links, tributes from fellow musicians, and video footage:
Search Onda Carolina for Manny Oquendo
Wednesday, April 8, 2009
Live Salsa with GARDEL this Saturday (4/11)
It's a good band: Orquesta GarDel.
That photo looks nice on the poster; it came from the cover story I wrote about them in June 2008.
Here are the details on Saturday's "Spring Black and White Party" at George's Garage. The party starts at 11 pm promptly (not before, although the bar will be open as the dining area clears). The first live music set starts at 11:30 pm. There will be a mambo performance by James Cobo at 12:30 pm. Then, the band's second live set begins at 1:30 am, and the party won't close down until 3. That's an extra hour than usual, and Cobos run a well-organized ship, so you can expect to get your money's worth of dancing and live music.
I've been sworn not to say too much about what GarDel has woodshedding in secrecy these last few months, but they are getting ready to unveil some new charts including original compositions that will be surprising. They already have a huge and heavy book of standards including Barretto, Palmieri, Ruben Blades, Gilberto Santa Rosa and La Sonora Ponceña.
Admission will be $20 at the door; some limited discounts are available, while they last, if purchased online, and to be eligible for discounts you must abide by the 'black and/or white' attire theme. (I would love to see a basket of spring colors, myself, but that's just me.)
Get out the house. A bailar.
UPDATE added Sunday (4/12):
Very accomplished local mambo professional James Cobo debuts his new solo routine, as his parents (above, center) look on.
While it was impossible to capture a portrait of James in motion with non-flash photography, I did capture the impressions of onlookers, dressed in the party's elegant "black and white" theme:
GarDel blasted and sounded GREAT. Will elaborate on how and why later.
In this photo from their first set, Paso dance instructors Stephanie and Eduardo Winston eclipse stage lights in a view from the dancefloor:
Here's Jose Sanchez (congas), Brevan Hampden (timbales) and Ramon Ortiz (bongo/bell) in this hardworking rhythm section, backed by metales Wayne Leechford, Tim Smith and Andy Kleindienst:
See more party photos at my Flickr page, if you click on any photo.
Monday, April 6, 2009
Summer Camp for Rumberos
There's a highly recommended Afro-Cuban dance and drum program at Humboldt State University in Arcata, California coming up this July 25-August 1.
I've heard great things from people who've gone there, and it also seems (to me) to be a great value--the whole week-long program of classes is $495, not including travel/lodging. You can also sign up by day rates.
Among the esteemed instructors at this camp: the one and only Francisco Aguabella, John Santos, Mike Spiro, Toto Berriel from Los Muñequitos de Matanzas, founding member of the Conjunto Folklorico Nacional Lazaro Galarraga, and drummers and dancers from other top folkloric groups in Cuba, such as Yoruba Andabo and Afro-Cuba de Matanzas. The program also includes scholars such as David Peñalosa who has written books about clave.
Realer, a deal does not get. Classes cover rumba and orisha song, dance, and multi-instrument drumming techniques, at levels from beginner to pro.
"I must mention that our evening rumba parties have become legendary," says program founder and coordinator Howie Kaufman.
"You will not be disappointed!" emphasizes Santos.
Details and registration at the website: Humboldt University: Explorations in Afro-Cuban Dance and Drumming
I've heard great things from people who've gone there, and it also seems (to me) to be a great value--the whole week-long program of classes is $495, not including travel/lodging. You can also sign up by day rates.
Among the esteemed instructors at this camp: the one and only Francisco Aguabella, John Santos, Mike Spiro, Toto Berriel from Los Muñequitos de Matanzas, founding member of the Conjunto Folklorico Nacional Lazaro Galarraga, and drummers and dancers from other top folkloric groups in Cuba, such as Yoruba Andabo and Afro-Cuba de Matanzas. The program also includes scholars such as David Peñalosa who has written books about clave.
Realer, a deal does not get. Classes cover rumba and orisha song, dance, and multi-instrument drumming techniques, at levels from beginner to pro.
"I must mention that our evening rumba parties have become legendary," says program founder and coordinator Howie Kaufman.
"You will not be disappointed!" emphasizes Santos.
Details and registration at the website: Humboldt University: Explorations in Afro-Cuban Dance and Drumming
Van Van Watch (with updates!)
Here's a little gossip for those hot on the trail of the rumored Los Van Van tour:
This message comes from a NY/NJ area promoter:
With Hillary Clinton running the State Dept., I am as confident as I can reasonably be that they will get their visas. Why? Well, the last Cuban band to tour the Triangle--way back in 2003--was Barbarito Torres. And when he had trouble getting his visa and FBI clearance, it was Senator Hillary Clinton who stepped in for him.
DJ Melao is monitoring the situation closely, and broke the news in these parts. He's closely allied with timba artists and promoters, so keep refreshing his website for the latest.
UPDATE added Monday (3/6):
This word of caution from Elizabeth Sobol, manager of Tiempo Libre and a music industry veteran:
So, they are looking for their Cuban visas? Hard to say. I can say that I look forward to the day when it's other governments, not ours, that impede the free flow of people, trade and culture.
Stay cool, kids.
UPDATE added Tuesday (3/7):
DJ Melao clarifies via Blackberry:
Communicator out.
UPDATE added Thursday (4/9):
Looks like the tour agent working with Van Van wants to put the brakes on the rumor mill until things firm up. Matt at timbageek.com posted this message from Paul Goldman of Monterrey International:
Got it?
So, my take on that is, that tells us where things stand: they are waiting for their U.S. visas. It also confirms that the schedule was a "wish list" submitted to get the ball rolling, rather than confirmed dates, as Elizabeth indicated (see 3/6 update). That schedule obviously wasn't supposed to leak out, but members of Van Van gave it to DJ Melao. And the rest is mystery!
This message comes from a NY/NJ area promoter:
"I spoke to Lele [of Los Van Van] personally last Saturday while they were in Europe. He confirmed to me the dates of all the tours and venues for July-August, September-October, January-February, and April-May tours! They have everything listed and are very excited. The company bringing them is Monterrey International and the contact person is Paul Goldman. He was pretty much telling me...they should get their visas once they returned to Cuba. That's all they are waiting for."
--Andy Perez
Habana Music Productions
With Hillary Clinton running the State Dept., I am as confident as I can reasonably be that they will get their visas. Why? Well, the last Cuban band to tour the Triangle--way back in 2003--was Barbarito Torres. And when he had trouble getting his visa and FBI clearance, it was Senator Hillary Clinton who stepped in for him.
DJ Melao is monitoring the situation closely, and broke the news in these parts. He's closely allied with timba artists and promoters, so keep refreshing his website for the latest.
UPDATE added Monday (3/6):
This word of caution from Elizabeth Sobol, manager of Tiempo Libre and a music industry veteran:
"Just FYI - I have gotten very different info from the presenters. We have been told that Monterey had to submit a "tour route" to the Cuban government in order to get the ball rolling. And that they put together more of a "wish list" than an actual tour route. A lot of the venues listed simply aren't even available on the dates/periods that are listed on what was sent out. Two of the venues in there are actually closed for renovations during the period.
None of this means that a tour won't happen, but I wouldn't get my heart set on seeing them in any of these markets unless and until you actually see the concerts listed and tickets on sale on individual venue websites.
So, they are looking for their Cuban visas? Hard to say. I can say that I look forward to the day when it's other governments, not ours, that impede the free flow of people, trade and culture.
Stay cool, kids.
UPDATE added Tuesday (3/7):
DJ Melao clarifies via Blackberry:
"This was direct info from Mayito and Lele. It was made clear dates and venues are subject to change at this point. But that is what they are aiming at...the last update I got was that Van Van has visas for a year with over 70 planned dates."
Communicator out.
UPDATE added Thursday (4/9):
Looks like the tour agent working with Van Van wants to put the brakes on the rumor mill until things firm up. Matt at timbageek.com posted this message from Paul Goldman of Monterrey International:
"There is no tour in place at this time, nor will there be until such time as visas are issued for Los Van Van by the US Government. The schedule published is 100% incorrect and should be removed immediately from any web site."
Got it?
So, my take on that is, that tells us where things stand: they are waiting for their U.S. visas. It also confirms that the schedule was a "wish list" submitted to get the ball rolling, rather than confirmed dates, as Elizabeth indicated (see 3/6 update). That schedule obviously wasn't supposed to leak out, but members of Van Van gave it to DJ Melao. And the rest is mystery!
Saturday, April 4, 2009
Greensboro Tiene Ya Su Guaguancó
Some pics and commentary from Afro Cuban All Stars at the Carolina Theatre in Greensboro last night (4/3):
Juan de Marcos, still the empresario. Behind him: former Cubanismo pianist Ignacio "Nachito" Herrera, who lives in Minnesota, and bassist Alberto Pantaleon who lives in Mexico City.
Representing the old school: Evelio Galán is a nephew of Mañuel "Puntillita" Licea, an original member of the Buena Vista Social Club who passed away in 2000. Galán lives in Dublin and heats up the scene there in percussionist Conor Guilfoyle's band, Havana Son. Juan de Marcos (on stage, behind him) called him "the best singer I have ever heard." Gorgeous voice, like butta. He blew me away. (I like how he strategically placed himself in front of my camera too. These are not bootlegged, I had a photo press pass.)
Calixto Oviedo is a beloved timbero in Stockholm. His 90-year-old mother is gravely ill right now, and although he is very worried about her, it didn't affect his performance. We all hope she will hold on to her health until he finishes out the tour next week and can go down to Cuba to see her. This guy has tremendous musicality on the timbales, and a great attitude!
Behind Emilio Suarez's dancing torso, that's bongosero Pepe Espinosa, who played an unusual solo on bell. He lives in [correction!] Stockholm, I believe. His sister Madelin Espinosa is also a percussionist.
Jose Gil Piñero, aka Jose Gilito, definitely plays well to the ladies.
Here he is down in the open orchestra pit with the dancers. After intermission the concert went into party mode. On stage behind him: Emilio Suarez, Juan de Marcos (arms raised), Evelio Galán.
Don't curb your enthusiasm.
Jose Gilito gets a hug. Behind him on stage: Emilio Suarez, and Juan de Marcos' wife/business manager, Gliceria Abreu (in white).
Yes, that's one nice thing about Cuban bands, they bring the party to you. For anyone who had reservations about this new and unfamiliar lineup, they are the cream of Cuba's talent diaspora. This is an elite orchestra and I appreciated the vitality and fresh faces. They shared with us a sense of optimism that this tour is opening doors, and that Barack Obama will put an end to the cold war on cultural exchange. Soon we will be ready to exhale!
I write this as rumors about Los Van Van's U.S. tour THIS SUMMER appear to be substantiated. It's going to happen, people! This July 28, Durham will get run over by El Tren!
Shout out: Local musicians I ran into in the audience at the Afro Cuban All Stars show included Bradley Simmons, Robert Cantrell, Jose Sanchez and Cesar Oviedo. If you were there, give a holler!
I also talked to Edwin Dubois, the owner of the Greensboro club Rumba D'Cache. He said he did cancel the Niche concert (sounded like he didn't sell enough advance tickets?), and was out of town that week opening another club.
Juan de Marcos, still the empresario. Behind him: former Cubanismo pianist Ignacio "Nachito" Herrera, who lives in Minnesota, and bassist Alberto Pantaleon who lives in Mexico City.
Representing the old school: Evelio Galán is a nephew of Mañuel "Puntillita" Licea, an original member of the Buena Vista Social Club who passed away in 2000. Galán lives in Dublin and heats up the scene there in percussionist Conor Guilfoyle's band, Havana Son. Juan de Marcos (on stage, behind him) called him "the best singer I have ever heard." Gorgeous voice, like butta. He blew me away. (I like how he strategically placed himself in front of my camera too. These are not bootlegged, I had a photo press pass.)
Calixto Oviedo is a beloved timbero in Stockholm. His 90-year-old mother is gravely ill right now, and although he is very worried about her, it didn't affect his performance. We all hope she will hold on to her health until he finishes out the tour next week and can go down to Cuba to see her. This guy has tremendous musicality on the timbales, and a great attitude!
Behind Emilio Suarez's dancing torso, that's bongosero Pepe Espinosa, who played an unusual solo on bell. He lives in [correction!] Stockholm, I believe. His sister Madelin Espinosa is also a percussionist.
Jose Gil Piñero, aka Jose Gilito, definitely plays well to the ladies.
Here he is down in the open orchestra pit with the dancers. After intermission the concert went into party mode. On stage behind him: Emilio Suarez, Juan de Marcos (arms raised), Evelio Galán.
Don't curb your enthusiasm.
Jose Gilito gets a hug. Behind him on stage: Emilio Suarez, and Juan de Marcos' wife/business manager, Gliceria Abreu (in white).
Yes, that's one nice thing about Cuban bands, they bring the party to you. For anyone who had reservations about this new and unfamiliar lineup, they are the cream of Cuba's talent diaspora. This is an elite orchestra and I appreciated the vitality and fresh faces. They shared with us a sense of optimism that this tour is opening doors, and that Barack Obama will put an end to the cold war on cultural exchange. Soon we will be ready to exhale!
I write this as rumors about Los Van Van's U.S. tour THIS SUMMER appear to be substantiated. It's going to happen, people! This July 28, Durham will get run over by El Tren!
Shout out: Local musicians I ran into in the audience at the Afro Cuban All Stars show included Bradley Simmons, Robert Cantrell, Jose Sanchez and Cesar Oviedo. If you were there, give a holler!
I also talked to Edwin Dubois, the owner of the Greensboro club Rumba D'Cache. He said he did cancel the Niche concert (sounded like he didn't sell enough advance tickets?), and was out of town that week opening another club.
Thursday, April 2, 2009
FULL FRAME: "Sons of Cuba" boxing film premiere
Durham's downtown film fest opens today:
Full Frame Documentary Film Festival website
More to follow...
UPDATE added Sunday (3/5): SONS OF CUBA World Premiere
I went to the sold-out, world premiere Friday night of Sons of Cuba, a British-made film about the boys' boxing academy in Havana. Director Andrew Lang and editor Simon Rose said they had only just finished the film 3 days earlier. Lang completed film school training in Cuba in 2005 and had unprecedented access to the boarding academy, which accepts boys as young as 9 and trains them to become Olympic boxers.
I really liked the film, any movie that brings the sights and sounds of Cuba and its people closer is a joy. Music's role in the film was mostly in the soundtrack, which drew heavily on Cuban rap; the credits went by fast but I remember seeing one Eliseo Grenet tune, and some unfamiliar band names I take to be next gen hip hop. This was a good fit for the theme.
One boy, Santos, is nicknamed "The Singer," because he's always composing rap-like lyrics and songs on the spot. He was rather unhappy at boxing camp, and I kept thinking, they should transfer this kid to the conservatory farm system! I admit that one of my motives to see the film is that I imagine it must be somewhat similar to the life experienced by young musicians in Cuba, who are also taken from home at a young age. I think I am probably not too wrong in this.
The degree of love and bonding among the boys, and also between them and their nevertheless demanding coach, was an impressive fact. So was the close relationship most of these boys shared with their mothers. It was striking to me that the coach even impressed upon the boys, "your mother is the most important person in your life." That's far from the aggressive, "don't be a sissy," encoding of masculinity and rejection of all things feminine so typical in many or most societies when they are training men for a sport like boxing. Knowing Cuban culture from another angle, it was not hard for me to imagine these boys a little older, when they start having girlfriends, and thinking that any boy who loves his mother so much will surely end having a healthy respect for and attachment to women. That's not to say there is no "macho" element in Cuban culture (so I hear), but there's a certain approach to love, sensuality and pleasure, at least encoded in the music, that I find quite egalitarian. Let's just take as one example Mayito's song with Los Van Van, "Llevala a tu vacilon," where a guy is encouraged to take his girlfriend out to the parties with him, rather than leaving her at home. Let your girl have her fun, or you won't have a girl for very long.
It was hard to watch very young children undergo such grueling physical training. I couldn't help wondering if the obsession with weight, in particular, was not detrimental at that age, both physically and psychological. How do they allow for these kids to grow up, while maintaining a rigid weight class of say 32 kg? The hero, Christian, really had a gaunt, overexercised appearance. He sure as hell could fight though. Christian was an interesting character, because he's the son of a former Cuban Olympic and World Champion.
There was so much heart and emotion in this movie and so many tears: tears in victory, tears in defeat, tears when family stress intruded on school, tears when certain kids didn't make the team cut. I have never seen so many men (and boys) cry in two hours in my life! These men really love and comfort each other, even the rival coaches of the Havana and Matanzas academies, who do some hilarious trash talking in the beginning, but dissolve in a tearful embrace at the end. The Matanzas kid boxers had a reputation of being big, tough, yucca-eating farmers' sons who can punch you into next week, which made me think about the Matanzas stevedores who invented rumba, and Ignacio Piñeiro walking out to Matanzas for some good Afro-Congolese food and dancing in the song "Echale Salsita."
After the film, I stood up at one of the mics and asked the filmmakers if they had considered the film, among other things, as a portrait of Cuban masculinity; to my shock, really, Lang said this never occurred to him. Never occurred to him! Interesting. And he says he went to an all-male boarding school.
I think this has something to do with the fact that, like most outsiders making a movie about the Cuban system, they bring their own values to it somehow. That's not inappropiate. But Lang highlighted the historicity of the film being shot during the transition from Fidel to Raul. However, this event seemed like a bit of an anticlimax to me, both as experienced in real life, and as a dramatic element in the film. I guess he wouldn't be doing his job as a filmmaker not to position the film in its context and political moment in this way, but it really had no impact on the inherent drama of the film, which was all about the boys and their rival boxing teams. And, their dreams.
One point that the film made clearly was that all these people, children and adults, are coping with life in this system, the way anyone anywhere is forced to do. In particular, all these boys face a lot of pressure from their families to do well, so that they might have a chance to pull their families out of poverty. It's really not that different from the U.S., where low-wealth minorities are positioned to view sports and entertainment as aspirational paths.
It's a remarkable film, well worth seeing. If you love Cuba and her children, you'll probably be crying too by the end; I was. Beautiful moving images, too. These kids are unforgettable. Oh, and I can't wait for the followup films in 5 years, 10 years, etc. Like the Balseros docs, that would really be fascinating. Are you listening, Lang & friends? Well done, and keep us posted.
Full Frame Documentary Film Festival website
More to follow...
UPDATE added Sunday (3/5): SONS OF CUBA World Premiere
I went to the sold-out, world premiere Friday night of Sons of Cuba, a British-made film about the boys' boxing academy in Havana. Director Andrew Lang and editor Simon Rose said they had only just finished the film 3 days earlier. Lang completed film school training in Cuba in 2005 and had unprecedented access to the boarding academy, which accepts boys as young as 9 and trains them to become Olympic boxers.
I really liked the film, any movie that brings the sights and sounds of Cuba and its people closer is a joy. Music's role in the film was mostly in the soundtrack, which drew heavily on Cuban rap; the credits went by fast but I remember seeing one Eliseo Grenet tune, and some unfamiliar band names I take to be next gen hip hop. This was a good fit for the theme.
One boy, Santos, is nicknamed "The Singer," because he's always composing rap-like lyrics and songs on the spot. He was rather unhappy at boxing camp, and I kept thinking, they should transfer this kid to the conservatory farm system! I admit that one of my motives to see the film is that I imagine it must be somewhat similar to the life experienced by young musicians in Cuba, who are also taken from home at a young age. I think I am probably not too wrong in this.
The degree of love and bonding among the boys, and also between them and their nevertheless demanding coach, was an impressive fact. So was the close relationship most of these boys shared with their mothers. It was striking to me that the coach even impressed upon the boys, "your mother is the most important person in your life." That's far from the aggressive, "don't be a sissy," encoding of masculinity and rejection of all things feminine so typical in many or most societies when they are training men for a sport like boxing. Knowing Cuban culture from another angle, it was not hard for me to imagine these boys a little older, when they start having girlfriends, and thinking that any boy who loves his mother so much will surely end having a healthy respect for and attachment to women. That's not to say there is no "macho" element in Cuban culture (so I hear), but there's a certain approach to love, sensuality and pleasure, at least encoded in the music, that I find quite egalitarian. Let's just take as one example Mayito's song with Los Van Van, "Llevala a tu vacilon," where a guy is encouraged to take his girlfriend out to the parties with him, rather than leaving her at home. Let your girl have her fun, or you won't have a girl for very long.
It was hard to watch very young children undergo such grueling physical training. I couldn't help wondering if the obsession with weight, in particular, was not detrimental at that age, both physically and psychological. How do they allow for these kids to grow up, while maintaining a rigid weight class of say 32 kg? The hero, Christian, really had a gaunt, overexercised appearance. He sure as hell could fight though. Christian was an interesting character, because he's the son of a former Cuban Olympic and World Champion.
There was so much heart and emotion in this movie and so many tears: tears in victory, tears in defeat, tears when family stress intruded on school, tears when certain kids didn't make the team cut. I have never seen so many men (and boys) cry in two hours in my life! These men really love and comfort each other, even the rival coaches of the Havana and Matanzas academies, who do some hilarious trash talking in the beginning, but dissolve in a tearful embrace at the end. The Matanzas kid boxers had a reputation of being big, tough, yucca-eating farmers' sons who can punch you into next week, which made me think about the Matanzas stevedores who invented rumba, and Ignacio Piñeiro walking out to Matanzas for some good Afro-Congolese food and dancing in the song "Echale Salsita."
After the film, I stood up at one of the mics and asked the filmmakers if they had considered the film, among other things, as a portrait of Cuban masculinity; to my shock, really, Lang said this never occurred to him. Never occurred to him! Interesting. And he says he went to an all-male boarding school.
I think this has something to do with the fact that, like most outsiders making a movie about the Cuban system, they bring their own values to it somehow. That's not inappropiate. But Lang highlighted the historicity of the film being shot during the transition from Fidel to Raul. However, this event seemed like a bit of an anticlimax to me, both as experienced in real life, and as a dramatic element in the film. I guess he wouldn't be doing his job as a filmmaker not to position the film in its context and political moment in this way, but it really had no impact on the inherent drama of the film, which was all about the boys and their rival boxing teams. And, their dreams.
One point that the film made clearly was that all these people, children and adults, are coping with life in this system, the way anyone anywhere is forced to do. In particular, all these boys face a lot of pressure from their families to do well, so that they might have a chance to pull their families out of poverty. It's really not that different from the U.S., where low-wealth minorities are positioned to view sports and entertainment as aspirational paths.
It's a remarkable film, well worth seeing. If you love Cuba and her children, you'll probably be crying too by the end; I was. Beautiful moving images, too. These kids are unforgettable. Oh, and I can't wait for the followup films in 5 years, 10 years, etc. Like the Balseros docs, that would really be fascinating. Are you listening, Lang & friends? Well done, and keep us posted.
Wednesday, April 1, 2009
Groovy x 2: Cratediggers' Alert
Two record sales are happening this weekend in the Chapel Hill/Carrboro groove zone:
UNC-Chapel Hill Libraries are having a record sale to benefit the Southern Folklife Collections on Saturday (4/4) 9:30 am - Noon in the Wilson Library.
Then on Sunday, from Noon - 6 pm, the city of Carrboro hosts their biannual Carrboro CD and Record Show, in the Century Center.
Enter free.
UNC-Chapel Hill Libraries are having a record sale to benefit the Southern Folklife Collections on Saturday (4/4) 9:30 am - Noon in the Wilson Library.
Then on Sunday, from Noon - 6 pm, the city of Carrboro hosts their biannual Carrboro CD and Record Show, in the Century Center.
Enter free.
Tuesday, March 31, 2009
RADIO ALERT: John Dee Holeman LIVE on WXDU TODAY
Blues legend John Dee Holeman will perform live today (3/31) on WXDU's "Bull City Cosmic Hoedown" with host Washboard Dave. Andy Coates will play with Holeman; guest segment starts around 7 pm.
WHAT: John Dee Holeman w/ Andy Coates
WHEN: TODAY, Tuesday (3/31), "Bull City Cosmic Hoedown" 6-7:30 pm (guest segment: circa 7pm)
WHERE: WXDU 88.7 FM or live stream with iTunes at www.wxdu.org
More from Dave:
WHAT: John Dee Holeman w/ Andy Coates
WHEN: TODAY, Tuesday (3/31), "Bull City Cosmic Hoedown" 6-7:30 pm (guest segment: circa 7pm)
WHERE: WXDU 88.7 FM or live stream with iTunes at www.wxdu.org
More from Dave:
"John Dee Holeman is a North Carolina treasure and has won National Heritage Fellowship awards and NC Heritage Awards over the years for his guitar playing and singing. His style on guitar combines the Piedmont Blues sound (which developed in Durham in the '30s and '40s) with touches of Texas blues and R&B. You've likely seen him playing outdoors at street festivals, at the Eno River, or in clubs. He knows a million tunes, and tonight I hope he'll play a few for us.
John Dee Holeman turns 80 years young this weekend and there will be a birthday party for him Saturday night at Broad Street Cafe with a host of other blues artists on hand to help celebrate. Come on out if you can:
http://www.thebroadstreetcafe.com/events.html"
Afro Cuban All Stars in Greensboro THIS FRIDAY (4/3)
The Afro Cuban All Stars will target Greensboro's Carolina Theatre for a massive vacilón this Friday (4/3):
Nostalgia band brings new faces in '09.
Juan de Marcos' latest combination features expatriated Cubanos, to steer clear of potential headaches with visas and the all-important FBI security clearances. This is the hurdle that since 2003 has in essence prohibited Cuban touring, going on 6 years now. Soon to be a thing of the past? Rumors are flying, but at this time unconfirmed. We'll keep you posted!
Meanwhile, Afro Cuban All Stars are in the 7th week of a grueling 8-week tour that has already taken them from the West Coast through the Southwest, the Midwest and Northeast. View full tour schedule here on Timba.com, including dates in nearby Virginia and Atlanta this week. The tour will wind up in Miami on April 11.
These details on the 2009 Afro Cuban All Stars lineup were reported in All About Jazz.com:
Nostalgia band brings new faces in '09.
Juan de Marcos' latest combination features expatriated Cubanos, to steer clear of potential headaches with visas and the all-important FBI security clearances. This is the hurdle that since 2003 has in essence prohibited Cuban touring, going on 6 years now. Soon to be a thing of the past? Rumors are flying, but at this time unconfirmed. We'll keep you posted!
Meanwhile, Afro Cuban All Stars are in the 7th week of a grueling 8-week tour that has already taken them from the West Coast through the Southwest, the Midwest and Northeast. View full tour schedule here on Timba.com, including dates in nearby Virginia and Atlanta this week. The tour will wind up in Miami on April 11.
These details on the 2009 Afro Cuban All Stars lineup were reported in All About Jazz.com:
"Ignacio 'Nachito' Herrera (Minnesota), pianist and ex-musical director of Tropicana Orchestra and Cubanismo
Calixto Oviedo (Stockholm), drummer, performed with Adalberto Alvarez, NG La Banda, Pacho Alonso, etc.
Yaure Muniz (Madrid), Igort Rivas (Curacao) & Miguel Valdes (Vancouver), trumpeters, members of the Buena Vista Social Club, but also lead trumpet players with Paulo FG, Klimax, Tropicana Orchestra, etc.
Alberto 'Molote' Martinez (Amsterdam), trombonist, member of the original line up of Buena Vista Social Club, but also a featured member of Elio Reve's Orchestra, Cuban Symphonic Orchestra, etc."
Monday, March 30, 2009
Bride of Fado: Mariza @ UNC Tuesday (3/31)
Photo © by Eduardo Mota
Fado's fashion leader.
Read my 2004 column on Mariza in the Independent Weekly.
WHAT: Mariza
WHEN: Tuesday, March 31, 7:30 pm
WHERE: Carolina Performing Arts, Memorial Hall, UNC-Chapel Hill
COST: $25-$40, Students $10
Box Office: (919) 843-3333
Friday, March 27, 2009
His Majesty: Oquendo
Update: According to his wishes, there will be no public viewing for Manny Oquendo. A funeral mass will be held at St.Margaret's Roman Catholic Church in Queens, NY on Wednesday, April 1st at 11 am. Interment will be one block away at St.John's Cemetery.
St. Margaret's RC Catholic Church
66-05 79th Place
Flushing, NY 11379
St. John's Cemetery
80-01 Metropolitan Avenue
Middle Village, NY 11379
Here's a musician's appreciation [more of these below, see updated post] of Manny Oquendo's legacy, and a detailed look at his career, from fellow percussionist Bobby Sanabria:
"Manny Oquendo was/is one of the last living ties we have to the past in terms of the majesty of Afro-Cuban-based dance music as it is performed in New York City. Majesty is the word. Manny was a big part of the development of that music.
He first started his early career in the band of violinist Juanito Sanabria (no relation) then, as many of you know, he replaced Francisco "Chino" Pozo on bongó with the early group of Tito Puente, then performing with the Vicentico Valdes, Marcelino Guerra and Pupi Campo Orchestras, just to name a few of the many well known groups he performed and recorded with at this time, the early to mid '50s. His work with Tito Rodriguez's orchestra solidified his position as a premiere bongocero, but he had started to come into prominence as a timbalero on the early recordings of Johnny Pacheco's charanga in the late '50s. His work on the Eddie Palmieri's La Perfecta recordings in the early to mid '60s solidified his legendary status amongst the cognoscenti of percussion in New York City and the world through the band's recordings and live performances where Manny was prominently featured as a soloist on timbales. These solos have become textbook examples of speaking in the language of clave as Manny transferred much of the quinto solo vocabulary of rumba to the instrument, making them perfect vehicles for dancers to express themselves. They are in fact compositions unto themselves that have been studied by generations of percussionists. But when asked about his style by poet/activist/radio host/TV reporter Felipe Luciano on his "Latin Roots" radio show on WRVR in New York City in the '70s, Manny wryly replied: 'Heavy-handed, but with finesse.'
Manny's skill as bongocero made him the choice of many bandleaders on recordings and that side of his prowess gets little to no attention. Work on seminal albums like Larry Harlow's Tribute to Arsenio Rodriguez are great documents of this; as Larry states, 'Phil Newsom was in awe of Manny. He shared the bongó duties on that album with him. I can't tell which is which because Phil studied his style so much. It's the ultimate compliment when a player does that.' It's only fitting. The word bongó means in the Efik language of Southern Nigeria, drum. But it is also a synonym for, the truth. Manny spoke 'La Verdad' in volumes on el bongó.
Manny's attention to detail and his extensive knowledge and record collection of Cuban music became a source of knowledge to many in the community, becoming an inspiration to bassist Andy Gonzalez. Manny's eventual forming of his own group Libre, in collaboration with Andy in the '70s, became a laboratory, spawning ground, and vehicle for expression for many talented players like Dave Valentin, Jimmy Bosch, Steve Turre, Willie Rodriguez, Jerry Gonzalez and Jorge Dalto to name just a few.
Manny was not one for giving compliments. Why would he. He was part of a generation of musicians who created this genre establishing extremely high standards of excellence. In terms of the Clave Police, Manny was Inspector Chief. So if you got a compliment from Manny, it was a unique, rare thing. Someone asked me last year the standard question, 'What do you feel is your biggest accomplishment?' I replied, 'Getting a compliment from Manny Oquendo.'
A TRUE master of el tambor, native Nuyorican son of Brooklyn, rest in peace Maestro José Manuel Oquendo.
Ibae y aché,
Bobby Sanabria
--Originally posted on 3/26 in the Latin Jazz Yahoo Group; reprinted here with permission.
Thursday, March 26, 2009
R.I.P. Manny Oquendo
January 1, 1931 - March 25, 2009
It hasn't hit the English-language media yet, but the Latin music world is rippling with the sad news of Manny Oquendo's passing.
Photo © by Martin Cohen, used with permission.
The timbalero's legacy is towering, from Eddie Palmieri's first band, La Perfecta, to the groundbreaking Grupo Folklorico y Experimental Nuevayorquino, to Oquendo's own Conjunto Libre, which was known as a "university" of salsa for all the musicians who trained up in it, including trombonists Papo Vazquez and Jimmy Bosch, and the classy sonero Herman Olivera.
Much more to follow...this is a big one.
With the scoop: Radio Gladys Palmera, Barcelona (in Spanish - nice recent photo)
Of course, Gladys heard it here, from the mother of all Latin music sources, Herencia Latina (in Spanish). Authoritative. Contains a link to their previous interview with "Manolo" conducted by Eric Gonzalez.
Nice piece of information here at Primera Hora (obit in Spanish): Manny was honored last year, along with Larry Harlow and record store owner Rafael Viera, at Z93 FM's Dia Nacional de la Salsa in Puerto Rico.
Meanwhile, while we are waiting for an obituary to appear in English, here is a short musician profile for Manny (in English) at All About Jazz.
Puerto Rico, Spain, now Italy. AP, Reuters, where are you? Posted on Friday (3/27), 10:30 am.
The online record store and music resource Descarga.com has published an acknowledgment of Manny Oquendo's death. As a memorial, they offer Roberta Singer's interview (in English) with one of Oquendo's closest musical collaborators, Andy Gonzalez. My Google news searches still turn up nothing in English. I should be over being surprised that a record store on Flatbush Avenue has scooped the New York Times, NPR, etc. --Link added Friday (3/27), 2:33 pm.
UPDATES on Saturday (3/28):
PRESS WATCH:
Word is Felix Contreras is preparing a radio report for NPR. No doubt it will be another accessible, probing, connecting of the dots like his recent piece inspired by the passing of Joe Cuba.
Aurora Flores has sent out an extensive press release, so expect some more mainstream coverage soon. Her comprehensive obit (in English) has now been posted at Herencia Latina, with a totally smokin' photo of a young Manny Oquendo! MUST SEE
Meanwhile, here are some blurbs from fellow musicians and music aficionados reacting to Oquendo's loss, all quoted here with permission:
UPDATES on Sunday (3/29):
PRESS WATCH:
Well, it's happened. A magazine in Havana has scooped American journalism, including Manny Oquendo's hometown paper of record (New York Times?). This appreciation (in Spanish) appears in La Jiribilla's March 28 - April 3 edition.
UPDATES on Monday (3/30):
PRESS WATCH:
I think newspapers are officially dead. The blogosphere is singlehandedly covering this with a flowering of nice tributes and obituaries. It's a matter of dignity. There are stories that need to be told.
Here's one I missed, posted on Friday--at Latin Jazz Corner. Beautiful photo captures the ineffable moment of communication. That's Frankie Vazquez, vocal/guiro, and Andy Gonzalez, bass, with their eagle eyes on the maestro.
Also capturing the moment is independent radio. Andy Gonzalez went on WBAI 99.5 FM's "Barrio Block" yesterday from 2-4 pm to talk about his partner in Libre. The show is archived for 90 days; you can download it or listen online here (look for time slot "Sunday, March 29, 2 pm"). Hosts Ibrahim Gonzalez and Nando Alvaricci also welcome Machito saxophonist Ray Santos, a childhood friend; musical historian Rene Lopez, Oquendo's bandmate in Grupo Folklorico y Experimental Nuevayorquino; trombonist and Libre alum Jimmy Bosch; and Orquesta Broadway timbalero Charlie Santiago among other guests.
A gig that Libre was booked to play on May 30 at the Bronx Museum will go on as planned, as a memorial to Manny.
WHAT: Libre Memorial Concert for Manny Oquendo
WHEN: Saturday, May 30, 7:30 pm
WHERE: Bronx Museum, 1040 Grand Concourse at 165th Street
UPDATE added 4/13/09:
PRESS WATCH: The New York Times finally weighed in yesterday with a Manny Oquendo obituary. Better late than never. It's pretty nice, including this:
I think that's right. Manny's sound in La Perfecta is iconic in the ears of salsa fans, whether they are consciously aware of his presence or not. Manny Oquendo is one of those people you need in order to imagine salsa.
Note also: All About Jazz has excerpted the New York Times story on the news page of their website.
UPDATE added 5/8/09:
PRESSWATCH: One of the sweetest for last. Beautifully written piece by Alan Lockwood in the Brooklyn Rail.
It hasn't hit the English-language media yet, but the Latin music world is rippling with the sad news of Manny Oquendo's passing.
Photo © by Martin Cohen, used with permission.
The timbalero's legacy is towering, from Eddie Palmieri's first band, La Perfecta, to the groundbreaking Grupo Folklorico y Experimental Nuevayorquino, to Oquendo's own Conjunto Libre, which was known as a "university" of salsa for all the musicians who trained up in it, including trombonists Papo Vazquez and Jimmy Bosch, and the classy sonero Herman Olivera.
Much more to follow...this is a big one.
With the scoop: Radio Gladys Palmera, Barcelona (in Spanish - nice recent photo)
Of course, Gladys heard it here, from the mother of all Latin music sources, Herencia Latina (in Spanish). Authoritative. Contains a link to their previous interview with "Manolo" conducted by Eric Gonzalez.
Nice piece of information here at Primera Hora (obit in Spanish): Manny was honored last year, along with Larry Harlow and record store owner Rafael Viera, at Z93 FM's Dia Nacional de la Salsa in Puerto Rico.
Meanwhile, while we are waiting for an obituary to appear in English, here is a short musician profile for Manny (in English) at All About Jazz.
Puerto Rico, Spain, now Italy. AP, Reuters, where are you? Posted on Friday (3/27), 10:30 am.
The online record store and music resource Descarga.com has published an acknowledgment of Manny Oquendo's death. As a memorial, they offer Roberta Singer's interview (in English) with one of Oquendo's closest musical collaborators, Andy Gonzalez. My Google news searches still turn up nothing in English. I should be over being surprised that a record store on Flatbush Avenue has scooped the New York Times, NPR, etc. --Link added Friday (3/27), 2:33 pm.
UPDATES on Saturday (3/28):
PRESS WATCH:
Word is Felix Contreras is preparing a radio report for NPR. No doubt it will be another accessible, probing, connecting of the dots like his recent piece inspired by the passing of Joe Cuba.
Aurora Flores has sent out an extensive press release, so expect some more mainstream coverage soon. Her comprehensive obit (in English) has now been posted at Herencia Latina, with a totally smokin' photo of a young Manny Oquendo! MUST SEE
Meanwhile, here are some blurbs from fellow musicians and music aficionados reacting to Oquendo's loss, all quoted here with permission:
"One of my favorite timbaleros of all time! Why? A unique combination of sabor with a minimalist approach, while also taking risks."
--Gregory "Goyo" Pappas, music critic, philosopher, associate professor at Texas A&M University
"Manny was the one who made me a true believer of 'Less is More.' I compared Manny's playing with two people having a conversation, the first person speaking at a normal pace, clear, well-spoken, the other speaking at about 100 miles an hour. Someone may say, 'wow,' that guy sure speaks fast...BUT did you understand him?"
--John "Dandy" Rodriguez, bongocero with Tito Puente, Tipica '73, Latin Giants of Jazz, et al.
"The world is a lot less swingin' today."
--Ramon Banda, timbalero with Poncho Sanchez and Banda Brothers
"Manolo's thundering timbales as heard on the ground-breaking mid-'70s Concepts In Unity left an insistent impression which was definitive and absolutely timeless. His aesthetics of rhythmicity is like a sculptural milestone or like an ancient tale which will always live on in the culture."
--Zeno Okeanos, filmmaker/musician/record collector
"During my teenage years, we never went in a bar or a club unless the jukebox had Eddie Palmieri's 'Oye Lo Que Te Conviene' on it. There was always the excitement of that bongo solo by Manny. Even before we could put a face to the name, we felt like we knew him."
--César Diaz
"My first recollection of noticing how I really loved how Manny Oquendo played timbales was at The Embassy Ballroom in the Bronx. I became a diehard Eddie Palmieri fan. I would go see Eddie, Ismael Quintana, Barry Rogers, Jose Rodrigues, a very young Chucky Lopez whenever they performed at The Hunts Point Palace or the Colgate Gardens. Drinking age back then was 18, and we were able to get into theses gigs since we looked so much older dressing in cashmere coats, Stetson (a beaver hat), tailored sharkskin pants, alpaca knit shirts and wearing a pair of gators, lizards or playboys. Manny always looked serious and quiet offstage but when he was playing, man, oh man. We were all blown away with his solo in 'Mozambique' which was the sound I came to expect whenever I see Eddie."
--Eddie Rodriguez, producer/promoter, president of Latin Works Music. Went on to produce many shows for Conjunto Libre.
"Being able to carry Manny's timbales is and will always be one of the highlights of my career."
--Ralph Irizarry, timbalero with Ray Barretto and Ruben Blades, leader of Timbalaye and SonCafe, talking about one night in 1984 when Libre opened for Blades' band, yet Irizarry carried Oquendo's instruments for him.
"His sound and style on the timbal and handbell will stand forever as the real shizzle that separates him from the pack. He was a fierce defender of the traditions and protected them like a mother grizzly bear in the wild with her cubs. I know I am not alone in saying that we will do all we can to uphold the rhythmic traditions that Manny represented and loved and to which he dedicated his entire life."
--John Santos, percussionist
"I studied Manny's recorded timbal solos and tried to memorize as much as I could. This taught me how melodically and in clave he played."
--Bobby Matos, percussionist
"I have fond memories of Maestro Oquendo from the musican's seminar that was part of the Albert Torres Salsa Congress. Manny Oquendo taught the old school timbal class in 2004 and 2005. What a rush that was. When I joined the seminar in '04, I had only been playing one year. He was an awesome instructor and quite the jam session instigator."
--Shelly Lee, timbalera with Los Puros
"Manny is one of the primary sources of the true language of timbal and bongó. I experienced a very old timbalero at the Casa de la Trova in Santiago de Cuba (on real paila criolla) a long time ago, and having had listened to Manny so many times, I thought: Hey, he plays like Oquendo... That's the way Manny Oquendo played, old school. And so hip at the same time!"
--Nils Fischer, percussionist, leader of Timbazo
UPDATES on Sunday (3/29):
PRESS WATCH:
Well, it's happened. A magazine in Havana has scooped American journalism, including Manny Oquendo's hometown paper of record (New York Times?). This appreciation (in Spanish) appears in La Jiribilla's March 28 - April 3 edition.
UPDATES on Monday (3/30):
PRESS WATCH:
I think newspapers are officially dead. The blogosphere is singlehandedly covering this with a flowering of nice tributes and obituaries. It's a matter of dignity. There are stories that need to be told.
Here's one I missed, posted on Friday--at Latin Jazz Corner. Beautiful photo captures the ineffable moment of communication. That's Frankie Vazquez, vocal/guiro, and Andy Gonzalez, bass, with their eagle eyes on the maestro.
Also capturing the moment is independent radio. Andy Gonzalez went on WBAI 99.5 FM's "Barrio Block" yesterday from 2-4 pm to talk about his partner in Libre. The show is archived for 90 days; you can download it or listen online here (look for time slot "Sunday, March 29, 2 pm"). Hosts Ibrahim Gonzalez and Nando Alvaricci also welcome Machito saxophonist Ray Santos, a childhood friend; musical historian Rene Lopez, Oquendo's bandmate in Grupo Folklorico y Experimental Nuevayorquino; trombonist and Libre alum Jimmy Bosch; and Orquesta Broadway timbalero Charlie Santiago among other guests.
A gig that Libre was booked to play on May 30 at the Bronx Museum will go on as planned, as a memorial to Manny.
WHAT: Libre Memorial Concert for Manny Oquendo
WHEN: Saturday, May 30, 7:30 pm
WHERE: Bronx Museum, 1040 Grand Concourse at 165th Street
UPDATE added 4/13/09:
PRESS WATCH: The New York Times finally weighed in yesterday with a Manny Oquendo obituary. Better late than never. It's pretty nice, including this:
"While playing in La Perfecta...Mr. Oquendo picked up and adapted the complex carnival rhythm called Mozambique, made popular in Cuba by Pello El Afrokán, and reworked it for the timbales, introducing a hypnotic African beat to the dance halls of New York.
I think that's right. Manny's sound in La Perfecta is iconic in the ears of salsa fans, whether they are consciously aware of his presence or not. Manny Oquendo is one of those people you need in order to imagine salsa.
Note also: All About Jazz has excerpted the New York Times story on the news page of their website.
UPDATE added 5/8/09:
PRESSWATCH: One of the sweetest for last. Beautifully written piece by Alan Lockwood in the Brooklyn Rail.
isn't it romantic
Fresh-squeezed from the grapevine: Bio Ritmo sonero Rei Alvarez is experimenting with a bolero sideproject. Billed as "Miramar," the female half of the vocal duo is one Laura Ann. Ritmo pianist Marlysse Simmons accompanies.
First gig:
WHAT: Miramar
WHEN: April 4, 9:00-11:30 pm
WHERE: Que Pasa, 623 N. 25th St (at Jefferson and M Streets), Richmond, VA
Rei aka DJ Rattan will spin vinyl between sets.
First gig:
WHAT: Miramar
WHEN: April 4, 9:00-11:30 pm
WHERE: Que Pasa, 623 N. 25th St (at Jefferson and M Streets), Richmond, VA
Rei aka DJ Rattan will spin vinyl between sets.
Balkan Billy Bragg
This is a classroom performance at Duke by Ferhat Tunç, bağlama, recorded and posted with his permission. Nuray Ahmed plays guitar. An English translation of the lyrics is included below.
No To War from Santa Salsera on Vimeo.
Noble mountains and plains
Burn and turn into ashes
Let not children grow up
In the midst of blood and gunpowder
Let not passions be stained by blood
Let not human beings be murdered
Mothers, mothers
Let not mothers cry
Hearts, hearts
O let not hearts cry
No to war
No to death
Let there be peace
Tomorrow
Let there be brotherhood
Tomorrow...
Enough for blood
Stand for peace
From the mountains and plains
Each soul must rush to hope
Enough for oppression
People must laugh from now on
Mothers, mothers
Let not mothers cry
Hearts, hearts
O let not hearts burn
No to war
No to death
Let there be peace
Tomorrow
Let there be brotherhood
Tomorrow...
--"No To War," lyrics and music by Ferhat Tunç
No To War from Santa Salsera on Vimeo.
Noble mountains and plains
Burn and turn into ashes
Let not children grow up
In the midst of blood and gunpowder
Let not passions be stained by blood
Let not human beings be murdered
Mothers, mothers
Let not mothers cry
Hearts, hearts
O let not hearts cry
No to war
No to death
Let there be peace
Tomorrow
Let there be brotherhood
Tomorrow...
Enough for blood
Stand for peace
From the mountains and plains
Each soul must rush to hope
Enough for oppression
People must laugh from now on
Mothers, mothers
Let not mothers cry
Hearts, hearts
O let not hearts burn
No to war
No to death
Let there be peace
Tomorrow
Let there be brotherhood
Tomorrow...
--"No To War," lyrics and music by Ferhat Tunç
Wednesday, March 25, 2009
The Ferhat Files
I've learned a lot about Turkey, its politics and culture, in the last few days, hanging out with Ferhat Tunç and his entourage.
The last event on his local residency is TODAY, Wednesday (3/25) from 7-9 pm at NCSU's Stewart Theater in Raleigh. (After this, they are headed to California, then Rome, then back to Istanbul.) I hear that Ferhat and Nuray will play music at the beginning, and again at the end of this event. There will be a panel discussion in between with Louise Meintjes and Catherine Admay, the two professors responsible for bringing them to Duke.
Tuesday afternoon I visited their class, "Human Rights and The Arts." The students had a lot of great questions for Ferhat about music and politics (and might I add, that classrooms are a different place now than when I was last a student? Everyone--without exception had laptops open, typing their notes and toggling between Google maps of Turkey, Wikipedia entries and the Freemuse.org site that has lots of source material about Ferhat in English.)
After that, he met some Turkish students for coffee in Van der Heyden, the café in Duke's library; they debated the Kurdish question and possible roads toward multiculturalism in Turkey.
Later I learned from Ferhat that his instrument, the bağlama, has a long history of being associated with political protest and persecution.
Ferhat Tunç Unplugged from Santa Salsera on Vimeo.
Ferhat Tunç playing the bağlama and singing a song about Pir Sultan Abdal, a 16th-century musician who was killed by the Ottoman Empire because he would not renounce freedom. Translation at the end provided by Ömür Kayikçi.
The last event on his local residency is TODAY, Wednesday (3/25) from 7-9 pm at NCSU's Stewart Theater in Raleigh. (After this, they are headed to California, then Rome, then back to Istanbul.) I hear that Ferhat and Nuray will play music at the beginning, and again at the end of this event. There will be a panel discussion in between with Louise Meintjes and Catherine Admay, the two professors responsible for bringing them to Duke.
Tuesday afternoon I visited their class, "Human Rights and The Arts." The students had a lot of great questions for Ferhat about music and politics (and might I add, that classrooms are a different place now than when I was last a student? Everyone--without exception had laptops open, typing their notes and toggling between Google maps of Turkey, Wikipedia entries and the Freemuse.org site that has lots of source material about Ferhat in English.)
After that, he met some Turkish students for coffee in Van der Heyden, the café in Duke's library; they debated the Kurdish question and possible roads toward multiculturalism in Turkey.
Later I learned from Ferhat that his instrument, the bağlama, has a long history of being associated with political protest and persecution.
Ferhat Tunç Unplugged from Santa Salsera on Vimeo.
Ferhat Tunç playing the bağlama and singing a song about Pir Sultan Abdal, a 16th-century musician who was killed by the Ottoman Empire because he would not renounce freedom. Translation at the end provided by Ömür Kayikçi.
Tuesday, March 24, 2009
El Gran Combo in The Carolinas in April
According to this flyer, the "musical flag of Puerto Rico" is coming to Bongo's in Greenville on Friday, April 17:
Oh dear, here we go again: the club domain name is expired. I called the promoter and will let you know what I find out.
And wouldn't it be nice if the band's website listed their itinerary? It does not. Bummer.
I feel like begging at this point. Just how DOES one ascertain with authority where Grupo Niche, El Gran Combo etc. are going to be playing on a given night? Must the fan's pursuit of information remain as mystical as la clave?
UPDATE:
Hay que tener fé. What do you know, sometimes it pays to go to the top. The contact number on El Gran Combo's webpage goes directly to Señor Rafael Ithier himself! Holy frijoles. Well, he says YES, babies, El Gran Combo is playing in South Carolina on April 17. And he says, there are MORE tour dates through North Carolina...I am to call him back tomorrow afternoon to get that information. I imagine I probably tapped him unexpectedly (that makes it mutual) as he was taking a nice lunch on his patio in Puerto Rico, or something like that.
Old School...you've got to love it. The band's founder still handles the business calls himself after all these years. God bless Don Rafael!
UPDATE added 3/26:
Willie Sotelo, who plays piano with the band on tour in Ithier's place, emailed me back that there's another date somewhere in North Carolina around July 10 or 11 (?). Hopefully details forthcoming. Willie also wrote that the band hopes to get a calendar page up on the website soon.
Oh, and he also said thanks for the picture. :-)
This is Willie Sotelo at the Rumba D'Cache show in October. There has been a lot of complaining about that show from the point of view of the venue and logistics. Promoter integrity matters, yes, a great deal in fact, but I go to shows primarily out of loyalty to the band. I was not at all disappointed in this show. I knew from talking to Richie Bastar (bongocero) before the performance how exhausted they were, and how far they had travelled that day: from Vancouver to Chicago to Charlotte, with flight delays, then bussed to Greensboro. The day before that, they were in Alaska. (Which, of course, put me in mind of the great 1984 album that yielded "Azuquita Pa'l Cafe.")
This the touringest band in salsa; travel and logistics are not always going to go smoothly, but when they don't, my sympathy is more often with the band than for myself. Trying to find some venue in Roanoke or Greensboro at night can be a harrowing experience if your bus driver gets lost, your flight connection is late, your instruments didn't arrive or whatever (all of which has happened). There is this assumption circulating that the promoter was to blame for their late arrival, when in fact I'm sure the guy was sweating bullets until they arrived. There is no reason why El Gran Combo would want to go on stage that late, either, so I'm sure it was just circumstances beyond everyone's control.
By contrast, I drove only one hour to this gig, and while waiting, I danced and hung out with some of my favorite people: the musicians who make our own local scene happen. There was a nice feeling of community that night.
As you can see by the look on Willie's face, once El Gran Combo took the stage, they did so with love for the fans and gave a full court press. I feel sorry for the folks who didn't have the fortitude to stay through the encore, but dancing to "Un Verano en Nueva York" at 4 am was the high point of my night.
Oh dear, here we go again: the club domain name is expired. I called the promoter and will let you know what I find out.
And wouldn't it be nice if the band's website listed their itinerary? It does not. Bummer.
I feel like begging at this point. Just how DOES one ascertain with authority where Grupo Niche, El Gran Combo etc. are going to be playing on a given night? Must the fan's pursuit of information remain as mystical as la clave?
UPDATE:
Hay que tener fé. What do you know, sometimes it pays to go to the top. The contact number on El Gran Combo's webpage goes directly to Señor Rafael Ithier himself! Holy frijoles. Well, he says YES, babies, El Gran Combo is playing in South Carolina on April 17. And he says, there are MORE tour dates through North Carolina...I am to call him back tomorrow afternoon to get that information. I imagine I probably tapped him unexpectedly (that makes it mutual) as he was taking a nice lunch on his patio in Puerto Rico, or something like that.
Old School...you've got to love it. The band's founder still handles the business calls himself after all these years. God bless Don Rafael!
UPDATE added 3/26:
Willie Sotelo, who plays piano with the band on tour in Ithier's place, emailed me back that there's another date somewhere in North Carolina around July 10 or 11 (?). Hopefully details forthcoming. Willie also wrote that the band hopes to get a calendar page up on the website soon.
Oh, and he also said thanks for the picture. :-)
This is Willie Sotelo at the Rumba D'Cache show in October. There has been a lot of complaining about that show from the point of view of the venue and logistics. Promoter integrity matters, yes, a great deal in fact, but I go to shows primarily out of loyalty to the band. I was not at all disappointed in this show. I knew from talking to Richie Bastar (bongocero) before the performance how exhausted they were, and how far they had travelled that day: from Vancouver to Chicago to Charlotte, with flight delays, then bussed to Greensboro. The day before that, they were in Alaska. (Which, of course, put me in mind of the great 1984 album that yielded "Azuquita Pa'l Cafe.")
This the touringest band in salsa; travel and logistics are not always going to go smoothly, but when they don't, my sympathy is more often with the band than for myself. Trying to find some venue in Roanoke or Greensboro at night can be a harrowing experience if your bus driver gets lost, your flight connection is late, your instruments didn't arrive or whatever (all of which has happened). There is this assumption circulating that the promoter was to blame for their late arrival, when in fact I'm sure the guy was sweating bullets until they arrived. There is no reason why El Gran Combo would want to go on stage that late, either, so I'm sure it was just circumstances beyond everyone's control.
By contrast, I drove only one hour to this gig, and while waiting, I danced and hung out with some of my favorite people: the musicians who make our own local scene happen. There was a nice feeling of community that night.
As you can see by the look on Willie's face, once El Gran Combo took the stage, they did so with love for the fans and gave a full court press. I feel sorry for the folks who didn't have the fortitude to stay through the encore, but dancing to "Un Verano en Nueva York" at 4 am was the high point of my night.
Hondurans Play Exhibition Soccer in Cary FRIDAY
WHAT: Carolina Railhawks vs. Club Deportivo Olimpia de Honduras
WHEN: Friday, March 27, 8 pm
WHERE: WakeMed Soccer Park, Cary
COST: $20-$35
First 1000 kids receive free soccer balls, courtesy of Blue Cross/Blue Shield, according to an email from Railhawks President Brian Wellman.
Tickets range from $20 Spectator, $27.50 Premium, and $35 Club seating. Children 3+ years of age require ticketing; under age 3 they can be admitted free with a parent and must share parent's seat.
Box Office: (919) 859-5425
Visit the team website for tickets, directions and full schedule.
WHEN: Friday, March 27, 8 pm
WHERE: WakeMed Soccer Park, Cary
COST: $20-$35
First 1000 kids receive free soccer balls, courtesy of Blue Cross/Blue Shield, according to an email from Railhawks President Brian Wellman.
Tickets range from $20 Spectator, $27.50 Premium, and $35 Club seating. Children 3+ years of age require ticketing; under age 3 they can be admitted free with a parent and must share parent's seat.
Box Office: (919) 859-5425
Visit the team website for tickets, directions and full schedule.
Sunday, March 22, 2009
The Bulgarian La Bamba
I mentioned Ferhat's sideman, Nuray, who comes from Bulgaria and is ethnically Turkish. While we didn't have a language in common, we were able to "converse" in snippets of a few Spanish cover songs he knows.
Sure enough, here is Nuray (in purple shirt, far right) singing "La Bamba" on KanalTurk TV:
Sure enough, here is Nuray (in purple shirt, far right) singing "La Bamba" on KanalTurk TV:
Mambo Film, Demos TONIGHT in Richmond
This just in: a new documentary film, La Epoca: The Palladium Era will be shown Sunday, 3/22 in Richmond at the Fuego Restaurant.
The 7:30 pm screening costs $10 and includes a "live orchestra" and dancers who will demonstrate mambo styles, as well as a Q&A session with producers, who are taking their film around independently to show it in nightclubs and universities. More at the website, www.laepocafilm.com.
Behind the scenes: the soundtrack includes new music by Alfonso "El Panameño" Joseph and his son, the film's executive producer Josue Joseph, as well as his vocalist daughter, Raquel-Maria. Tres legend Charlie Rodriguez also plays.
I'm a little confused by the soundtrack, which appears to be half originals by the Joseph family band, padded with long-reissued tracks by Arsenio Rodriguez, the godfather of son conjunto. I hope the movie doesn't turn out to be more creative niche marketing to the dance congress crowd than a true mambo documentary. It should be interesting to see how they connect the dots.
[Update: ok, I get the connection now--Alfonso played bass with Arsenio. So what the album appears to be in reality is a retrospective/renewal of his career. The clips do make this film appear to be pretty much oriented to dance obsessives--do I really need the difference between "on 1" and "on 2" explained to me again? This is just counting, it doesn't take a new film to grasp it. What is disappointing already is that the group purports to be purists of the style, but the producer's sister's vocal ("Vale Mas") is already an R&B flavored modern fusion. That is fine, for what it is, but how does this take me back to the roots of mambo? Also, there is an awful lot of straw man construction; Johnny Pacheco as the epitome of "salsa," not to mention some very strange (to me) implicit tearing down of Fania including Hector Lavoe! Don't tell me Hector Lavoe doesn't have clave. There is a LOT MORE to salsa/son/mambo/Afro-cuban music/whatever you want to call it than counting from 1 to 2.
I think this project makes a lot of good points, about connecting the dots from Arsenio to mambo through Cachao, about the marginalization of black guys like Arsenio in the salsa market. But you can hardly say that Arsenio's sound or his commercial presence was central to the mambo scene, either. They make a big point about mambo coming before salsa, historically, but mambo is also a modern urban creation in New York City that was in essence a commercial adaptation to the influences of that time and place. But so was Arsenio's son, which came before that. I don't like the leveraging of these arguments about the history in such a way that one era is privileged as purer, better, than the others. If people want to dance mambo today I think that is cool and well and good but it's very obvious that commercial interests are behind the mambo revival as well. They aren't giving away dance lessons or salsa congress subscriptions or instructional videos. Do I think dance instructors and musicians have a right to earn money from their art and instruction? Absolutely. But the narrative of a golden age can get carried away. There is absolutely NO NEED to tear down the artistry and craft and poetry and clave brilliance of a Hector Lavoe, in order to recognize the importance of an Arsenio or a Cachao. Can't we all just get along?]
If Charlie Rodriguez is in the house, that would worth the drive. Tres, though, is not really a mambo thing, it comes from the tipico side of Cuban music, not the big band era. Hence I'm mildy confused, yet curious as hell.
Basically, in a world of iPods and cable TV, I think I speak for many when I say we are hungry out here for a anyone and anything bringing a consciousness of history to the scene, and maintaining the dancer's connection to live performance. Bring it on.
The 7:30 pm screening costs $10 and includes a "live orchestra" and dancers who will demonstrate mambo styles, as well as a Q&A session with producers, who are taking their film around independently to show it in nightclubs and universities. More at the website, www.laepocafilm.com.
Behind the scenes: the soundtrack includes new music by Alfonso "El Panameño" Joseph and his son, the film's executive producer Josue Joseph, as well as his vocalist daughter, Raquel-Maria. Tres legend Charlie Rodriguez also plays.
I'm a little confused by the soundtrack, which appears to be half originals by the Joseph family band, padded with long-reissued tracks by Arsenio Rodriguez, the godfather of son conjunto. I hope the movie doesn't turn out to be more creative niche marketing to the dance congress crowd than a true mambo documentary. It should be interesting to see how they connect the dots.
[Update: ok, I get the connection now--Alfonso played bass with Arsenio. So what the album appears to be in reality is a retrospective/renewal of his career. The clips do make this film appear to be pretty much oriented to dance obsessives--do I really need the difference between "on 1" and "on 2" explained to me again? This is just counting, it doesn't take a new film to grasp it. What is disappointing already is that the group purports to be purists of the style, but the producer's sister's vocal ("Vale Mas") is already an R&B flavored modern fusion. That is fine, for what it is, but how does this take me back to the roots of mambo? Also, there is an awful lot of straw man construction; Johnny Pacheco as the epitome of "salsa," not to mention some very strange (to me) implicit tearing down of Fania including Hector Lavoe! Don't tell me Hector Lavoe doesn't have clave. There is a LOT MORE to salsa/son/mambo/Afro-cuban music/whatever you want to call it than counting from 1 to 2.
I think this project makes a lot of good points, about connecting the dots from Arsenio to mambo through Cachao, about the marginalization of black guys like Arsenio in the salsa market. But you can hardly say that Arsenio's sound or his commercial presence was central to the mambo scene, either. They make a big point about mambo coming before salsa, historically, but mambo is also a modern urban creation in New York City that was in essence a commercial adaptation to the influences of that time and place. But so was Arsenio's son, which came before that. I don't like the leveraging of these arguments about the history in such a way that one era is privileged as purer, better, than the others. If people want to dance mambo today I think that is cool and well and good but it's very obvious that commercial interests are behind the mambo revival as well. They aren't giving away dance lessons or salsa congress subscriptions or instructional videos. Do I think dance instructors and musicians have a right to earn money from their art and instruction? Absolutely. But the narrative of a golden age can get carried away. There is absolutely NO NEED to tear down the artistry and craft and poetry and clave brilliance of a Hector Lavoe, in order to recognize the importance of an Arsenio or a Cachao. Can't we all just get along?]
If Charlie Rodriguez is in the house, that would worth the drive. Tres, though, is not really a mambo thing, it comes from the tipico side of Cuban music, not the big band era. Hence I'm mildy confused, yet curious as hell.
Basically, in a world of iPods and cable TV, I think I speak for many when I say we are hungry out here for a anyone and anything bringing a consciousness of history to the scene, and maintaining the dancer's connection to live performance. Bring it on.
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