Road Trip: Poncho Sanchez in Roanoke SATURDAY (1/28)

Nobody throws a mid-winter Latin party like The Jefferson Center, a reclaimed school turned multi-use arts complex in Roanoke, Virginia.

This Saturday (1/28), the annual event starts in the Shaftman Performance Hall, with an 8 pm concert of conguero Poncho Sanchez and trumpeter Terence Blanchard. Long-time collaborators, the two recently teamed up to make Chano y Dizzy, an homage to Latin jazz' ancestors Chano Pozo and Dizzy Gillespie, released on the Concord label last fall.



According to my email exchange with Poncho's manager, the tour personnel will be as follows:

Poncho Sanchez Congas/Band Leader
Francisco Torres Trombone/Musical Director
Ron Blake Trumpet
Joseph De Leon Jr Timbales
Robert Hardt Sax
Andy Langham Piano
Rene Camacho Bass
Angel Rodriguez Bongos

Special Guest: Terence Blanchard Trumpet

Larry Sanchez Production/Sound Engineer

As an after party, some of our friends from Winston-Salem, Greensboro, and the Triangle will perform, as West End Mambo lights up Fitzpatrick Hall. There's a cash bar and gorgeous parquet wood floor for dancers to enjoy in this ballroom, which is right next door to Shaftman in the Jefferson Center.


Same party last year: Dancers dig Fitzpatrick Hall, 2011

Salsa dancers from 'Noke and the surrounding college towns usually turn out for this Latin Dance Party, now in its 9th year; past afterparty bands have included Richmond's Bio Ritmo and D.C.'s Sin Miedo. Poncho Sanchez/Terence Blanchard concert ticket holders get discounted admission to the Latin Dance Party, but they are separate admissions so folks can attend either or both.

West End Mambo is led by husband-and-wife team Cesar Oviedo (pianist) and vocalist Maria Vasquez. She has the range to cover some Celia Cruz tunes, among the band's strong Fania and Latin American fare. I got up with Cesar a few days ago for an updated band lineup, and it is heavy with local Triangle favorites:

Alberto Carrasquillo (trumpet)
Ricardo James (trumpet)
Steve Blake (sax)
Andres Leon (bass)
Atiba Rorie (congas/vocals)
Billy Marrero (timbales)
Maria Vasquez (lead vocals)
Cesar Oviedo (piano/vocals)

Kudos to the Jefferson Center's programmers for pairing these two signature events, honoring both the concert experience and the dance imperative of "our Latin thing." It's going to get heated.

LINKS:

Jefferson Center website

Desert Blues: TINARIWEN This Sunday (11/13)

Tinariwen means "deserts" in Tomashek, the language of the Tuareg, a nomadic people who inhabit the Sahel regions of Northern and West Africa. It's also the name of a Tuareg band from Mali that makes hypnotic, guitar-driven "desert blues" their calling card. They play this Sunday (11/13) at The Cat's Cradle; intoxicating, Swiss singer/songwriter Sophie Hunger opens the 8 pm show.


Tinariwen on tour last month in Los Angeles. Photo (c) Timothy Norris.

Formed originally in 1979, Tinariwen broke out as an international touring band ten years ago, and has since produced five albums. Their latest, Tassili, takes its name from an Algerian region of spare beauty where they recorded outdoors and an impromptu tent studio. As that method suggests, they are returning to acoustic roots on this album. Here's a documentary about the process:



A bit more plugged in, here's a nice little rocker from their last album Imidiwan: Companions (2008):



Sit around the virtual campfire this Sunday (11/13) at Cat's Cradle; advance tix $22, day of show $25.

LINKS:

Cat's Cradle, Sunday, November 13, 8 pm TINARIWEN
Tinariwen artist website
Sophie Hunger artist myspace (opener)

Live Salsa at The Depot SATURDAY 11/5

A new dance space in Hillsborough opens its doors to salsa dancers this Saturday (11/5): The Depot, at 246 Nash Street, hosts a Latin Dance Party with Saludos Compay from 7:30 pm on. Jack Wolf reports there is a nice wood dance floor and plenty of space.

This dance is FREE, NO COVER; a hat will be passed for the musicians.

DJ Wolfy Jack gives the free dance lesson at 7:45; the band will play two sets starting around 8:30.


Saludos Compay @ Museum of Natural Science, 2009

LINKS:

Triangle Salsa Meetup event page: Saturday, Nov. 5 - Saludos Compay
Saludos Compay artist website
The Depot in Hillsborough venue website

Bio Ritmo Rises with new CD, "La Verdad"

Bio Ritmo gave a fresh first set at the joint party with Orquesta GarDel on October 14 at Durham's Motorco. I didn't take a lot of video, but here's a look at pretty much the whole band, during "Seguiras Criticando," a salsa tune with a heavy afrobeat coda from their last album Biónico:



Of course, we were here to celebrate the CD release of La Verdad, which has been gaining tons of favorable press at the national level. This month, Bio Ritmo is featured in vinyl collectors' mag Wax Poetics (in an issue with Eddie Palmieri on the cover), on the radio on PRI's The World, garnered a great album review on PopMatters.com, and is currently charting #4 on CMJ's World Music Chart.



I'm writing my own story now on the band's undulating 20-year career curve, and what makes these Richmond heroes so special. Stay tuned....

REVIEW: Caribe Vibe @ Cantina South 10/1

Two things I've noticed about the "international" party scene lately: a) it seems to be migrating more and more to Raleigh, and b) the names for some of the new parties sound like new brands in Trojan's expanding product line (i.e., "Latinsations," "Latinvibe," etc.).



New local sextet Caribe Vibe, co-led by Billy Marrero and Andres Leon, seems like the perfect band for this newer, "hotter" Raleigh scene. On just their third gig out in public last night, they brought an agile and unique sound to the newly remodeled Cantina South on Glenwood. Breaking away from either "salsa" or "Latin jazz" formulas, the creative ensemble is making pure dance music that is relaxed, sophisticated and just a little outside the box. Also, absolutely perfect for relatively intimate club spaces. When a sextet doesn't feel like a logistical compromise, but an opportunity for musical creativity, you know you have something special.

So, what's different? For a half-Boricua band--Alberto Carrasquillo (trumpet), Nelson Delgado (vocal/ bongo), and Billy Marrero (congas)--it also sports a heavy Venezuelan angle: co-leader Andres Leon on the piano, and his Maracaibo cohort Josue Bracho on drumset. American Paul Dobelstein plays electric bass.



That drumset (in place of timbales) sets Caribe Vibe apart from other salsa bands, giving it a jazzy versatility and a rock-heavy downbeat reminiscent of Cuban timba. Yet unlike most Latin jazz combos, Caribe Vibe keeps vocals and dancefloor appeal always foregrounded. Nelson Delgado, also a lead vocalist with Charanga Carolina and Orquesta GarDel, as well as a percussionist for many years in Carnavalito, maximizes both talents in the sextet--as sonero and bongocero.



In repertoire, they have a similar range to Billy and Andres's large ensemble, Orquesta K'Che: salsas, son/cha cha chas, merengues and cumbias. But even on well-worn standards, Caribe Vibe isn't treading water; with drumset and electric bass on hand, "Oye Como Va" can really plunge off the deep end toward rock. On "Moliendo Cafe," a classic pianist's showcase, Andres played a solo which is one of his best I've heard:



Caribe Vibe showed its own personality with two boleros that the group adapted into exciting salsa arrangements. This one, "La Barca" (Luis Miguel) got my blood up, with instrumental soloing on piano and trumpet:



Dancers loved this show; the sound (mixing and volume) was excellent. The venue has mixed bar- and restaurant-style seating, and a moderately sized wood dancefloor. Door cover was $5. I would definitely hit this band/venue up again.

LINKS: Joan Soriano Review & Interview

Bachatero Joan Soriano was at Motorco on 9/23--but rather then tell you all about it here, I'm going to save my breath and repost this live review I wrote for dP's blog, The Thread.


Photo by Lisa B.

There's this interview too, which I did by phone with Joan in the Dominican Republic.

Enchanted Ballroom: GarDel on the Haw

Drive west out Highway 54, way out, past the Cane Creek Reservoir. Just when you think you've gone too far, turn left at the sign for "Saxapahaw." Keep driving south, down the Saxapahaw-Bethlehem Church Road, until you enter this rural dell. There, rising on your left, is not the moon, but a glowing, propped-open, industrial dye kettle--it doubles as the sign for the Haw River Ballroom.

A ballroom, in the wilderness? Surely, this is a fantasy only Hollywood could have dreamed up, right?

Wrong: Walk inside the former Dye House to a cotton mill, over a grate lit up from below, and you step into a ballroom in the truest sense, fit for Tito Puente--or Orquesta GarDel, who performed at the Ballroom last Friday (8/26). Two levels--wooden dancefloor below, balcony-like seating area above--and a complete stage with beautiful lighting and sound. This may be the most perfect Piedmont venue to book a salsa band.



Dancers and GarDel stalwarts did turn out in pretty good numbers, though it's hard to say if Irene fears might have kept some home. It really didn't hurt the party any, which had critical mass and then some. Taking advantage of ideal filming conditions, GarDel had its own videographers there, so hopefully some pro video of the show will eventually emerge. Paso gave a dance lesson before the opening set, and Felix Padilla led some social dancing in the casino rueda style. (It was particularly fun dancing rueda to one of GarDel's timba tunes.)



Some recent changes in the orchestra: former conguero Jose Sanchez is officially no longer with the band; the Winston-Salem resident performs all over the Carolinas with a host of Latin groups, and had to pull back his energies somewhere in order to keep his family a priority. We wish him all the best! Looks like Atiba Rorie, a local leader in African percussion, will be filling the gap. Atiba has gigged in a number of Latin bands in the Triangle, and his powerful playing and cool presence are a welcome addition to GarDel.





The dance energy was pretty explosive. Here's the last jam of set 2 (except for an encore descarga). The tune is Ray Barretto's "Indestructible"; Brevan Hampden (timbales) and Atiba Rorie (congas) both solo:







On the GarDel event horizon:

Friday, October 14 - a long-awaited double bill with Bio Ritmo, celebrating Ritmo's 20th anniversary release party, at Motorco in Durham.


LINKS:

Worth the drive: Haw River Ballroom

Sierra Maestra on US Tour: DC Concert

It still feels close to miraculous to see Cuban bands touring again in the US. Sierra Maestra performed at the Artisphere ballroom (near Washington, DC) Tuesday night (7/19), with all the simple, rural majesty of the mountain range itself.


Los cantantes: Jesus Bello, Alberto Valdes, and Luis Barzaga

In person, they sound exactly like their records, which are also notable for a distinct, steadfast sound over the years. There are many son bands, but you would never mix up any other with Sierra Maestra. Due in part, I think, to their signature vocalists, but also their arrangements that feel both classic and fresh. With very little effort, they seem to be getting every ounce of vibration out of the ensemble, as if sounding all the seeds in the maraca. There's something about the amplified acoustic son band, vs. a salsa band or big band or timba band, that retains a very organic energy: skins, wood, gourd, seeds, strings, and a little metal; it's a very lively, pleasing texture. Instantly transcultural, maybe because we were all close to the land once, at some point in our history.



They played two beautiful sets, in this huge ballroom (4,000 sq. ft.) that feels intimate because of its wide orientation and low, thrust stage. There's also a viewing balcony; I'll bet the sound would have been great up there, but I stayed near the dancefloor. Nice crowd for a Tuesday night, a lot of couples and families as well as DC casineros, dancers and deejays representing.



I talked briefly to tresero Emilio Ramos, and happened to catch video of a couple of his solos. Cool style, and an interesting pickup on the instrument. In the background of these photos, you can see the two percussionists switching off on bongos; I didn't talk to them but I think they are founding member Alejandro Suarez (above) and Eduardo Rico (below). I don't know if hand drummers work harder in a son ensemble, or if you can just hear them better than you would in a salsa band, with all the horns and timbales. I wouldn't doubt it. These guys percolated hard all night, and traded hot solos on a few tunes.





After the show, Jesus Bello (above) and Luis Barzaga were nice enough to record WXDU station IDs for me on my audio recorder. Jesus was very friendly with fans and stayed in the hall during the break, and post-show, to chat and take pictures.



The youngest member, I'm sure, must be 28-year-old trompetista Yelfris Valdes. The band is known an incubator for Cuba's top trumpet talent, keeping the traditional style of son playing alive. Its former horn players include Jesus Alemañy and Julito Padron.



In back, in the rhythm section, there's a dedicated guiro player (I love that), Carlos Puisseaux, and leaning in close to the drummers, bass guitarist Eduardo Himely. Both are founding members who've been with the band since its founding in the 1970s.





The genres they played included son (fast); son (slow), which is not cha cha cha, but hardly recognized as such by dancers outside of Cuba anymore; sucu sucu ("Felipe Blanco"), a genre someone from La Isla de la Juventud once told me is native to that island; changui, from Guantanamo; and even a conga santiaguera (marking the first time in my life I actually joined in a conga line--and enjoyed it).

These rumberos, who are active in the Afro-Cuban cultural scene in DC, were taking advantage of the last exuberant song of the night. Dancers: Oscar Rousseaux (white pants), and Adrian Valdivia:



Note to local arts presenters: Sierra Maestra would be a fantastic Cuban band to build in to your next arts season, whenever they may be touring again. I guess we have to go back to Buena Vista and start from ground zero, in terms of building audience recognition for Cuban music again, but that is what makes this group a perfect segue. And, if possible, make it a DANCE and find a venue that will welcome those of us who love and honor this cultural tradition as our own, not just your high-end concert series subscribers.

For example:

COMING UP:

Duke Performances has booked Joan Soriano, "El Duque de la Bachata," into Motorco this coming September 23. Bachata, a Dominican folk form that is a direct spin-off of son, is best presented where it can be danced, as well as listened to, so kudos goes to Aaron Greenwald and his staff at DP for getting it right. Looking foward to that show.

Sierra Maestra @ Artisphere in Virginia TUESDAY (7/19)

Before Buena Vista, there was Sierra Maestra. Since the '70s, it's been Cuba's flagship son band, with a traditional formation that still includes clave, maracas, trompeta, bongo, y tres. But, this is no music for oldtimers: Sierra Maestra plays modern son, hard and fast, infused with the rocking, relaxed groove native to Cuba's eastern province of Oriente.

On tour in the U.S. from July 14 through 26, Sierra Maestra plays a dance in the Artisphere ballroom in Arlington, VA (Metro DC) this Tuesday (7/19). It will be the venerable soneros' only tour stop in the Southeast. Tickets are $22 and $25, with a dance lesson at 7:30 pm, and dancing from 8:30 to 11 pm. Artisphere Communications and Marketing Director Annalisa Meyer says the ballroom space comprises 4000 sq. ft., with a stage that still offers an intimate concert experience. Dancers, if you're anywhere near D.C., seize this chance to see one of Cuba's legendary performers in IDEAL ballroom conditions!



Former members of Sierra Maestra include tresero Juan de Marcos (who masterminded Buena Vista Social Club), and some of Cuba's top trumpeters such as Jesus Alemañy (who went on to form Cubanismo) and Julito Padron (who has toured with Afro Cuban All Stars).

Here's the active lineup:*

First Name / Family Names / Instrument / Founding Member (1976)

Luis Manuel BARZAGA SOSA - Vocals , claves / YES
Eduardo Idelfonso HIMELY PINO - Bass guitar / YES
Carlos Antonio PUISSEAUX MANSFARROLL - Güiro / YES
Emilio José RAMOS BATISTA - Tres
Eduardo Manuel RICO MENENDEZ - Congas, bongo, cowbell
Jesus Eusebio BELLO DIAZ - Vocals, guitar
Alejandro SUAREZ GALARRAGA - Claves, cowbell / YES
Alberto Virgilio VALDES DECALO - Vocals, maracas / YES
Yelfris Carlos VALDES ESPINOSA - Trumpet

*thanks to Annalisa Meyer of Artisphere for providing advance information and publicity photo.


EVENT LINK:

Sierra Maestra live at Artisphere, Arlington, VA - July 19, 2011

Heat and Harmony: GarDel @ Eno Fest

Eno festival-goers didn't battle the 99-degree heat and humidity Monday, July 4, so much as give in to it: bikinis, shorts and sunscreen were the order of the afternoon, as Orquesta GarDel threw down a secure, relaxed set. Members of the African American Dance Ensemble, who performed just before GarDel at the Meadow Stage, stayed and rallied for the big salsa party that developed on the lawn.

Down one percussionist (regular conguero Jose Sanchez), GarDel just shuffled a few cards in the rhythm section, moving Julio Correa from his regular position on bongos, to congas, as backing vocalist Ramon Ortiz took the bongo chair. Some fun and new solos caught my ears, from pianist Eric Hirsh and saxophonist Tim Smith, among others.


Horn blower Blu Thompson, Bassist-of-the-sky Pete Kimosh

GarDel's recent Motorco show (still haven't blogged that, but some coverage will be coming soon, I promise) was a turning point, post-EP-release, in terms of live performance. Picking up confidence from the sold-out release party, GarDel seemed to have exhaled and come back revitalized at the June show, rewriting arrangements to provide more elbow room. Mining the tropical momentum of the rhythm itself, they are starting to understand that relaxing tempos can actually expand the energy.

Switching gears comfortably, the Eno set sounded tight, from a fast-clipping descarga, to wide-awake salsas, and the slower "Gracias Te Doy," Nelson Delgado's beautiful cha cha chá to his mother. Undeterred by the heat, GarDel's cadre of dance followers was the strongest its been at Eno, leaping into motion as soon as the band hit the stage.

Many great moments slipped by my camera, but here is the timba I like most of all, "Lo Que Tu Querias," which closed the set:



Not long after GarDel finished, quenching rain cut the festival short, now in its 32nd year of raising funds to preserve the local watershed. I was sorry not to hear closer Peter Lamb & The Wolves, but the sound of rain drumming on the tree canopies at West Point on the Eno Park was fair recompense. It was a great day for music and community in Durham.

Happy 4th, everybody!


Eno festival goers showing their colors

Big Enchilada: K'Che Takes Over Cinco de Mayo

Orquesta K'Che ["kah-CHAY"] is now vying for the title of the Triangle's Latin Party Band. The legendary Cinco de Mayo party at Dos Taquitos in Raleigh is hardly a level playing field, though; the supply of Coronas never outlasts the partiers at this redoubtable outdoor fiesta. It was K'Che's first year playing at this event, which has been held down in the past by Carnavalito.



I came in for the last two sets, and by then, things were loose and lubricated. In the front row, sonero Jaime Roman was stoking the attention of a cadre of ladies in giant straw hats. Finding a safe cul-de-sac, I got busy dancing to the salsas, cumbias, merengues, and occasional son. Some casino rueda dancers were making space to dance their Cuban formations in the parking lot. At one point, a conga line snaked through the tiny dance tent, which was an endless traffic jam of jubilating bodies.

It was a party that just wouldn't quit, and this young band was drinking it in. Pushing their time an extra 30 minutes, they kept jamming even as the percussionists were packing up, and friends like Brevan Hampden and Cristian Cañaveral jumped in for a swan song.

The only video I took (because I was too busy dancing) was this one, a juiced descarga very close to the end of the night:



K'Che's official lineup: Andres Leon (piano, musical director), Billy Marrero (percussion, leader), Julio Correa and Pako Santiago (percussion), Levy Vargas (electric bass), Jaime Roman (vocals/hand percussion), Nelson Rodriguez (vocals/hand percussion/tres?), Channing McCullough (sax), William Villalba (trumpet), Mathew Parunak (trombone).

LINK: Orquesta K'Che on Facebook

Substitutions: Bio Ritmo 3.12.11

It's 11 pm on Saturday night in downtown Richmond, and this town is getting its salsa on: Bio Ritmo is about to take the stage at Balliceaux, a restaurant near the VCU campus.



Stylish and a little chaotic, this crowd has a casual, anything-goes approach to dance culture. People are here to socialize and dance to live music, not negotiate the breaking beats.




SUBSTITUTIONS

Bio Ritmo has been coping with some turnover lately. It's been breaking in new timbaleros since Giustino (Justin) Riccio went on hiatus to pursue his acoustic artrock duo Fuzzy Baby full-time. Some of the new players have been amazing, but I still miss Justin for his quirky, hardass playing and solid backing vocals.

On this gig, Cuban, D.C.-born-and-raised percussionist Rene Ibañez filled in on timbales. He plays with Sin Miedo every Thursday at Bossa in Adams Morgan. Love what Rene is doing with the solo on this fiery descarga "Sombras"; coming in on his heels are "Bobalu" Miller and Mark Ingraham locked in a heated trumpet/coronet battle, followed by Mike Montañez on congas:


NOTE: Balliceaux doesn't have stage lighting, so for best results, go to FULL SCREEN and turn up your BRIGHTNESS to max.

In the brass section, I've really been enjoying what newer members Mark Ingraham and JC Kuhl bring to the band. JC was out on another gig Saturday, so John Lilley played sax. On "Seguiras" John stepped up to the plate with sax solos in the Afrobeat section, while Eddie Prendergast supplied dubby basslines, and Mark doubled on tambourine. Mark's own band, a funk outfit called Beast Wellington, has standing gig on Wednesdays at Bogart's in Richmond.


SKINS

Gabo Tomasini manages the band from Brooklyn now, where he moved a few years back; he still plays congas on NYC gigs. But in the Southeast, Hector "Coco" Barez is now the first-call conguero. The fully endorsed LP percussionist's main gig is backing Grammy-winning, Puerto Rican hiphop duo Calle 13.

On Saturday, however, it was Mike Montañez' turn to shine. Mike has filled various positions in Bio Ritmo for 7 years, but only recorded on one of their albums: the EP Salsa System. Not a bad album to be on, engineered by Fania legend Jon Fausty, and featuring the still frequently performed "Tu No Sabes," as well as the seldom-heard "Madrugador" and "Orgullo," two great salsa tunes for my money.




SIGHTREADING: Setlist 3.12.11




SECOND SET

A couple songs after the break, pianist Marlysse Simmons started soloing on "Muchacho" and my spidey sense tingled. Sure enough, her solo was on fire. I missed videoing that one, but didn't make the same mistake twice. When "Atrevete" rolled around as an encore, I was in position to record:


PIANO SOLO starts at min. 3:50


SLEEPOVER

The next morning, the overnighters got together at The Cookie Monster Cafe for a brunch of corned beef hash, lake trout, dumplings, pancakes and fried apples.

Back at Marlysse's home studio, I got to hear some fabulous unreleased extras: her Brazilian project Os Magrelos, an amazing Bio Ritmo arrangement of "Danny Boy," and masters for the upcoming album, La Verdad. They are considering their options for how the release will come about, but expect it in 2011.

The 45 rpm vinyl single is already out now; A-side "Dina's Mambo," a Persian-sounding instrumental using farfisa organ, named for the "mambo" in the step of Marlysse's cat, which once had a broken leg; and B-side "La Muralla," another dark salsa from long-time trombonist Toby Whitaker, with sonero Rei Alvarez' lyrics.

Review: Orquesta K'Che Premieres at Carmens

K'Che's first performance was a party to remember. That's a good thing, since the memory stick in my camera failed last night. I have no photos or video from the show, but since professional cameraman Gustavo De Los Rios was there videoing the event, I trust some interesting documentation will survive. I'll just have to rely on words.

The stage was set when I arrived, around 11 pm, as band members hunted down the last music stand they needed. "Todo listo," musical director Andres Leon told me with a smile. Organizing and rehearsing since last fall, the band exuded the kind of calm that comes from months-long preparation. Carmen's was as packed I've ever seen it, so anticipation on the dancefloor was great.

K'Che's repertoire is well-chosen and eclectic, from NG La Banda/Issac Delgado's "Necesito Una Amiga," to Ismael Rivera's spiritually deep "El Nazareno," Pete El Conde and Johnny Pacheco's tipico son classic "Catalina La O," and Grupo Niche's biting anthem "Sin Sentimiento."

Jaime Roman and Nelson Rodriguez shared vocal duties, with Jaime sounding strong on the salsa covers, including a nice salsa romantica. Meanwhile, Nelson's electric tres wasn't just there for show; he sang and played a long, tasty tres solo on "Catalina La O," taking me and my dance partner back to Salsa Carolina days. Sabroso! Nelson's more tipico style on the son, cumbia and merengue is a great foil to Jaime's smooth, romantic lead, giving the band a winning vocal combination.

I had the pleasure of meeting newcomers to the Latin scene, Channing McCullough and Matthew Parunak. Channing deployed both alto and tenor saxes; her guajeos added authenticity to the merengue. Matthew has a great trombone tone for playing Latin. The section played well, hitting a lot of tricky entrances, aided and abetted by trumpeter William Villalba; I see only great things in this brass section's future as they pick up speed.

Right from the start, you could feel that the band's rhythm section was on solid footing, thanks to the percussion tripod of Billy Marrero on timbales, Julio Correa on congas, and Pako Santiago on bongos. All three are talented multi-percussionists, but that's probably my favorite instrument to hear each one play individually. Whether they are playing at a dance-friendly mid-tempo, or exhilarating breakneck speed (like on Larry Harlow's "Señor Sereno"), the sweet trio kept its sealegs, as expected. No surprises there. The rhythm section held its own with completing members Levy Vargas, electric bass, and Andres Leon, piano/keyboards.

Playing classy, disciplined arrangements, not aimless descargas, with tasteful soloing but no overplaying, K'Che isn't trying to reinvent the wheel; but it is trying to build a smoother ride. So far, so good; I like its professional approach and elbow grease. K'Che has definitely arrived. As it continues to polish and expand its repertoire, expect this band to invigorate competition in the local salsa scene.


SIGHTREADING: A View From the Bongo Chair

In light of my camera mishap, I did pick up one souvenir to document the night--Pako's setlist. The bongocero and backing vocalist doesn't typically use charts, but with these handwritten notes, he keeps track of a lot of information like set order, coros, solos, breaks, and which bell to play.


Bongocero's setlist, A-side


Bongocero's setlist, B-side

Salsa Debut: Orquesta K'Che THIS FRIDAY (3/11)

The Triangle's newest Latin dance band makes its debut this weekend: Orquesta K'Che is the brainchild of percussionist/leader Billy Marrero, and Andres Leon, pianist and musical director.

Some fresh faces, and familiar echoes from bands of yore, fill out K'Che's ranks. The band is guitar-heavy with bassist Levy Vargas (of Latin rock band Razpa) playing an electric axe, and backing vocalist Nelson Rodriguez, of long-lost son band La Sexta Clave, sporting his tres in band photos. Horns include newcomers Channing McCullough (sax) and Matthew Parunak (trombone), as well as Samecumba veteran William Villalba (trumpet). Jaime Roman (Charanga Carolina, Orquesta GarDel) sings lead, and the rhythm section includes Pako Santiago (Carnavalito, Charanga Carolina). Countries of origin represented include Venezuela, Puerto Rico, Colombia and Dominican Republic.

The band's strategy for building their own niche in the salsa scene is twofold, says musical director Leon. First and foremost: they aim to be an all-purpose dance band. That means rocking the cumbia, merengue, cha cha chá, etc. AND salsa, rather than specializing in one genre. Second: by selecting classic charts to cover that no other band in the area is doing, they bring variety to the scene.

First night to catch them live is this Friday (3/11) at Carmen's Cuban Cafe in Morrisville; doors open at 10, band at 11:30, admission $10.

Facebook Event Page: Salsa Brava with Live Performance by Orquesta K'Che, Friday March 11

Faceoff in Fayetteville

UPDATE 2/4: Tickets For GARDEL AT THE SPEAKEASY are now $10 at the door. REFUNDS for the difference will be issued if you purchased an advance ticket at higher price. --Info Source: Speakeasy Management, via Andy Kleindienst

**************
I'm not sure what star alignment is responsible for this, but two Triangle salsa bands will go head to head in Fayetteville this Friday (2/4) night:

Orquesta GarDel, entering phase 2 of its CD release party at The Speakeasy:



vs.

Tropic Orchestra, billed as Ricardo Diquez y su Orquesta Tropical, at Congo's Latin Club:



Ricardo Diquez says Tropic's lineup is largely unchanged, with Ramon "Chino" Casiano on congas/backing vocals and Jonah Vincent on second trumpet for this gig.

Congo's announces a cash-prize Salsa Contest on Facebook.

The Speakeasy is a "cigar bar," but also/and (?) a "nightclub"--no word on whether the smoker-friendly bar is physically separated from the dancefloor.

See calendar (right sidebar) for details.

LINKS:

Orquesta GarDel artist website
Tropic Orchestra on ReverbNation

GarDel at the Oasis: CD Release Party @ Motorco

Capacity crowd last night at Motorco for Orquesta GarDel's CD release party; David Garcia gave a nice introduction, and GarDel took no prisoners as they launced into the first track from their EP, "Para El Mundo Entero":







Two new songs on the EP, never before performed in public, came out last night. I danced during "Gracias Te Doy," a cha cha chá with great solos by Al Strong and Andy Kleindienst. Already lush, I expect that one will really open up over time. Nelson thanked his wife Cookie for the idea to dedicate the lyrics to his mother, who passed in 2010.

The other was originally penned as a song about bad relationships, but sonero Jaime Ramon didn't want to sing it that way. He rewrote the lyrics of "Esta Situacion" to be about one bad relationship we are all in right now--with the economy:





I feel blessed to have one lyric of this remarkable song, "Lo Que Tu Querias," dedicated to me, by sonero/lyricist Nelson Delgado:



It was quite a sight to see all those people dancing to timba in Durham, something that never would have happened 5 years ago. This tune started out with the provisional title "Eric's Timba," and in all honesty, it took awhile for the horns to really master Hirsh's heavy "metal" bamboleo. They punched it out last night pretty comfortably. It feels like it has been a long journey to this oasis, and an even longer road (of touring?) beckons.

NEXT GIG: Friday, Feb. 4 at The Speakeasy in Fayetteville



CODA:

This was one of my favorite songs by opener Dark Water Rising:



They just won a "Nammy," the 2010 Native American Music Award, for "Debut Duo or Group of the year."

What You Wanted: GarDel's CD Release Party Looms (1/29)

Triangle salseros are abuzz about Orquesta GarDel's much anticipated CD release party this Saturday (1/29) at Motorco. Many contributed to the realization of the EP, Lo Que Tú Querías, via public donations at GarDel's Kickstarter site. So is it any wonder we feel invested?

Read my review of the album here, in this week's Indy.



According to Orquesta GarDel's website, the physical EP is for sale now for $6 at Bull City Records in Durham, and CD Alley in Chapel Hill. You can buy the digital album online here for only $4.

I'm not sure why Motorco booked an opening band--the place is going to be jammed with normally single-minded salseros, making unprecedented use of the spacious, polished dancefloor. That said, I'm kinda stoked to hear Dark Water Rising open, a band of young Lumbees singing and playing their own brand of Southern rock from Robeson County. I hope that the salsa world shows them some hospitality. What's great for both bands is it will bring a diverse audience together.

Sample Dark Water Rising on Reverbnation here.


Dark Water Rising

Facebook Event page: GarDel @ Motorco, w/ Dark Water Rising, Saturday (1/29)

Salsa 'Noke: Bio Ritmo @ Jefferson Center

On the coldest night of the year, I decided to jump on the road to Roanoke to warm myself at the Jefferson Center's annual Latin dance party, with headliner Bio Ritmo. The tradition has been so successful, the Center's programmer told me, that we should expect a few repeats of this event throughout the year. Additional beats (and a dance or two) were provided by Greensboro's DJ Diego, and dance promoter Salsa Noke cosponsored.



This was Bio Ritmo's first public performance with long-time bongocero Mike Montañez in the timbales position. Horn player Mark Ingraham was also getting his sea legs on backing vocals. Both were filling in for long-time timbalero Giustino Riccio, who is devoting some time to other projects at the moment. Mark plays a coronet, which he was telling me is heavier and more compact than a trumpet because it is actually a closer relative of the French horn.



Bringing power to the congas was Hector "Coco" Barez, whom I first met in Virginia Beach last July 4. Coco resides in Metro D.C., and had just flown in that morning from the Dominican Republic, where he toured with his main gig, hiphop duo Calle 13.


Toby hits low D.



It was a juicy night, as evidenced by this languorously undulating version of "Tu No Sabes," from the Jon Fausty-engineered EP Salsa System (2005). I was an excited witness the first time a raw version of this tune was heard in public, in March 2004 (and wrote about it here). It's an epicurean pleasure to be around as songs ripen and mature over time, like organic entities. JC Kuhl solos on tenor saxophone:



On the final tune of the evening, I snatched this video (below) of Mike and Coco battling it out in a percussion duel. The tune is an interesting one, "Locutor," stemming from Bio Ritmo's first full-length CD, Que Siga La Musica (1996). A regular part of their live show, the arrangement has morphed harmonically over the years, and also lends its name to the band's own Locutor record label.