"The Cuban Son at it´s best"
You can't experience the Afro Cuban All Stars "Live in Japan" and not pause to wonder at the enormous force and artistic talent of Juan de Marcos González, its music director. He's an artist at the heart of Cuban musical expression and at the pinnacle of his vocation as a musician, writer, director and producer. He is no less than a cultural ambassador and icon of present day Cuba. Casting aside political ideology, he has undeniably helped to cultivate a re-emergence of Cuban culture that deserves nothing less than a Nobel Peace prize. Ok, so he might have to share it; so what.
The world's appetite for all things "Cuban" is rooted first and foremost in its musical heritage even as its legendary tobacco looms near. Unmistakably, De Marcos delivers this rich heritage to the world by meticulously assembling many of Cuba's musical legends and today's prominent musicians in spite of history, politics or ideological indoctrination. He remains a steadfast envoy of authentic Cuban music forms, the wave on which all music structured around its patented rhythms rides.
Perhaps turning to his tenure as a former instructor or as a member of Sierra Maestra, De Marcos demonstrates a penchant for injecting instructive doses of Cuban musical diversity and vitality. Part of his special touch lies in developing and showcasing young talent matched with the impeccable credentials of Cuba's music legends. He also offers his dancing and listening audiences Cuban classics mixed with newly pressed compositions. On this CD alone, De Marcos penned four original songs including the reprised and diplomatically appealing timba-son "Reconciliación," an appeal to Cubans to put aside their political differences and animosity for the good of Cuba. In "Distinto, Diferente" De Marcos reproves the many "imitators" of Cuban son for losing its sublime essence and vitality by rushing too quickly to the mambo and "coro or "estribillo" (refrain) sections of the arrangements. So many artists of the "salsa romántica" era became unwitting collaborators of the "rush" De Marcos decries and are now subsequently forgotten as if they never existed. There was little to distinguish one track or artist from another. Too much music of that era lacked originality, vitality and heart. It became dull and lost its sincerity, the essence of Cuban music. What salsa music lost in the 1980s, the Buena Vista Social Club abundantly made up in the 1990s with a return to sincerity and vitality, here Juan de Marcos and his fellow musicians left an indelible mark.
The significance of De Marcos' music direction is that he deliberately clears away the plaque and artifice that unwittingly characterized commercial salsa and which greatly contributed to the listener's confusion and numbing of taste and sensibility. He wisely lets the music unfold and marinate its distinct and complex rhythms so that his dancer's eager feet and hips are energized and their souls take flight.
It merits pointing out how seamlessly the 18-member jazz band, collectively known as the Afro Cuban All Stars, moves between Cuban music forms and periods. The CD's opening track "Tanga" demonstrates the group's mastery of Afro-Cuban jazz and offers an opportunity to listen to the promising genius of David Alfaro on piano. The multiple musical transitions in "Habana Del Este" are executed with agility and genuine excitement. A fan of son montuno, two favorites of mine are "Los Sitio Asere" and "Canallón", songs that can be traced directly to the bands of Arsenio Rodríguez and Félix Chappotín. If you wish to be swept away by the entrancing keyboard sounds of lead pianist David Alfaro followed by a sublime and hypnotic 3/2 clave, turn to "Amor Verdadero." There is a fair sampling of the Cuban musical past and present. There is enough history and energy contained in this CD to satisfy the calm listener and the eager dancer. I am especially impressed by the energetic and dynamic discourse of Luis Frank Arias' vocals. In short, this CD addition is a great chapter in what is unquestionably one of the most prolific periods of Cuban music. I urge those considering this CD to immediately add it to their collection and be especially thrilled with the bonus DVD of their live performance in Japan, as show below.
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1.- Tangá
2.- Distinto, diferente
3.- Amor verdadero
4.- Habana del Este
5.- Cada vez que te veo
6.- Los Sitios, asere
7.- Reconciliación
8.- Canallón
9.- El Son de Baloy
10.- Los tamalitos de Olga
11.- María Caracoles
12.- Chán - Chán
Musicians include
* Ricardo "Tico" Martínez - Bongoes
* Rolando "El niño mentiras" Salgado - Congas
* Amadito Valdés - Timbales
* Ricardo Muñóz - Baby Bass
* David Alfaro - Piano
* Daniel "El Gordo" Ramos - Trumpet
* Yanko Pisaco - Trumpet
* Yaure Muñíz - Trumpet
* Alberto "Molote" Martínez - Trombone
*Antonio Leal - Trombone
* Raúl Gutiérrez - Baritone & tenor sax
* Polo Tamayo - Flute
* Teresita García Caturla - Lead singer, cuban percussion
and chorus
* Luis Frank "El Macri" Arias - Lead singer, cuban percussion
and chorus
* Félix Baloy - Lead singer, cuban percussion
and chorus
* Manuel "Puntillita" Licea - Lead singer, cuban percussion
and chorus
* Gliceria Abreu - Stage Manager and cuban percussion
* Juan de Marcos González - Band Leader, Tres
and cuban percussion
Juan de Marcos González is one of the most important figures in Cuban music today. He has a mission to show the world the wealth, diversity and vitality of Cuban music. His work with the Afrocuban All Stars, The Buena Vista Social Club, Rubén González, Ibrahím Ferrer, Sierra Maestra and others has made an extraordinary contribution to raising the profile of Cuban music throughout the world. However, neither his name nor his crucial contribution is well known to the general public and he remains something of an unsung hero on Cuban music.
Afrocuban All Stars live in Japan Online
Qué Tengo Pa´Tí
2012
