With Fonografic, their new EP, Chicago’s Dos Santos: Anti-Beat Orquesta find themselves getting comfortable in their own skin and refining their many influences into something unique and wholly theirs. And, as is often the case, it’s the guidance of an outside producer that helps them get there.
When I first encountered Dos Santos at a Rogers Park street festival in the summer of 2013, they were practically brand new. At the time, much of their musical hat was hung on chicha, an immensely danceable and stripped-down psychedelic Peruvian variant on Colombian cumbia. You can still hear traces of cumbia rhythms and the hallucinogenic feel remains, but now a host of pan-Latin sounds and big, meaty funk and rock riffing have asserted themselves in the mix.
To record Fonografic, the band traveled to Austin, Texas and enlisted Beto Martinez of the Grammy award-winning Grupo Fantasma as producer. This assistance finds them working on a much larger aural canvas and lending the tracks an almost cinematic feel (their video for the driving twang of Camino Infernal reinforces an impression that this would make great theme music for the next twisted Robert Rodriguez epic).
Dos Santos is, ostensibly, songwriter-guitarist-organist-singer Alex Chavez’s band, but the contributions of all five members (in addition to Chavez, there is bassist Jaime Garza, drummer Daniel Villarreal-Carrillo, conguero Pete Vale and newest member Nathan Karagianas on second guitar) loom large in the sound. The percussive tandem of Vale and Villarreal-Carrillo has gelled into a powerhouse duo, especially on the descarga ¡Cafeteando!, which features guest trombonist Mark “Speedy” Gonzales and sounds something like a lost Willie Colón track driven through a Colombian pico and turned up to maximum volume.
Two other tracks are especially notable for the way they diverge from the band’s chicha beginnings. Santa Clara is an optimistic sounding tropical Latin tune that Chavez wrote years ago, and has the sunny feel of Los Amigos Invisibles at their best. At the other end of the emotional and sonic spectrum is the second half of Red, a slow and sinister bit of R&B balladry punctuated by Chavez’ wounded howl of “Ay, amor!”.
They do all of this in seven brief tracks that total less than 30 minutes, which suggests to me that Dos Santos is anything but a self-indulgent jam band, and that every note they commit to is played with purpose. There is no doubt more where that came from, and we’ll hopefully get to hear them stretch out at this Saturday’s CD release concert for Fonografic at the Hideout. $10 gets you in, but $15 gets you in and a copy of the CD.
Dos Santos: Anti-Beat Orquesta with special guests, October 1, 9PM (doors 8:30) at The Hideout, 1354 W. Wabansia Ave, Chicago. Tickets at Ticketfly.
About the author:Don Macica is Agúzate’s content manager, a marketing consultant to the performing arts community and a contributing writer to several online publications. When not traveling, he lives a stone’s throw from Lake Michigan in Chicago’s Rogers Park neighborhood. He also writes Border Radio, a blog about music, migration and cultural exchange.
We still have a couple of “must-sees” on our list for World Music Festival Chicago. Still, we’ll be really surprised if we encounter a double bill as strong as the one that played Concord Music Hall on Saturday.
In a sense, the two acts couldn’t be more different. ÌFÉ is a brand new electronic music concept out of Puerto Rico that hasn’t even released their first album. Mulatu Astatke, by contrast, is known as the father of Ethio-jazz, which first flourished in the 1970s, and he is still composing, playing and recording compelling music to this day. Dig just below the surface, though, and you discover a trans-Atlantic range of sound that emerges from a mixture of Africa and the Americas, one that is showing no sign of becoming a historic relic.
The musicians of ÌFÉ come from various backgrounds ranging from dance music to rock, hip-hop and reggae, but they come together here united around a very traditional form: Cuban rumba. The distinct clave and rhythmic patterns form a foundation for a bold experiment in sound by being transformed electronically into something like a new tribal music, ancient and modern at the same time.
The group is led by Otura Mun and filled out by three additional percussionists (Anthony Sierra, Beto Torrens and Rafael Maya) and two singers (Katherine Cepeda and Yarimir Cabán A.K.A. Mima). Rather than play traditional drums, though, they employ a collection of electronic drum pads mixed with wired acoustic instruments on which they combine several variants of rumba patterns in both familiar and unexpected ways. The result is a sometimes bone-rattling, sometimes celestial experience infused with an intense groove.
It’s safe to say that the large crowd in attendance knew little about the band coming in because of the lack of recorded material, but each song was greeted rapturously. The group finished their performance by setting aside the electronics for a pure rumba session playing, as Mun remarked, the music they love and still gather to play every Tuesday night back home in Casa ÌFÉ Santurce, Puerto Rico.
There was a lengthy break between ÌFÉ’s departure and the start of Mulatu Astatke’s set, but that’s pretty understandable in light of the size and complexity of Astatke’s orchestra, which was made up of musicians from the U.S. and Europe. The leader’s main instrument is the vibraphone, but he also plays electric keyboards and percussion, all of which were arrayed in a semi circle in front of him. Add another keyboardist, two horn players, bassist, drummer and a second percussionist (Chicago’s own Juan Pastor, who leads the South American flavored jazz ensemble Chinchano) and you have a very powerful sound.
Astatke’s personal journey is instructive of the way music travels and cultures are exchanged. Born in the western Ethiopian city of Jimma, Mulatu was musically trained in London, New York City, and Boston where he combined his jazz and Latin music interests with traditional Ethiopian music. In his music, then, you have two streams of the African Diaspora flowing back to the continent from which they sprang to create something new.
There was a sizable Ethiopian contingent in the audience, gathering to enthusiastically welcome a hero, and they were especially excited when the band, on the third song of the night, reached back to the 70s for Yekermo Sew. This was no nostalgia fest, though. Astatke’s music has seen a revival in this millennium, and the man has used this opportunity to create anew, recording albums as both a leader and collaborator. The musicians for this show are working on yet another new album project. A case could easily be made for a headlining slot at the Chicago Jazz Festival (and someday they absolutely should), but tonight, hearing this amazing mix of jazz improvisation matched to Ethiopian scales and rhythms in the company of several hundred Ethiopians, Puerto Ricans and world music fans was blissfully intoxicating.
For 23 years the Puerto Rican Cultural Center, named in honor of Poet and activist Juan Antonio Corretjer, has mobilized hundreds of volunteers to organize and execute Fiesta Boricua, the only festival in Chicago that closes traffic for two full days in the area known as Paseo Boricua, located on Division Street between the famous Puerto Rican flags on Western and California in Humboldt Park. Every year the festivities take place during Labor Day Weekend.
During those 23 years the festival has undergone significant changes, adapting to the ups and downs in the economy and shrinking budgets from sponsors. For many community festivals, a $100,000 budget cut would mean the end of a well-intentioned volunteer-run initiative. The garbage pickup is also run by volunteers like Lourdes Lugo, who I’ve been trying to say hi to for the last hour but she’s too focused on getting as much done before night falls. She speeds by me and goes to the next pickup. Volunteers and paid staff are everywhere but the task at hand is immense.
Fiesta Boricua has managed to stay afloat and reinvent itself with the concept: “Lo Mejor de Nuestros Pueblos”, where PRCC collaborates with municipalities and cultural projects from the island, finding creative ways to raise funds and support the cultural groups that travel to Chicago for the festival.
As a Puerto Rican that was born and raised in the island and has lived in Chicago for 16 years, this is the Boricua festival that I enjoy the most. There’s something that feels right about closing Paseo Boricua to celebrate our art, our music, our businesses and our culture. I remember seeing Eddie Palmieri, Willie Colón, Andy Montañez, Cultura Profética and so many of Puerto Rico’s most recognizable acts right here not too long ago. While budget cuts mean that those artists are usually not accessible for Fiesta Boricua anymore, as I walked down Division Street this weekend from flag to flag, I understood why I continue to be so drawn to this festival even when I have been critical of it in the past. This year the quality of the Chicago and Puerto Rico-based “artesanos” (artists/arts & crafts), as well as the amazing food, and the combination of lesser known and internationally acclaimed musicians (Hermán Olivera and Pichi Pérez are salsa royalty for any good listener) made the experience worthwhile for festival goers of all ages.
An example of community art in action, the yearly bombazo organized by AfriCaribe at La Casita de Don Pedro continues to be the place to experience Afro-Puerto Rican roots music with the flourishing local bomba scene, further enriched by out-of-town bomberos coming from Puerto Rico, Florida, and New York among other places. The young, as is the case of the members of Arawak’Opia (SRBCC’s Youth Bomba Ensemble) are given their chance to hold their own with the masters. Also worth mentioning that Arawak’Opia had their first appearance on the Fiesta Boricua main stage as well, making this community event a place where dreams are realized. I could see the excitement in the faces of aspiring musicians from Humboldt Park and Hermosa that were given a real chance, and their accomplishments were enjoyed and celebrated this weekend. Most of these young men and women have to grow up very fast. With all the violence in Chicago these days, what they experienced at Fiesta Boricua means a lot.
Food Highlight: Fresh-made mofongo by el Caldero de Khalil
This review needs to reflect the religious experience of tasting a fresh-made trifongo, prepared by el Caldero de Khalil, a group of Puerto Rican chefs with a thriving culinary concept that traveled to Chicago from the island just for the Fiesta Boricua weekend.
I go to Puerto Rico at least three times per year and I can say without hesitation that El Caldero de Khalil is by far the best trifongo-maker this guy has ever known. For those who don’t know, a trifongo is a take on the mofongo (mashed plantain) that incorporates sweet plantain, green plantain and yuca. This tightly-run operation did not stop for two straight days, serving generous plates of island goodness that included mofongo topped with veal stew, slow-cooked pigeon peas, chicken or shrimp. Rumor has it that some VIPs showed up around 6:30 pm on Sunday and all that was left was a bit of “caldo” (broth).
After mofongo heaven, I washed down the hearty plate of food with some tamarind Pito Rico, the newer brand of only two producers of legal Pitorro (flavored Puerto Rican moonshine). This one came directly from the family’s production plant in Jayuya, Puerto Rico. The list of available flavors included coconut, passion fruit, orange, tamarind and sangría. Free samples were given all day long to festival participants on both Saturday and Sunday.
In the “artesano” columns, I’m giving four stars to Artesanía de Madera by Kerly, bringing locally produced wood products, including beautiful pilones (pestles) and tostoneras (toston-makers) made with three different kinds of wood.
Every year I’m blown away by Elias Carmona’s photography, which this time featured a breathtaking picture of the Pedro Albizu Campos’ statue located at La Casita de Don Pedro. The carefully shot picture in a dark snowy night in Paseo Boricua has a truly hypnotizing effect. Other pictures include his collection of “pleneros” and the amazing urban images from his trips to Puerto Rico and South and Central America.
We round up the artesano highlights with Urban Pilón’s hand-crafted pique (vinegar-based hot sauce) and Brenda Torres’ oneiric Freedom Effect t-shirt designs. Urban Pilón is Roberto Pérez’s completely original culinary concept, highlighting the use of fresh and locally sourced ingredients to produce bold and healthy island flavors. Brenda Torres is a Chicago artist producing high-quality wearable art that destines 10% of all profits to deserving Humboldt Park students seeking careers in the Creative Arts.
With all this talk of food and art, I almost forgot to talk about the music…
This year featured the voices of Sonora Ponceña’s Pichi Pérez and Eddie Palmieri’s Hermán Olivera to close Saturday and Sunday respectively. Both performances were exceptional, with special interventions by Chicago-based salsa bands Naborí (backing Pichi Pérez) and the Edwin Sánchez Project (backing Hermán Olivera). Both local bands demonstrated that we have plenty of talent in the midwest to hold our own with the very best international exponents of tropical music.
Other musical performances included the captivating voices of Chabela and Lester Ray, as well as salsa acts Yova Rodríguez, Orquesta Leal, and Willie García’s Sabor. Folkloric music from Puerto Rico was represented by Chicago’s own Buya, a group that has established itself as one of the very best Bomba projects in the United States. SRBCC’s Arawak’Opia Youth Bomba Ensemble, Ballet Folclórico Guajana (Puerto Rico) and Son d’Yavú (Puerto Rico) are also worth mentioning as the festival continues to bring more cultural acts to the stage.
When I last spoke with Otura Mun, founder and director of the Puerto Rico-based future Afro-Caribeña group ÌFÉ, in early May, we discussed the group’s origins as well as Mun’s personal journey from being Mark Underwood, an African-American born just outside of Chicago, to Puerto Rico and finally Cuba, where he became a Babalawo in the Yoruba religion, a transformation that is inextricably intertwined with his learning of traditional Cuban rumba and further evolution of the electronic artistic concept that would become ÌFÉ. You can read that Agúzate interview here.
ÌFÉ is about to embark on their first European tour, but before they do so they are coming to Chicago to make several appearances connected to the Chicago World Music Festival, starting this Thursday at Segundo Ruiz Belvis Cultural Center when Mun and other members of the group talk about their individual musical projects and how they were drawn to the concept of ÌFÉ. The evening will end in a jam session with ÌFÉ and musicians from Chicago’s Afro-Caribbean community.
Otura Mun and I spoke by phone earlier this week, so I asked him what was happening with the group, including when we might get to hear some new music beyond the spectacular one-two punch of 3 Mujeres (Iború Iboya Ibosheshé) and House of Love (Ogbe Yekun), both of which were released earlier this year.
“At this point I have enough material for an album,” says Mun. “We spent a lot of time in our home studio in Santurce, Puerto Rico laying down tracks. That’s how I write songs. We record all the drum patterns and electronic sounds, basically jamming to see what happens. Later on I comb through all of that to look for ideas for songs. I’ll take it apart, write lyrics, record the vocals and put it all back together.
“Sometimes I have a very specific idea about what I want to write about. Other times, the rhythms might suggest certain themes like freedom and what that means in the context of my Puerto Rican existence. The subject matter tends to be more spiritual and philosophical rather than political.”
A new single, UMBO, is coming out soon and there have been brief snippets posted on social media all summer, all of which makes this writer very eager to hear more.
“It was great to get invited to the World Music Fest for our U.S. debut. Many of the members of ÌFÉ have family and friends in Chicago. I myself was born in Hammond, Indiana, so it will be something like a homecoming to perform here at such an important festival.”
ÌFÉ will officially perform twice at the fest. Friday night finds them at Chop Shop paired with Chilean rocker Nano Stern, and Saturday will feature them alongside the great Ethiopian jazz legend Mulatu Astatke and DJ AfroQbano at Concord Music Hall.
It’s unusual for a band without a deep professional history, or at the very least a commercially available recording, to get booked at the prestigious fest, but Chicago Department of Cultural Affairs and Special Events programmer David Chavez leads a double life as the forward-thinking DJ SoundCulture. He heard ÌFÉ’s music through the global bass community on SoundCloud, where the band gave both of their songs away as free downloads, and he realized their potential to create truly groundbreaking music.
I asked Mun about Thursday’s event at Segundo Ruiz Belvis. “All of the group members have journeys that led them to ÌFÉ. I was a DJ and producer of several groups in Puerto Rico. Other members come from more traditional musical backgrounds, but all of us unite here around Cuban rumba, which I fell in love with back when I first moved to San Juan in 1999. So, we’ll talk about that a bit, play a bit acoustically, maybe listen to a track or two as samples of our work as a demo of how ÌFÉ’s sound relates to tradition. We’ll finish with an open jam session where people from Chicago’s great rumba and bomba scenes can join us. It’ll be a lot of fun.”
ÌFÉ returns to Segundo Ruiz Belvis Saturday morning for a percussion workshop (that’s right, you, too, can get lessons from these terrific musicians) in preparation for a musical ‘Polyrhythmic Procession’ taking place the following Sunday, September 18th at The 606 and the Humboldt Park Boathouse.
While ÌFÉ will not be part of the procession on 9/18 as they continue their North America and Europe tours, local acts like Los Hermanos del Tambor and The Four Star Brass Band will lead the early festivities, culminating in more CWMF international acts, including Herencia de Timbiquí, Rocky Dawuni, and Rajab Suleiman & Kithara.
I finally ask Otura Mun about the European tour. “We’re starting small, just four major cities: Paris, London, Madrid and Barcelona. But they are important cities in a cultural sense, so we’ll build from there.”
Now, if they would just release that album, all will be well in the world.
All events are free.
Unidos por el Tambor: ÌFÉ Residency in Chicago: Thursday 9/8 at 7:30PM. Segundo Ruiz Belvis Cultural Center, 4048 W. Armitage Ave, Chicago. Info here.
ÌFÉwith Nano Stern: Friday 9/9 at 10PM (9PM doors). Chop Shop, 2033 W. North Ave, Chicago. Info here.
Polyrhythmic Procession Workshop: Saturday 9/10 at 11AM. Segundo Ruiz Belvis Cultural Center. Info here.
ÌFÉwith Mulatu Astatke and DJ AfroQbano: Saturday 9/10 at 10PM (9PM doors). Concord Music Hall, 2047 N. Milwaukee Ave. Info here.
Words and images by Charlie Billups, edited by Don Macica –
“His strong cumbia beat with his very skilled accordion play reminded me of parties in my wife’s hometown of Corozal. I could close my eyes on Sunday and imagined that I was in Corozal or at the beach with his music on in the background and people dancing in a beach side restaurant. The atmosphere at the festival was exactly like that of a festival in Colombia.”
Agúzate photographer Charlie Billups is recalling his two days spent at Colombian Fest / El Gran Festival Colombiano, which took place at the Copernicus Center July 16-17 during a sweltering mid-summer heatwave. He’s speaking about the artist who closed the weekend, the 80-year-old cumbia legend Anibal Velasquez from Barranquilla, a port city on the country’s Atlantic coast. “His music represented the joy and fun of being Colombian.”
Billups continues, “The sounds that filled the festival represented several genres of music from different parts of Colombia, all of which are very popular. Cumbia, vallenato, champeta, salsa and merengue. When one of the many, many bands weren’t performing, DJs played vintage records to keep the energy high. The capacity crowd that packed the place on both days loved every minute of it.”
Experiencing Sunday night’s headliner was not the only time Billups felt himself transported from the northwest side of Chicago to the South American nation. He recalls Sunday’s late afternoon set by Charles King, who delivered a stirring performance with his champeta criolla, and how it brought him to another time and place. “The music was sweet reggae sounding but with deep roots in the Colombian coast town of Palenque and enhanced by Mr. King’s deep facial expressions. I closed my eyes and imagined that I was in Cartagena on a taxi ride to the bus station and the driver had the radio on playing Mr. King’s El Martillo.”
Two of Saturday’s headliners especially stood out in Billup’s memory as well.
“Sonora Carrusales, the last performer that night, is a salsa band from Medellin. La Sonora has an extremely powerful sound that evokes Fruko and many bands from Medellin and Cali. The crowd exploded as the band played non-stop for 90 minutes. This band represents the strong salsa legacy that Colombia has. Cali is called the salsa capital of the world. Passion ran high thru the entire place and people did not want to leave even after the three encores by La Sonora.
“Earlier Saturday afternoon Jimmy Zambrano and former Binomio de Oro member Duban Bayona delivered to me what represents the heart of coastal Colombian music, vallenato. People in the crowd were transfixed by the soulful melodic performance of Grammy winner Zambrano’s accordion with Bayona’s strong voice. I have to say that this was like going to Colombia and walking down the street on a Saturday night and listening to this duo on picos [Colombian sound systems] in the balconies.”
Charlie Billups’ great photos are a testament to his love of Latin American culture and community. Several illustrate this article, and you can find many, many more at his website. For his part, Charlie has just one more thing to say.
I’ll start by getting out of the way something that every article written about Ileana Cabra mentions: that she is the sister of Puerto Rican duo René Pérez & Eduardo Cabra, better known to the world as Calle 13, and that she has been singing under the name PG 13 with the massively popular group since the very beginning. Her music as a solo artist couldn’t be more different, though. Up until seeing her Chicago debut at the Millennium Park Summer Music Series last Thursday evening, I figured that the main relevance of that family connection was that when she launched her solo career, she instantly had the backing of music industry giant Sony, for whom Calle 13 has made a lot of money over the last decade.
I now see that all those years sharing a stage before thousands with Residente, one of the most charismatic performers in music, has rubbed off on her, because from the moment iLe strolled on stage, all eyes were on her and few strayed away for even a moment. She did it not through a manufactured sense of excitement, but rather by drawing the audience in with every gesture and with the power of her voice. This was a performer that clearly knows what to do in front of an audience.
She is also very sure of what she wants to express through her art. Her sense of the history of tropical music, especially from the 6os and 70s, is profound, but she doesn’t dabble in imitation. Rather, she locates the emotional core of longing that has embodied such forms as bolero, salsa, ranchera, tango and even American sources like girl-group pop a la Phil Spector or the ballads of Linda Ronstadt, who drew from her own Mexican heritage to inject sincerity and meaning into her string of her hits.
Her debut album, Ilevitable, is a survey of all of these influences, but this isn’t a historical retrospective. The sound may embody earlier eras, but with production that seems to simultaneously honor and mock its excesses; swelling strings, echo-laden percussion, overly punchy mambo-style horns. These dramatic flourishes lend a dark undercurrent, not unlike the way filmmaker David Lynch scores his hallucinogenic films, or, to use another cinematic example, the sometimes silly but always broodingly compelling James Bond themes, from Shirley Bassey through Adele. This is especially true on Caníbal, a song that describes how self-doubt can consume you.
On stage, the drama lies elsewhere. It’s just her and a quintet of backing musicians. All excess is removed to better focus on the artist and her songs.
And those songs! The family connections run much deeper than her famous brothers. Her sister Milena Pérez is the co-writer of three. Her grandmother, Flor Amelia de Gracia, wrote two (three, if you count the encore). Even her father, José Cabra, co-wrote one, the English language Out of Place. Ilevitable is very much a family affair, and Ileana Cabra made sure that everyone in the audience understood that as she introduced each song.
In concert, iLe replaces the maximalism of the album with the intimacy of subtle gesture infused with drama. She sits on the stage for her grandmother’s Dolor, a classic bolero. She dances with abandon, but not exaggeration, to uptempo rave-ups like Rescatarme and Te quiero con Bugalú. Extraña de Querer, were it not in Spanish, would be at home in a 60s era French café. The tango-infused Maldita sea al amor is belted out, aimed at the very last row of the cheap seats, yet she is nearly stock-still, head slightly bowed, for the ranchera and flamenco inspired Triángulo.
The evening ends with a simple and achingly beautiful duet for guitar and voice, the only song of the night not on Ilevitable. It’s another of her grandmother’s songs, No te detengas. Millennium Park is a huge place in the midst of a bustling city, but for a few precious minutes it’s as hushed as a midnight bedroom conversation.
About the author:Don Macica is Agúzate’s content manager, a marketing consultant to the performing arts community and a contributing writer to several online publications. When not traveling, he lives a stone’s throw from Lake Michigan in Chicago’s Rogers Park neighborhood. He also writes Border Radio, a blog about music, migration and cultural exchange.
“My experience totally comes from the folkloric tradition. My grandparents on both sides were musicians. My dad’s family is from Cape Verde off the coast of Senegal while my mom is Puerto Rican. I grew up in that environment so I was listening to and playing traditional Cuban, Puerto Rican and African music at an early age.”
I’m speaking with San Francisco Bay area percussionist, band leader and educator John Santos via phone from Washington, DC, where he is making several appearances in connection with the Smithsonian Institute’s Folklife Festival. From there he’ll travel to Chicago for two Latin Jazz Festival appearances this week: A lecture and demonstration entitled My Music is Who I Am at Segundo Ruiz Belvis Cultural Center and leading the John Santos Sextet at the Humboldt Park Boathouse. Both events are presented by the Jazz Institute of Chicago.
Santos had led several bands over the course of his four-decade career. The best known of them was the Machete Ensemble, which lasted for 21 years but dissolved in 2006. That’s the group I caught at HotHouse, the South Loop venue that closed its physical doors several years ago but continues as a still vital organization with programming in various locations around the city. As it turns out, that’s the last time Santos played in Chicago until now.
“The economics of that group were really difficult,” says Santos. “It varied from 12-14 members, and a group of that size is very hard to take on the road. It was hard to get decent paying work for that many musicians. I downsized to 9 members, but even that was hard to support.”
After Machete Ensemble broke up, Santos started a quartet, which has gradually built up to the sextet that will visit Chicago this week. Besides being a top-shelf performing Latin jazz ensemble, they specialize in educational presentations from lecture/demonstrations to detailed clinics focusing on any number of relevant subjects such as composition, arrangement, rhythmic development, stylistic interpretation, studio performance, etc. Their repertoire consists of arrangements from Cuba, Puerto Rico, and the US, as well as original compositions.
The conversation turns back to the importance of tradition in Santos’ music. “After my experiences playing with my family and during my development as a professional musician, I studied all sorts of African influenced music. As a percussionist, I was drawn to the conga and batá drums, and from there to Congolese and Nigerian music. I started collecting instruments and vintage recordings. That folk tradition became a driving force in my career.”
Santos continues, “Those folkloric traditions form the basis of what I do, but then we apply that to original music using contemporary jazz harmonies and themes that talk about experiences that are relevant to what we’re living through.”
With that, our conversation moves to Santos’ educational efforts and programs, one of which he is presenting this week in Chicago. “Workshops, lectures and classes are nearly half of what I do, with performing and composing being the other half,” he notes. “I took the title My Music is Who I Am from a dissertation by the great Latin jazz bassist Andy Gonzáles. That title really resonated with me, so I created this presentation that talks about Afro-Latinos like myself and the way music is intertwined with our identity, history and culture. The music is an almost sacred document that tells our story in our own voices and the voices of our ancestors.” He continues, “I’ll be using a lot of historical recordings from my collection to illustrate certain themes of who we are, in our own words, and I’ll show how those same themes are relevant to our lives today. It will show how connected we are to these older traditions, but at the same time have contemporary examples that play the same role.”
It is mid-afternoon, and Santos still has one more Smithsonian Folklife panel to attend. As we are saying our goodbyes, Santos remarks, “I’m really looking forward to coming back to Chicago. I’ve done events before with Segundo Ruiz Belvis Cultural Center at the old location. I’m honored to be presenting there again and of course I’m excited to be performing at the Latin Jazz Festival. It will be great to see old friends and make some new ones.”
My Music is Who I Am, Thursday, July 14, 7:00pm at Segundo Ruiz Belvis Cultural Center, 4048 W. Armitage, Chicago. Free admission, but registration is requested. srbcc.org
10th Annual Chicago Latin Jazz Festival, Friday-Saturday July 15-16 at the Humboldt Park Boathouse. 1301 N. Sacramento, Chicago. John Santos headlines Friday at 9:00pm. Free admission. jazzinchicago.org
In the distance a tall, white party tent extends far above the fence line and into a cloudless sky. With every step the microphones and instruments being sound checked start to sound more like a Tejano band from Texas. Nearly in perfect unison, Jorge Ortega and his team of sound technicians are running around meticulously preparing for their latest event. With only a week until Colombian Fest one would think this had something to do with the festival, but today is just a typical birthday celebration for Ortega.
Colombian Fest, the Midwest’s largest celebration of Colombian music and culture, returns to the Copernicus Center July 16-17 for their second annual festival. Coinciding with Colombian Independence Day, the festival will include legendary and contemporary musicians directly from Colombia as well as artists from Chicago’s thriving Colombian community. From cumbia, vallenato and champeta to currulao and salsa, the festival highlights the richness and diversity of Colombian music and culture.
Ortega, the festival’s director and founder, was born in the seaport town of Barranquilla, in the Atlantico of Colombia. Known for its enormous carnival celebrations equipped with costumed performers and cumbia music, Ortega had to rely on his parents and uncles to understand and experience that Colombian culture after moving to the United States at a young age.
Every weekend Ortega’s father would have loud music from every region in Colombia singing throughout the house, blasting until the wee hours of the morning. While he wasn’t taking notes on what his father had playing in the house, Ortega would be carefully combing through his uncle’s record collection filled with Colombian artists he had brought with him to the United States.
At family parties when his uncle got tired of being in control of the music, Ortega was left to command the sound system as the adults around him danced and sang into the night.
“My parents would have a party and the adults would be doing their thing and the only one left playing with the music was me,” Ortega said. “I was young, my uncle would just let me go ahead and play the music. I was always right there with the sound system.”
Since the age of 18, Ortega has been surrounded by music and has worked countless music festivals. With over 30 years working as a sound engineer and production manager, Ortega and his partner Luis Garcia decided that hosting their own music festival was the next appropriate step to take.
“Colombian Fest started about four years ago,” Ortega said. “We did a picnic in a forest preserve on Irving Park and Cumberland, I think it was for my birthday since it’s a couple days after Colombian Independence on July 20.”
After receiving positive feedback from the first picnic, Ortega decided to hold another picnic the following year, only this time with about double the amount of people. Before long, what started out as a small picnic transformed itself into a full blown music festival.
Colombian culture is anything but simple. From Colombia’s Pacific coast to the interior plains and mountains, and on to the shores of the Caribbean, to its African, Spanish and indigenous roots, Colombia’s diversity is showcased both geographically and culturally. Arguably the epicenter of Latin America, Colombia’s identity is unavoidably influenced by and exported to its neighbors. All of this leaves Ortega with one big question: How could he possibly incorporate all of this diversity into two days?
For Ortega, it all started with the verbenas in Colombia that his parents would describe in stories of their time spent enjoying them. Throughout the ‘50s, ‘60s, ‘70s and ‘80s in Barranquilla, Ortega’s parents would frequent the verbenas, popular street parties along Colombia’s Atlantic coast. At the verbenas in Barranquilla, it was as if all of the musical and cultural influences that had shaped Colombia had fallen onto one town.
“The music was introduced in the barrios and the streets of Barranquilla through these sound systems called pickups, or picos for short,” Ortega said. “And that music would come through the boats. With Barranquilla being a port town, a lot of the music that came from Haiti, Jamaica, the United States, Africa and France, all that music came in through the boats.”
Soon enough, Colombian verbenas developed a certain ebb and flow to them that Ortega saw replicated at his parents’ parties.
“Those were the early verbenas, they would play cumbia, vallenato, salsa, African music, and then the African music transitioned into champeta,” Ortega said. “It’s a mix, and I grew up with that mix.”
That mix that Ortega grew up with is showcased in the Colombian artists and local Chicago bands that are slated to perform at this year’s festival. One of the most notable musicians is 80-year-old Anibal Velasquez y Los Locos del Swing. Also a native of Barranquilla, Velasquez universalized the accordion and introduced a livelier form of cumbia known as the Colombian Guaracha. His innovations influenced music in Colombia and throughout Latin America. In Mexico, it’s known as cumbia sonidero.
Also accompanying Velasquez on the list of elite musicians and performers from Colombia are the salsa orchestra Sonora Carruseles and champeta master Charles King. All three of these performers will be receiving Colombian Heritage Awards at the festival for their lifetime of cultural contributions.
While some of Colombia’s native talent will be on full display, a variety of other acts from around the world and Chicago will also be exhibiting their abilities. Chicago’s own Diana Mosquera Ensemble, Ecos del Pacífico Afrocolombiano and Tierra Colombiana Folkloric Dance Company will be highlighting Chicago’s own Colombian heritage.
Ortega is particularly excited about a couple new additions to this year’s lineup, especially Explosión Negra from Colombia’s Pacific coast, representing a new evolution in Colombian music, mixing it with urban hip-hop and Jamaican dancehall, uniting three strains of African music in the Americas.
“Here in Chicago you have a Colombian community that’s pretty diverse,” Ortega said. “You have a mix of Colombians that are from the coast, from Bogota, Medellin, and so with the festival we try and have a little bit of everything.”
Representing all of Colombia’s different cultural and musical identities is important to Ortega and the festival’s organizers, but what’s more important is maintaining and providing the type of sound quality that’s needed to really appreciate the intricacies of the music being performed.
Producing the festival will be LD Audio, one of the largest concert and festival production companies in the Midwest. As head of production management, Ortega and LD Audio owner Luis Garcia have made a commitment to ensuring that the sound quality of the festival exceeds everyone’s expectations. In Ortega’s words, “it’s a ‘sound guys’ festival.”
“My background is as a sound engineer and a production manager for many years, I’ve toured with many big Latin American artists,” Ortega said. “LD Audio and myself have more than 30 years of experience with sound engineering and production.
“We have a level of professionalism and expertise, and we have to bring that because it’s our festival, we’re representing our country, our Colombia.”
Colombia is African, it’s Spanish and it’s indigenous. There are foods and traditions that are entirely unique to a particularly region that can’t be found anywhere else in the country. Colombia is a fusion, a blending of cultures, tastes, and best of all, musical styles. Ortega isn’t focused on having the biggest festival that gains the most attention; he’s committed to having the highest quality festival that displays just how diverse his Colombian culture is. He wants you to experience his verbena.
“This is not a festival, it’s a verbena, a carnival. You want to experience our verbena, come to Colombian Fest.”
Colombian Fest / El Gran Festival Colombiano, July 16-17, Copernicus Center, 5216 W. Lawrence Avenue, Chicago colombianfestchicago.com _____
The return of the Eddie Palmieri Salsa Orchestra to Millennium Park Monday night was a triumph by any conceivable measure. An audience of close to 10,000 people filled the Pritzker Pavilion seats and lawn on a hot summer night. The band rewarded the overflow crowd with a performance of epic proportions. Including Palmieri’s piano, there are 12 members of this orchestra, but if you closed your eyes while dancing with abandon (and trust me, there were many, many people dancing with abandon) you’d swear there were 50. The power emanating off the stage was the result of the very best Latin musicians playing at the top of their game for an adoring crowd and loving every minute of it.
Palmieri has been known by many nicknames over the last six decades or so since he formed La Perfecta, his first groundbreaking band: the Sun of Latin Music, El Maestro, El Rumbero del Piano. Or, a bit more obscurely, the Schoenberg of Salsa, a nod to the complex music of the contemporary classical composer. Over that time he has employed lo mejor de lo mejor of Latin musicians, and the current lineup stands with the best of them.
There were several standout moments from each and every person on stage. Hermán Olivera captures the spirit of original La Perfecta vocalist Ismael Quintana without resorting to imitation. Trombonists Conrad Herwig and Jimmy Bosch are band leaders and innovators in their own right. The congas/bongos/timbales Holy Trinity of Pequeño Johnny, Nicky Marrero and Camilo Molina-Gaetan kept everything on high burn the entire evening. Luques Curtis on bass anchored it all, and Nelson Gonzáles on tres was a constant reminder of the Cuban son foundation from which salsa emerged, particularly on Palmieri’s arrangement of the 1946 Arsenio Rodriguez classic Dame Un Cachito Pa’huele. All were allowed to shine repeatedly with solos during the entire 90-minute concert, and each brought 110% to every note and gesture.
Palmieri himself entered the stage first for a brief solo piano performance, then brought out the band, each of whom he introduced with warm regard before they played a single note. They kicked off with 15 delirious minutes of Pa’ la Ocha Tambó after which Palmieri, beaming with pride, remarked “This is how our music is supposed to be played.” A similarly lengthy Pa’ Huele followed, and then I lost track, because after awhile you surrender to the moment and simply become present in the joy that 12 musicians and 10,000 of their close friends can radiate. Once in awhile Palmieri would leave his piano bench to lead the crowd in clapping the clave, which I have to say (judging from the smile on Palmieri’s face) we all did flawlessly.
Words are pretty inadequate when it comes to describe music of this high caliber, so I’m going to turn it over to photographer Charlie Billups to tell the rest of the story. Thank you, Eddie. And thank you, Chicago.
I remember the first time my girlfriend played an album of boleros for me. It was classic stuff, an album that she said her parents owned. I swooned over those gorgeously melancholic tunes, deep in romance and longing. That was five years ago, and I’ve learned a bit more since then. I thought I knew all the classics—Sabor a Mí, Tres Palabaras, Dos Gardenias—but it turns out I was just scratching the surface, unwittingly confining myself mostly to boleros from Cuba and Mexico. Like cumbia, though, the bolero is a phenomenon throughout Latin America.
Miramar is a side project of sorts from the salsa band Bio Ritmo. The group will visit Chicago this weekend for a pair of concerts, and they have opened up another world to me that I knew little about. Their new album Dedication to Sylvia Rexach honors a Puerto Rican songwriter who is something of a cult figure. I know her name as the writer of two songs, including the title tune, on Miguel Zenón’s Alma Adentro: The Puerto Rican Songbook, but that was about it. So, who is Sylvia Rexach, and why did Miramar dedicate an album to her?
Miramar consists of Marlysse Simmons-Argandoña and Reinaldo Alvarez from Bio Ritmo and singer Laura Ann Singh. Alvarez is of Puerto Rican heritage while Simmons-Argandoña is from Chile, and Singh was born in Tennessee but spent years singing in Brazil. Miramar was born out of a shared passion for boleros between Alvarez and Simmons-Argandoña that Bio Ritmo didn’t quite have room for. “We decided to start a bolero group because there were only so many boleros we could do with a salsa band,” says Marlysse.
They were particularly struck by a 1960s-era album of Rexach songs from Duo Irizarry de Córdova. In contrast to the Mexican trios that swept much of Latin America (Los Panchos, Los Tres Aces), this Puerto Rican duo featured male and female voices in unique interaction. “It was a new expression of pain and longing,” says Rei Alvarez. “It was a concrete manifestation of everything that I love about romantic music”. Enter Laura Ann Singh as the perfect singing partner, and Miramar’s duo sound was born.
The resulting album is quite lovely and drenched in nostalgia. Seven of the album’s ten songs are Rexach compositions, with the remainder composed by Alvarez and Simmons-Argandoña. Inspired by bolero, they nonetheless evoke other sources, from waltzes to a Middle Eastern feel. While clearly anchored in the style and the era it pays homage to, the album’s nostalgia derives from its soulfulness, not imitation. I’m still curious, though. With songs as beautiful as this, why is Sylvia Rexach a cult figure, a term that implies devotion from a select but limited audience?
“In my opinion, it’s because she was a songwriter, not a performer. She only had one recording out [a simple and unadorned album of her voice accompanied by acoustic guitarist Tuti Umpierre] and while people may know her songs, they don’t necessarily know who wrote them, because they associate the song with the performer,” says Marlysse Simmons-Argandoña, speaking to me by phone from the road. “She gave songs away, so it’s possible that there are songs that we don’t even know are hers.”
Returning to the Miramar album, I ask about the Puerto Rican duo tradition that inspired the vocals. “We didn’t initially take the duo approach. Rei and I are both big record collectors. There is a café in Santurce right around the corner from a big record store that we would go to when visiting Puerto Rico. An older generation of musicians hangs out there. They introduced us to a lot of duo music, including Duo Irizarry de Córdova. We both loved the sound, but Rei was the only singer in Miramar at the time. We didn’t know Laura Ann. We met her and she joined Rei for a couple of songs at one of our concerts and we were like wow, that’s it.”
Instrumentally, the album has a classic feel: piano, guitar, bongos, maracas, strings – and one distinct feature that I’m not used to hearing in tropical music, organ. That last thing, I assumed, was sort of a hipster affectation, the way some indi-rock bands use ukuleles or toy pianos. Wrong. I found some Duo Irizarry de Córdova music on YouTube, and the organ is there in all its nostalgic glory. “Those albums are full of haunting organ,” says Marlysse.
There are thirteen songs on the one, rare Sylvia Rexach album (as far as I can tell – I’ve had to patch it together from YouTube videos containing the audio of old albums), so I ask Marlysse how they arrived at the seven that were recorded by Miramar. “The Irizarry de Córdova album of her songs was our starting point, so our sound and song selection originate there. However, we have since learned a few more and will be debuting them in Chicago.”
Sylvia Rexach will probably never be as well-known as Rafael Hernandez or Pedro Flores. But with Miramar’s help, some much needed recognition will surely come her way.
Miramar appears twice this weekend in Chicago, both shows presented by Segundo Ruiz Belvis Cultural Center
Friday, June 24 @ 3:00PM at Hermosa Park, 2240 N. Kilbourn Avenue – Free Admission (co-presented by Night Out in the Parks) Saturday, June 25 @ 7:00PM at Segundo Ruiz Belvis Cultural Center, 4048 W. Armitage Avenue – $20 Donation goes to SRBCC’s educational and cultural programs. Tickets and info at srbcc.org