Hundreds of people filled Segundo Ruiz Belvis Cultural Center last night while one of the most important bands in Cuban music history, Septeto Nacional de Ignacio Piñeiro, performed a style of classic Cuban son that they practically invented in 1927 when they added a trumpet to the traditional tres Cubano, guitar and percussion. Of course, 90 years later, the band is in its fourth generation. While hardly innovative by 21st century standards, they provide a near perfect evocation of a sound that laid the foundation for what would become salsa 40 years later. If, as El Gran Combo has sung, “Sin Salsa no hay Paraiso (Without salsa, there is no paradise)”, then without Septeto Nacional, there is no salsa.
This was only the fourth time that Septeto Nacional has visited Chicago: Three since the Obama administration re-opened cultural exchange with Cuba and, before that, the 1933 Century of Progress World’s Fair. That made it something of a historic night as well.
At the SRBCC show, at least three generations of folks, from retirees to children, filled the dance floor with varying degrees of skill but equal measure of joy. Meanwhile, the back of the room was filled with round banquet tables where friends and strangers alike gathered like family. All in all, it was an atmosphere more akin to a community party than a concert. Adding to that feel was that Septeto Nacional invited saxophonist Roy McGrath, a Puerto Rico native who runs SRBCC’s youth Afro-Latin jazz program, to join them for a song. He responded with an improvised solo that evoked another genre that likely wouldn’t exist without Septeto Nacional: Latin jazz.
When I spoke with Old Town School of Folk Music’s Mateo Mulcahy a few months ago about their Extended Play series that partners with SRBCC, he talked about how Chicago’s network of cultural presenters allows the city’s residents to experience world renowned artists that any one organization could not afford to bring to town on their own. Septeto Nacional’s appearance was co-presented by HotHouse, who hosted the band the night before at Alhambra Palace. It is partnerships like this that allows an organization like SRBCC, whose main business is neighborhood youth services, to also be a place where people can come to hear world class music from Latin America.
Like the show by Colombia’s Herencia de Timbiquí just 2 weeks earlier, there was a sense of the barrier between performer and audience dissolving altogether, a vibe that SRBCC is increasingly adept at conjuring, as more and more people discover with each presentation. It is, I believe, a force that gives energy to the whole, resulting in an elevated experience on and off the stage.