Concert review: Herencia de Timbiquí at Segundo Ruiz Belvis Cultural Center


By Don Macica, Photos by Charlie Billups –

When it all comes together, magic can happen.

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.

It sure sounded like it.

Extended Play: Crossing neighborhood borders with a world of music

Herencia de Timbiquí

By Don Macica –

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.

Mateo Mulcahy

“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.

El Tuyero Ilustrado

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.
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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