Adalberto y Su Son- Gozando En La Habana

The man and his band have done it again, and they just keep doing it! This is album 20-something and he still delivers the smooth, instantly loveable and memorable Son that he is renowned for. Will this man ever stop?

It's like he only has to breathe to create a new theme as his sound is so effortless, and distinctive and this release marks 35 years of continued success for EL Caballero de Son from Camaguey. Along with the 'oldies' such as Cesar Pedroso and Juan Formell who have been around forever, he manages to keep the sound popular, universal and modern.
Two new hits 'Gozando En La Habana' and 'Amor de Mentira' kicks off the albums and are currently being worshiped on their home turf, complete with super-modern videos- how does he do it?

Gozando En La Habana (on telly)


As testament to his longivity and legendary status, 2 pupurris are included on the album- one dedicated to the 90s and the second, later on to the 80s (for those who remember!)They slip from one song into the next effortlessly and remind of the sheer number of hits they have had.

As another blast from the past (and maybe something for the other oldies!), there is a new, delicious version of the classic 'Camina y Prende El Fogon', made famous by Conjunto Chappottin.
See below for the original :-)


The rest of the album delivers more- It's reliable Adalberto, maintaining the strength of lonely Son in a world of timba and reggaeton...

BUY IT!!

Manolito y Su Trabuco- Control (review) 2008

We waited and waited and waited for this year’s offering from the fantastic Manolito y Su Trabuco- ready for the meaty tracks that explode as soon as your finger hits the play button, and we were....well,....disappointed.
Don’t get me wrong. This is not a bad album and I still consider the group the greatest talent in Cuba today but this is just not what we expected.

The album slides towards our ears gently with ‘Relampago’, one of the numerous tracks penned by Amaray, now the band’s longest running member. We pass onto ‘Loco Por Tus Besos’ which is another relaxed, romantic tune complete with guitar and teclado sounds that are reminiscent of Manolito from the 90s. The same guitar introduces track 3 and El Nor’s debut recording with the group. This new singer straight from Maikel Blanco’s Salsa Mayor has a distinctive timbre and this track doesn’t do his voice justice. Perhaps this one was meant for his predecessor ‘El Indio’.

‘La Habana Me Llama’ is the super-popular track currently being blasted through the club sound systems of Havana and for a good reason- the arrangements are fab and the track builds, dies, builds and climaxes into the catchy coro that you will find yourself singing when you least expect it!

‘Collecionista de Canciones’ and ‘Corazon’ are more romantic Amaray offerings- not bad but not exactly slamming stuff.

Mayami’s bassy, rough vocals sex it up a little with ‘Muevete’ which grooves and gives us some of the Manolito we know and love and is one of the best tracks on the album Though some say that Mayami lacks in the vocal department, his talents lie elsewhere (lol) and brings something slightly raw to the album.

‘Niebla de Riachuelo’ features Andy Montanez on vocals and is more romantic stuff, then ‘Guines Que Le Pasa A Tata’ is another guest track by the legend Tata Guines who died earlier this year. Though good, why are these tracks on the album?
‘Popurri’ winds up several classic tracks together, but I can’t help feeling that the originals are far, far better and the salsaton ‘Control’ is more Manolito style but sadly is a bow to the reggaeton craze.

I’m disappointed. What happened guys? There are a few good tracks on the album, but as I said before, this is not the Manolito y Su Trabuco we know and love. Maybe too much writing opportunity has been given to Amaray (who is ever-fond of romantica) or maybe they are losing their recording momentum...They still ROCK live and it’s definitely worth seeing them as much as possible in Havana, but this recording is almost like a different band, a different genre, a different time.

Buy it, but don’t expect it to be like the other albums.

Tirso Duarte- Fin del Juego, (review)

Tirso Duarte is the most underestimated talent in modern Cuban music and has given us another opportunity to absorb his distinctive style in his latest release ‘Fin Del Juego’ (Envidia 7193)

We kick off with ‘La Madre Maria’- a catchy opening for the beginning of an album that demonstrates the heavy influence that reggaeton/cubatón will play throughout this release. His unique piano style emerges peeps around the corner and reminds us that not all may be lost in the reggaeton darkness- we have a master before us!

‘Olvida La Pena’ is the second offering. This was a reggaeton hit in 2007 when he was an invitado for the original 0Kopia release and here it has been given a hint of timba which increases throughout the track. Writing credits name Mr Duarte so it’s unclear whether 0Kopia gave it the reggaeton touch, or via versa…”Timba con Aché”? Not quite convinced yet….

‘Fin del Juego’ is the title track and doesn’t fail to disappoint. It starts slow, reminiscent of Adalberto Alvarez or Pachito Alonso (both of whom he’s worked with). It’s slow, well arranged and has beautiful piano parts throughout. It’s also a track dense with so called ‘musical quotes’ and he borrows from Beny More’s ‘Como Fue’ and surprisingly, Dido’s hit ‘Thank You’. The track increases in intensity and develops almost angrily until the coros repeat 'Fin del juego' over and over.

‘Yo Soy Tu Papi’ could be taken straight from a Salsa Mayor release, or that’s how it feels. Maybe it’s the metales arrangement, the trombone style that is especially evident in this release. It’s medium-paced and grows on you with each listen. Turn it up!!! ‘La Niña se va, se va’. There is another interesting musical quote here, this time the theme from ‘Beverly Hills Cop’ in the horns. What has he been listening to lately?

‘Regalame Tu Silla’ was written by Alejandro Sanz, apparently a favourite of Tirso’s. Its rumba introduction gives way to light piano and the sweet voice of Iala Batule in the coro. The track remains like this: haunting and gentle and almost bare until almost 3 minutes through when it’s as if life takes hold, although there is only basic instrumentation until 4 minutes in when the metales come in and we glide away.

‘El Chino Chulo’ is cubatón/reggaeton done á la Tirso. The stepping bassline, electronic drum sounds and occasional rap sections are our link between timba and reggaeton: ‘Esto es timba con reggaeton’… We exit with a great conga/rumba influence and wish all cubaton could be like this!

‘La Cosa Mas Bella’ was written by Eros Ramazzotti and is another track that, once given a Tirso makeover is better than ever and probably the best track on the album. Keyboards, piano then trumpet lead us in to the tight, well-arranged love song. As usual, it breaks into stronger timba. It’s great, great, great and I just want to dance!!

‘El Asesino’ goes almost straight into vocal harmony as our intro. The shadow of reggaeton is again present and piano hiding behind the groove but remains one of the purer timba tracks of the album.

We go on to ‘Maldito Dolor’, which is a collaboration with the great José Luis Cortés of NG La Banda, who Tirso is currently working with, but surprisingly, doesn’t grab me much. That’s not to say it’s a bad track, but doesn’t seem a patch on his usual offerings.

The final track ‘Ceci’ is another track reminiscent of Salsa Mayor and was written by Iala Batule and is a good softer track to end with, especially with Tirso’s trademark racing piano.

The entire album proves what can be done with a drop of reggaeton influence, a huge bag of timba and a monton of talent.Add talented writers and musicans such as Osvaldo Huerta of Salsa Mayor, Pedro Pablo Gutierrez of CH and CF, Ciso Guanche of Adalberto (amongst others far too numerous to mention here) and Ariel Guillot Manzano of Issac Delgado and the Soneros All-Stars and you have a release that is a reflection of the times and one not to miss.
Click here to listen

© Carlota Witts

Elio Reve y Su Charangon- Fresquecito (review)

I’d heard it was good, but I didn’t count on just how good it could truly be! Fresquecito is the long awaited album from Elito Reve y Su Charangon which reinforces Elito’s rightful inheritance as son of the Godfather of Charangon. It’s infectious to the max: just you try hitting that stop button and see how you feel!

Reve has a great reputation and for a good reason. Many great artists have passed through the band over its 50 year history and I have a feeling they are about to burst back to new heights.

Already knowing the title track “Fresquecito” doesn’t help quell the addiction, and we continue through the rich incessant piano of Pachy Junior, violins from guest Irving Frontela of Los Van Van fame and even a surprise appearance from another Van Vanero: Roberton. The vocals of Dagoberto, El Sinsonte, Eric Broche and Lázaro Cuesta weave rich coros that won’t leave your head or feet for days and call to you in your sleep. (did I already say that I love this CD?)

Top tracks have to be El dinero, La Viuda, Ya No Te Doy Mas Na', El Jonron and A Sancochar Boniato but they all rock!

BUY IT BUY IT BUY IT

Tracks

1. Fresquecito
2. El teléfono

3. El dinero

4. El martes

4. La viuda

5. Ya no te doy mas na'

6. El jonron

7. Vamos a bailar Changüí

8. A sancochar boniato

9. No le pegues con el pie

10. La madrugada

Musicians:

Piano: Wilfredo A. Naranjo "Pachy Jr."

Bass: Aisar Hernández Segundo

Tres: Jorge Luis Vila

Timbales, Bata: Andy Fornet

Conga, Bata: Arian Chacón

Bongos, Cowbells, Bata: Ariel Hernández

Guiro: Maikel Díaz

Trombones: Eulices Benavides, Yamer Pérez, Orlando Montander

Vocals: Dagoberto Vázquez, Pascual Matos "El Sinsonte", Eric Broche, Lázaro Cuesta, Elito Revé, Jr.:

Los Ases de la Timba- Aqui Estan Los Ases (review)

Right from lift-off, you can just tell this is a release aching to be a classic.

This Envidia release bursts in with a simple piano tumbao and launches into Tirso, Mandy and Michel all taking turns at introducing themselves through the first track Aqui Estan, each making the track their own despite each artist being extremely distinct and well-known in the timba scene. You'd think that egos and timba wouldn't mix, but they just seem to blend into something that's (unbelievable) even better than each invdividually. It's the perfect intro track- we're pulled in, grabbed by the throat and the bass of Pedro Pablo holds the groove and begs us to dance.

The next track Se Que Vas a Cambiar is Mandy's, reminiscent of early Charanga Forever material but more polished with the piano more prominent. How is possible to be a medium tempo track and sound so smooth yet raw and energetic at the same time?

Then Michel takes his turn with Pa’Que Te Dure which actually feels quite tame compared to the rest of the tracks (tame as in slower and less raw as opposed to rubbish!)

Cuenta con Los Santos belongs to Tirso and he opens with his rumba call, and then we follow him as his voice rides the constant changes throughout- pausing and then racing away on this feisty track referencing Santeria and bobbing on that fantastic bassline and driving piano tumbao again. This has to be on the ultimate Timba album ever!....

From this point onwards, we're on fire. Mandy takes over again with Tu Tin de Suerte. This man's voice is pure sex!- my eardrums are in love!!!!He smolders then skips on the piano tumbao (what piano it is too) and claims the crown of 'Best Track on the album from Tirso'.

Los Aparencias Enganan is medium paced and features Michel smoking his own way through the track with a flawless delivery and hot timba!

Then Tirso steals the crown back and gives us Estoy Colao- a track of pure dance paradise. The arrangement is FANTASTIC, and he has every right to scream his own immense talent.... "quítate quítate quítate".Did I tell you to buy this yet? You have to!!!

Soy Tu Pesadilla: Mandy is back again! We're heavy on the metales, heavy on the vocals and heavy on the talent.We start gently and get angrier, heavier and more intense as we go on. This is Mandy at his best.

Our last two tracks feature Michel first with Echale.com, and Tirso with La VecinaMichel puts in his last appearance with Echale.com, both of which allow us flutter down from our Timba high to the silence we know will make us start all over again.
And this is the album that it's really possible to do it with. There are no dud tracks, no skipping required. And definitely not for the faint-hearted timba fan! Buy it now and get lost in the perfect of it all. Don't say I didn't warn you!!

To listen, click here

Musicians:
Pedro Pablo- Bass
Karina Gutiérrez- Piano
Jorge Torres “Papiosko”- Conga
Yerisloy Serrano- Timbales
Carlos Amores- Güiro
Frank Padrón- Trumpet
Jesus Angel Chappottín- Trumpet
Cecilio O. Valido- Sax
Mario “Mayito” Gavilan, Wilmer “El Fine” Muñoz- Coro
Armando “Mandy” Cantero, Tirso Duarte, Michel Maza- Vocals

Maikel Blanco y Su Salsa Mayor- Live desde La Casa de la Musica (review)

“They came, they played, the conquered”

Sounds like a cliché, but even this is an understatement compared the past 6 months in the life of this fresh salsa/timba band from Havana. Although Salsa Mayor has quickly become firm favorites with DJs throughout Europe, this summer hailed their first European tour and now the release of their first Live CD.

I’m not normally a fan of live CDs, but my resistance was soon melted away as soon as the opening track booms through- just like being back in Rome- the tension, the anticipation and the feeling that this could be history in the making.

We dive straight into the epic “La Masa”, the track which hooked me onto them in the first place and whose energy never fails to disappoint- HEAVEN FOR DANCERS!!
The distinctive voice of Norisley (often compared to Mandy Cantero, but with his own bone-stirring timbre) is perfect for live performances. As the CD progresses, Ricardo and Norbert each take their turns and proclaim their virtues. Unlike the new incarnations of Charanga Habanera, Maykel has recruited on the basis of talent, and it shows. Great vocals, great musicians, great arrangements- you can’t fault them.

“Esto Esta” was another of the instant DJ hit, originally from the “Recoge y Vete” release (as are several of the tracks) and draws the most comparison with Los Van Van. Despite this, the band already has their own recognisable ‘sello’ which keeps us dancing throughout.

The two tracks that aren’t on previous recordings “La Masa” and “Control” tie the whole disc together- old, familliar and new!

Maykel Blanco has been making music for what feels like forever (and he’s still only just into his late 20s!) and previous tracks with his old band ‘La Suprema Ley’ are introduced in Popurri form. It feels like a greatest hits album, or better still, a “This is us. Take us or leave us!” Our answer? I’ll take it, just give me more!!!!!!!

So if you didn’t make the tour, can’t make it to Havana, or just want to hear it all again-listen then BUY IT.

(DJs- buy Recoge y Vete if you haven’t already I promise, the WILL dance)

Here's the vid for Esto Esta for a little taster.