Concert Review: ¡Súbelo! at World Music Festival Chicago

By Don Macica, photos by Charlie Billups

Chicago’s Department of Cultural Affairs and Special Events, which helps present the city’s many free festivals along with other programming throughout the year, has increasingly recognized the growth and diversity of Chicago’s many Latino communities. It was not only appropriate, but savvy, that one of the first major shows of this year’s World Music Festival Chicago, falling on a weekend in which Central America nations and Mexico both celebrate their independence, would draw from Mexico, Peru and Puerto Rico for its first ever all-Latin American show. Dubbed “¡Súbelo! – A Celebration of Pan Latin Music & Culture”, it took place at the Jay Pritzker Pavilion at Millennium Park.

Summer-like temperatures and abundant sunshine greeted Mexico City’s “Electrónica Regional Mexicana” band Centavrvs, cumbia amazónica pioneers Los Wemblers de Iquitos, and Puerto Rico’s Pirulo y la Tribu, whose 21st century salsa borrows elements from Cuban timba, hip-hop, bomba and R&B.

Centavrvs

Although a band like Centavrvs might seem to fall outside of Agúzate’s dedication to Afro-Latin music, their sound carries many tropical influences including cumbia, cha-cha-chá, danzón and even some vintage salsa, smoothly integrated into their widescreen corrido-like narratives. That’s not surprising, given the way that cumbia has migrated across Latin America and the Caribbean influences that enter Mexico through the port city of Veracruz.

This is, by my count, Centavrvs third visit to Chicago, the first one being at the much missed Celebrate Clark Street Festival in Rogers Park and the second paired with Guatemalan singer Gaby Moreno at a 2017 Millennium Park Summer Music Series show. Each time the band comes their sound gets a little bigger and more compelling, and this time around they’ve added a Venezuelan percussionist to the mix to bring the tropical elements more to the foreground. Electronic effects and samples blended seamlessly with guitar, bass and drums to powerful effect.

Los Wemblers de Iquitos

When cumbia reached Peru from Colombia in the late 1960s, it found a receptive audience among the country’s marginalized, indigenous population, who blended it with local sounds and a big helping of rock guitar. This was certainly true in urban centers like Lima, but no less so in seemingly isolated towns deep in the Amazon. It was there that a genre variously known as chicha, psychedelic cumbia and cumbia amazónica was taken up in the town of Iquitos by Los Wemblers. The veteran ensemble made several classics in the 1970s, including one that served as yet another name for the genre: Sonido Amazonico. They were discovered by a wider audience earlier in this century after Barbès Records included some of their songs in their “Roots of Chicha” compilation. Collaborations with the Meridian Brothers and Dengue Dengue Dengue led to them recording the brand-new album “Vision del Ayahuasca” for Barbès and now a world tour.

After a mid-tempo start, Los Wemblers quickly picked up the pace, mixing their 40-year-old classics with new tunes that matched their exuberant spirit and experimental tendencies, relishing the opportunity to play in front of an audience diverse in both age and national identity. The band would have had the crowd dancing in the aisles had the Millennium Park security let them. Instead, they danced in their seats, enthusiastically singing along.

The sun was beginning to set behind the Chicago skyline when one of Puerto Rico’s hottest groups took the stage. Pirulo y la Tribu are a salsa band, but one that generously welcomes other influences, including its Cuban cousin timba, boricua sources both traditional (bomba) and more recent (reggaeton), and American style R&B and hip-hop. They are a perfect example of how a music moves forward and thrives without abandoning its roots. After all, that’s what salsa was in its early days, a new way of absorbing and interpreting diverse Afro-Caribbean and American sources into something new and relevant to an urban audience. It’s not all that different than what Los Wembler’s did back then and Centavrvs do today.

Francisco “Pirulo” Rosado

Francisco “Pirulo” Rosado is a percussionist by training and a showman by nature. In La Tribu, he’s assembled a 10-person juggernaut that he leads from his custom-made timbales. Pirulo keeps the pace accelerated with a clave that manages to squeeze an extra beat into the 2/3 form somewhere between the 4 & 5. The band’s lineup doesn’t stray too far from the classic: three horns, three coro singers, a conguero, keyboardist and Pirulo’s timbales. The extra jolt comes from electric guitar, bass guitar and Pirulo himself, whose gruff vocals exhort both the band and the crowd higher and higher. Once again, the audience was up and dancing pretty much from the first note. A standout moment occurred when the band switched gears to do a straight up bomba number led by coro singer Chamir Bonano’s powerful voice. There was a little tinkering for modernization’s sake, but the spirit and authenticity were a clear signifier of Pirulo’s reverence for his roots.

Pirulo y la Tribu

Pirulo’s set had people dancing throughout the park, and eventually security relented enough to allow some aisle dancing down in front. Ever the master of ceremonies, he peppered the songs with audience chant-along interludes, gradually building each to a climax before turning the band loose to keep up with his hyper-drive clave. At the end, the crowd got their “otra” without excessive delay, and the whole day closed on a very high note.

Puerto Rico, unlike the countries represented by the other bands at Súbelo, is certainly not celebrating its independence this week. There is an anniversary on the horizon, though, marking 2 years since Hurricane María devastated the island. Pirulo’s set, though, was the opposite of somber. Instead, it celebrated resilience, pride, determination, spirit, and even gratitude, all of it expressed in his audience chant, “Gracias… Thank you!”

World Music Festival Chicago continues through September 29. For a complete schedule, visit worldmusicfestivalchicago.org

Interview: Travels with Monsieur Periné


By Don Macica –

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.”
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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