Found this at US-Puertoricans.org--tip of the hat to Aurora Flores. It's the new video single from Puerto Rican hip hop duo Calle 13 featuring, for the first time ever, a rapping Ruben Blades!
Love it when the (former) Panamanian Minister of Tourism turns to the camera and deadpans, "If you mess with my barrio, I don't like you."
This is not the first song/video about La Perla, a famous seaside neighborhood in San Juan, Puerto Rico. Check out Ismael Rivera's beautiful salsa tribute from the 1970s. In the press conference footage that follows, that's a young Ruben Blades sitting next to El Sonero Mayor:
Blades interviewed Calle 13 a year ago, before their collaboration, on his video webcast, Show de Ruben Blades (SDRB). Not a puff piece, the 45-minute discussion of salsa vs. hip hop/reggaeton takes some surprisingly frank turns. (Part 1 of 5, in Spanish with English subtitles:)
Rapper Rene Perez (aka Residente of Calle 13) compares musica urbana to Marcel Duchamp (bet you didn't see that coming!) and Blades praises the authenticity of its songwriting.
"I like the freshness of the images...you could call it urban poetry. What I don't like is the monotony. I'm a melody guy," says Blades.
At one point they joke about the generation gap--the then 59-year-old Blades says he's about to turn 70 soon, "godwilling," and Perez returns the hyperbole with, "and I'm 15." This is also a playful exaggeration, since Perez had just turned a barely discernible 30 the day before filming this.
There are so many films of interest, highlighting both positive and negative stereotypes of Latinos in Hollywood, that I can only refer you to the schedule. Some personal favorites I'm excited to see again:
The blacklisted union drama Salt of the Earth (5/12) starring real New Mexico mineworkers as themselves;
Ricardo Montalban and Shelley Winters in an immigrant love story that examines class, racism and the American Dream, My Man and I (5/14);
The Mambo Kings (5/21) featuring Tito Puente in a ballroom scene, Machito's son Mario Grillo, and timbalero Ralph Irizarry in a speaking role.
UPDATED: Another "Musicians in Film" Alert:
This Tuesday (5/14) they'll show The Milagro Beanfield War featuring Ruben Blades and Freddy Fender.
Carmen Miranda stars with William Bendix and Don Ameche in Greenwich Village on Thursday, 5/21. That seems to be musical night, as its followed by West Side Story, La Bamba, and Mambo Kings.
J-Lo shows up with Jimmy Smits on 5/28 in My Family.
No musical connection, just one of my favorites: Mexican actress Katy Jurado appears in Trial on 5/19.
Bad news, it seems, re: Cuban artists seeking to travel to the U.S. to perform: folk singer/songwriter Silvio Rodriguez did not receive a U.S. visa in time to perform at Pete Seeger's 90th birthday celebration this past Sunday, May 3. State Department officials are quoted as saying his visa request is "in process." Visa delays have been tantamount to denials during the second Bush term.
This AP story in the Hartford Currant appeared yesterday. Rodriguez deplored his own inability to attend the event in an open letter to Seeger published on a Cuban state-owned website:
"I tried to return to be with you today, but, as you well know, it was made impossible by those who do not want the United States and Cuba to come together, sing together, talk together, understand each other...Not only I, but all of Cuba, embargoed as we still are by the abusers, loves you, and we are at your side now singing your prophetic We Shall Overcome and our Martí's Guantanamera.
[Translation Ned Sublette. It was Seeger's inspiration, in the early '60s, to pair Martí's lyrics with a 1928 Joseito Fernandez tune, "Guantanamera."]
Unfortunately for Rodriguez, no one seemed to miss him at the party. Neither his absence nor the reason for it were announced from the stage, nor was it mentioned in press coverage of the event, according to Sublette.
So much for hoping that a new era of U.S.-Cuba diplomacy had already touched the State Department. Naturally, I'm concerned about what this bodes for the rumored Los Van Van tour, but it's best to always wait and see. Esperanza!
Update 5/14:
A couple of commentaries on the Silvio Rodriguez case...this TV journalist Alina Fernandez says, it's no wonder his visa was denied, as he's not just a singer, but a politician with an extensive resumé that makes him quote an "embassador of tyranny" (in Spanish):
And here's an interview Rodriguez did in Cuba, telling about the U.S. consulate interview in Paris. (I tuned out about half-way through where he started telling an anecdote about Poughkeepsie...) but anyway, the gist is, he was disappointed not to receive the visa, because he had thought conditions in the U.S. had changed enough, with Obama in the White House, talk of a new attitude towards Cuba, the momentousness of the occasion (Pete Seeger's 90th), that it was to benefit an environmental cause (cleaning up the Hudson) etc. Consulate officials reportedly did question him about his membership in the Cuban parliament (in Spanish):
He says he is glad he was at least invited, he wants to break the ice between our two peoples. He describes also what they had planned for the concert; he and Pete were going to sing "Guantanamera" (a song Seeger popularized here in the 60s) together, in the second half of the concert, to be joined on stage by Juanes.
Everything has to have a little Juanes nowadays...
It looks like an inadvertent conflict in the dancer's salsa schedule has been corrected, following a shift in Carmen'smonthly schedule of events.
The Caribbean Twilight salsa party at Carmen's has had trouble getting a foothold, because it fell on 2nd Saturdays, the same night as the long-established Copa Night at George's Garage. (This scheduling gaffe was unintentional, sources say, NOT an attempt to undercut the Cobo Brothers' popular mambo event.)
Caribbean Twilight, hosted by Ricardo "TNT" Diquez, will now take over 2nd Fridays at Carmen's, supplanting one of DJ Salsa Mike (Delucia)'s parties in that position. Salsa Mike will continue bringing the force of old school salsa, merengue and bachata to his Tropical Night Latin parties on the 5th Fridays of each month.
Sound confusing? (Things sure were easier when I just headed to Montas any eligible Friday or Saturday night without having to consult the calendar).
Caribbean Twilight kicks off its "new" timeslot with live music THIS FRIDAY, May 8 by Diquez' own Tropic Orchestra; cover is $15. Flyers advertise a "timbales descarga" - I have asked Ricardo to elaborate on who the guest drummers might be! Stay tuned.
I'm looking for live music this weekend for Cinco de Mayo. Gardel will be on the road at a Cinco de Mayo festival in Charleston.
However, local bands will play at both Dos Taquitos restaurants in Raleigh on TUESDAY (5/5):
Carnavalito 5-11 pm, Dos Taquitos - Creedmoor Road location (outside party in dance tent/patio/bar) UPDATED 5/5:Carnavalito members say the gig really is from 5-11 pm, with music in short sets all night starting punctually at 5. For your dining and dancing pleasure!
Sajaso 7-9 pm, Dos Taquitos Centro - Downtown location (appetizer and drink specials)
Also, TONIGHT (FRIDAY 5/1) Dos Taquitos Centro will have mariachis from 7-9 pm.
UPDATE added Monday (5/4):
Saludos Compay plays a Cinco de Mayo party this Tuesday (5/5) at 9 pmBailey's Bar And Grill, Rams Plaza, 1722 Fordham Blvd, Chapel Hill, (919) 918-1005. Performers advertised are Erich Lieth (piano), Victor Murillo (guitar), Arturo (?) and Robert Cantrell (congas/percussion).
Tiempo Libre, my favorite expat Cuban band in Miami, has teamed with Café Bustelo to promote their latest album, a classical/timba mix call Bach in Havana, release date May 5.
A million cans will go out with Tiempo Libre's picture on the bottom and links to a free song download. I hope I can find one at the Super Compare...
UPDATE added Monday 5/4...
Good news...I'm going to be doing a radio giveaway of Bustelo cans + Tiempo Libre's new CD, coming soon to Azucar y Candela on my new time of 6-8 pm Wednesday nights on WXDU 88.7 FM! (I mean, without Azucar y Candela, you can't really have your cafecito cubano, can you?) Tiempo Libre has one awake marketing team...I will give a special "heads up" to Onda Carolina readers about the giveaway once we get it set, but expect it this May!
Word is that the Fania catalog has been sold by Emusica, supposedly to a group called Red Planet Records. People in the industry claim to have confirmed this with Emusica chief Giora Breil, with an official public announcement due in a few weeks. What the sale means for the remastering and reissuing of the classic salsa label and its subsidiaries such as Vaya and Cotique, a project Emusica began in 2006, is uncertain. No details of the current deal are known, but according to Billboard, Emusica acquired the Fania assets for a reported $10 million in 2005.
Post-Oquendo y Libre
Also hitting the ground running is the rumor that Charlie Santiago will be the guest timbalero to fill Manny Oquendo's position in Libre for the tribute concert at the Bronx Museum on May 30. Said spokesman Mike Reyes,
"As long as the public desires to hear quality music and the members of Libre want to continue in honor of Manny, the band will continue to play. Manny's chair will rotate from a cast of "special" invitees. The first set of gigs (NYC, Mexico, Chicago) will involve Charlie Santiago."
Here is a clip of Charlie in action; the first timbalero to solo is Andy Alfonso, who hands off the pailas to Charlie. Thanks to Edgar Omar Arteaga for sending the link.
After the Merlefest show, I got a few moments to chat with mariachi maestro Nati Cano. I offered to carry his vihuela to the bus as he descended some steep steps behind the Watson stage, but the 75-year-old wouldn't hear of it.
"I like a challenge," he said.
Sylvia P.: What's the average age of your musicians? You probably get a lot of young musicians coming in.
Nati Cano: Yes I do. The group has been together for 48 years. Some of them might be 40, others 30, others 20-something. It’s like a football team, or baseball, you have to change, you know. Sylvia: There must be people who come out and audition, because they really want to be in the group.
Nati: No, no they don’t. Sylvia: You recruit?
Nati: No, what happens is, that I already know about them, I see them in the other groups. I start hearing, they say, ok, this guy wants to join the group. And I say great. Let me go and just look.
Sylvia: You check it out first.
Nati: Let me just take a look, and that’s it. I just look. They don’t audition. Sylvia: So everyone gets selected, hand-picked.
Nati: Oh yes, I already knew them. They had a reputation.
Sylvia: How do you train?
Nati: It’s a kind of a feeling, you know. They all know me, they know what I want. I want to project the happiness of this music, the feeling, the passion of this music. And that’s what I do. If I see musician who doesn’t show that to me, I really get to him, you know. I’m going to tell you something, with respect. We had a restaurant. I really screwed it over, I don’t want a restaurant anymore, but anyway. It was my restaurant, our restaurant. It was our house. We performed for so many years, 30 years or 35 years. One night I came in to the restaurant and saw a guy playing so bad, so, you know like [makes a flat, droning noise], you know. And when the show was over, I came to him, I said, "Antonio, what’s happening? You know, what happened to you last night? Were you hung over, or were you taking drugs…?" And he got offended. “I want you to know, I don’t take marijuana, I don’t take alcohol, I don’t take drugs.” You know what I told him? “Take something.” Sylvia: Try it. [Laughter.] Nati: I mean you know, it’s unacceptable. No you have to...so that’s my way of...keeping the group. They believe in me, we work together, we’re a team, and I’m proud of it.
Sylvia: How hard do you drill them, do you have frequent rehearsals? Are you just on the road all the time?
Nati: Yes, we have our own repertoire. But when let’s say, when we’re going to accompany Linda Ronstadt, we prepare for her ahead of time. And we accompany Lila [Downs], and Aida Cuevas, and another singer from Mexico...
Sylvia: Which one? Nati:Eugenia León. She’s great. Great. And we accompany her, so we have to rehearse and we have to really...Because our reputation is right on the line. We have the reputation of being good mariachi. So I don’t want to take a chance.
Sylvia: It’s paying off, what can I say. It’s my first time hearing you live, and it's exquisite in person. The [Smithsonian Folkways] recordings, there’s such great clarity on there, but you sound like it could be the record in person, beautiful.
Nati: Oh my god, well. You hear those recordings?
Sylvia: I’m a big fan. We really enjoy your music, I’m on a college station [WXDU]...we love your records, they’ve been on our playlist.
Nati: Well thank you, that’s a compliment to us. Thank you very much. I hope you enjoy, and uh...I hope we get in touch, we can give you a serenade or something. Sylvia: [Laughter] That would be great!
Nati: I know! [Laughter.] Well, thank you for your interest, ok?
Sylvia: Absolutely, you all have a good tour. Where you headed now, back home?
Nati: To Los Angeles, back to home again...That’s why I opened the restaurant way back in 1969, because we were travelling all the time. You know the routine, Vegas, Lake Tahoe, New York, I mean we were travelling all the time. And then I felt sorry for these guys, because a lot of them have families, like me. And I said, you know, this is not fine. Yeah, we were making money but, we never saw the families, you know. So that was the idea for the restaurant. Sylvia: Is that still there?
Natividad (Nati) Cano with his vihuela, an instrument he learned to play at age 6. From age 8 to 14 he studied violin at the Academy of Music in Guadalajara.
In 1987, his mariachis backed Linda Ronstadt on Canciones de Mi Padre and the follow-up Mas Canciones. More recently, he has recorded three albums on Smithsonian Folkways, winning a Grammy this year for Amor, Dolor y Lagrimas. He lives in SoCal, near Santa Barbara. He and his band will be back on the East Coast in June, performing at the Smithsonian Folklife Festival in D.C. One of the three festival themes this year is "Las Amerícas: Un Mundo Musical/Music in Latino Culture."
These mariachis are a national treasure, and Linda takes obvious delight in being ensconced in the traditional Mexican music she grew up with. She can still belt out memorable high notes, lovely long sustains reminiscent of her pop hits, and emotional breaking notes native to the ranchera idiom. Not that bravura vocal performance seemed to come completely effortlessly to her anymore (if it ever did--Ronstadt has always been a careful, even cautious performer; I noticed she had a velvet-draped computer monitor discreetly placed center stage as a lyric prompter, and some kind of remote device in her hand). While I found some of her renditions of classic rancheras flawless, others were darn good or just ok (her "Gritenme Piedras del Campo" was one of the latter, for me, but I'm partial to Cuco Sanchez' interpretation). What makes her an authentic performer nonetheless, and one people really enjoyed hearing at Merlefest, is not really the fact that she came out of this Mexican tradition, but that she returned to it with the American-made craftsmanship of her own particular sound, based in pop, folk rock and retro '50s balladry.
Linda's sets were broken up by songs highlighting the other singers in Los Camperos (pictured above). When you factor in that all these guys play violin at concert level, as well as being outstanding singers, their talent is truly tremendous. I chatted with Jesus "Chuy" Guzman (right, obscured by violin) backstage, he has been with Nati Cano the longest and also serves as his musical director. These mariachis seem very proud of what they do; with good reason.
Eight fantastic dancers from the Ballet Folklorico Paso del Norte, based in El Paso, Texas, added dollops of color to the program.
"You should never separate dance music from the dancers. When you do it gets fast and stiff and weird," said Linda. "It's when we all started dancing to recorded music that it got weird."
Interesting opinion from someone who made her name during the era of recorded dance music as the highest paid woman in rock. Linda's friend Emmy Lou Harris, who performed at Merlefest the night before, was in the house (and walked right by me, so I'm told--I must have had my back turned!) as was her long-time producer John Boylan, whom a fan spotted backstage.
Only three photographers were allowed on this platform at a time, and only during her first three songs; we had five minutes each on the platform, we were also supposed to keep our camera lens below stage level (pretty much an impossibility, but we obediently sank to our knees). I'm not sure why Linda has so many rules for photographers, honestly it just made it comically difficult to get good photos of her. A real crap shoot! Camperos vocalist Ismael Hernandez. He gave a special smile for the cameras, below, which is one of my favorite shots from the show. (click on photo to see larger).
Perhaps all the official, copyrighted publicity photos require explicit permission to run. Well, I have my own photo/press pass at Merlefest this year, so I hope to return soon with some of my own.
That's right, kittens! I'm going to see those folk heroes of the Smithsonian label, Mariachis Los Camperos de Nati Cano, backing Ronstadt, pop icon of my late '70s youth and the only reason I became acquainted with Roy Orbison tunes like "Blue Bayou" (Did you notice how Linda's version puts a triplet backbeat under it, giving it a 'Latin' sway?) You probably already know that Ronstadt has Mexican-American ancestry via her father's roots in Tucson, but her maternal ancestors come from the Midwest, and Ronstadt has two adopted children. Nowadays, the only music she sings is ranchera, and her voice really does seem to be built for it, like on this tune "La Cigarra" originally from a movie by Linda's Mexican singing idol, Lola Beltran:
There's a little controversy about her in the Afro-Latin music world because of a project she commissioned of Barry Rogers, Eddie Palmieri's signature trombonist, shortly before his early death (at age 55) in 1991. There are people who believe disappointment contributed to it, since Barry and his wife, lyricist Lou Rogers, worked 3 years on the project, tailoring it specifically to Ronstadt, getting their friends to play for free on the demos against the promise of a future recording, only to see their work come to naught. I've always been intrigued by these tales of unreleased recordings by Barry Rogers, and widow Lou says she still owns all the rights to this music. She and son Chris Rogers (also a musician) both say the music is "wonderful," and would have been ahead of its time had Ronstadt gone ahead with it, presaging the Latin pop "crossover" boom.
A lot of free solar energy didn't seem to hurt Durham's Earth Day Celebration this afternoon, where Carnavalito played in 80-90 degree temperatures. The Triangle's first Latin band demonstrated today that it is still one of the finest.
I really didn't do Alberto Carrasquillo justice in this clip; what you hear is just the denouement of his trumpet solo. He has been on fire lately, and was totally killin' it as I fumbled for my camera (doh). Still, a nice update of what Carnavalito can do, and still does, on a regular basis. I was on time for Serena Wiley's saxophone solo, and a nice little rumba embellishment at the end of the arrangement. This is probably my favorite tune in their current/updated book, which ranges to merengue, son montuno, deep cha fusion, cumbia and Latin jazz. Phil Merritt on piano, Pako Santiago on timbales, Atiba Rorie on congas and leader Ricardo Granillo on bass were all feeling the fire.
Believe it or not, when Carnavalito's first CD "dropped" in 1995, music journalist and historian Max Salazar was here--here, in Raleigh-Durham, North Carolina--for the release party. (I have proof positive of this on VHS! Courtesy of Salsa Carolina founder Jim Spier.) I am not sure why I was not at this affair in person, perhaps my salsa nightlife career was still in its salad days. In any case Salazar, author of Mambo Kingdom: Latin Music in New York, a 2002 compilation of his columns over the years in Latin Beat magazine, recognized Carnavalito as a carrier of the true spirit of la música.
Let me tell you, musicians don't get rich making a lifelong side career out of playing local/regional gigs. God bless you men and women who do this, year in and year out, for what the music gives to you. It makes our communities richer places and draws in newcomers (like me, back in the day) to the mystical, expansive, universal tradition of Latin music. This music was a survival toolbox for the ancestors who forged it, and it remains so today, a spiritual fountain for anybody who approaches it to drink. That's how I feel about salsa and Afro-Caribbean music. And it's not just because of records from faraway times and places, but because of a lot of local culture bearers who made this tradition accessible to me. I venerate all the musicians who have shared their talent with us over the years and continue to do so, literally, in good times and in bad. It ain't easy. But you know it means a lot.
Correction: Max Salazar attended Carnavalito's first CD-release party, not their second as incorrectly stated earlier. The post has been updated to reflect this correction.
The Latin Project gave us a solid evening of dance music (more on that later), but as sometimes happens, the really interesting stuff happens when you least expect it. As the musicians were killing time in the parking lot between their second and third sets, Lucas Torres (a powerful percussionist and former WBAI reporter from New York) brought out his panderetas, and a spontaneous plena session broke out. You can see a bystander running for his video camera; maybe he got some better footage than I did, but despite the low light, this was a rare treat to witness, let alone record!
If memory serves, the lead voices in order are: Lucas Torres (several verses, ending with "hasta Carolina vine a vacilar, desde Puerto Rico vine a cantar"), Jaime Ramon ("...dejalo nadar en las aguas puras de aquel manantial"), Juan "Cuto" Lanzot (regular verse), and Jaime again ("en las Carolinas yo vengo a cantar, la plena de Puerto Rico y esto es de amistad"). Jaime speaks at the end.
Los Pleneros de Factory Shops Road (y una amiga): Juan "Cuto" Lanzot, Lucas Torres, Jaime Roman, Jose Sanchez. Center: Jessi Mock
This morning as we loll in our beds, The Latin Project is up bright and early, recording a demo at Pete Kimosh's home studio. Members of the band travel from Winston-Salem, Charlotte and Columbia, SC so they rarely get a chance to rehearse, let alone record.
The dubbing will break up around noon so Alberto Carrasquillo (trumpet), Serena Wiley (sax) and Phil Merritt (piano) can make it to their Earth Day gig with Carnavalito (1:25 pm, CCB Plaza, downtown Durham). FREE EVENT (Saturday, Noon - 5 pm, various music, see calendar).
DJ Salsa Mike presents a great local orchestra tonight which we rarely get to hear: The Latin Project. They are popular in Charlotte, but last time I heard them in the Triangle was Earth Day last year. I liked it a lot, an 8-piece with conga power and tasty son tempos, co-led by beloved Durham trumpeter Alberto Carrasquillo (Carnavalito, Orquesta GarDel, Durham City Parks & Rec). I can't wait to hear this band again and see what's cooking.
The place is Carmen's, tonight, Friday (4/24). Admission $15, discounted for students and active military. Live music, for the third weekend in a row! Mas salsa que pesca'o...
The most fun you can have while doing good: Bonjour Africa's 6th annual African Dinner Dance to benefit malaria prevention in Africa. Your tax-deductible $30 at the door ($25 in advance) gets you a home-cooked dinner of Senegalese food, music by WNCU deejay Bouna Ndiaye, dance performances by Paso and others, and a silent auction. All proceeds go to purchase and distribute effective malaria interventions through a locally based healthcare network in Linguere, Senegal.
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:
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:
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.
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!
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.
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.
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