A Good Listen
Music reviewer, Dr. Yvonne Kendall
Dr. Yvonne Kendall is Associate Professor of Music at
UHD. She has a doctorate from Stanford University
and a Master’s degree in Flute
Performance from the New England Conservatory of Music. An active performer, Dr.
Kendall has written for Cues,
the Houston Grand Opera Magazine; Mercury Baroque, the Houston Bach
Society, and has a travel series for the UHD DATELINE. Her poetry has
been published in the Bayou Review.
She teaches music of both Western and non-Western cultures at UHD.
Various Artists. Buena Vista Social Club. World Circuit/Nonesuch
79478-2, also released as a film
This wonderful recording
is a perfect summer listen. Conceived by eclectic guitarist/producer Ry Cooder, this CD features
Cuban musicians playing traditional popular music of this island
nation. Many of these musicians are masters of these arts that
flourished prior to 1950. Featuring rhythms that are, at times, quick
and lively, while at other times, slow and sensuous, the
ensemble of singers, guitars, piano, trumpet and percussion weaves a
seductive spell.
There are four songs on
this recording, which is lucky for me because it’s my favorite Cuban style. Perhaps I like
it because it contains elements of many styles I’ve
loved for a long time. It originates in the sixteenth century, the era I research; comes from the Spanish
cancion,
some of which I have performed; has rhythms from Africa, my ethnic
heritage; uses instruments from the Americas, my home; and it uses humor
accompanied by a compelling rhythm. A fantastic son on this recording is “El cuarto del Tula.” It is full of fun, with double
entendres about a woman who is so “hot” that
her room catches on fire.
The group calls on its members to go up and put out her fire.
Originating in the nineteenth century, the danzón is Cuban ballroom
dance music. It is considered music (and dance) of brilliant
virtuosity and features a theme that recurs. The two danzóns on this recording, “Pueblo nuevo” and “Buena
Vista Social Club,”
feature the amazing 70-something
(at the time of the recording) pianist Rubén González.
My favorite is “
Pueblo”
because it breaks into a mambo in the middle. In this
section you can hear quotes of pop songs (e.g. “Stormy
Weather”)
complex Jazz-influenced chords,
and a bit of Liszt. The solos for trumpet (Manuel Mirabal)
and bass (Orlando López) add a touch of whimsy to
the mix. Then, just as expected, it comes to a close with one of the
standard danzón
endings. You will never be able to believe that González
had given up playing for years because of arthritis. I’d like
to have that kind of arthritis.
While the bolero was made
famous by French composer Maurice Ravel, he only began to approach the real
deal. The true bolero is
a romantic love song, with a bit of melancholy attached. Of the three
boleros on this CD, I
find ‘Veinte años
” most
interesting. Written by Maria Teresa Vera, it is
performed by Omara Portuondo,
who was once part of an all-woman group called Orquesta
Anacaona. Ms. Portuondo
is not only featured but directed the performance of this track.
A guajira
is sometimes known as the Cuban “blues” but, as the liner notes say,
it has clear Spanish influences. As is typical for this style, “El carretero” is accompanied
by guitars and their relatives - the oud (from the Middle East) and the tres (a guitar
variant with additional strings), plus the güiro, drums and other
percussion. This guajira, which belongs to the punto fijo
(fixed point) category is composed by the
Guillermo Portabales, highly respected for his
style that became know as “salon” guajira.
Punto fijo
style features ostinato (repetitive) rhythms
whose phrases don’t necessarily match the text
phrases.
There are other delights on this recording, including a criolla, which reminds me of
“In the good old summertime,’ its
nineteenth-century counterpart in the U.S. Interestingly,
the criolla is of Peruvian descent.
There are also pieces reminiscent of ragtime and other older U.S. styles
of music.
Overall, this CD has charm, grace, and a bit of hoochie
coochie. My kind of music. As Cooder says, “In Cuba the music flows
like a river.” Go with the flow.
For further listening: Try any of the “Buena Vista
Social Club Presents” recordings from
Elektra/Asylum or Rhythms del mundo, Universal/Hip-O 000789102. The
profits from this last go to a nonprofit organization (Artists’ Project Earth)
for
disaster relief.
For further reading on Cuban music:
Manuel, Peter. “The Guajira between Cuba and Spain: A Study in
Continuity and Change.” Latin
American Music Review XXV/2, 2004, 137-62.
Manuel, Peter, with Kenneth Bilby and Michael Largey. Caribbean Currents: Caribbean
Music from Rumba to Reggae. Philadelphia: Temple University Press, 2006. ISBN 1-59213-463-7.
Morales, Ed (2003). The Latin Beat. Da Capo
Press. ISBN 0-306-81018-2.
Orovio, Helio. Diccionario de la Música Cubana. Havana: Editorial Letras
Cubanas, 1981. ISBN 959-10-0048-0. |
