Segundo Ruiz Belvis Cultural Center played host to the Old Town School of Folk Music’s Extended Play series Thursday night with a performance by Herencia de Timbiquí, a 10-person ensemble from Colombia’s Pacifico region who are already major stars in their home country but are just beginning to attract a global following. Their music derives from the African culture that dominates that region, specifically the currualo style, which is traditionally performed on percussion instruments and accompanied by call & response vocals. Like much Afro-Caribbean music, its roots lie in religious and ceremonial music.
Herencia de Timbiquí (Timbiquí is a small coastal town) preserves this core, building much of their sound around the marimba, guasá (a kind of shaker formed from a hollowed out log filled with dried seeds), and two or three drums of varying pitches. Indeed, the origins of the group lie in playing this traditional music, but beginning about a decade ago they modernized the sound with the addition of electric bass, guitar and keyboards plus a full drum kit and a horn section. They have since evolved into a polished professional ensemble whose sound is commercial enough to have one of their songs, Te Invito, become the theme of the Colombian-produced Netflix series La Niña. This contemporary approach has enough room for smooth urban balladry, rock and funk while remaining firmly anchored in those traditional percussive elements.
Full video of the hit single “Sabrás”, performed live at SRBCC.
Every element of this was fully on display at SRBCC. A song could start out sounding very contemporary, only to have the steady currualo heartbeat and melodic marimba become evident as the song progresses. Conversely, a folkloric beginning could suddenly explode with punchy horns or a virtuoso guitar solo. The group is fronted by two extremely charismatic vocalists who connected directly and repeatedly to a dancing and swaying audience that was mere feet away from SRBCC’s low-slung stage.
All of which is to say that Herencia de Timbiquí has the potential to be pan-Latin superstars with a universal appeal that nonetheless operates in the specific and identifiable context of traditional Afro-Colombian culture.
And that magic? What elevated this particular performance from great to something greater was the context. Herencia was preceded on stage by groups performing purely folkloric music and dance representing Afro-Mexican, Afro-Colombian and Afro-Puerto Rican traditions. SRBCC is generally Puerto Rico focused in its programming, but one can also sense the spirit of Ramón Emeterio Betances, a colleague of Segundo Ruiz Belvis and a mid-19th century Puerto Rican doctor, diplomat and abolitionist who was known as El Antillano because of his vision of a united, decolonized Caribbean identity. The center’s walls are adorned with paintings and artwork representative of the Puerto Rican experience, and among them is a portrait of another Puerto Rican patriot, Pedro Albizu Campos, flanked by Cuba’s José Martí and Mexico’s Emiliano Zapata.
Chicago’s Colombian community turned out in force to see Herencia de Timbiquí, joining Puerto Ricans and more generally fans of Latin and world music for an evening that, if only briefly, accomplished Betances dream of a united Caribbean. I think Herencia could sense they were part of something special that transcended entertainment and entered the realm of spiritual uplift and pure joy.
[Ed. Note: Good music is good music, regardless of your relationship to it. Sometimes, though, it’s best to go with something more personal when reviewing an artist so popular as to be almost a human embodiment of an entire country. Agúzate photographer Charlie Billups attended the recent concert by Colombia’s Carlos Vives with his entire family. His lightly edited impressions of a memorable evening follow.]
I have waited a very long time to see Carlos Vives perform live and it was worth the wait. Even before the concert started, the feeling was like a festival. I felt that I was in Colombia at Las Fiestas de Santa Marta. Most of those in attendance wore Colombian colors or Sombreros Vueltiaos. Vives emerged without an introduction to sing “Ahi llego yo” and everyone was immediately on their feet singing and shouting to the song. It felt like a religious event. For those there it was a great moment of Colombian and Latin American pride.
Carlos’s performance was very polished and it did not reflect at all that the previous night’s performance in Radio City Music Hall in NYC was just the first show of an eight-city U.S. tour. Most of the numbers in the performance had a very strong accordion lead coupled with Colombian Gaitas. The sound was rich and soulful with no flaws, mixed with very strong accents of pop and rock and strong playing by all members of the band, including new accordionist Christian Camilo Peña, who was voted a Vallenato King in 2008, particularly on the number “La Cañaguatera” which was masterful beyond any level of skill. It felt like Colombia itself to me. I was somehow transported to Valledupar even though I have never been there.
The climax of the concert came when he performed “Bailar contigo”, truly a remarkable emotional number with video filmed in historic Cienaga, Magdalena. Emotions at this point were topped out.
The concert concluded with a five-song encore and the final number “La bicicleta” in which Carlos entered the stage in his own bicycle to the adulation of fans.
Carlos Vives continues to be at his prime as part of the top three of Colombia along with Shakira and Juanes. Not only does his musical skill shine but a human part as well, he continues to unite Colombia and Latinos beyond.
I think it’s fairly safe to say that, here at Agúzate, few album releases have been more anticipated than the debut from ÌFÉ, IIII+IIII. As a concept, the group seemed to come out of nowhere just a little over 15 months ago when the single and video dropped for 3 Mujeres (Iború Iboya Ibosheshé) and quickly attracted the attention of electronic dance music fans, especially followers of the global bass movement. The track was something of a digital rumba, a deeply spiritual groove that sounded like a ceremonial field recording from the future.
That song and video was followed a few months later by a second, House of Love (Ogbe Yekun). We’ve wanted more ever since. As it turns out, there is a deep connection between ÌFÉ and Chicago. The group is from Puerto Rico, and this publication’s roots were first watered there. We interviewed ÌFÉ leader Otura Mun about his spiritual and cultural journey that led to the group’s founding when we visited the island in May 2016 (read that here), then caught up with him again (read that here) just before the group made their U.S. debut at World Music Festival Chicago in September.
Some snippets of music surfaced here and there, including a third full song, UMBO (Come Down), but we were as surprised as anybody when we learned in early March that a full album would drop at the end of the month.
It was worth the wait. IIII+IIII is a minimalist masterpiece built on Afro-Cuban rumba, but thoroughly infused in a warm electronic bath. In a sense, it is nothing more than percussion and voice, like you would experience in a traditional rumba performance, but wired and sonically processed. Within that very tight framework, however, emerges a fairly expansive sound that integrates bits of R&B, Afropop, Jamaican dancehall and Nyabinghi ritual drumming, and even one certified 80s pop hit, Steve Winwood’s Higher Love. It sounds entirely authentic and lived in, the very opposite of the cultural anthropology that global bass movement often dabbles in. ÌFÉ isn’t borrowing sounds and styles. They are the thing itself.
Group leader Mun is a Babaláwo of the Yoruban Ifá religion. But he’s also a techno-savvy DJ and producer who happens to be an African-American who was born in Hammond, Indiana. Other members of the group include full time rumberos Beto Torrens, Rafael Maya and Anthony Sierra; powerful singer Kathy Cepeda and Latin Alternative musician Yarimir Cabán (MIMA). The entire album was recorded at Casa ÌFÉ, a house in Santurce that is also Mun’s residence. There are no outside producers and the album was released on the group’s own label, Discos Ifá. When they were in Chicago for the World Music Fest, they took time to stop by Segundo Ruiz Belvis Cultural Center to jam acoustically with local rumberos and bomberos, and then returned two days later to lead a percussion workshop.
By and large, the album simmers rather than boils. One notable exception is Bangah (Pico y Palo), Mun’s reflections on Ogun, the Yoruban orisha of war. The lyrics alternate comfortably between Spanish, English and Yoruban. Many of the tracks stretch out beyond the 6 minute mark, the better to let the groove take its time inviting you in to explore. They thoroughly mine the hints of Afro-Cuban rhythms that seasoned the aforementioned Higher Love, and the song’s spiritual underpinnings and positive message are brought to the fore.
That positivity may be the key to the spiritual uplift that this music provides, much the same way that Chance the Rapper’s gospel influences power his vision. In the specificity of its Yoruban cosmos, it delivers a universal and much needed message of humanity.
Bogotá, Colombia’s capital city, is where it all comes together. Like urban centers everywhere, it attracts people from both rural areas and smaller towns. It is where traditions meet and are fused with energy and experimentation to become something new.
In 2007, university student Catalina Garcia, who was studying anthropology, met Nicolás Junca and Santiago Prieto, a pair of aspiring musicians enthralled by French gypsy jazz. She joined the duo as a singer and they began playing informally for friends at parties, weddings and other gatherings. Catalina was studying French as well, so her language skills and the duo’s musical direction were a perfect fit. Thus was born Monsieur Periné, likely the world’s first and only Colombian gypsy jazz band.
They began performing professionally a few years later. In 2012 they recorded and released their first album, Hecho en Mano, and began to attract attention beyond Colombia. Their second album, Caja de Musica, featured an expanded musical palette and was produced by Eduado Cabra, whom you may know better as Visitante of Calle 13.
“When we recorded our first album, we still hadn’t performed much outside of Colombia.” I’m speaking by phone with Catalina Garcia during a break in rehearsals for a North American tour that will bring them to Thalia Hall in Chicago this Wednesday, March 22. “Our songs were limited a bit by that, although we brought in other Latin influences like boleros. So what we were doing mostly was blending French gypsy jazz with Colombian folkloric sounds, especially in percussion.”
Garcia continues, “That album gave us a chance to tour outside of Colombia and we used those travels as a journal of ideas and impressions when we started working on Caja de Musica. We were very lucky that Eduardo Cabra noticed us and offered to produce, because he had done considerable traveling throughout Latin America to explore those sounds for Calle 13. It was a good fit, and he was a big help in bringing those instruments in and building the songs.”
The results were successful artistically and commercially. You can still hear the gypsy jazz influence on Caja de Musica, but now it is (if I could use a cooking metaphor) a broth to which several other spices and ingredients have been carefully added, resulting in a pan-Latin sancocho where reggae riddims overlay French strumming and jaunty Venezuelan clarinets sit alongside Argentine charango, all of it filtered through Monsieur Periné’s sunny sound.
It was a sound good enough to earn Monsieur Periné a Latin Grammy for Best New Artist in 2015. The band, which has grown to 8 members, is just now beginning to compose songs for its follow up. “We’ve now toured both Europe and North America,” says Garcia. “We’re reaching audiences that aren’t necessarily fans of Latin American music, and we’re meeting and learning from them. We are really excited to be coming back to the United States because there are people from different nationalities and backgrounds that identify with our music. It’s a beautiful place to play.”
The final stop on Monsieur Periné’s 2016 tour was at Pilsen Fest, where they wowed a large audience late into the night, blowing past the curfew that usually closes down street festivals at 10pm. Live, their music takes on yet a third dimension, as they play lengthy instrumental build ups to their songs and follow with extensive soloing in their midsections. Somehow, they make traditional Colombian rhythms one with Benny Goodman’s Sing, Sing, Sing.
It’s great, then, that the first stop on this tour is back in Pilsen, just a bit down 18th Street at the crown jewel of Chicago’s mid-sized music venues. They’ll likely road test some new songs, as they hope to begin recording the new album in June. Garcia tells me that they are working with collaborators on the new songs. “We did all the composing on our first two albums by ourselves, but this time we want to work with other artists that we admire. Some of them are Colombian, but some are also from other parts of the world. We are looking for ways to learn from other kinds of music than ours. We want to continue to enrich our sound.”
Monsieur Periné with Dos Santos Anti-Beat Orquesta and Los Gold Fires
Wednesday, March 22, 8PM at Thalia Hall, 1807 S. Allport, Chicago
Tickets at thaliahallchicago.com
Beginning with Jibaro in 2005, Puerto Rican saxophonist Miguel Zenón has conceived and recorded a series of albums built on the Puerto Rican experience. Both Jibaro and 2009’s Esta Plena explored folkloric sources, while 2014’s Alma Adentro interpreted classics from the golden age of Puerto Rican songwriting by such luminaries as Rafael Hernández, Sylvia Rexach and Pedro Flores. 2014 saw the remarkable Identities are Changeable, which based its compositions not on musical sources, but interviews with Puerto Ricans born in the mainland United States that explored their sense of identity.
Each was progressively more complex than the previous. Jibaro was simply a quartet. Esta Plena added additional percussion and Alma Adentro utilized a string ensemble. Identities was a big band album. At the core of all four, though, was Zenón’s quartet. The title of his brand new album, Típico, might lead you to believe that it is a continuation of this conceptually themed series, but it is instead a more purely musical project that takes as its starting point the core experience of that working quartet since 2005: pianist Luis Perdomo, Henry Cole on drums and bassist Hans Glawischnig.
“The title ‘Típico’ refers to something that is customary to a region or a group of people or something that can be related to a specific group of people. And when I was writing the music, I was thinking about the music that identified us as a band.”
I’m speaking with Miguel Zenón by phone as he is preparing to take the quartet to California for the first leg of a Típico tour that will bring him to Chicago’s Jazz Showcase March 9-12.
“I wanted to go back to that initial idea of just writing something for the band and focusing on the things that I feel the band can do well and use the record as a showcase for that.” Zenón continues, “The way we usually put records together, even when there are large ensembles or conceptually bigger projects, they all start with the quartet. The other elements are added to that, but when we go out on tour it’s usually just the quartet again. So this time, when putting this record together, I thought about the music as not just the first layer of a bigger project, but with the band itself as the main attraction.”
In a few of the album’s tracks, sounds and ideas initially created by individual band members figure in the new compositions. On “Corteza”, Zenón based the melody on a Glawischnig’s bass solo first heard on Esta Plena. “Entre las Raíces” started with a Luis Perdomo piano solo on his album Awareness, while “Las Ramas” takes its starting point from figures that drummer Henry Cole has developed over the years that include his Afrobeat Collective album Roots Before Branches.
I ask Zenón if it’s fair to say that Típico is a more purely musical record. “There definitely isn’t a grand concept on this record. I wanted to do something that was more reflective of our experience as a band. If there’s a concept at all, it’s modern music written for a specific group of players that have developed a language together that we use to communicate with each other and create something that we can communicate to a listener.”
The idea of communicating to a listener interests me. Zenón’s music is quite intricate and carefully planned, but as a listener I’m not thinking about complex time signatures or harmonic cadences. If anything, music provokes a human response, be it pleasure, thoughtfulness, serenity, etc. I tell Zenón this and ask him to comment on the dynamic between composer, player and listener.
“When I’m putting music together, I’m trying to do it out of a place of truth and an honest representation of who I am. So it really needs to be ‘me’. A lot of things that we do start as ideas or systems or exercises, technical things, but then you want to put that in a context where it relates to a listener. There’s a balance needed between an intellectual level and a more human, sentimental point of view if it’s going to reach someone else besides us. My process is a slow one of putting together various ideas and conceptual things, but then I look for ways to add elements to the mix so I can communicate to other people. “
The ‘típico’ of Típico is this culture that exists within the Miguel Zenón Quartet, and not a reference to a geographical region. The compositions themselves have their origin in Zenón’s experience as both an observer and participant in this culture, with few obvious outside points of reference. There are sonic moments that jump out at me: The studio layering of multiple saxophone and bass lines that open “Ciclo”; a simple and very human whistle that opens the increasingly complex variations of “Las Ramas”; 30 seconds or so of in the pocket vamping from drummer Henry Cole in “Corteza”; the delicate intro to “Cantor”.
None of these compositions are likely to bring to mind Latin music. There are, however, two tracks that do conjure this feeling, one deliberately and the other, I believe, naturally flowing out of Zenón’s Puerto Rican heritage.
The lovely melody at the heart of Sangre de mi Sangre (inspired by Zenón watching his daughter play in a park) has a lyrical beauty that sounds like it could have appeared on Alma Adentro. “I actually wrote lyrics to that melody when I first sketched it out. I was watching her play and thinking about our connection, then also thinking about my parents and how they probably felt about me when I was young,” Zenón continues, “In a sense, the version that appears on the record resulted from the same sort of process that I used on Alma Adentro – start with the melody of an existing song, then build a new arrangement from that. We’ve never played it with the lyrics, but I always think about them when I play it.”
The title track makes explicit reference to Latin folkloric music. “I was trying to capture a specific feeling of folklore, specifically this harmonic cadence that I recognize in a lot of the music I like from Latin America. I played around with this cadence a lot of different ways and combined it with different elements and rhythms. Even though it is an original composition, it evokes that folkloric sound when you hear it.”
I jokingly tell Zenón that the piano intro to “Típico” sounds like a montuno played upside down, but to my surprise he readily agrees. “That’s exactly what it is,” he says. “We’re trying to play around with it, sort of like it’s a mirage of something that’s there, but at the same time, not there. I was trying to emulate a feeling I get when I listen to that music, but not the actual music itself.”
Miguel Zenón is no stranger to Chicago. He was here twice in 2016. In the spring he presented Identities are Changeable in concert at the Logan Center and conducted a discussion and performance of its themes and sources at Segundo Ruiz Belvis Cultural Center. He returned to Chicago in early fall to perform Yo Soy La Tradición, a world premiere work for saxophone and string quartet, at the Hyde Park Jazz Festival. The Miguel Zenón Quartet, however, hasn’t been at the intimate confines of the Jazz Showcase since 2015. When I spoke to Zenón prior to that appearance, he said, “I feel honored that we have become part of the musical family at the Jazz Showcase for so many years now. (Showcase owners) Joe and Wayne (Segal) have a long history of supporting younger bandleaders, especially Latin American musicians such as Danilo Pérez and David Sánchez, both of whom have already become such an integral part of the history of the club. I look forward to performing at this great venue for many years to come.”
Better now than later.
Miguel Zenón Quartet, Jazz Showcase March 9-12. Shows at 8 & 10pm plus 4pm all ages matinee on Sunday. Info and advance tickets at jazzshowcase.com.
If you live in Chicago and experience live Latin and world music on a regular basis, chances are you know, or at least have seen, Mateo Mulcahy. If you recognize the name, it’s because you know he’s the guy who brings all the cool world music to the Old Town School of Folk Music, located in the city’s north side Lincoln Square neighborhood.
Unlike a commercial talent booker or promoter, though, Mulcahy has a broader mission. The Old Town School is a non-for-profit organization, and Mulcahy is its Director of Community Projects and Events. He’s leading a new initiative called Extended Play that launches on February 1 in partnership with institutions in two other parts of the city; The DuSable Museum of African American History on the south side in Hyde Park and Segundo Ruiz Belvis Cultural Center in Hermosa on the west side.
Mateo Mulcahy was born in Chicago. He has both Mexico and Ireland in his heritage and grew up in a bilingual household. He spent several years in St. Louis leading a salsa band, hosting a radio show, promoting live Latin and world music and even owning a nightclub. These various capacities allowed him to make connections with that city’s various ethnic communities and continually expand his network. At times he reproduced shows in St. Louis that originated at the Old Town School’s La Peña series. Upon returning to Chicago in 2006, he was hired by the School to take over La Peña, but his background of working with many diverse communities led to him also programming the School’s Afro-Folk series and being assigned the broader task of connecting the School to communities beyond its immediate geographical area and to create more diversity at the school itself.
“We (the Old Town School) pull almost exclusively from a 20 block radius of the building,” Mulcahy tells me over coffee in the school’s main performance hall. “but we always have had an interest in expanding our reach into the south and west sides. Early on I took Afro-Folk out to the South Shore Cultural Center and we hoped to extend classes out there as well.” That effort ran out of funding pretty quickly, and Mulcahy has been searching for a way ever since to do something similar.
The Old Town School’s reputation beyond Chicago is highly regarded. “I can’t tell you how many artists that I work with say that they wish their cities had something like the Old Town School. New York City, London, Memphis, it doesn’t matter,” says Mulcahy. “There might be programs there that do something similar, but their focus is usually narrower, aimed at a particular community. The Old Town School’s mission tries to reach out to all of Chicago’s communities. We are the largest community arts school in the country.”
Even so, Mulcahy recognizes that there is unequal distribution of arts activity and education in Chicago. “There’s our 20 block radius, but virtually 90% of the city’s arts organizations are either downtown or on the north side like us. Vast parts of the city get very little.”
Cooperation between the Old Town School and community partners is crucial. A recently created 2 person engagement department has made these citywide partnerships more feasible. Last year’s 77 Beats program sought to celebrate the music and food of Chicago’s 77 distinct neighborhoods by producing over 45 events throughout the city in everything from cultural centers to parks and festivals, often utilizing the resources and talent in those neighborhoods.
Extended Play, which will bring Afro-Latin artists to Chicago this year, is a further step in that direction. As its name implies, the series extends the School’s long-running World Music Wednesday to three days and two additional venues. “We need to partner with organizations in other parts of the city and not keep everything to ourselves over there,” he says, gesturing toward the darkened stage. “Correspondingly, it is a benefit for the artists who come a long way to perform in Chicago to get the opportunity to play more than once.” Like 77 Beats, Extended Play is funded by the Chicago Community Trust, who have in recent years begun to focus more on the city’s under served neighborhoods.
The partner organization’s missions are crucial to the programming decisions as well. Artists are selected in close consultation with partner venues to ensure that they reflect the programming objectives and mission of all institutions. In the case of this year’s launch of Extended Play, the thread that connects the DuSable Museum and Segundo Ruiz Belvis is the African Diaspora. The initial artists that will perform include El Tuyero Ilustrado, who play joropo music from Venezuela, and Colombia’s Herencia de Timbiquí. Artists perform for three consecutive days. In keeping with outreach goals, all concerts are free to the public.
“I can’t tell you how pleased I am that I was able to get artists of this high caliber to launch this series,” Mulcahy says with a big smile. “Herencia de Timbiquí are superstars in Colombia, and El Tuyero Ilustrado are truly at the forefront of the joropo tuyero movement.”
Like a lot of Chicagoans, I first heard Herencia de Timbiquí at last year’s World Music Festival, and their show at Pritzker Pavilion was one of my personal fest high points. The 10-man ensemble mines a rich vein of traditional rhythms and instruments from Colombia’s Afro-Pacific region while modernizing it just enough to not sound like an anthropology lesson. They will be here in April.
El Tuyero Ilustrado, who kick off the series this Wednesday, are making their first appearance in Chicago. The duo consists of cuatro virtuoso Edward Ramírez and composer/singer/maraca player Rafa Pino. The project combines the joropo from the central region of Venezuela with original songwriting and uses the cuatro as a main instrument, rather than the more traditional arpa llanero.
Mulcahy discovered them at a music conference in Caracas and was totally blown away. “Venezuela has an incredibly diverse and rich musical offering,” says Mulcahy, “but joropo is the national music and the cuatro is definitely the national instrument. However, if you are going to replace a harp which has dozens of strings with a cuatro that has 4, it better be one incredible cuatro player. Edward Ramírez is at that level.”
Mulcahy and I end our conversation talking about Chicago’s world music community. “I’ve worked in other markets,” he says, “and I’m very happy to report that, in Chicago, the people who work on the cultural side of Latin and world music all get along and collaborate. It’s not a given that it works like that in other places. And working together enables us to get great artists to come to Chicago that individually we couldn’t afford.”
Extended Play works much the same way. It would simply not be possible to get El Tuyero Ilustrado or Herencia de Timbiquí to come all the way to Chicago for a single audience of a few hundred people. That makes us a very lucky city indeed.
Extended Play: El Tuyero Ilustrado
Old Town School of Folk Music, Wednesday February 1 at 8:30pm. oldtownschool.org
DuSable Museum of African American History, Thursday February 2 at 7pm. dusablemuseum.org
Segundo Ruiz Belvis Cultural Center, Friday February 3 at 7:30pm. segundoruizbelvis.org
Extended Play: Herencia de Timbiquí
Old Town School of Folk Music, Wednesday April 19 at 8:30pm
Segundo Ruiz Belvis Cultural Center, Thursday April 20 at 7:30pm
DuSable Museum of African American History, Friday April 21 at 7pm
“I was finding myself in Chicago every weekend, commuting from Kansas City, because Chicago was where the opportunity to play was.”
I’m speaking with Luciano Antonio, who has quietly but steadily become a major force in Chicago’s Brazilian music scene. Born in the rural town of Iretama in the southern Brazilian state of Parana, Antonio has been performing here since 1994. The first decade or so of that was playing guitar in existing ensembles like Chicago Samba, Bossa Tres and Orquesta de Samba, but eventually he began to step out as a bandleader in his own right, releasing his first album of original music, Vida de Arista (An Artist’s Life), in 2011. A second album, Sem Palavras (Without Words), followed in 2015.
Luciano, who was born into a musical family, taught himself to play guitar at the age of 14. He initially focused on Brazilian folk and Bossa Nova, but was soon studying classical guitar, eventually heading to the United States and Kansas City, earning a Bachelor of Music degree at the University of Missouri. It was there he met the leader of Chicago Samba, Moacyr Marchini, who invited him to join the group. By 1999, what started out as a few trips a year turned into a weekly gig. “I would travel here every Thursday afternoon, play the gig, sleep for a an hour and a half at the drummer’s house, then fly back to Kansas City in the morning because I couldn’t miss class.”
He continues, “Chicago Samba is a party band and plays everything: Bossa Nova, pagode, axé, Olodum, fricote… I still play all of that with my dance group project, Planeta Azul, but my original music tends to be a little quieter, music designed for listening instead of dancing.”
In 2002, Luciano finally moved here. Chicago is now home, the place he returns to after his tours Italy, China, and Brazil. If you go out for live music in Chicago, chances are you’ll encounter Luciano in one form or another on a regular basis. In addition to Planeta Azul, he performs as a solo singer-guitarist, in an occasional duo with the superb Brazilian vocalist Silvia Manrique, in the interesting new project AMA led by drummer Luiz Ewerling that features vocalist Ana Munteanu, and, of course, leading his own quintet.
His rigorous classical guitar study has payed off. He’s a terrific and fluid guitarist who is comfortable improvising. Additionally, Luciano is a fine singer whose voice carries that essential but hard to describe sense of Brazilian saudade.
It’s this quintet that has been playing a weeknight gig several times a year at Chicago’s renowned Jazz Showcase, where he now has a full weekend of shows scheduled starting January 26-29, a coveted spot that is usually reserved for national artists.
“Planeta Azul is meant for dancing, and I enjoy playing that kind of music very much. But at the Jazz Showcase, I can open up the music to improvisation, what is called Brazilian jazz, because I have a listening audience. I have the room to take the music where it can go.”
Luciano notes that he draws from a range of influences to compose and play this more intimate music. “Everything from the Beatles to the top artists of of Brazilian MPB (Música popular brasileira) including Milton Nascimento, Djavan, Chico Buarque, Gilberto Gil and Caetano Veloso. Some American pop and, of course, jazz.”
The Jazz Showcase quintet will include Neal Alger, one of Chicago’s best jazz guitarists, and a young Brazilian pianist, Gabriel Alves, who has studied here in Chicago with the legendary Willie Pickens. Rounding out the lineup are bassist Geoffrey Lowe and drummer Luiz Ewerling, who are also Luciano’s band mates in AMA. Joining them as special guests are vocalist Neusa Sauer and her husband Breno.
“Neusa and Breno came out of Brazil in the 1960s and settled in Chicago in the 70s. They’re both legends and Chicago is so lucky to have them. If you’ve never heard Neusa sing, you are in for a real treat. This weekend is something of a tribute to them.”
Luciano takes a moment to reflect on his time in Chicago. “I’ve been on the Chicago scene for something like 22 years. It’s really a great city, and I feel like getting a weekend at the Jazz Showcase is something of an acknowledgement that I’m a true Chicago artist.
“I’ll always love Carnaval music, dancing, high energy stuff. Samba and party music are great. But for me, personally, I want people to hear the nuances in my music, and I really appreciate that there is a place like Jazz Showcase where people will listen. The audience offers me their ears and their attention, and the challenge to me is to reward them for it by being as musical as I can.”
Luciano Antonio Quintet with special guests Neusa and Breno Sauer.
Jazz Showcase, January 26-29, shows at 8 & 10pm. jazzshowcase.com
[Editor’s note: Although we mostly cover music at Agúzate, it must be noted that the word ‘Culture’ is in our title as well. Readers may recognize the subject of this piece as a member of Bomba con Buya, the world class traditional Puerto Rican ensemble that calls Chicago home. However, his commitment to culture runs deeper than just music. Read on, and enjoy!]
By Parker Asmann all photos courtesy of Urban Pilón
If there’s one utensil that’s been historically essential in Latin American cuisine, it’s the pilón. In the late 15th century, the Taíno indians who occupied the West Indies were documented to have used many variations of the pilón for cooking, sometimes made out of large hollowed out tree trunks. Today, variations of that same utensil line the walls of Roberto Pérez’s kitchen to fuel his own culinary movement, Urban Pilón.
Formed in 2012 with longtime friend and fellow cultural worker Angel Fuentes, Urban Pilón is a culinary movement that has set out to share the rich traditions and roots of Puerto Rican, Caribbean and Latin American food. Through a traditional approach to cooking that uses fresh vegetables, herbs and spices from the garden, and a hard line against any additives or preservatives, Urban Pilón creates healthy and innovative dishes unlike what’s on other menus in Chicago.
When most people think of the culinary capitals of the world, colonizing nations like Spain, France and Portugal come to mind. However, Pérez explained that Urban Pilón’s cooking philosophy revolves around looking within to his own family, their Taíno past and African roots.
“Even in Puerto Rican cooking, sometimes those roots are shunned when they aren’t a part of the norm,” Pérez said. “In a lot of our cooking we really try and dig deep into some older recipes that people may not want to do or are embarrassed to do, recipes that have heavy stigmas. We love doing those recipes and doing things that not everybody embraces.”
As has been the unfortunate case for far too many indigenous populations throughout the Americas, many of their people, traditions and languages have been wiped away as a result of colonization, leading to their displacement and eventual extinction. Urban Pilón draws their motivation from their desire to keep their roots and traditions alive.
“A lot of what we’ve learned has come from talking to elders and traveling,” Pérez said. “We’re very available and interested in doing those things. For example, one experience that comes to mind was going to Veracruz and sitting down with folks who really knew how to cook and just learning from them, drawing comparisons and using new techniques in our own cooking.”
Since 2012, Urban Pilón has grown in more ways than Pérez and Fuentes could have imagined when they were originally tossing the idea around. In the years since, Urban Pilón has hosted several dinner parties with the aim of bringing different people from different communities together to enjoy the experience of cooking and sharing a meal.
Pérez credits Urban Pilón’s ability to evolve and grow so much over the years to their willingness to be open and to learn from those around them. Aside from starting Chicago’s first Caribbean food blog, Urban Pilón has performed several cooking demonstrations and hosted a handful of cooking classes. Pérez stressed that Urban Pilón likes to think of the culinary world as an open book, and that’s very much reflected in the openness the two showcase with their cooking knowledge.
“We’ve had the opportunity to sit down with folks who really know how to cook,” Pérez said, “and they’ve been unbelievably kind and open with us. So really it’s just our way of treating those we cook and interact with the same way that we’ve been treated, with the same hospitality we’ve been provided.”
More than anything, though, Urban Pilón is all about bringing people together. When Pérez isn’t gathering people around a stage in the name of music with his bomba ensemble, Bomba con Buya, he shifts settings into the kitchen. Food and cooking have always had a unique ability to draw similarities between cultures, people and traditions without uttering a single word. In staying true to their commitment to preserving their Puerto Rican traditions, Urban Pilón have traveled extensively and spoken with many elders to try and connect with the roots their trying to reestablish through their cooking.
“One day we hope to be able to put together a recipe book,” Pérez said. “Angel and I have both been lucky enough to spend time and learn about our cooking traditions from elders, so it would be great to be able to put all of those things together in a book so we can continue to preserve those roots.”
One of the ways Pérez works to broaden his horizons and expand his culinary expertise in Chicago is by volunteering at a soul food restaurant whenever he has the opportunity. Aside from the natural enjoyment he gets from cooking, Pérez explained that he uses the opportunity to continue to learn and develop his knowledge in the kitchen, taking the new things he learns and incorporating them into Urban Pilón’s own cooking.
What makes Urban Pilón even more influential to Chicago’s culinary movement is their commitment to creating healthy dishes. Pérez explained that he feels that it wasn’t until society moved towards what he calls a ‘quick fix’ way of living that the quality of food started to decline. Instead of people harvesting vegetables and other ingredients planted and grown from gardens or small plots of land, companies have capitalized on that need for quick and easy consumption by using artificial ingredients and preservatives.
As an example, Pérez pointed to Goya and their premade sofrito base. Sofrito is a staple sauce used in Latin American cooking as a base for rice, beans, soups, chilis and stews. While at one time it was customary to make your own sofrito base from scratch using fresh ingredients, now more often than not people purchase this base from grocery stores. Urban Pilón goes beyond just sofrito, though. In every one of their cooking classes, all of the ingredients are 100 percent natural and they share their knowledge of cooking things from scratch, the traditional way.
For those interested in getting involved, Urban Pilón has their third meal sharing event lined up for Monday, Dec. 5. This time around it’s going to be Mofongo Monday, which embodies every aspect of traditional Puerto Rican cuisine through the Puerto Rican dish’s African origins and fried plantain base that’s mashed together with salt, garlic and oil in none other than a pilón.
“Moving forward we at Urban Pilón just want to continue to bring people together and share these recipes through our cooking classes and other events,” Pérez said. “For us this is so much more than cooking, it’s a passion and an artistic expression all while showcasing the traditions of our culture.”
________ Learn more about Urban Pilón, including some great recipes, at urbanpilon.com.
Many of us made it out to Ravinia last summer to catch the Buena Vista Social Club’s “Adiós Tour.” By this time, sadly, several of the legends who rocketed to worldwide fame in the 1990s were no longer with us, most notably Compay Segundo, Ibrahim Ferrer and Rubén Gonzáles. Still, it was definitely worth the trip up to Highland Park to revel in nostalgia one more time.
There is one member of this club, however, who not only still walks the planet, but has no intention of saying adiós: Omara Portuondo. This year finds the legendary Cuban vocalist back out on the road for her “85 Tour,” named for the birthday that she will celebrate later this month. Don’t mistake this for another nostalgia fest, though. The world tour, which comes to Symphony Center on October 21, finds her accompanied by an all-star band of first rate jazz musicians, including American violinist Regina Carter, Israeli clarinetist Anat Cohen and Cuban pianist Roberto Fonseca, whose band (Yandy Martinez, Ramsés Rodríguez and Andrés Coayo) powers the rhythm section.
The standard narrative that accompanies the BVSC phenomenon is that these amazing artists were rescued from obscurity by Ry Cooder and filmmaker Wim Wenders. There is some truth in that, but it doesn’t apply to all of its members. In fact, Portuondo was actively performing and recording in the years immediately preceding the release of the BVSC album and movie. She has been active separately from the group in the years since as well, singing with everyone from the flamenco star Diego El Cigala to American avant-garde saxophonist David Murray and Brazilian singer Maria Bethânia.
Omara Portuondo was kind enough to answer a few of my questions via e-mail. The following responses have minor edits for clarity.
Don Macica – The common assumption in the United States is that your career, along with many of your colleagues in the film and album Buena Vista Social Club, was revived, even rescued by that project. It’s true that world wide fame followed it, but tell me a bit more about the years from 1967 up until the late 1990’s.
Omara Portuondo – Well, some of us were active. Actually I was invited to join the band because I was recording and they invited me to sing with Ibrahim Ferrer. I started [my career] dancing with my sister at the Tropicana, and from then I joined the Loquibamba, Cuarteto las D’aida, until the moment I recorded my first solo album in 1959, Magia Negra. I joined Orquesta Aragón in the 1970s [and] recorded albums with Adalberto Alvarez and Chucho Valdes… Some people do not know that, but I toured a lot before the success of Buena Vista.
(Editor’s Note: I did a bit of research, and there’s even more to the pre-BVSC years, including a 1983 documentary and being awarded an Alejo Carpentier Award for artistic achievement in 1988.)
DM – After over half a century of singing, what keeps you going? Has your work with younger musicians like Roberto Fonseca introduced another phase?
OP – Music is my life. It’s the source to keep going, along with my son and my granddaughter. I love what I do, and when this happens things are easier. Well, it does not mean that you have to be lazy. You have to work hard, but when things comes from your heart, people can feel it.
DM – You’ll be accompanied by a pair of incredible jazz musicians, Regina Carter and Anat Cohen, who aren’t particularly known for playing Latin music, although Cohen loves Brazilian choro. What can we expect from this collaboration and concert?
OP – Oh, I’m so excited and happy about this. For my 85th anniversary tour I wanted to invite artists that I admire and that could give a personal touch to the music. They are very talented and they understand perfectly the music connection. Your know, music is universal and we are simply enjoying so much of the reunion.
DM – Last summer’s BVSC tour was the “Adiós” tour, but you are still going strong. Any plans for retirement?
OP – Retirement? I’m just a young girl! There are some good things happening, a documentary movie, a lot of ideas, recordings… I’m grateful to do what I love most.
Omara Portuondo at Symphony Center. Friday, October 21 at 8:00PM. Tickets at cso.org.
When producer and DJ Gilles Peterson went to Havana in 2009 to explore a new generation of young Cuban musicians for his first Havana Cultura project, he encountered plenty of vocalists with talent to burn. It was from that album that I first learned about Daymé Arocena, Melvis Santa, Telmary Diaz and Danay Suárez. Helping him find these talented artists was the Cuban-born pianist Roberto Fonseca, who had toured the world with the Buena Vista Social Club and released a handful of critically acclaimed albums. Tucked away among the many singers and rappers who populated the albums 27 tracks was one outlier: Jazz pianist Harold López-Nussa, who closed the album like a Cuban Herbie Hancock with the lively La Jungla.
Now, through some wonderful cosmic alignment, Chicago will host both López-Nussa and Fonseca in the next week. The latter is part of an all-star band supporting Omara Portuondo, but it’s Lopez-Nussa that is touring behind a brand new album, the terrific El Viaje (Mack Avenue Records), and leading his own trio at Evanston SPACE on October 19.
The conservatory-trained pianist has actually been on the scene for over a decade, and this is certainly not his first trip off the island. He can be heard supporting David Sánchez, Stefon Harris and Christian Scott on their Cuban excursion Ninety Miles, recorded in Havana in 2010. He, too, has toured the world with Omara Portuondo and other musicians associated with the Buena Vista Social Club. El Viaje, notably, is the first international release of a Cuba-based artist since the lifting of restrictions associated with the longstanding trade embargo between the U.S. and Cuba, and López-Nussa’s subsequent U.S. tour follows in its wake.
But enough of context. On to the music!
López-Nussa is a superb pianist regardless of whether he is hewing to traditional Cuban folkloric sources or straying farther afield to straight ahead jazz, pan-African influences (his bass player and sometimes singer Alune Wade hails from Senegal) or even into tango and other South American sounds. Tracks alternate between the serene and introspective (the title track and the breathtakingly lovely Oriente) to lively and percussive (Bacalao con Pan, Feria), but overall the feeling is relaxed, not frantic. It feels as though López-Nussa has already figured out that he doesn’t need to show off his virtuosity, but just play. To these ears, the record sounds something like Weather Report in their prime, with its comfortable coexistence of global influences residing in the same song, propelled along by Wade’s electric bass.
The same tune opens and closes the album, Me Voy pa’ Cuba. It appears first as a bright and cheerful danzón that morphs into some furious piano runs, then returns as the framework for a boisterous rumba jam. In between are stops on a journey that begins and ends in Havana, but finds plenty of inspiration along the way.
Harold López-Nussa Trio, Wednesday, October 19, 7:30pm, Evanston SPACE, 1245 Chicago Ave, Evanston. Tickets at evanstonspace.com