#1
2007
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in LATIN
Dear friends!
Music in Latin Š Monthly circulation Editor-in-Chief Artem Ivantsov ivantsov@mail.dnepr.net Cover: Manolito Simonet photo by Angel S. Gonzalez Gonzalez
We would like to thank all our friends and partners throughout the world for their kind cooperation, in particular:
Michelle White Cecilia Decurnex Silvina Rossotti Pamela Bustios Rebeca Fragoso Miyoko Akiyama Cynthia de Caceres Gloria Barreto Livia Carvalho Patricia Oviedo Elsida Gonzalez Portal Alejandro Bosch Lazaro Sarabia Alejandro Otero Lang Hernandez Barbaro Santos Gabriales Miguel y Inga Hector-Vega Alexander Kovrov Alexander Pesik
Let us present you a new magazine dedicated to the music from Spanish, Portugal, and, logically, Italian speaking parts of the world. We will be regularly telling you about events, venues, and stars from South & North Americas, Europe and Africa. Full range of styles and genres. Our journalists, partners and affiliates will bring you exclusive articles and photos directly from the capitals of Latin music world. We will be informing you about the releases of main world labels, concert tours, and dancing events. Don’t hesitate to contribute to our work. We are open to any ideas and collaborations. Que viva la musica Latina! Cordially, Artem Ivantsov
photo: Angel S. Gonzalez Gonzalez
cuban inspiration
Manolito SIMONET:
try trabuco! photos by Angel S. Gonzalez Gonzalez
August is one of the hottest months in Cuba. You can hardly do anything during the daytime. Only night brings some slight relax and makes you feel not so hard-boiled. Precious hours in l’Habana. And what may make such a night unforgettable indeed, is an invitation of Manuel Simonet Perez
to the presentation of his ultimate album (unfinished at the moment) at the legendary studios of
EGREM...
Midnight at Miramar. A longed-for breeze from the sea. A wonderful company of Manolito’s friends: Francisco, Lenin, several more, mainly from Camaguey. Elsida Gonzalez Portal y Alejandro Bosch from EGREM came too. Manolito tunes the equipment and switches the music on. He looks serene and happy. We all like the music. He knew that. Champaign. The chiefs of EGREM smile - a couple of tracks are enough for them to know that it will be a success. More Champaign. We agree that “Cantor” is going to be a hit on the album. Manolito does not allow us to leave till we have heard one more theme with a magic piano solo.
Neither does he stop emitting his trademark blissful kindness. Unreal night...
- In Europe many people still don’t know who Manolito is and what style he plays. - “Manolito y su Trabuco” is an orchestra born in 1993 here, in Havana. The orchestra consists of musicians from all over the country – from Tunas, from Camaguey (I’m from Camaguey myself), from Pinar del Rio, from Havana itself. So, it’s a mix of musicians. As to the format of our music, we call it “trabuco”. It’s also a mixture. Mixture of “orchestra charanga” with the music of 40-50s. This mixture is exactly where we look for our unique sound. Our orchestra already has enjoyed
quite an experience of international tours. Beginning from 1995, we’ve been touring in Western and Northern Europe, USA, Bahamas, Mexico, Peru, Colombia. We visited Japan as well. - The word “timba” can be heard more and more often in the world today. Do you play timba? What kind of the style is it? - For me timba is only one of the many styles of Cuban music, such as chachacha, danzon, bolero. Any group may have in its repertoire themes in timba. But it also may have themes in other
M A N O L I T O
styles that represent the Cuban popular music. In particular, what bothers us to say that we play only timba is the fact that we play also the music of other countries – vallenata, cumbia. I think that the format named “timba” does not exist. The genre – yes, but not format (Manolito uses here the word “formato”). - You do cooperate with non-Cuban musicians, don’t you? - Yes, we have worked with Mark Quiñones (we did not record anything, but he likes the orchestra very
S I M O N E T
much), with Canario, with Colombian musicians – Juan Carlos Coronel, Diomedes Diaz. Everybody whom we have encountered in various periods has affected our music. All of them have left something in our art. Among my friends there are Gilberto Santa Rosa, Papo Lucca, Cheo Feliciano, Grupo Niche, Grupo Guayuacan, Victor Manuel who sings my songs. With one of them – “El aguila” – he won a grand prix at the festival in New York in 1999.
everything: rock, rap, jazz, etc. And virtually the only way to spread our music worldwide is through the enthusiasts like you, who are interested in Cuba and ready to promote the Cuban music on Your own.
- There is a Colombian vallenata “Maria Luisa” on Your album “Marcando la distancia”. Isn’t it Carlos Vives? The voice sounds quite alike.
- The reggaeton is liked by the youngsters, while I am a musician. For me reggaeton is too monotonous. You have listened to 4 tunes and you are fed up. But it has a rich dancing rhythm that thrills the people. Every year the similar things happen – the new wave comes, and everybody talks about it. Today this role is played by reggaeton.
- No, this is Rosendo Diaz, one of our ex-vocalists. We have started working with vallenatas in “Contra todos los pronosticos” where we recorded a classical vallenata “La parranda”. And in our next album we have decided to modernize vallenata a-la Carlos Vives. - Camaguey has produced many outstanding musicians. Is it a special city? - The phenomenon of Cuba is in that each province has its unique characteristics. The basis is a traditional trova. The trova of Camaguey differs from the spiritual trova of Santiago which, in its turn, differs from the trova of Havana. The same refers to Cuban son interpreted by different provinces. The distinctiveness of my music which comes from Camagueyan son is in its combination with the music of Havana. Which results in the music you call “timba”, new-style music. - Can you describe it with one word? - Usually it’s called Cuban son. But here I must repeat everything I told about timba. Son is only one of the many genres of Cuban music that managed to be the farthest to advance on international markets. I would better call it “Cuban Popular Music” with the further sub-division into chachacha, mambo, son, danzon, etc. - What has been going on with Cuban music lately? - The development of the Cuban music in the last years has been having a polemic nature. Being able to obtain an excellent musical education we do not enjoy those opportunities that other Latin musicians do. The TV programs dedicated to Latin music broadcast mainly Thalia, Shakira and the like. Their music is wonderful, but Cuban musicians (from Cuba) do not have such an access. It does not allow us to develop. Each year the musical institutes produce hundreds of wonderful musicians for various styles – in Cuba we play
C U B A
- Since recently the countries of Latin America, including Cuba, have been overwhelmed with reggaeton. Do You like it?
- Will it pass quickly? - Bueno… Better if it would, but if the people like it… - What are the impressions from touring abroad? - In Europe we cooperate with the company named EUROTROPICAL who are excellent professionals. Thanks to them we are considered a very good orchestra there, which may always count on the maximum of spectators. The people know all the albums, all the songs, buy our albums. The same picture in New York and Miami, where we toured too. The people know our music very well. Several years ago we even gave a concert for the prince of Netherlands. It took place in the palace and was very extraordinary for us since our music is danceable. But they knew our songs too! It proves that the music of Trabuco has been spread all over the planet already. - Seems like the music of Trabuco, as well as the music of other interpreters of the modern son, is difficult to value without knowing how to dance. Is it so? - Probably yes, because our music is extremely danceable. Although I know a lot of people, first of all children, who don’t attend dances but nevertheless know our music very well and love it. Our music is as well for those who like just to listen. - Which your album is the most valuable for you? - Each of them has something that I value. But the album that brought us to the international orbit, that “marked the distance” is called “Marcando la distancia”.
(continued) - In Europe, in particular, in Ukraine and Russia, your aficionados have got an album called “Manolito Light”. Tell us this story. - Such an album does not exist. There was a concert dedicated to one of the best Cuban radio stations “Frecuencia Total”. Its tenth anniversary gathered such stars as Candido Fabres, Manuel Denis, Rojitas among the others. My orchestra accompanied those singers. We had only three days for preparation. The concert took place in Teatro Nacional. One of the songs, for example, was supposed to be sung by Candido Fabres. But he did not manage to return in time from the East, and so it went without vocal. All that was not supposed
to be taken outside the walls of the theatre, but somehow it did, and so-called “Manolito Light” soon was all over the Europe. I would like to use this opportunity to declare that this disc is not an album of “Manolito y su Trabuco”. It’s a record of the concert dedicated to the famous radio station. - What new names we are about to hear in the nearest future? - Even don’t know… New works emerge constantly. Maybe Boni, ex-vocalist of Charanga Habanera, his new album is very good. There are many good works in other styles. For example, in rap. There is a very good rock-group from Pinar del Rio. Group “Tendencia”. We have a lot of great music. Ah! Of course, X Alfonso (Equis Alfonso). If You’ve got
M A N O L I T O
time to meet with him, don’t loose this opportunity. He is one of the greatest representatives of the new generation of Cuban music, son of Alfonso, director of “Sintesis”. He plays piano, does all arrangements, has made himself a video clip on the highest international level. Awarded with CUBADISCO. Very, very high level indeed. - Many thanks to You, Manolito, for this interview. We are waiting for You in our part of the world where You already have a lot of aficionados. - For me it would be an honor to visit your countries, where, as I know, Cuban music has always been very popular, and where relations with Cuba have always been strong. So, You may count on me. Just say, and we’ll come to give You concerts.
S I M O N E T
THE POWER OF CHANGÜÍ – SONEROS ALL STARS – ¡DIME NAGÜE! Wow! With the power of an unexpected slap in the face, ¡Dime Nagüe! just may be the hottest Cuban salsa-son release of the year. Bruce Polin, www.descarga.com
by Michelle White
photo: Gabriela Gutarra
K.O. in the first round! That’s how this brand new release makes you feel after one listen. Omar Walker, www.salsapower.com
J A N N E
B O G D A N
In 2004 Swedish tresero Janne Bogdan was eating dinner with some of his friends from Orquesta Revé, and the idea was born to collaborate on a CD in the spirit of Elio Revé Matos. ¡Dime Nagüe! was the result. The CD has received rave reviews and has spent quite a lot of time in my own CD player. In 2005 I took the opportunity to talk to Janne Bogdan about the CD...
Michelle: Congratulations on all the great reviews the CD has gotten. Janne: Thanks! Michelle: How does it feel? Janne: Oh, it is totally fantastic! When I saw Descarga.com it was like, wow! It was really great. And right away my telephone started ringing; people who had seen it, you know. The first thing that happened was that I got a call from Miami on my cell phone from Prodland who wanted to buy the CD right away. It is really good that it ended up there on Descarga with that review. Michelle:…“the year’s best salsa/son recording from Cuba…” more or less. Janne: Yeah (laughing). It’s unbelievable. Michelle: You can’t complain. Could you tell us a little about how you became a tresero? How you got involved in… Janne: I was a guitarist to begin with. I played blues, jazz, rock, funk, pretty much everything. It was in Cuba that I… I went there and wanted to start playing percussion. But naturally when I saw a tres, right away I wanted to play tres. Michelle: And who have your teachers been? Janne: They are Papi Oviedo and Jorge Villa from Revé. Michelle: What musical influences do you have from
Cuba other than changüí? Or is it really son and changüí? Janne: Above all it was son cubano, of course, where it began, then it was more changüí after a while when I started to get more into folklore and sort of started to dig around in all the traditional stuff. Michelle: Can you describe a little what the difference between son and changüí is, since they both come from the eastern part of Cuba? I know too little about it. Janne: Yeah, it’s…above all they are different rhythms, which I think you hear a very big difference in. But son has a lot of influences from Spain, you know; Spanish guitars and such, while changüí has more French influences. The slaves who came from Haiti who settled in Guantánamo brought their French influences with them which were mixed with the African, so they became somewhat different styles there, son and changüí. It happened at the same time, and I think it’s cool that they were so close to each other but yet became so different. Michelle: And it took a pretty long time before changüí became popular throughout Cuba in general. It was really Revé who succeeded in bringing it to Havana while son arrived earlier. Janne: Yeah exactly it was Revé who… Elio Revé Matos, who caught people’s attention with it. But still today there are many musicians in Havana who can’t play changüí and really have great respect for the rhythms. Michelle: What year was it when you began to play? Or when you were in Cuba, was it when Elio was still alive? Janne: Yes. The first year I went to Cuba it was 1996, and it was the same year that Elio discovered the singer Sinsonte, who I’m working with now. So it’s…if you think back it would have been cool to
S O N E R O S
have known them then, but unfortunately, I never met Elio… unfortunately. Michelle: And then how did you get started with the project? Was it your idea? Was it something you had discussed with… Janne: With his last…Soneros All Stars? Michelle: With CD itself. Janne: It was… I met Elito’s band here in Stockholm last year. And then we had a little dinner at my house. I invited home a few musicians; the singer Sinsonte among others. We sat and talked and thought. We talked a lot about Elio Revé Matos and everything that he has meant for salsa and all this with changüí and how cool the rhythms are. And we talked about how it would be fun to do a project in that spirit, the same spirit as Elio. And then we kept in touch via e-mail for a year and planned like “which musicians should it be” and it just gradually moved forward. Michelle: You really got elite musicians from a bunch of different groups with you. How does it feel then to work with guys like that from Sierra Maestra and Revé? Janne: It felt totally fantastic; both exciting but…exciting but also to see how they worked… they were incredibly professional in the studio and things. Michelle: And did you see any difference between the older generation compared, for example, to Samuel and Boris, who come from the Timba generation, or was it… Janne: What you noticed in the studio was a little that they…were a little more immature (laughing). But they were often there when they weren’t working. They were often there anyway and brought a bottle of rum and sat and talked and had a good time. While the older guys, they came there when they were going to work, then they
A L L
S T A R S
photo: Gabriela Gutarra
weren’t there. Michelle: There was more focus on work? Janne: You noticed a little more social contact. But then it was fun because I had met José Antonio from Sierra Maestra. I have even met him here in Stockholm before on a couple of occasions, so he and I had talked a lot before this, so it felt relaxed too that we had met before so that it was easier to work in the studio. Michelle: Was it you and Arnaldo Jiménez who decided which singers and musicians would be involved or was it you by yourself? Janne: It was above all me who decided, but Sinsonte helped. He and I planned a lot together which musicians we’d use. And it was probably I who had the most ideas and he who had the contacts. Michelle: That’s a good combination. Janne: Yeah exactly (laughs). Michelle: Now I’m thinking about the songs. You wrote one of them. Janne: I wrote one song. Michelle: And then you’ve chosen the others. Since I know so little about changüí, are they classic changüí songs or are they new songs? Janne: It’s a good thing that you asked, because when I talked with Sinsonte, I said that I wanted to have new songs, newly written songs. And he maintains that they are newly written, but I don’t think so (laughs). So that it’s a little… Michelle: A little unclear except for your song that…
Janne: Yeah. One song, the first song on the CD Nagüe qué bolá I know that it is an old one. It was a hit in Cuba…it was famous in the 80s. And the guy who wrote it lives in the US now and is married to an American woman. But the other songs… I don’t know. I’m not sure, but I don’t think they’ve been recorded on a CD before, but I can imagine that they’ve surely been around since the 80s. Michelle: Can you tell a little about what it was like working out the arrangements? Was it Arnaldo who wrote them or were you also… Janne: I decided… I chose the songs… then I simply decided “arrangements by Arnaldo” on all songs, even my song that I have written. I wanted the CD to have a unified, how can I say, all the songs would have the same type of arrangement so that you could hear that it is the same people who… Michelle: A sello so to speak? Janne: Yeah, that there would be a thread and so I just decided to have Arnaldo do it. So he wrote all the arrangements. And then naturally we discussed things during the rehearsals, and I had opinions about things that he maybe hadn’t thought of that we added in the studio, so maybe I said “but here I want a bomba, here there has to be a bomba, there just has to be.” “Oh yeah yeah yeah OK then let’s do it.” And he’d write it down. Michelle: The version of changüí on this CD doesn’t feel like really classic super traditional, rather it feels
like it’s a really modern. Janne: It’s very modern changüí, it’s very modern changüí. Traditional changüí has… it’s just marímbula, bongos, tres, güiro, maracas and vocals. And this is… it’s really in the spirit of Elio Revé Matos when you play like this. Michelle: And you have a song that you… for him so to speak, the last song on the CD. Janne: Exactly. A ti papá. Michelle: What do you think he has meant to the music? Janne: He has really meant so much for salsa on the whole. I mean take Juan Formell. He played with Revé. He came from there and started Los Van Van. There are a bunch of musicians who have gone through his school, so to speak, and learned. Even Papi Oviedo played with him in the 70s… or the 90s it was. When was it? I don’t remember; the 80s or 90s maybe. Papi Oviedo played then, and many treseros have gone through the band, and that’s how they’ve learned changüí. Michelle: Right now it feels like changüí, with Orquesta Revé and the success they are experiencing at this moment, that changüí really está pegando. Janne: Definitely. Michelle: And I hope that it continues in the same way with your CD. Janne: Thanks. Michelle: Thanks for the interview. Janne: Thanks a lot.
The Era of Soledad
10
Years of Delight photos by Eduardo Torres
by Gustavo Martinelli, Buenos Aires
songs were brought to me by unknown composers, while I was able to listen to them and to choose from them.
With no fanfares and hardly calling the attention of the scarce visitors, who decided to kill some siesta with some beer, the woman enters, greets, embraces and tells everyone: “Ay! This place is pretty!”
- With the first one, that has old themes on it - yes, I was. With the second - no. Afo Verde, who produced it, advised me to invite another person to choose the songs, someone who would take a look at my career from another perspective. I did so. Well, since I had my personal office, with people working for me, I feel myself more involved in my business.
She says it to the representative of Sony Music (her recording label), to the bar’s hostess, to the woman that serves refreshing drinks, and to the journalists who gathered to interview her. She does not stop being friendly. Neither does she stop speaking: “What would you like to talk about? About the disc? My life? Show? Ok, we’ll talk about everything”. What strikes the eyes is that the famous Sole, “a hurricane from Arequito” is not the same she was before. The first glance does not allow you to recognize the girl waving her poncho at the most prestigious festivals of Argentina. Now she seems more confident and mature. “Ten years have passed since I was stomping those stages. Much water has flowed under the bridge”, she explains. Sure, now she’s 25. And with way more experience.
- Were you involved heavily in the production of the discs?
- Taking the reins of government... - Exactly. And I like doing it. Now I am at a different phase of my life, much more mature and reserved. Actually, many things happened to me during those ten years. Today I celebrate not the number of years, but rather the number of things I lived through. Several minutes before the chat with Soledad started, her representative made it clear that the interview must be brief, because there were other appointments. Ruthless laws of the industry dictated their rules, but did not count on three circumstances that ground the intention to cut
“I’ve made errors that taught me what I should not do. That’s the reason why I intend now to re-launch my career from another angle of vision, more reflexive one”, Soledad adds.
with Enzo Francescoli, a great Uruguayan
THE BREATHTAKING LIFE OF A GIRL WHO GREW UP ON THE STAGE...
Relaxed, smiling, and with a cellular phone in her hand, Soledad Pastorutti enters a coquettish bar in the location of Barracas, Buenos Aires, which smells with pinewood and magnolias. A conversation takes place a couple of hours after her promoted show in Opera Theater.
At the point of presenting her new double album “Ten Years of Soledad” the singer admits that this album is a lucky reconciliation with folklore. “As a matter of fact, many spoke about my ‘betrayal’ of my roots and my estrangement from the genre that brought me to fame and into some money. But in reality the folklore has always been present in my shows”. - Does this album, that you have been launching now, mark a turning point of your career? - I would say, yes. It consists of two discs. The first one is a selection of the most representative themes of these ten years of music. The second has new themes. Those
S O L E D A D
short the conversation into dust: Soledad’s ardor, her grateful memories of Tucuman, and her desire to clarify some negative points of her career. “I have always felt good in Tucuman. And, although, we have not defined our tour in the North yet, I always dream of returning to you”. Then she reminds us about an anecdote that took place in 1996 when Soledad visited LA GACETA and provoked huge burst of fans’ sentiments. “When I walked to the balcony I could not believe my eyes. All those people that were reaching to me with their dolls and letters, mean so much to me”. - And what remains now of all that fame? - Beautiful memories and much experience. I’m even surprised with my lasting popularity. Although, now I live through it in another manner. Now I know that this is the work which helps me to earn money and to establish myself as an artist. But I don’t live it anymore in that accelerated manner as when I was 15. I need to work because there are many people who live on what I do. I understand that one day I’ll have to stop and to live my private life in its full measure. I want to get married, to have children, to form a family. Everything has its time. - Why does the title of your disc play with the title of the novel of Gabriel Garcia Marquez “One Hundred Years of Solitude”? - Because that’s just it - a play. I am enchanted with Gabriel Garcia Marquez. He is one of my favorite writers. But his novel has too much melancholia. The Solitude of my album is different. It’s full of expectations. - What is waiting for you round the corner? - A lot of work. It’s true that I need to be around a stage, and that’s why I want to concentrate on strengthening this new disc, which will keep me busy most of the upcoming year. Besides, I’m working on my re-positioning in Argentina, at the same time looking for some space for me abroad as well. At the moment of striking a balance La Sole looks sincere. She admits that the past has been strolled all over, and agrees that the future will be neither breath-taking, nor brilliant. “The best of what I was able to make out of all those years, was to achieve a top of my career. But I did it in a vicious manner. Like the most of adolescents do. I wanted it all and immediately. I already reached it and am not going to repeat my way. What I lack is a solid career on an international level”. As for the balance in her personal life, she keeps on being frank: “I think that an artist does not leave any breath to a human being. Now I try to enjoy more time, share it with my family and my fiancee. And to apply some brake to my labour obligations”.
A R G E N T I N A
Special thanks to La Gaceta, Tucuman
8287 672958-2
“Diez años de Soledad” 2005
SONY/BMG
A restrospective interview that Soledad gave to Barrio Latino back in 2003. Some introduction to the music of herself, of Argentina, and to the great souls of both My name is Soledad. I was born in a small town of Arequito in Santa Fe province, Argentina. Music has always been around me. When I was 8, I started playing musical instruments. First of all, guitar. I liked it most of all till I discovered that singing was something I liked even more. Once someone suggested that I sing at one of the concerts. I did so, which left my father quite surprised. The song was called “Dueño del bandoneon”. This is an Argentinean zamba, very typical folkloric music... ...Tango is the most famous Argentinean style, which is often considered as Argentinean folklore. But there is another folklore, that reflects the musical variety of the country more fully. This music is very dispersed rhythmically. In the Northern part you’ll hear chacareras, huayños, carnavalitos. They are very joyful. In the central part there are zambas, gatos, and, of course, more chacareras. All those styles are very danceable, they all have their own choreography. Along the Parana river you’ll find chamame, rayito doble and one more style called chamarrito. This music was brought to us by the Paraguayan Guarani. In the Western part everyone can hear cuecas - very energic music, and tonadas - very sweet one. The Southern part of Argentina has mainly autochthonous music that relates to Mapuche people. These are laments that reflect a sad history of the local nation that suffered severely from the Conquista. They pass their music from one generation to another. In Buenos Aires, tango neighbors another style known as milonga.
There is also zamba. It is played all over Argentina. The city styles are very social, with strong texts. For example, milonga, which is a music of gauchos, Argentinean cowboys, who have always been having enough time in their pampas to write these beautiful songs, full of truth... ...I started my professional career at the Festival de Cosquin in Cordoba. I sang one song, which already was a dream that came true. But the public demanded more, I was singing more, and finally was announced a Festival’s revelation. Right away Sony Music expressed desire to record my album. It was unexpected, because recording companies did not pay much attention to folklore music. My first album was called “Poncho al viento”. I’m both small and little. But in my concerts I seem at least three times bigger. Every album has something special. The first three were mostly folkloric ones, since I never thought of international markets. These discs are very emotional, pure and unpolished. The first album was recorded in 8 hours. Nobody knew how to promote it. Nobody actually believed that it can be promoted. But soon Sony sold a record number of copies of this album: 800 thousand in Argentina and one million in total. More albums followed: “La Sole”, “A mi gente” (the latter recorded live at Gran Rex Theater). And after that the first international work was issued – “Yo si quiero a mi pais”, produced by Emilio Estefan. In terms of rhythms it’s an open album. One more live concert album, this time recorded with famous Argentinean composer, Horacio Guarani, in Luna Park. The latest albums have songs of my own. So, now I enjoy a pleasure not only to sing, but also to arrange my songs. ...First of all, Latin music is very hot. Some themes may be better, some worse, but in general our music is very sensual. It reflects our character very well. Besides, I think that the secret also lies in imperfection, in roughness of our music. In its simplicity. I think that the music is understood best when the people sing along with me or clap their hands. There is more complex music, with rich arrangements, but I respect the simple music that can make people vibrate. This is what each of us dreams to achieve. I always prefer when people say
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with Nati, her sister
“I was at Soledad’s concert, I liked it so much! It was so great! I will come again!”, then when they say “How beautifully she sings!”. I want people to receive real, true pleasure...
greatly is our family. Family is a strong Argentinean tradition. Our nation is as a one big family, which, although, haven’t been able to choose the right direction so far...
...We, Argentineans, put much heart in anything we are doing. In the way we speak, we feel, we dress. But there is one more thing that distinguishes us: those difficulties that we constantly encounter and constantly have to overcome. This country has suffered so much! Many young Argentineans are studying abroad now, and they are not sure that they want to return home. But those who accepted to stay here, accepted it with all their heart. In other countries, as I can imagine it, the artists can take some years of rest after having recorded an album or shot a movie. In Argentina it’s different. Here people have to daily “come out to a pitch to win”, speaking with a football language. You can never relax in this country. Everyone knows about the economic crisis in Argentina. So, we thoroughly care about what we have. Besides, what affects our mentality
...I would like my compatriots to preserve forces to go ahead. Now a tendency to emigrate prevails. Great number of Argentineans think that the life in Miami is way better. I think that if you have something to do, it does not matter where you will do it. We, Argentineans, have lost now the road to drive, have lost respect. And we have to bring it all back. If we manage to do it, we’ll be rewarded. If we keep on doing wrong things, we’ll be punished more. If we are going to have enough justice in our life, I see a lot of work and happiness for everyone in future. One day Argentina will show to the world that it is full of wonderful people and wonderful things...
Buenos Aires, El Pie Records studios, October 2003
david
CAL A Z D O
a lion
on its
throne
photo: Angel S. Gonzalez Gonzalez
Imposing and balanced, the charismatic leader of Charanga Habanera is usually hard to reach. An interview that took place in the poor Havana barrio of Fanguito, reveals David Calzado as a mild, thoughtful, and very Cuban person that has been timba’s agman for the last decade
interview - Music in Latin
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- David, what are Charanga Habanera and its music? - Charanga Habanera is almost 17 years old. We gained our first popularity by playing traditional Cuban music between 1988 and 1992. I think the roots of the modern music lie right there. All the emotions that I absorbed in my childhood listening to that music, later contributed strongly to the music of Charanga Habanera. Our music is “generational” – it reflects the needs of a young generation, of the people who live outside of Cuba. At the same time, it has everything from the music of 80s – clave, cubania. Since recently our music started being produced by the graduates of musical institutes of the highest level. They work with instrumentation very professionally, while before the music had been played mainly with heart. Musicians did not have chances to study, that’s why each had his very personal style, very empiric one. So, the emergence of new musicians with good educational background changed the picture greatly. But, while I make music for various generations, it always remains Cuban.
it “timba”. The same happened to “salsa” of Puerto Rico and New York, which, to my mind, was actually Cuban music of 30-40s, though with brighter instrumentation. I believe it does not matter really what you call the music. What matters more is talking about “new Cuban music” rather than about timba. Cuban music of the new generation. Music of the new system, such as Cuban revolution. Music, born after 1965, even 1970, music of the Cuban revolution’s system. If they called it timba, than, obviously, Charanga makes something that falls under this definition. Although in fact our music is a mixture. Sometimes it’s not rather timba, but universal themes. The idea is in combining Cubanism with the music with other borders, where the Cuban music is not known really well. Its promotion all over the world has been encountering problems due to well-known political reasons. And answering your question, well, yes, it’s true, it’s called timba, and I feel myself a part of the generation that makes this music. - What makes the music of Charanga Habanera stand out among the others from the technical point of view? - While other orchestras use a complete set of instruments (trombones, saxophones, “metales”), combine drums with paila, use bass-guitar, we keep to traditional format – with a single paila only, with different bass instruments. Besides, we are not that jazzified. Our sound is powerful too, but less jazzy. With much cubania, much “sabor” instead. Another thing that distinguishes our group, is that we always tried to speak frankly about what happens here. Many our songs in 90s were of polemic nature. Moreover, our concerts are special: not only does a vocalist take part in the show, but all the members of the group too. Many followed this manner after us. Of course, making a show of the concert is not our exclusive know-how, but we were the first to introduce it. Our manner to dress. We were the first to dress the Cubans. After us they started to dress themselves in Charanga style.
- Today the modern Cuban music is bearing a “timba” label… - Yes, it is. - …Can you say that Charanga Habanera belongs to this style too? - In any case the modern music of Cuba had to be named somehow. They decided to call
D A V I D
C A L Z A D O
- To what extent is it important to be able to dance to appreciate the music of Charanga Habanera fully? - A dance that had always been very important in Cuba is called “casino”. But now it seems a little lost, because solo dancing prevails today. They still dance in front of each other, but solo. I think that to feel the music and to make your body move according to your desire or your whim is more important than to know how to dance.
- Which Charanga’s album has been the most favorite for you by far?
- It’s always difficult to answer such questions, because you give some part of yourself to each album. All albums, starting from 1991-92, are like children. You can never choose the most loved child. I always am sure that each album lacks something, but I love them all. Sometimes this disc seems to be better, sometimes that one. If judged by the fans’ opinion, than “Soy Cubano soy popular” is ahead of “Tremendo delirio” just by a notch. Those who observe us from the very start prefer “Tremendo delirio”. Those, who joined us later, prefer “Soy Cubano soy popular”. In the beginning our public was peculiar. First of all, they were dancers. Today we can boast a wider audience. The dancers are still with us, but we can be heard in the offices, on the airlines, etc. We have conquered other tastes as well. Different classes, different life criteria. From this point of view I think that “Soy Cubano soy popular” allowed me to spread my music onto a wider segment of population.
C U B A
- “Charanga Light” was a search for something new? - Creation of this album was almost obligatory for me. I’ll explain. After ”Soy Cubano soy popular” was issued, we were rehearsing right here, saying that nobody expected such an success for the album. And I suddenly felt that I needed to record one more album right away! Instead of taking some time for rest I decided to do what my heart ordered me to – to make another disc with different music, which I’m very fond of too, though. Thus, a new and extraordinary album was born. I was always saying regarding it that I did not want another album in Charanga Habanera standards. I wanted just an album for pleasure. It’s unbelievable, but it had great success as well. You can hear it at every corner; everyone has a copy of it. It’s nice to consider that this work has achieved such a result. But then I really had to take a 1.5-year break to let the album “Soy Cubano soy popular” work out its potential. Only in August we have started working on a new album, which, I hope, will successfully compete with its tremendous predecessor. - Do you see any new musicians who could be bright stars of Cuban music in the upcoming future? - It’s strange. The number of young talents is unbelievable. But to be a good musician is not the same as to be a successful musician, an extra-class musician. This is not taught in schools. It’s been for several years now that I haven’t been seeing any new name who has enough strength to compete with the existing bands. It’s bad for the market, because those who have established themselves long time ago – NG la Banda, Issac Delgado, Paulo FG, Los Van Van, Adalberto, Charanga Habanera, – who have fans of their own, must feel some competition in order not to loose vigilance. We are used to competition, while its absence lulls. The new talents must urge us on. I think the situation will change. The Cuban music has taken some break. It’s not easy to invent something new today, to give a new impulse. - What is the secret of the Cuban phenomenon? Whenever it’s sports or music, the Cubans seem to be the best in the world - I don’t think that we are the best. Maybe just very good in the activities you mentioned. We are very passionate by our nature. We have great mental and physical powers. Despite any problems, our nation laughs and dances. I’m sure this gives us strength to do anything we do with great love and desire. And this is a guarantee of success.
photo: Angel S. Gonzalez Gonzalez
Location: Time: Object: Caught upon: Ambience: Ovrl.Imprsn:
l’Habana, Fanguito 11:30 Charanga Habanera rehearsing playful stunning
photo: Angel S. Gonzalez Gonzalez
el ciclon
on its way
photo: Angel S. Gonzalez Gonzalez
photo: Angel S. Gonzalez Gonzalez
DoublePlatinumDisc in 24 hours!
In 24 hours Estopa has reached a double Platinum Disc with their new album Voces de ultrarumba. The disc came out of press on Nove mber 22nd, and the next day 160.000 copies were sold. Voces de ultrarumba is the fourth album of Estopa, which had been produced after brothers David and Jose Muñoz sold 2.700.000 copies of their previous works. They had 23 (now 25) Platinum Discs in Spain alone. Voces de ultrarumba was published in digi pack format that includes a CD with 12 new songs and a DVD with six acoustic the mes, a large interview by Andreu Buenafuente, in which Estopa tells about the recording process, and an extended version of Vacaciones, the first single of the album. On the same day that the disc was released, a special section was added on the group’s web-site, where fans can buy tickets to the exclusive concerts using a code included in each copy of the album. Moreover, Estopa took a pioneering step, allowing free downloads to mobile phones through a Bluetooth syste m in Madrid and Barcelona. Hence, Voces de ultrarumba started being distributed with unexpected consequencies: double Platinum Disc and 160.000 albums sold in 24 hours.
E S P A Ñ A
E S T O P A
So, finally the style of the brothers from Barcelona has been defined, and we’ve got “ultrarumba” - a very powerful Spanish inflow to the Latin Stream. Leaving the music of the group aside for a while, let us dedicate a page to Estopa’s vocabulary. This “barcelonized” version of lunfardo would not be redundant for anyone who wants his Spanish to sound “guay”! Besides, it’s a key to Estopa’s wonderful poetry.
estopario ABRIR EL PICO ESTAR PASAO DE PAGINA PERICO DELGADO To open the mouth To be crazy A famous Spanish cyclist ANDARSE AL LORO FUTBOLIN PEŇA To be attentive A recreative game People AXIOMA GARITO PIŇAZO A discoteque in Cornella A bar A smash BOBERAS GUAY PIPA Stupid Fantastic A gun BOCAO HACERSE UN COCHE PIRARSE A bite To steal a car To leave CABRON JUERGA PLANTARSE A cuckold Entertainment To avoid risking CACHO LA PASTA when playing A piece of smth. A money POTAR CALORRO LORO To vomit A kid on the block A radio QUE PARTE CAMARON LOS CHICHOS EL BACALAO An excellent flamenco A rumba group, A chief voice the most authentic in 80s QUITARSE CAMBIAR DE BANDA MALA FACE LOS MUEBLES DE To trade sides A bad face LA CAVETA CAMELARTE MAL FARIO To forget about proble ms To seduce you A bad luck QUITARSE CAMELLO Mc FLAY LOS MUEBLES DE A drug dealer A cigarette with marihuana LA QUIJOTERA CAŇA or hashish To forget about proble ms A small cup of beer ME ABRO RUMASA CHINARSELAS VENAS I’m leaving An enterprise To inject in vein ME CORTO expropriated in 80s COMO LAS COLABA I don’t dare SER UN FIERA The way he cheated ME DA LA VENA To be a phenomenon CORNELLA She appetizes me SER UN MAQUINA A satellite city of ME PIRO To be in all Barcelona Estopa I’m leaving TAN TANGAO originated from ME RAJO SI ME OJEAS You’ve been cheated CUBATA Your look makes me timid TRAGAPERRAS A combination of alcohol MOLAR A slot-machine and refreshing drinks To like TRENA DESTRANGIS MOSQUEAO A prison Hide-and-seek Angry TROLA DINERO NEGRO MUY REVENIO A lie A non-declared money In a very bad mood, apathetic TRONCHARSE DOCTOR BACTERIO NOCHE DE JAURIA To laugh in an A comics character A night of sex and alcohol exaggerated manner (“Mortadelo y File mon”) PALMAR TUNA EL BLADE To loose, to die A group of students who Bar in Cornella PA QUE sing folkloric songs and EL MARRON In order to... are dressed in a folkloric A big proble m PASMA manner EL MONO Police VACILON Syndrome of abstinence PAPAS Gracious ESCAQUEAO Potatoes VACILARDEUNTIRON A disappeared one PARAO To laugh at someone ESTAR A DOS VELAS Une mployed without letting him Sad and lonesome, PARTIR LA PANA understand the reason with no money To send VIEJO ESTAR DE GUASA PATALEAR Father To be kidding To stomp
tragicomedia Yo que vivo en la luna Quiero darte mi granito de arena Tú vives en una laguna De la noche prisionera De risas inoportunas, Llantos que valen la pena, Cárceles de amargura, Palabras que son cadenas ¿Por qué no cumples Tu condena de noches en vela? Que yo soy tu trena Si tú eres mi novela Yo soy tu tragicomedia Me subes como la espuma, Yo bajo por tus caderas Si me subes a la luna, Verás una luna llena Y tus ojos me miraron Y la luna se cayó del cielo Y tus palabras me hablaron, Aunque últimamente no te entiendo Pero me pongo tan malo Cada vez que me roza tu pelo Casi como un bicho raro, Una especie nueva de insecto Que no, que no, que no Por eso piensa que soy un sueño, Sueña que pienso, Mandame un beso, Llámame un día de estos Estoy en el metro sin cobertura Y en la parada de tu cintura Y alégrame esta triste figura Cuéntame un cuento, dame locura Porque si no luego me lo invento Pero me pongo tan malo Cada vez que me roza tu pelo Casi como un bicho raro, Una especie nueva de insecto Que no, que no, que no Y si tengo que morirme Que me muera en primavera Pa poder echar raices Y vivir siempre a tu vera Y si tienes que marcharte, Llévame en una maleta Yo prometo no pesarte, Tu procura no perderla Y tus ojos me miraron…
lyrics
OLGATAÑÓN
A New Woman
OLGATAÑÓN: astorywrittenwithfire
When the genius and the talent crossed the beauty and the authenticity, Olga Tañón was born. Her life story was marked by success and popularity. Millions of fans are witnesses of her career, very solid and professional, that allow her to bring her voice everywhere in the world where somebody wants to dance. With “Una Nueva Mujer”, her recent CD, the boricua star stepped back in the big scenario. After her union with Sony BMG, Olga Tañón turns on again. “La Tañón is back”, she said, putting in words all her sparkling energy. She was always able to feel that was going to happen in her life and be confident of that feeling. Since she partici pated in the church chorus, when she was a child, she intuited every step of her career. She is very secure and relentless. With her first record “Sola” (1992), she obtained her first platinum. Since that, her powerful voice shook the island where she lived and crossed the continent with a new album, “Mujer de Fuego” (1993), winning double platinum and “Siente el Amor” (1994), including the songs that opened the doors to the world. When Olga stepped on the scene the first time, the scenario fell in love with her. It made her the queen of the show. Her charisma and beauty turned her to a genuine superstar. Then, the queen was crowned many times: Four Grammy Awards, two latin and two americans, several Billboard Awards, positioned her in a very special place in the latin entertainment business. The Apollo Theater in Harle m, New York, Teresa Carreno in Caracas, Venezuela, Anayansi in Panama, Nextage at Grand Prairie in Texas and Centro de Bellas Artes Arena, in Puerto Rico, among many other stadiums and theatres, were always waiting for her. She is marked by Aries, a fire sign. She is ambitious, enthusiastic and generous. Nobody can stop her. Same as her career, her personality doesn’t know about limits. Her passion for the music turned her in a brilliant composer, being recognized by ASCAP, in 1995, when she wrote her first song “Presencié tu Amor”. She can be hilarious and deep, ingenuous and mature at the same time. “Being real and giving everything to the people is the reason why I am in their hearts” she said. “My home is in the people’s heart. This is beyond a career, a show or an album. Being an artist gave me the possibility to reach many people and my art is just an excuse to communicate with the m”. Her energy electrifies, her music captives us in any songs. From pop to bugalú, from merengue to ballads and now, with new versions of tejana music in her recent CD. “I like music and I can’t limit myself. I was born with merengue rhythm and I haven’t left that music, but I continued growing”, she explains. “I would like to surprise my fans and surprise myself trying new music experiences, this is a mutual experience”. Only a great talent would be able to move from one song to another, as easy as changing outfits. Her career starts with merengue but with “Nuevos Senderos” (1996), produced by Marco Antonio Solís, she received the appreciation of new audiences. Later on, with “Llévame
Contigo” (1997) and “Te Acordarás De Mí” (1998), produced by Rudy Pérez and Kike Santander, she reaffirmed her versatility, approaching pop music and achieving a tri ple platinum album. Immediately, “Olga Viva, Viva Olga” (1999) brought her first Grammy Award like “Best Merengue Album” (2000),followed by “Yo Por Ti” (2001) two times Grammy winner, in the American and Latin Awards. In 2002, Olga broke the barriers of language and culture, recording with the egyptian star Hakim the song “Ya Albi”, starring a night in New York City with Peter Gabriel, Lauren Hill, Quincy Jones and Bono, among many other stars, for the World Economy Forum. Also, they conquered together one of the biggest scenarios of the world, the Radio City Music Hall in the Big Apple, being part of One World Jam, networked worldwide. In 2003, “Sobrevivir” (2002) brought her 4th Grammy for her career and recently and with “A Puro Fuego” (2003) completed her five million albums sold in just a decade. “If I had some bad moments in my life, I can’t even re me mber the m”, she said. “My fans have been so generous to me and life gave me so many opportunities that I thank God every moment. I just want to give the best as a mother, wife, daughter and a singer”. Olga Tañón is, today, the most important singer who represents our Latin tradition. She is ready to come back with “Una Nueva Mujer”,her twelfthCD. Now is the time to reach new generations and surprise, one more time, their fans around the world. She turns on again, to live a life written with fire.
n’klabe
Felix Javier Torres Many artists use a sophomore album to establish themselves in the world of music. This is not the case with N’Klabe’s latest release, “I Love Salsa!” The orchestra’s second album (their first under the Sony BMG Entertainment label) features a slew of veteran Salsa performers. Proof of this is in the album’s first single, the titular “I Love Salsa!” written by Victor Manuelle. From the beginning, they shared the stage with bigname “salseros” including, Gilberto Santa Rosa, El Gran Combo and Victor Manuelle, dubbed “voice of the youth.” The group returns to the genre with vitality and energy, with hopes of attracting a younger audience. Hector Torres Donato and Felix Javier Torres welcome the latest addition to the N’Klabe entourage, Ricardo Porrata, who adds the perfect harmony to the voices that give life to this orchestra. “I Love Salsa!” was recorded in Puerto Rico and produced by Angelo Torres. This time around, two members contributed to the song writing process. “Quizas,” was penned by Hector Torres while “La Favorita” was a collaborative effort between Hector and Felix Javier Torres. Angelo Torres wrote “La salsa de Puerto Rico,” an homage to the great Puerto Rican “salseros” of the past. Other tracks include, “Por ella” by Amaury Gutierrez, “Evitare,” “Tiempo” and “Llegaste a Tiempo” by Diego Javier, and “Polos opuestos” by Mary Lauret. Through “I Love Salsa,” the young performers reaffirm their passion for tropical music and their commitment to make it thrive. The group has defined itself through their use of harmonies when performing, as well as their energetic live performances. N’Klabe will promote their latest effort, slated for release May 31, with a busy schedule filled with concerts and press junkets. Among these are, an appearance at the Puerto Rican day parade in New York, and performances on the East Coast, one of the strongest salsa markets in the country.
P U E R T O
R I C O / U S A
Felix was born on November 5, 1979. As a child, Torres showed his interest in music and proved to be quite a talent, when at eight –years- old he was already playing the CUARTO, a stringed instrument, native to Puerto Rico. In high school, he let loose his skills, conquering every local talent show and assuring himself a future career in music. For two years he juggled school and music, performing at local festivals, while keeping up with college courses. It was here where he met his future best friend Hector Jose Torres Donato.
Hector Jose Torres Donato Hector was born on June 14, 1980. Sports were his biggest passion as a kid, until he discovered music and began performing in local talent shows, joining the choir at The San Jose School in Caguas. It was during this time that he discovered his knack for singing and dancing. Once he met Felix at The University of Cayey, he began to take his musical passion much more serious. Together, they formed various salsa groups and collaborated with Jerry Rivera, participating at The National Congress of Salsa.
Ricardo Porrata Ricardo Porrata was born in Chicago, Illinois on October 18, 1982. At the tender age of four, he began performing for his local church choir. At 15, he and group of school chums formed the young orchestra “Ricky Luis.” He pursued opera and moved to New York at 21 to audition for the “Manhattan School of Music.” It was here that he met Jose Diaz, N’Klabe’s manager, and his plans did a complete 180. He is now part of the group, which proclaims “I Love Salsa!”
photo: Angel S. Gonzalez Gonzalez
DIA
Oscar Valdes & his
AKARA
[
]
anothervision of Timba Timba
A YOUNG FACE OF DIAKARA
“
by Artem Ivantsov
Meet Diakara. The true fans of Cuban music don’t need a long presentation of Oscar Valdes, a co-founder of the brontosaurus… (no, too small)... of the diplodocus of modern Cuban music, Irakere. Great percussionist of nowadays, he span off from his legendary namesake to form not only a group of his own, but a personal trademark style as well! What Diakara plays is called “timba-jazz”. Great name for a style, and great music indeed. Says Barbaro Santos Gabriales, group’s impresario: “This new style was invented by Oscar Valdes. He even registered it as a trademark”. The renewed group (Lazaro Sarabia, a respectful Cuban producer, told us that we had no idea how good Diakara was several years ago) combines wisdom and experience of the maitre himself, and energy and hunger of the youth represented by Jorge Luis (percussion), Jose (piano), and Osmar (bas-guitar). Saxophonist and group’s musical director, Ivan Obregon, equilibrates the age dispersion, while the most colorful integrant of Diakara, Haruhiko Kohno, adds an exotic flavor. By the way, the Japanese Kohno has been living in Cuba for 18 years now, and is considered as one of the island’s biggest percussionists. His contribution to Cuban music was appreciated by the government so much, that he received a chance to record an album of his own last year. As for Diakara itself, so far they have not recorded any albums. The only way to possess their music is to buy records of live concerts which group gives regularly in Jazz Café (Havana’s barrio of Vedado) or “La zorra y el cuervo” – another famous jazz-oriented café on 23rd Street. I have bought one, which, although, does not include my favorite Diakara’s themes – “Timba Jazz” and “Bacalao con pan”. The Diakara’s version of the latter seems to me as good as Irakere’s one. Or even better. Was it “timbized”? Was it “timba-jazzed”? selves.
Ok. Now we would like to let the Diakarians speak for them-
photo: Angel S. Gonzalez Gonzalez
Oscar Valdes: - Señor Valdes, could you, please, introduce the group “Diakara” and the music it plays. - The music of “Diakara” is an Afro-Cuban fusion. Our work is to a large extent dedicated to our folklore roots, which, as everyone knows, are African and Spanish. This is a fundament our music is based upon. In particular, we work with traditional African melodies. - The style of “Diakara” is called “timba jazz”. What are the characteristics of this style? - Frankly speaking, timba does not represent anything new. It is many years old. The emergence of salsa made everyone forget about timba. And now we are brining it back to life, with jazz elements this time. “Timba Jazz” is a purely Cuban material delivered to the listener in a jazzed form. - How old is “Diakara”? - Quite old. First it was a group that accompanied to a very popular Cuban singer, Silvio Rodriguez. At a certain moment the cooperation between Rodriguez and the group, led by a friend of mine, came to its end. As far as I had always been rendering assistance to the group, I did not hesitate much when decided to leave “Irakere”, and chose to stay with “Diakara”. - You have your own school, don’t you? Could you tell us about it? Maybe through our magazine more people would express interest in it. - Ojala! Yes, I have a school which bears the same name – “Diakara Percussion”. We study such rhythms as rumba, guaguanco, guaracha, mambo, son, chachacha, timba. As well as Afro-Cuban rhythms of the “batá” drums. There are many French and Italian students, but the most active are the Japanese – both men and women. In Cuba we have particularly many tourists from this country. The school has produced many famous percussionists, such as Jorge Alfonso, conguero of “Irakere”, well-known
tumbadors Carlos Quinto, El Tinta, Marcelo. The latest loud name is Eliel, conguero of “Habana Ensemble”. Several more young talents are on the way. The school has been operating for many years now, making a special emphasis on the Cuban style of improvisation. - The group’s members are so young, but play so well!.. - Bueno. Most of them are graduates from the school, 17-20 years old. Only my musical director is older, he is about 25-28. The rest are very young. - What is an overall picture of what’s going on with Cuban music nowadays? Do you like it? - Yes, sure! Today the Cuban music enjoys progress. The Cuban musicians of the medium level are in minority. The majority are of the highest level. Can you imagine how powerful the music of so many talents is! It is in a constant development, being fed by an unbelievable musical school that constantly generates new ideas, new forms. The schools’ graduates already have a necessary technical level, already have wisdom. So, today Cuban music is on the pinnacle of its development. Está en su momento. - What can be done in terms of the promotion of Cuban music worldwide? - Beside the hard work itself, there must be knowledge of how to export our music right. Otherwise, it will be unknown. Cuban music, of course, is quite spread in the world – in some locations better, in some - worse. Sure, it should be spread more widely. - A question that we address to everyone here, in Cuba: what is the secret of the Cuban phenomenon? Why are the Cubans so good and so talented? We want to be like you too. - I believe, the first secret is our temperament. It is derived from the mixture of African and Spanish cultures. From Spain we obtained its grace, its dances, its joy. From Africa – its heat, its drums, its fortitude. Ability not to get tired of dancing. All that is reflected, by the way, in our music. There must be good musicians in Europe too, because for me Europe represents a great culture. Maybe the reason is in a temperament indeed – Europe is way colder. Europeans have another mode of being, another mode of sharing, and another way
of projecting themselves. We live on the land of a hot son, “candela”, which always maintains life in us. After three months in Cuba a European is changed by the heat, by the traditions, and by the mode of life. And after three years he is an irrevocable Cuban! - Thank you very much, Señor Valdes. From now on we’ll wait for your tours in our country. - Thank you for the established connection with Ukraine. We will come to your country with pleasure. And maybe we even will make another fusion – of Ukrainian and Cuban music!
Ivan Obregon: - Buenas noches! What’s your name and what’s the story of your relations with Diakara? - My name is Ivan Obregon, and I have been working with maestro Oscar Valdes for eight years already, right after having served in the army. First I was only a group musician, but in 2000 Oscar asked me if I wanted the group to play some of my stuff. I agreed, it was good, and thus, today I am what I am – a musical director of the group “Diakara”. - Is that you who writes arrangements? - Yes, for example the themes from today’s concert (we talk after the concert at Jazz Café, Vedado). Although everybody participates in arrangements, and eventually it turns into a collective creativity process. I write music, Oscar arranges rhythms – the most important component of our music. We play also the pieces of our pianist and drummer. - All of you are so young! How can you compete with such a number of Cuban talents being so young? - In fact, I believe, that the source of the Cuban talents is inexhaustible. So many top-notch musicians have departed all over the world, but our school produces more and more talents. Those who’ve gone are Arturo Sandoval, Paquito d’Rivera,
D I A K A R A
Oriente Lopez (he worked with Silvio), Gonzalito Rubalcaba, but their absence is virtually unnoticeable. Tremendous pianists, saxophonists and arrangers emerge constantly. And it looks so natural! - Why? What is the secret? - I wouldn’t know how to explain it well to you. They study at school. The school itself is no secret. It is a part of a wonderful Cuban education that produces excellent professionals. A graduate of a Cuban musical school is ready to work with any style! Any! Both with symphonic and popular music. But there are also musicians who did not study at schools! For example, Polo Montañez. I am amazed, how a peasant could write those songs with that music, those texts! So, although the school helps greatly, it’s not everything. There is something else, very natural, purely Cuban. To make it brief, it is historical. - What are the technical peculiarities of Diakara’s music? - The music of Diakara is based on percussion. We have arrangements where bass simply repeats the rhythm of batá. I think that batá are the best drums in the world. They have music of their own. There are three percussionists in the group. It’s the amalgam of their rhythms that generates our music. Of course, we do other things too, but our musical identity is defined by this rhythmic feeling: fusion of the bata music with the music of other instruments. It works well, people like it. - The arrangements of “Manteca”, “Bacalao con pan” that I heard today, stunned me. Aren’t you afraid to work with the material of the monster groups? - Yes, I’m afraid. But I do it with a great respect to the predecessors. My destiny gave me luck to work with Oscar, who, by the way, in “Irakere” was a vocal classic too. To achieve the level of “Irakere” – the greatest Cuban group, to my mind, – is impossible. But I regard this as just one of the versions of these great themes. And, by the way, so far we’ve been having only a positive critique of these arrangements. We defend our right to our vision, expressing great respect to traditions at the same time. - Yes, sure, especially given that the arrangements are simply fantastic! Cuban music is fantastic. - Yes, but they sound so modern. Hence, the following question: how would you define the music
C U B A
that is being sold today under the label of “timba”? - I think that timba does not yet have the same perception in the world that it has in Cuba. In general, this concept is not yet understood well. Timba was born with “Irakere”. This is not a genre. This is the way Cuban musicians project their music. This is a different energy. A power that allows the Cuban musicians to put into their instruments something that other musicians cannot. Some would find timba too powerful, some would not share its strong drive demanded by dancers, some would feel tired of it, some would not understand its powerful “metaleria”. Outside of Cuba this music is not promoted well. I’ve spent three months in Canada now, and I saw that mainly the music of Buena Vista is sold in the shops. It’s simpler, lighter. Although welldone timba is liked as well. If it is broadcast more, the people will appreciate it. In Cuba all the groups are playing timba today. Even “Van Van”, though in their own manner. And people like it.
Jorge Luis: - Hola! Tell us, how you came to Diakara. - Hola. My name is Jorge Luis. I’m the eldest grandson of Oscar Valdes. Our family is very musical. I’m also a nephew of Oscarito Valdes, great Cuban percussionist. Also very famous are Diego Valdes, Vicentico Valdes (he already passed away). “Irakere”’s percussionist Alfonso (passed away too). My musical inclination started getting formed after 18 years, when I finished my schooling and got interested in jazz. First I played tumbadora, later preferred bongo. Maybe it’s not the most noticeable drum, but it’s the kind of instrument with the reduction of which the music itself reduces too. Do you understand? Sometimes there’s no one to play cencerro, and all the batería loose sound. There’s nothing
insignificant. I think that bongo contributes much to an overall sound. I did not study at any special schools. My school has been my grandfather Oscar Valdes. That’s why I’m with Diakara now. - By the way, what does “diakara” mean? - In African language it refers to “new”. - Of all the wonderful Cuban percussionists who is your favorite (beside your grandfather)? - On bongo it’s Anthony Garrillo, Eddy Palmieri’s percussionist. I’m amazed with his style. But I have a style of my own too. For example, that samba rhythm, which you heard in concert, was offered by me. I performed it in rehearsal, and the guys proposed to insert it into the arrangement. I like to evoke a sound from my small instrument, convincing people that bongo is not less significant than tumbadora. - How can one achieve such results at such a young age? - Yes, I’m only 24. Four to five hours of practice every day. I have a chance to be a real master by 30! - Can you introduce us the other members of the group who seem even younger than you? - Only the bassist is younger than me. He is 19 years old and my great friend. - What’s his name? - Eeeeh… I can’t recall! (laughs). So much work! We, Cubans, are accustomed to this: «Que bola! Que bola!» We even don’t call each other by names. What’s important is that he is a great talent (the name of this really talented bassist, who provoked loud applause during the concert, is Osmar). Osmar) He is of a small height, but of a big heart. And he plays bass-guitar wonderfully. - And the pianist? - The pianist, Jose, is a bit older than me, and he is, actually, a drummer! (!?!?!!) Yes, don’t be surprised. One day he sat at piano and stayed there. What helps him a lot is that he knows the technique of playing both instruments. Sometimes he plays piano like drums. Enormous talent! - Why are Cubans so talented? - Because we are born with it. We can spread it to others, as it happened in case of Seсor Kohno who is Japanese. Maybe he plays a bit differently than we do, but it does not matter. What matters is that we can share with what we receive by birth.
Oscar’s
octave
all photos by Angel S. Gonzalez Gonzalez
JORGE LUIS
photo: Angel S. Gonzalez Gonzalez
photo: Angel S. Gonzalez Gonzalez
HARUHIKO KOHNO
M. R. P.
M.R.P., the king of flow, has arrived with a great surprise: his debut album under the name of “KING OF FLOW” that will surely put you to dance with his individualistic rhythm “dance hallreggae”. This production, that will undoubtedly become the hit album of the summer, has the touch of Vladimir Dotel, producer of the popular band Los Ilegales.
“KING OF FLOW” - recorded in Spanish, French and Creole- comes from the multicultural upbringing of M.R.P. filling the demands for new rhythms that will astound audiences due to the dynamic force of its upbeat lyrics.
His first single “Hola Madam”, will capture audiences on the first listen because of its contagious rhythm and entertaining story line. His producers, Vladimir Dotel and Productions Vlaices, along with record label SONY BMG, are optimistic about this project, and are working on preparing the international release. Furthermore, the video for his first single “Hola Madam” is already in production, using the latest technology and filmed in an exclusive beach in Dominican Republic.
“KING OF FLOW” contains various fusions of reggae, hip-hop and dance hall, as heard in “Kin Kan”, “Tu Cuerpo”, “Don Billetón”, and “El Flow”, among others, with witty lyrics that reflex the warmth and atmosphere that can only be produced in the Caribbean. Rhythm and talent that conjugate in one of the best voices of our rhythms, with projection to the diverse social groups, without discriminating against age, race or sex.
M.R.P. was born in Haina, Dominican Republic, in 1979. When he was eight he moved to Haiti, his mother’s country, where he discovered his artistic talent.
At the age of ten he formed his own rap group initiating a career that would introduce him to other rhythms like reggae-monfung, a mixture of indigenous Haitian and Jamaican music.
Each step of his career was taken to get where he is today: the leader of a generation that wants to have fun, brake standards and go farther than imaginable.
R E G G A E T O N
MICHELLE’S REVIEW: Chapeando, Los Van Van much the same. It’s interesting to note that four of the songs were written by the new generation of vanvaneros, Samuel and Cucurucho each having authored two songs. Probably the most unexpected track on the CD is the song Te Recordaremos by Diego el Cigala. It’s a surprisingly successful blend of flamenco and salsa, and while it’s not likely to be a great dance hit, it does have its dance moments. With this CD we really get to see what Lele and Yeni are capable of, and they prove that Juan Formell knew what he was doing when he brought them into the orchestra. Anda Ven y Quiéreme has been a favorite among dancers for over a year now, but with Corazón, Lele proves that he has earned his place in Los Van Van.
I happened to be in Cuba at the time of the release and my first opportunity to listen to it came from a roadside quemador*. We asked to listen to the CD and a little abuela came out and produced a completely blank CD, which she put in the CD player. “You must have gotten the CDs mixed up”, we said when the first song started with the sounds of running water, birds and a little piano and flute. But after 50 seconds we heard the unmistakable sound of Robertón’s laughter and knew we’d found the right CD. This was followed by the first coro of the song: Oro mi mama Yocoda, oro mi from a song for Yemayá, which reflects the idea that Formell had for the CD. Fortunately I was able to find the real CD at the airport on my way back to Sweden. The CD cover itself is almost reason enough to buy the CD. In addition to some beautiful artwork, there are 3 short articles written about the group with quite a bit of Afro-Cuban religious reference, one written by Juan Formell himself explaining his ideas about the CD. The cover also contains the lyrics and coros, although not the guías.If the CD has any weakness it would be that three of the biggest dance hits on the CD, Agua, Anda Ven y Quiéreme and Ven, Ven, Ven, have been floating around for over a year, so they don’t feel like “new” songs. On the other hand, the versions on Chapeando are slightly different from the “demo” versions. Most obvious is that Anda Ven y Quiéreme is noticeably slower than the demo version. The other songs have slightly different guías but are on the whole
I dance rueda with a group of friends twice a week and everyone sings along with certain lines: ¡Ese corazón me lo llevo yo! ¡Todos que quieren Van Van con las manos pa’cielo! and we all raise our hands in the rueda. It passes the Swedish Rueda test with high marks. As for Yeni’s two songs, the men are all raving about how sexy her voice is. Despues de Todo seems to start out slowly because the cuerpo has 3 verses, but enjoy the lyrics and never fear, you have to wait a bit, but the hardcore section starts up at about 4 minutes: la que pasó pasó está bueno ya, no comentes más ya pasó. Nada also has really amusing lyrics, from a woman’s point of view, but due to its cha-cha-fusion feel (there’s even a rap section!) it may not be as big among dancers as some of the other songs. Personally, I love it! Ayer por la mañana, dijiste que más tarde..., después llegó la noche y resultó... y como siempre tú... nada. Listen to the way she
builds up the intensity in her voice, as if you can feel her anger building up. And then we have Mayito and Robertón who have now become the “old timers” among the singers. In addition to Agua, which we all know by heart, Mayito sings No Pides mas Presta’o and El Montuno, and he sings the heck out of them. All the songs are excellent, but I especially love El Montuno which sort of describes how Juan Formell was able to revitalize popular Cuban dance music. Just listen to Mayito’s guías! He swept the Timba.com awards in the lead singer category, and when you listen to these songs you can see why. And check out the solos by Cucurucho and Samuel!Robertón has the honor of singing the title track, to which his deep voice is perfectly suited. In addition he sings Ven, Ven, Ven and La Buena, which have been around for a while and are already classics. But I think my favorite of Robertón’s songs on this CD is Por Qué no Te Enamoras, originally a Candido Fabré song. With the exception of the beginning of Chapeando, Te Recordaremos and Nada, the CD is packed with killer dance songs. As always Los Van Van combines faster and slower songs, and as with older songs such as De Igual a Igual and Llévala a Tu Vacilón, even the slower songs have such an intensity that they give the dancers the adrenaline kick they are seeking. You can really get your groove on. In closing I can only say that as I predicted last March, this CD was indeed nominated for a Grammy! * Slang term for the vendors of illegal copies that are unfortunately so prevalent in Cuba
album’s songs & vocals: Chapeando (Juan Formell)Robertón Corazón (Samuel Formell)Lele Después de todo (Juan Formell)Yeni Mayito No pides mas presta’o (Juan Formell) Por qué no te enamoras (Candido Fabré)Robertón El Cigala Te recordaremos (Diego el Cigala) Anda ven y quiéreme (Juan Formell)Lele Nada (Juan Formell)Yeni La buena (Roberto Carlos Rodríguez y Robertón Jorge Díaz) Mayito Agua (Samuel Formell) Ven, ven, ven (Roberto Carlos Rodríguez y Jorge Díaz)Robertón El montuno (Juan Formell)Mayito Robertón Chapeando Repris (Juan Formell)
CHAYANNE
LATIN VIDEOS
“Torero” SONY MUSIC Very dynamic and colorful video. One of those that Chayanne shot in Buenos Aires. A lot of dances and a lot of Avenida Nueve de Julio.
INES LOS PAPdos Americas”
s “Entre la EGREM now that Did you k can shoot ns the Cuba eo clips? great vid of them, ne Here is o ticulated. o. r a ly r a le c l to but joyfu Laconic, ction of Good dire n. Ian Padro
LO E R
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SMART & HOT
PUPY PEDROSO
“De la timba a Pogolotti” EGREM Another great Cuban video of 2004. Enrique Garcia and Yamir Mayor Guzman chose noncolored origami-like manner, liked so much by Brasilian soap opera makers. Wide-frame. Terse, but classy.
CESARIA EVORA
“Sangue de Beirona” BMG Stunningly shot video, semi-darkness tones, on a high-quality film. Fragile and breathtaking.
hen w b e ase s pac “Tu G c . e p BM t’s th kee song o a t Th vide grea ous. d the h the geni ve an . wit h are ressi ages by t Bo y exp ing im oved Ver trast tely l con edia . e m Im ryon e ev
OUR PICKS GLORIA ESTEFAN
“No me dejes de querer” SONY MUSIC One of the best salsa video clips. Plenty of color, good dancers. Great view of “rueda”, shot from above.
LATIN STARS IN EUROPE SUMMER 2007 MAIKEL BLANCO Y SU SALSA MAYOR from June 28th to July 30th
JOSE LUIS CORTES Y NG LA BANDA from July 19th to August 8th
HAILA Y SU ORQUESTA from July 20th to August 12th
PABLO MILANES July
DAVID CALZADO Y LA CHARANGA HABANERA from July 9th to August 15th
CARIBE GIRLS from July 21th to August 30th
GENTE DE ZONA from July 7th to August 5th
MANOLIN EL MEDICO DE LA SALSA August
ARLENYS RODRIGUEZ summer
All dates are subject to changes
T O U R S
S C H E D U L E
GOLDEN GRAIN THE FIRST UKRAINIAN GRANULATED COFFEE
MUSIC
photo: Angel S. Gonzalez Gonzalez
in LATIN
DAVID CALZADO
La Charanga Habanera