Twenty years before Ry Cooder arrived in Columbus plan to discover Cuban music (be refreshed, the truth), something interesting happened in New York. In 1974, a group of musicians led by the brothers Andy and Jerry Gonzalez started well in guapachoso plan, organize downloads for personal use, like a rubber ball Caimanera or spontaneous football these binges are organized on the beaches Rio. The issue was a good time, free from the shackles of the participating orchestras where these instruments and sound so delicious. Pure buddies.
This improvisation begins to more seriously when they received an invitation to give several concerts at Wesleyan University, that it is in Connecticut. To get out of joint called Anabacoa decide (taking the name of an old are Arsenio Rodriguez parent of Latin music we hear today), are presented with remarkable success, word of mouth starts, add more musicians and that's when they realize that the rumba was not confined to weekends and Caimanera of buddies. René Lopez, singer and musicologist, took the baton of the group and decides to christen him with a long name that almost nothing was soon to enter the annals of Latin music
the · Grupo Folklorico and Experimental Nuevayorquino · .
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| The Group at a concert in Berlin in 2008 |
The whole premise was to maintain that freedom, shun corsets, fashions, and assume the Cuban musical roots and Spice it of modernity, those roots that are the same as Cooder discovered several years later.
could fill lines and lines on the subject, but there is much literature on the internet and César Miguel Rondón devoted several pages of his Book of the sauce to explain this phenomenon better than I could and I do not plan to be repeating phrases. This first disc
Group Concepts in Unity, was missing the map from the late 70's until 1994, when the legendary Salsoul Records , or who stayed with her, rather, decided to do a reissue on CD. Both had read about this myth that only saw him in Caracas I bought it immediately
, I jumped several red lights to get home on time and listen as soon as possible. Great
initial disappointment, I must admit.
Before pointing missiles or hire the assassins, who know them, I will explain with a very direct statement: it is another thing I expected.
I expected something more modern, a twist to the sound newyork a heavy roll in which modernity was as palpable as a good slap given, some arrangements with them to leave the stick and Alzheimer Palmieri and Barretto with walker and dentures.
I expected a good sheath.
So when I go and squeeze play, and leave the voice of the great Virgilio Martí singing Cuba linda, I saw nothing experimental anywhere, or at least that's what I appreciated at first. Folk itself was, and much, too Cuban for my taste, though. Too santero, too (because several issues are the folklore of Santeria, which has always seemed slightly bored, but has been so important for the development of Caribbean music as Gregorian chants were for Renaissance music and all that came later.) More so when most of the musicians in the salsa expression of the 70 were Puerto Rican or Nuyorican and feeling, they will pardon me, is different. And that is one of the most salient characteristic of the sauce: that music is felt and expressed differently.
I also noticed that, first, César Miguel hiciese distinctions between the rural are sounded in the Caribbean until the sauce gave it that hue distinctly urban, and then openly aupase disk is grounded precisely in this rurality and the sauce sounded alien to both defended tooth and nail. I think it contradicted. And I keep thinking.
Nothing. The album I heard a couple more times and put him in the chest of rarities that are not re-review.
few weeks ago, thanks to the vagaries of this blog, checking my records appeared again and gave him another chance: this time came out better off.
I seem to be as momentous as he is painted on all sides, I still feel a bit overrated, but that does not mean that it is dispensable. For nothing. Because it has several things going for it, and the first is that it has aged very well. Let's see, as well as productions of Buena Vista Social Club sounds like old, because it sounds old Benny Moré and Ignacio Piñeiro even older and National Septet (And are great all eye), this album sounds too nuevayorquinos of yesteryear, but has some virtues that can not fail to emphasize: first, the enormous and brilliant rhythmic battery that supports the structure of songs, composed in several tracks by conga, second (a type of conga), fifth, drums, bongos and timbales. And others bata drums. and say, aha and what . Right. Right now, hear these drums in any recording is almost normal, but in 1975 were few and often leaving three ceremonial leather scene. Let alone a recording studio. On the other hand, percussion the sauce is usually made by the double slash and bongos, so having more skins sounding remarkably rich.
Another of its virtues are the singers: Virgilio Martí, that sonero rebel who never married the music industry and so few of us know him, in Cuba boasts a beautiful friendly song on that island, leaving aside the political issue, while in Iyá modupué succeeds in its efforts to show that folk syncretism that we have seen only the façade. Another voice is that of Heny Alvarez, who sings with the raspy banter Carmen and Dad and Mom , a sovereign that is a song guaguancó to life. Also Willie García-husband at the time of La Lupe and causes, according to a biography, all sorrows and all the torments suffered by the woman in the 70 - Chocolate's guajira playing, singing and asoyín Anabacoa . And other issues involved in Victor Montañez and Frankie Rodriguez.
But the greatest virtue lies with the instrumentalists. I will only mention them because they are many, but most will sound familiar: Andy Gonzalez (bass), the Brazilian Jose Rodrigues (trombone), Reynaldo Jorge (trombone), Gonzalo Fernandez (saxophone and flute), Alfredo chocolate Armenteros (trumpet ) Oscar Hernandez (piano), Nelson Gonzalez (three guitar), Frankie Rodriguez (congas and okónkolo), Milton Cardona (second, fifth and Itótele), Jerry Gonzalez (fifth), Gene Golden (bass and iyá), Manny Oquendo (timbales and bongo), Ben Taylor (Atcher and shekere), Victor Montañez (follower), Marcial Reyes (Lead), Jaime Flores (gourd) and Francisco Martinez (harmonica). Such a meeting, all tucked into the CBS studios in Rockefeller Center and recording in one take (because almost all the songs came to the first and the disc was made in just two days: 7 and 10 April of that year ) transmits a very special energy. Because it is a fully recorded studio work live.
As once.
not expect such harsh New York salsa sound on this album. Neither these constraints neighborhood by its singers. The download is what makes the disc and its rationale. Cuba and its music is the sight.
why it sounds so much like Ry Cooder, only twenty-some years earlier.
The disc is out of print, so it does not appear in Spotify or Rhapsody, but it still falls short in physical form online at Amazon for example. If you know who has the rights of Salsoul Records, call him a scandal and arm them for not having returned to take for sale.
suppose that due to the success of the Buena Vista ... collection, those of GFYEN decided to meet late afternoon and arrived to perform at various festivals with very good reception, though.
There are several of their videos on youtube, for anyone who is interested in listening.
could fill lines and lines on the subject, but there is much literature on the internet and César Miguel Rondón devoted several pages of his Book of the sauce to explain this phenomenon better than I could and I do not plan to be repeating phrases. This first disc
Group Concepts in Unity, was missing the map from the late 70's until 1994, when the legendary Salsoul Records , or who stayed with her, rather, decided to do a reissue on CD. Both had read about this myth that only saw him in Caracas I bought it immediately
, I jumped several red lights to get home on time and listen as soon as possible. Great
initial disappointment, I must admit.
Before pointing missiles or hire the assassins, who know them, I will explain with a very direct statement: it is another thing I expected.
I expected something more modern, a twist to the sound newyork a heavy roll in which modernity was as palpable as a good slap given, some arrangements with them to leave the stick and Alzheimer Palmieri and Barretto with walker and dentures.
I expected a good sheath.
So when I go and squeeze play, and leave the voice of the great Virgilio Martí singing Cuba linda, I saw nothing experimental anywhere, or at least that's what I appreciated at first. Folk itself was, and much, too Cuban for my taste, though. Too santero, too (because several issues are the folklore of Santeria, which has always seemed slightly bored, but has been so important for the development of Caribbean music as Gregorian chants were for Renaissance music and all that came later.) More so when most of the musicians in the salsa expression of the 70 were Puerto Rican or Nuyorican and feeling, they will pardon me, is different. And that is one of the most salient characteristic of the sauce: that music is felt and expressed differently.
I also noticed that, first, César Miguel hiciese distinctions between the rural are sounded in the Caribbean until the sauce gave it that hue distinctly urban, and then openly aupase disk is grounded precisely in this rurality and the sauce sounded alien to both defended tooth and nail. I think it contradicted. And I keep thinking.
Nothing. The album I heard a couple more times and put him in the chest of rarities that are not re-review.
few weeks ago, thanks to the vagaries of this blog, checking my records appeared again and gave him another chance: this time came out better off.
I seem to be as momentous as he is painted on all sides, I still feel a bit overrated, but that does not mean that it is dispensable. For nothing. Because it has several things going for it, and the first is that it has aged very well. Let's see, as well as productions of Buena Vista Social Club sounds like old, because it sounds old Benny Moré and Ignacio Piñeiro even older and National Septet (And are great all eye), this album sounds too nuevayorquinos of yesteryear, but has some virtues that can not fail to emphasize: first, the enormous and brilliant rhythmic battery that supports the structure of songs, composed in several tracks by conga, second (a type of conga), fifth, drums, bongos and timbales. And others bata drums. and say, aha and what . Right. Right now, hear these drums in any recording is almost normal, but in 1975 were few and often leaving three ceremonial leather scene. Let alone a recording studio. On the other hand, percussion the sauce is usually made by the double slash and bongos, so having more skins sounding remarkably rich.
Another of its virtues are the singers: Virgilio Martí, that sonero rebel who never married the music industry and so few of us know him, in Cuba boasts a beautiful friendly song on that island, leaving aside the political issue, while in Iyá modupué succeeds in its efforts to show that folk syncretism that we have seen only the façade. Another voice is that of Heny Alvarez, who sings with the raspy banter Carmen and Dad and Mom , a sovereign that is a song guaguancó to life. Also Willie García-husband at the time of La Lupe and causes, according to a biography, all sorrows and all the torments suffered by the woman in the 70 - Chocolate's guajira playing, singing and asoyín Anabacoa . And other issues involved in Victor Montañez and Frankie Rodriguez.
But the greatest virtue lies with the instrumentalists. I will only mention them because they are many, but most will sound familiar: Andy Gonzalez (bass), the Brazilian Jose Rodrigues (trombone), Reynaldo Jorge (trombone), Gonzalo Fernandez (saxophone and flute), Alfredo chocolate Armenteros (trumpet ) Oscar Hernandez (piano), Nelson Gonzalez (three guitar), Frankie Rodriguez (congas and okónkolo), Milton Cardona (second, fifth and Itótele), Jerry Gonzalez (fifth), Gene Golden (bass and iyá), Manny Oquendo (timbales and bongo), Ben Taylor (Atcher and shekere), Victor Montañez (follower), Marcial Reyes (Lead), Jaime Flores (gourd) and Francisco Martinez (harmonica). Such a meeting, all tucked into the CBS studios in Rockefeller Center and recording in one take (because almost all the songs came to the first and the disc was made in just two days: 7 and 10 April of that year ) transmits a very special energy. Because it is a fully recorded studio work live.
As once.
not expect such harsh New York salsa sound on this album. Neither these constraints neighborhood by its singers. The download is what makes the disc and its rationale. Cuba and its music is the sight.
why it sounds so much like Ry Cooder, only twenty-some years earlier.
The disc is out of print, so it does not appear in Spotify or Rhapsody, but it still falls short in physical form online at Amazon for example. If you know who has the rights of Salsoul Records, call him a scandal and arm them for not having returned to take for sale.
suppose that due to the success of the Buena Vista ... collection, those of GFYEN decided to meet late afternoon and arrived to perform at various festivals with very good reception, though.
There are several of their videos on youtube, for anyone who is interested in listening.
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