By Omar Torres-Kortright, Photos by Charlie Billups
Last Saturday, February 8, iLe, the Latin Grammy-winning artistic persona of composer and singer Ileana Cabra, solidified her position as one of the most captivating and original music projects to come out of Puerto Rico in the last decade. Her Almadura Tour, which will visit 15 North American cities over the next month, had a dream start at Old Town School of Folk Music’s Mauer Hall in Chicago’s Lincoln Square neighborhood.
As always, the night offered an x-ray into the heart and soul of this highly committed artist. Wearing her heart on her sleeve, iLe invites the audience into a world inspired by the complex cultural and musical influences of her Caribbean identity. Every thought, every move, and every word had a purpose in this carefully-crafted, and highly personal artistic statement on the political and social struggles of her native Puerto Rico. Motivated and provoked by Hurricane María, her newest production provides context to the colonial status of Puerto Rico by delving deep into the island’s history with songs like Odio, inspired by the 1979 killings of two independentistas at Cerro Maravilla and Ñe, ñe, ñe; a clear dig at the island’s politicians using plena as its rhythmic driving force.
While many of iLe’s hits are made for the dancing public, I didn’t expect to see the audience standing from the first song to the last, creating a special bond with her Chicago fans that I had not witnessed in her previous visits. The intimate size and pristine acoustics of Mauer Hall allowed iLe to connect on a personal level with every one of the lucky 400+ music enthusiasts that filled the sold-out venue.
Ile’s performance included material from her Best New Artist Latin Grammy-winning Ilevitable (2016), as well as the multilayered and polyrhythmic 2020 Grammy Nominated Almadura (2019). Throughout the night she showcased the depth and range of her voice, capable of going from classic bolero in songs like Triángulo and Temes, to salsa (Te quiero con Bugalú and Déjame Decirte) and even Dominican palo in the closing song of the evening, the powerfully rhythmic La Curandera (The Healer). The healer, she explained before beginning the song, offers a deliberate pause to shake off bad energy and press the reset button… kind of like what many Puerto Ricans had to do after Hurricane María and, more recently, the January 2020 earthquakes.
ile’s performance showcased the talents of her swinging 9-piece band that combines an impressive mix of established and emerging talent from the Island of Enchantment, including musical director Ismael Cancel (drums and percussion), Bayoán Ríos (guitar), Adalberto Rosario (guitar), Jeren Guzmán (congas, percussion), Jonathan González (bass, percussion), Zacheaus Paul (keys, percussion), Jorge Echevarría (trombone), and Hommy Ramos (trombone). The impeccable sound was made possible thanks to the able hands and ears of Bobby Connelly-Nadal, who also came directly from Puerto Rico to nurture the distinctive sonic elements that make up iLe’s artistic DNA.
It has been truly amazing to watch Ileana Cabra’s growth as an artist over the course of just a few years and two albums. The timelessness of her sound disregards fashion in order to convey something deeper and more lasting. It’s easy to imagine a very long and rewarding artistic career to come.
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.
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.
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 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’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!”
By Don Macica
Photos by Elías Carmona and Charlie Billups
At 47 years and counting, Segundo Ruiz Belvis Cultural Center (SRBCC) is the longest-standing Latino cultural center in Chicago. Its rich history of service to the Puerto Rican community and tireless promotion of the island’s music and culture runs deep and long. The centro has brought countless important Puerto Rican artists and musicians to Chicago over the decades.
Still, after Friday, September 21, I have a suspicion that SRBCC’s story will always be told in terms of “before” and “after”. That’s the day that multiple Grammy Nominee and Guggenheim and MacArthur Fellow Miguel Zenón and the Spektral Quartet presented their brand new album Yo Soy la Tradición to the world for the very first time with a benefit concert for the Chicago Hurricane Aid for Puerto Rican Arts. The fund was established by SRBCC to help struggling artists whose lives were severely impacted by Hurricane Maria.
I interviewed Miguel Zenón for Agúzate about the history of his new work and why he and Spektral chose to debut the album as a benefit for Puerto Rico. You can read that here. Still, nothing, including having had the privilege of hearing the album prior to its release and experiencing its only other public performance two years ago at the Hyde Park Jazz Festival, quite prepared me for the moving performance at SRBCC. The depth and richness of feeling and extraordinary musicianship conveyed the very soul of Puerto Rico, whose cultural and musical traditions provided the source material for Zenón’s compositions. The saxophonist kept his between movement commentary brief, but heartfelt. From where I was sitting, it appeared that Zenón and the members of Spektral were moved and inspired by their surroundings.
Two wonderful Puerto Rican photographers who live in Chicago, Elías Carmona and Charlie Billups, were there to capture the scene. They are much more intimate with Puerto Rico than I, who only know of the island through my visits and interactions with the friends I’ve made with Puerto Ricans both there and here in Chicago. I thought it was only right to give them the last word along with their images, so I’ll leave the rest of this article to them.
“Miguel Zenón’s music is full of images and brings me reminiscences of my life in the place I was born and grew up. In my opinion, he truly represents the essence of the Puerto Rican music and I love the way he fuses it with other musical influences. What great performance! It was one of the best shows I ever attended and photographed at SRBCC.”
“Miguel Zenón and the Spektral Quartet, two GRAMMY-nominated performers together with a worthwhile cause in a performance venue like no other: Segundo Ruiz Belvis Cultural Center in Hermosa. I was touched by Zenón’s decision to release his latest project at SRBCC to raise money for Art projects affected by Hurricane Maria. The performance was flawless, crisp, rich and a cross of classic with the rich vibe of Puerto Rico in Zenón’s sax. It raised the bar for Segundo Ruiz Belvis into a new dimension as a world-class music venue.”
Finally, I’m including a video courtesy of SRBCC that includes part of the final movement of Yo Soy La Tradicion, “Villabeño”.
For some artists, it can take a very long time to find your voice. For the Paris-born guitarist and singer Pascal Danaë, that voice came in the history and language of his ancestors on the Caribbean island of Guadeloupe and, going even further back, his African heritage. His new group, Delgres, who just released their debut album Mo Jodi and will appear twice this weekend at World Music Festival Chicago, is inspired by his family and, more broadly, the struggle for human dignity. Its lyrics are primarily sung in Creole with some English.
Growing up in the suburbs of Paris, Danaë was exposed to all sorts of music: Haitian konpa, Cuban son, and African soukous among them, but also English rock like the Kinks and Rolling Stones. He developed an interest in jazz as well, especially guitarists like Wes Montgomery and George Benson.
It was a trip back to his parent’s home in Guadeloupe (a place that his parents never returned to after emigrating to France) when a seed was planted that, almost two decades later, would become his vision for Delgres. It was in there that Danaë encountered the letter of freedom given to his great-great-grandmother in 1841 when she was 27 years old, and it had a profound emotional impact.
Danaë already had a successful career as a jazz guitarist and session musician for the likes of Peter Gabriel, Youssou N’Dour and Gilberto Gil before attempting to do something more personal. He released a solo album in 2004 and then formed the Afro-Brazilian tinged group Rivière Noire before finally feeling ready to follow through on his Guadeloupe-inspired vision.
The group is named after Louis Delgrès, a Creole officer in the French army who died fighting against slavery on the island in 1802. Informed as it is by Danaë’s personal history, the album also serves as a call to fight against modern-day oppression and slavery.
A bit of history: Guadeloupe is part of the same archipelago as Cuba, the island of Hispaniola, and Puerto Rico. Like nearby Saint-Domingue on Hispaniola, the island was a French colony. After a successful slave revolt, Saint-Domingue became the nation of Haiti in 1804. There were similar stirrings for freedom happening on Guadeloupe, but they were successfully put down. Slavery was not abolished until 1848.
While the Creole language of Danaë’s ancestors figures prominently in the conceptual intent of the songs, the band’s muscular sonic foundation owes much to other traditions drawn from the experience of Africans in the Americas. The raw and rollicking sound of Mississippi hill country blues informs Danaë’s vocals and guitar and the powerful drumming. The final layer in this stripped-down trio is that of the sousaphone, a key element of New Orleans brass band music, supplying earthy and growling bass lines.
The guitar-drums-sousaphone combo packs quite a wallop when playing full-tilt, but the trio is also capable of pulling back a bit to leave some room for delicate introspection. As much as Danaë has infused the songs with meaning and purpose, he has also made sure that the band that plays them and the music they create together remain upbeat and approachable. “It’s not a history book,” says Danaë of the band in concert. “We have a good time.”
Delgres at World Music Festival Chicago Saturday, September 22 at Concord Music Hall Sunday, September 23 at Navy Pier worldmusicfestivalchicago.org
For every star of salsa music, there are a dozen of unsung heroes that, despite their immense talents, are lesser known, providing the necessary support for the star to shine. Quick: How many salsa horn players can you name? Beyond Willie Colón and those who are primarily known as Latin jazz musicians, you are likely to have to think for a while. But a salsa song without horns would feel empty, and the same goes for the lead vocalists and most certainly the coro singers.
Jerry Medina is all three: A dynamic lead vocalist, expert coro singer and talented trumpet player. With the formation of Jerry Medina y La Banda earlier this decade, he became a terrific bandleader as well. His name might not immediately come to mind, but a deep perusal of your record collection will find him turning up all over the place. He’s appeared on something like 50 albums since 1981 (up to and including the recent Grammy-nominated Fase Dos by Juan Pablo Diaz), including releases by Ismael Miranda, José “El Canario” Alberto, Oscar d’Leon, Cheo Feliciano and more. He has a pair of Grammy Awards on his shelf for Palmieri’s 1987 album The Truth / La Verdad and the 2000 collaboration between Palmieri & Tito Puente, Masterpiece. When the stars of Fania regrouped for world tours in the 1980s and 90s, Medina was there with them.
Medina released a couple of solo albums in the 1980s, but a more lasting contribution came as a member of Batacumbele, a groundbreaking and deeply rooted Afro-Caribbean ensemble where he both played trumpet and sang lead. The group is notable for being entirely Puerto Rican at a time when people were looking to Cuba for new sounds, but one listen reveals a sprawling collective that more than held their own with their Cuban counterparts like Irakere.
Medina was in the studio throughout the 90s and into the new millennium providing support for many of the big crossover Latin records of that decade, but he always kept one foot in the world of improvisational and folkloric music with groups like Descarga Boricua, bomba legends Hermanos Ayala and Grupo Afro Boricua.
He came into his own as a bandleader and lead singer in the 2000s with the formation of Jerry Medina y La Banda. The group bridges Caribbean folklore and Latin jazz in an updated version of Batacumbele’s template, and even flexes some funk & hip-hop chops. They made an electrifying appearance at the Puerto Rico Heineken Jazz Festival in March 2014. In 2015 Medina and La Banda released A Mi Manera, which included the talents of Giovanni Hidalgo, Paoli Mejías, Efraín Toro, Pablo Rosario, Luisito Marín, Prodigio Claudio, and Ricardo Pons.
A Mi Manera is a stylistically diverse collection of songs that ranges from jazzy big band sounds (complete with scatted vocals) to driving timba to a radical reworking of the Rafael Hernandez classic Capullito de Alelí. The title track is not,thankfully, a cover of the Paul Anka chestnut but an original composition that is Medina’s manifesto for the group. You can hear a little bit of lots of stuff in it: A cuatro solo for the traditionalists, a rap, some scratching, a swinging horn chart, funk bass, Medina’s scatting and a snaky, shifting rhythm pattern. This is indeed Medina’s way.
It’s a tribute to Medina’s talent, energy and spirit that, after 35+ years in the business, he can come up with something this fresh and contemporary that still manages to be an extension of the great salsa records that he’s contributed to over the years. In the process, he honors Puerto Rican creativity, culture and music.
Jerry Medina y La Banda Wednesday, August 29, 8:30pm: Old Town School of Folk Music oldtownschool.org Thursday, August 30, 7:30pm: Segundo Ruiz Belvis Cultural Center srbcc.org Both shows are free with a suggested $10 donation
ÌFÉ, the “Future Afro-Caribeña” project from Puerto Rico led by drummer/producer/singer Otura Mun, last came to Chicago in July of 2017 for an acoustic show at Segundo Ruiz Belvis Cultural Center, an organization that they have longstanding ties to. They had been to Chicago twice before, most recently right after the release of their well-received first album, IIII+IIII, (pronounced “Edgy-Og-Beh”). You can read Agúzate’s review of that album here. The group, which also consists of Beto Torrens, Rafael Maya, Anthony Sierra and Yarimir Cabán, was tacking on a free show as something of a gift to Chicago at the end of a U.S. tour before going their separate ways for a bit.
Little did they know that the short break would turn into a lengthy hiatus after Hurricanes Irma and Maria delivered a near knockout blow to Puerto Rico in September, leaving some members of the band stranded on the mainland and forcing others to depart the island for their own safety.
The band essentially went silent for a few months. Band members stayed busy with their own projects and Mun would occasionally surface in the press with an interview. December found IIII+IIII showing up on virtually everybody’s end of the year “Best of” lists, from NPR Music to outlets covering dance and electronic music to folk music publications like England’s Songlines. By February the band was rehearsing in preparation for a Mexican tour and a double-bill with M.A.K.U. Soundsystem at BRIC, a cultural arts center in Brooklyn. They also found time to stop by the NPR studios in Washington, D.C. to tape a Tiny Desk Concert.
Now ÌFÉ is starting a tour that will eventually take them to the Kennedy Center in Washington and Central Park Summer Stage in New York, but their first stop is in Chicago. They will be back at Segundo Ruiz Belvis Cultural Center this Friday night for their third ÌFÉ Acústico, a casual yet invigorating rumba session that usually ends in an all hands on deck jam that crosses from rumba to bomba and back again. They’ll be in concert at Navy Pier the following afternoon at LatiNxt, a new 2-day festival that explores new ways of connecting traditional Latin music with modern sounds.
I spoke with Otura Mun last week as he was preparing to travel from his home in Santurce, Puerto Rico for Cuba in order to continue the spiritual studies that led Mun, an African American from Indiana born with the name Mark Underwood, to become an Ifá priest or Babalawo in the Yoruba religion in 2015.
DM: First of all, congratulations on the success of your first album. It’s pretty amazing to have a debut gain all that international acclaim. Why do you think that album resonated with so many different people and was greeted so warmly?
OM: Well, I think there are a few things. First of all, we sing in three different languages; English, Spanish and Yoruba. There are three points of intersection language-wise, so we’re not put in one camp. We’re not only seen as a Latin American band. In fact, some of the biggest and most interesting reactions to our Tiny Desk performance came from Nigeria. I also think that I myself don’t fit neatly into the pre-determined cultural nooks and crannies, so personal and musical influences show up in the songwriting and structure that appeal to more than one group. But those are technical things. Bigger than that, I think, is that the record was always meant to be inclusive and easily readable, even if you didn’t understand the language. The intent of the record was to communicate love and expansion.
Here’s an example: I bumped into a guy in a bar the other night. He’s a musician, but in a style that I’m not really into. I don’t really know him, but he pulled me aside to say, “Hey man, I listen to your record all the time… it puts me in a place that I really like to be.” That was very satisfying; it was something that I hoped to achieve. I know that when I was developing my ideas for the band, I got “professional” advice to sort of trim my vision, to target it this way or that. But I needed to be honest to myself. When we made the video for “3 Mujeres (Iború Iboya Ibosheshé)” everybody told me to cut out the lengthy introduction of the band members, but I thought that it was important and in a way it was my homage to Yoruba Andabo. And it did take a few months before outlets started to add it. But I don’t regret it for a moment, because it was important for me to do it the way we did it.
DM: Many of Aguzate’s readers are deeply and personally connected to Puerto Rico, so we all looked on with collective horror at Hurricane Maria and its aftermath. I remember the relief I felt when the band posted on social media that everyone was safe, and then I started seeing individual members posting from different places around the U.S. and world. How did all that affect you as people, as Puerto Ricans and of course as an artistic ensemble based in Santurce?
OM: Well, actually, I wasn’t there when the hurricanes struck. After we completed our summer tour, I went to Europe to work on a project, stopped home for a day in August to produce a song for MIMA (the solo artistic persona of ÌFÉ member Yarimir Cabán) and then went to California. So, just like you, I didn’t hear anything for days, then slowly began to hook up with friends and band members. It was hard to get information. I remember seeing pictures on the internet of my street and it was total devastation. It was hard, but most of what I know about that time I learned from the accounts of others. We all didn’t get back together until February so we could rehearse for the Mexico and Brooklyn dates.
I live in the barrio, right, and there is a degree of lawlessness here that’s greater than before Maria. The electricity might be back on, but not all the street lights work. You can turn a corner and be in total darkness. You have to watch out. That attitude applies to the police, too. It’s like what the black community experiences in the States, but with even more impunity.
On the other hand, people have come together to help each other because there was nobody else, and there seems to be a movement toward more unity. The economic situation and the hurricane laid Puerto Rico’s colonial status bare and I think more people are waking up to that.
It’s always been hard to make it as an independent artist here, or as a folkloric artist. Even salsa suffers from that. If you’re not doing reggaeton, you will have a tough go of it. So in that way, things are the same. On the other hand, the international community is paying much more attention to Puerto Rico since the hurricane, so there are more opportunities for us to tell our stories.
Puerto Rico is where I want to be, despite all the difficulties. These are the people that I’ve been around for 20 years, and I think we are also closer than ever to getting a grip on our situation and making changes for the better.
DM: Are you working on new material? I’ve seen hints of a technology upgrade on the band’s Facebook page and wondering what we’ll be hearing at Navy Pier.
OM: We’ve been working a lot to bring our live performance to a higher level. We want our show to be impactful and somewhat challenging, not what you’ve seen before. We have a new dancer in the group, a woman from Mexico City named Pia Love, who’s traveled to Nigeria, Brazil, Cuba, India, Jamaica… that makes her familiar with my main influences and she brings all that to our collaboration. I’m almost going for a theatrical presentation with our live show.
Musically, there will be a new record, maybe later this year. I’ve spent a lot of time making notes and ideas for new songs. I’ve got 6 notebooks! I already know what the next record is going to be about. We are testing a new single in front of audiences, so we’ll be opening shows with it. Chicago will be the first place that people will get to experience this new stuff.
ÌFÉ in Chicago
ÌFÉ Acústico | Segundo Ruiz Belvis Cultural Center | Friday June 15 @ 7:30pm | Advance Tickets at segundoruizbelvis.org
LatiNxt presented by Sol | Navy Pier | Saturday June 16 @ 3pm (LatiNxt begins at 2pm) | Information at Facebook
It can be argued that Cuba has produced more innovative pianist/composers per capita than any other country on earth. A distinctly syncopated Cuban style emerged out of the blending of European classical music seasoned with African rhythms in the late nineteenth and early twentieth century. Perhaps the most famous composer of this era is the orchestra leader Ernesto Lecuona, who wrote the classic tune Siboney, among many others. By the 1940s jazz was flavoring the stew along with a more overt reference to rhythms of African origin, leading to the development of mambo. When the descarga scene, marked by lengthy improvisational jam sessions, emerged in the 1950s, pianists Peruchín and Bebo Valdés often were often leading the band. It’s a tradition that continues to this day in the person of young pianists like Alfredo Rodríguez and Harold López-Nussa.
In between those early days of mambo and the emergence of this new generation, however, there are two pianists who tower over the rest.
Bebo Valdés’ son Chucho emerged in the 1970s as a founding member of the groundbreaking Irakere, arguably one of the best and most influential bands to emerge from post-revolution Cuba. The group, which also included trumpeter Arturo Sandoval and saxophonist Paquito D’Rivera, might very well be called Afro-Futurist today in the way that they combined deeply spiritual Afro-Cuban rhythms to forward thinking jazz and electric rock band energy. Chucho Valdés kept Irakere going after Sandoval and D’Rivera left Cuba for the United States, but he also grew as a solo artist and leader of several jazz ensembles, moving over to acoustic piano as his main instrument.
Meanwhile, another pianist from a musical family, Gonzalo Rubalcaba, was growing up listening to Valdés and Irakere. In the 1980s, he formed Grupo Proyecto, one of several young fusion bands inspired by the pioneering Irakere. By the end of the decade, Rubalcaba also turned to acoustic piano and was soon part of a trio that included American jazz giants Charlie Haden and Paul Motian (later Jack DeJonette). He made his international debut in 1991 with the album Discovery: Live in Montreaux. That album was put out by the legendary jazz label Blue Note, who also released Chucho Valdés’ U.S. debut Solo Piano the same year.
Both pianists went on to stellar jazz careers that nonetheless have the heartbeat of Cuba at their center, regardless of whether they are playing solo, small ensemble or big band dates. Both have proved adept at the two-piano format. Chucho’s 1998 duet album with his father Bebo, Juntos para Siempre, is a gorgeous masterpiece that stands as a testament to what can happen when you get two Cuban pianists in a room together.
On February 23, that room will be the stage at Symphony Center when Gonzalo Rubalcaba and Chucho Valdés, two brilliant pianists and composers with a historic relationship within the Cuban piano tradition, present Trance, a collaboration that explores the profound spiritual connection at the very heart of Cuban music. Expect an open-ended, respectful conversation between two friends whose mutual admiration for each other leads to careful listening and thoughtful response, adding as needed until ultimately they almost speak as one.
And lest you think this will be some laid back recital, be assured that there will be plenty of sonic fireworks from these master musicians. After all, their hearts beat to the rhythm of Cuba.
Chucho Valdés & Gonzalo Rubalcaba: Trance Friday, February 23 at Symphony Center, Chicago Tickets at cso.org.
It has been far too long since Puerto Rican saxophonist David Sánchez has released any new music under his own name.
It’s not that he hasn’t kept busy since Cultural Survival came out in 2008. He was one third of the Ninety Miles Cuban project along with vibraphonist Stefon Harris and trumpeter Christian Scott that toured heavily for a few years. He’s turned up as a guest on several excellent albums, and he tours regularly, swinging through Chicago at least once every year or two.
So when, after Sánchez announced that he and his quartet (pianist Luis Perdomo, bassist Ricky Rodriguez and drummer Obed Calvaire) were playing new material and heading into the studio next week, it was very good news. Some of the tunes were getting their first public performance. A key element of jazz improvisation is, essentially, composing on the spot, and that makes this weekend of shows something of an intense road test of the ideas that will make the final cut in the studio next week. Jazz fans could hardly ask for anything more.
The new songs are for an album to be titled Caribe, and they explore exactly that, folkloric traditions of the Caribbean, particularly from Puerto Rico and Haiti, where Miami-born drummer Calvaire has roots. Rodriguez, like Sánchez, hails from Puerto Rico and Perdomo is Venezuelan, but the thing that they share in addition to their Caribbean heritage is that they are all dedicated jazz musicians. The music they made together Thursday night demonstrated just how jazz absorbs and embraces diverse influences, and they did so with profound artistry and commitment.
This is a band certainly capable of fireworks, which they delivered handily on tunes like “A Thousand Yesterdays” and “Land of the Hills,” titled after what the French colonizers called Haiti. On these tunes and others, Sánchez temporarily set down his horn to take up a barril de bomba to underscore the folkloric foundations of the rhythm. It was the quieter moments, however, that impressed the most: “Canto” with Rodriguez’s bass intro and “Waves Under Silk,” that built on Perdomo’s repeated chords.
The David Sánchez Quartet has three more nights at the Jazz Showcase, two shows a night plus a Sunday afternoon kid-friendly matinee. If you want to explore creativity in action and gain an exclusive preview of an album to come, you’re advised not to miss it.
David Sánchez Quartet, December 14 – 17, Jazz Showcase, Chicago – jazzshowcase.com
Eddie Palmieri brought what was, for the celebrated salsa orchestra leader and NEA Jazz Master, a smallish ensemble with him to the Old Town School of Folk Music on Friday night, but the joyful noise that they made together was a testament to the power of Eddie’s playing, composing and arranging skills. When you add in the charm and personality that El Maestro carries with him always, you have the recipe for a truly special night. Mixing references to both family and his beloved Puerto Rico into the between songs commentary, Eddie engaged the audience emotionally as well as musically.
The evening opened with a solo piano meditation on Palmieri’s late wife, weaving together two compositions, Mi Novia and Life, together in her honor. From there on, though, it was time for el ritmo.
As Eddie said in last week’s Agúzate interview, the man absolutely refuses to indulge in mediocrity. He reiterated this at the show, noting that the harmonic complexities of jazz wed to the African derived rhythms of Cuban drumming are pretty much everything that’s worth doing musically. And, of course, he had a band with him that was spectacular at both.
The all-Puerto Rico rhythm section of bassist Rubén Rodriguez, timbalero Camilo Molina, conguero Vicente “Little Johnny” Rivero and El Rumbero del Piano himself absolutely killed it all night long. Meanwhile, Alex Norris’ trumpet and Louis Fouché’s alto sax burned with fire and grace.
In addition to selections from his latest album Sabiduria, the group went back to the 70s several times for recasts of classic Palmieri tunes like La Libertad Logico, Puerto Rico and Chocolate Ice Cream (written with the great Cuban trumpeter Chocolate Armenteros). Each was introduced with an anecdote from Palmieri’s life about the origins of the song. Some were humorous. Others addressed the tragic situation of Puerto Rico’s slow recovery from Hurricane Maria but also the strength, resilience and pride of the Puerto Rican people, even suggesting that it was time for the island to resume its pre-conquest name of Borikén.
All in all, it was an extraordinary night. Today, as I go back and listen to classic records like Vamanos Pa’l Monte and Sentido, I’ll also have photographer Charlie Billups‘ images from the concert to remind me of just how extraordinary it was.
For salsa singer Enrique Calderón, when he finally felt it was time to write and record his first single, he kept his mind focused on one very important thing: For it to be a success, people needed to dance.
That’s how it started for Calderón, a young Mexican-American from the south suburbs who could play jazz and classical music on the trumpet, when he began hitting Chicago’s salsa nightclubs in the late 1990s.
Back then, there were actually a few full time salsa spots in the city, not just clubs that occasionally offered salsa nights. Calderón’s main haunt was Tropicana D’Cache, which occupied the space that is now Concord Music Hall. He admits that the scene was attractive: The dancing, the bands, the beautiful women. “I became a pretty good dancer, winning a couple of dance contests,” says Calderón.
I asked Calderón how, being of Mexican descent, he got into tropical music. “Both of my parents were from Mexico, my dad from Michoacán and my mom from Mexico City. Both her and my grandmother were big fans of tropical music, stuff like Perez Prado, Sonora Santanera, Sonora Mantancera. Groups like that would come to Mexico City all the time. So, when I was growing up here in the States, that sort of stuff would always get played around the house.”
Still, like most kids, he was not especially fond of his parent’s music. His tastes ran toward hip-hop, house and other urban music. At the same time, though, the jazz lessons that he’d been getting left an impression, and he even privately tried singing a bit, imitating Harry Connick, Jr.
Later, when he was immersed in the salsa scene and knowing that he had a decent singing voice, he began to pester bands into letting him sing back up, finally getting a big break when Jesus Enríquez, who was huge on the Chicago scene, invited him to sing with his group. Soon enough he was singing backup with lots of local orquestas as well as national artists whenever they came to town.
He eventually formed a group named La Unica with a couple of close friends while continuing to work with national artists. But in 2004, he decided to call it quits for a while. By 2011, though, he was ready to return. He got a few higher profile band gigs with Rica Obsesión, Nabori and the Humboldt Park Orchestra. He was also doing backup vocals with a new generation of salsa singers such as Willito Otero, Kayvan Vega, NG2, Carlos Mojica, Maelo Ruiz and Frankie Negron when they came to Chicago. Finally, in 2016, he formed his own group.
Now, most salsa bands survive on doing covers of popular songs, and Calderón’s certainly fills that bill. You don’t hear too many brand new songs on salsa night. But in 2017, Calderón decided to take the next step and began working with singer Ricky Luis and Afinca’o leader Joe Mende on producing new original music.
The result is a new single, Más Tiempo, debuting this Sunday night, September 3, at the Cubby Bear’s Salsa Sunday Labor Day show. Also on the bill is Ricky Luis, a Chicago native who now lives in Los Angeles, and Afinca’o, who are also debuting a new single. So, it’s kind of all in the family, and a pretty big night for all three.
The sound of salsa has changed over the decades, and it is currently enjoying something of a back to basics moment. “That’s the sound I wanted to get on this first single,” says Calderon, “percussion and horns, kind of a classic approach. At the same time, I can’t ignore what gets the dance floor going, so there is a little bit of that romantic salsa feel, and the lyrics are about a relationship I was having at the time. People relate to it, they want to sing along, and they want to dance. Do you know how many people sing along to Yo No Sé Mañana?” Calderon asks, referring to the massive and often covered Luis Enrique song from 2009 that is a guaranteed dance floor filler.
Más Tiempo does a good job of navigating the gulf between salsa dura and salsa romántica. The arrangement is tight, with skillfully arranged horns and percolating percussion. Calderon’s voice is a little more rugged than the average crooner, and his sense of the rhythm is superb. At the same time, there is a hooky little chorus tailor-made for the audience sing along. A nice little touch comes near the end, when Calderón gives the shouted affirmation “México presente!”
Calderón is still a dancer at heart. “When I’m on stage with my band, and I notice that I’m not dancing, well, then I know it’s time for the band to bring the energy up.”
Look for a lot of energy this Sunday night at the Cubby Bear.
Salsa Sundays at Cubby Bear featuring Enrique Calderón, Afinca’o, and Ricky Luis | Sunday, September 3, 10PM (doors open 7PM) | Facebook