Review / Preview: New Music from Dos Santos: Anti-Beat Orquesta

Dos Santos
By Don Macica –

With Fonografic, their new EP, Chicago’s Dos Santos: Anti-Beat Orquesta find themselves getting comfortable in their own skin and refining their many influences into something unique and wholly theirs. And, as is often the case, it’s the guidance of an outside producer that helps them get there.

When I first encountered Dos Santos at a Rogers Park street festival in the summer of 2013, they were practically brand new. At the time, much of their musical hat was hung on chicha, an immensely danceable and stripped-down psychedelic Peruvian variant on Colombian cumbia. You can still hear traces of cumbia rhythms and the hallucinogenic feel remains, but now a host of pan-Latin sounds and big, meaty funk and rock riffing have asserted themselves in the mix.

To record Fonografic, the band traveled to Austin, Texas and enlisted Beto Martinez of the Grammy award-winning Grupo Fantasma as producer. This assistance finds them working on a much larger aural canvas and lending the tracks an almost cinematic feel (their video for the driving twang of Camino Infernal reinforces an impression that this would make great theme music for the next twisted Robert Rodriguez epic).

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Dos Santos is, ostensibly, songwriter-guitarist-organist-singer Alex Chavez’s band, but the contributions of all five members (in addition to Chavez, there is bassist Jaime Garza, drummer Daniel Villarreal-Carrillo, conguero Pete Vale and newest member Nathan Karagianas on second guitar) loom large in the sound. The percussive tandem of Vale and Villarreal-Carrillo has gelled into a powerhouse duo, especially on the descarga ¡Cafeteando!, which features guest trombonist Mark “Speedy” Gonzales and sounds something like a lost Willie Colón track driven through a Colombian pico and turned up to maximum volume.

Two other tracks are especially notable for the way they diverge from the band’s chicha beginnings. Santa Clara is an optimistic sounding tropical Latin tune that Chavez wrote years ago, and has the sunny feel of Los Amigos Invisibles at their best. At the other end of the emotional and sonic spectrum is the second half of Red, a slow and sinister bit of R&B balladry punctuated by Chavez’ wounded howl of “Ay, amor!”.

They do all of this in seven brief tracks that total less than 30 minutes, which suggests to me that Dos Santos is anything but a self-indulgent jam band, and that every note they commit to is played with purpose. There is no doubt more where that came from, and we’ll hopefully get to hear them stretch out at this Saturday’s CD release concert for Fonografic at the Hideout. $10 gets you in, but $15 gets you in and a copy of the CD.

Dos Santos: Anti-Beat Orquesta with special guests, October 1, 9PM (doors 8:30) at The Hideout, 1354 W. Wabansia Ave, Chicago. Tickets at Ticketfly.
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About the author: Don Macica is Agúzate’s content manager, a marketing consultant to the performing arts community and a contributing writer to several online publications. When not traveling, he lives a stone’s throw from Lake Michigan in Chicago’s Rogers Park neighborhood. He also writes Border Radio, a blog about music, migration and cultural exchange.

Concert review: ÌFÉ and Mulatu Astatke at Concord Music Hall

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photo by Charlie Billups

By Don Macica –

We still have a couple of “must-sees” on our list for World Music Festival Chicago. Still, we’ll be really surprised if we encounter a double bill as strong as the one that played Concord Music Hall on Saturday.

In a sense, the two acts couldn’t be more different. ÌFÉ is a brand new electronic music concept out of Puerto Rico that hasn’t even released their first album. Mulatu Astatke, by contrast, is known as the father of Ethio-jazz, which first flourished in the 1970s, and he is still composing, playing and recording compelling music to this day. Dig just below the surface, though, and you discover a trans-Atlantic range of sound that emerges from a mixture of Africa and the Americas, one that is showing no sign of becoming a historic relic.

The musicians of ÌFÉ come from various backgrounds ranging from dance music to rock, hip-hop and reggae, but they come together here united around a very traditional form: Cuban rumba. The distinct clave and rhythmic patterns form a foundation for a bold experiment in sound by being transformed electronically into something like a new tribal music, ancient and modern at the same time.

photo by Charlie Billups
photo by Charlie Billups

The group is led by Otura Mun and filled out by three additional percussionists (Anthony Sierra, Beto Torrens and Rafael Maya) and two singers (Katherine Cepeda and Yarimir Cabán A.K.A. Mima). Rather than play traditional drums, though, they employ a collection of electronic drum pads mixed with wired acoustic instruments on which they combine several variants of rumba patterns in both familiar and unexpected ways. The result is a sometimes bone-rattling, sometimes celestial experience infused with an intense groove.

It’s safe to say that the large crowd in attendance knew little about the band coming in because of the lack of recorded material, but each song was greeted rapturously. The group finished their performance by setting aside the electronics for a pure rumba session playing, as Mun remarked, the music they love and still gather to play every Tuesday night back home in Casa ÌFÉ Santurce, Puerto Rico.

photo by Charlie Billups
photo by Charlie Billups

There was a lengthy break between ÌFÉ’s departure and the start of Mulatu Astatke’s set, but that’s pretty understandable in light of the size and complexity of Astatke’s orchestra, which was made up of musicians from the U.S. and Europe. The leader’s main instrument is the vibraphone, but he also plays electric keyboards and percussion, all of which were arrayed in a semi circle in front of him. Add another keyboardist, two horn players, bassist, drummer and a second percussionist (Chicago’s own Juan Pastor, who leads the South American flavored jazz ensemble Chinchano) and you have a very powerful sound.

Astatke’s personal journey is instructive of the way music travels and cultures are exchanged. Born in the western Ethiopian city of Jimma, Mulatu was musically trained in London, New York City, and Boston where he combined his jazz and Latin music interests with traditional Ethiopian music.  In his music, then, you have two streams of the African Diaspora flowing back to the continent from which they sprang to create something new.

photo by Don Macica
photo by Don Macica

There was a sizable Ethiopian contingent in the audience, gathering to enthusiastically welcome a hero, and they were especially excited when the band, on the third song of the night, reached back to the 70s for Yekermo Sew. This was no nostalgia fest, though. Astatke’s music has seen a revival in this millennium, and the man has used this opportunity to create anew, recording albums as both a leader and collaborator. The musicians for this show are working on yet another new album project. A case could easily be made for a headlining slot at the Chicago Jazz Festival (and someday they absolutely should), but tonight, hearing this amazing mix of jazz improvisation matched to Ethiopian scales and rhythms in the company of several hundred Ethiopians, Puerto Ricans and world music fans was blissfully intoxicating.

photo by Don Macica
photo by Don Macica

Agúzate Review: Eddie Palmieri Salsa Orchestra at Millennium Park Chicago


By Don Macica, Photos by Charlie Billups –

The return of the Eddie Palmieri Salsa Orchestra to Millennium Park Monday night was a triumph by any conceivable measure. An audience of close to 10,000 people filled the Pritzker Pavilion seats and lawn on a hot summer night. The band rewarded the overflow crowd with a performance of epic proportions. Including Palmieri’s piano, there are 12 members of this orchestra, but if you closed your eyes while dancing with abandon (and trust me, there were many, many people dancing with abandon) you’d swear there were 50. The power emanating off the stage was the result of the very best Latin musicians playing at the top of their game for an adoring crowd and loving every minute of it.

Palmieri has been known by many nicknames over the last six decades or so since he formed La Perfecta, his first groundbreaking band: the Sun of Latin Music, El Maestro, El Rumbero del Piano. Or, a bit more obscurely, the Schoenberg of Salsa, a nod to the complex music of the contemporary classical composer. Over that time he has employed lo mejor de lo mejor of Latin musicians, and the current lineup stands with the best of them.

There were several standout moments from each and every person on stage. Hermán Olivera captures the spirit of original La Perfecta vocalist Ismael Quintana without resorting to imitation. Trombonists Conrad Herwig and Jimmy Bosch are band leaders and innovators in their own right. The congas/bongos/timbales Holy Trinity of Pequeño Johnny, Nicky Marrero and Camilo Molina-Gaetan kept everything on high burn the entire evening. Luques Curtis on bass anchored it all, and Nelson Gonzáles on tres was a constant reminder of the Cuban son foundation from which salsa emerged, particularly on Palmieri’s arrangement of the 1946 Arsenio Rodriguez classic Dame Un Cachito Pa’huele. All were allowed to shine repeatedly with solos during the entire 90-minute concert, and each brought 110% to every note and gesture.

Palmieri himself entered the stage first for a brief solo piano performance, then brought out the band, each of whom he introduced with warm regard before they played a single note. They kicked off with 15 delirious minutes of Pa’ la Ocha Tambó after which Palmieri, beaming with pride, remarked “This is how our music is supposed to be played.” A similarly lengthy Pa’ Huele followed, and then I lost track, because after awhile you surrender to the moment and simply become present in the joy that 12 musicians and 10,000 of their close friends can radiate. Once in awhile Palmieri would leave his piano bench to lead the crowd in clapping the clave, which I have to say (judging from the smile on Palmieri’s face) we all did flawlessly.

Words are pretty inadequate when it comes to describe music of this high caliber, so I’m going to turn it over to photographer Charlie Billups to tell the rest of the story. Thank you, Eddie. And thank you, Chicago.






Miramar: Return of the Bolero

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By Don Macica –

I remember the first time my girlfriend played an album of boleros for me. It was classic stuff, an album that she said her parents owned. I swooned over those gorgeously melancholic tunes, deep in romance and longing. That was five years ago, and I’ve learned a bit more since then. I thought I knew all the classics—Sabor a Mí, Tres Palabaras, Dos Gardenias—but it turns out I was just scratching the surface, unwittingly confining myself mostly to boleros from Cuba and Mexico. Like cumbia, though, the bolero is a phenomenon throughout Latin America.

Miramar is a side project of sorts from the salsa band Bio Ritmo. The group will visit Chicago this weekend for a pair of concerts, and they have opened up another world to me that I knew little about. Their new album Dedication to Sylvia Rexach honors a Puerto Rican songwriter who is something of a cult figure. I know her name as the writer of two songs, including the title tune, on Miguel Zenón’s Alma Adentro: The Puerto Rican Songbook, but that was about it. So, who is Sylvia Rexach, and why did Miramar dedicate an album to her?

Miramar consists of Marlysse Simmons-Argandoña and Reinaldo Alvarez from Bio Ritmo and singer Laura Ann Singh. Alvarez is of Puerto Rican heritage while Simmons-Argandoña is from Chile, and Singh was born in Tennessee but spent years singing in Brazil. Miramar was born out of a shared passion for boleros between Alvarez and Simmons-Argandoña that Bio Ritmo didn’t quite  have room for. “We decided to start a bolero group because there were only so many boleros we could do with a salsa band,” says Marlysse.

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They were particularly struck by a 1960s-era album of Rexach songs from Duo Irizarry de Córdova. In contrast to the Mexican trios that swept much of Latin America (Los Panchos, Los Tres Aces), this Puerto Rican duo featured male and female voices in unique interaction. “It was a new expression of pain and longing,” says Rei Alvarez. “It was a concrete manifestation of everything that I love about romantic music”.  Enter Laura Ann Singh as the perfect singing partner, and Miramar’s duo sound was born.

The resulting album is quite lovely and drenched in nostalgia. Seven of the album’s ten songs are Rexach compositions, with the remainder composed by Alvarez and Simmons-Argandoña. Inspired by bolero, they nonetheless evoke other sources, from waltzes to a Middle Eastern feel. While clearly anchored in the style and the era it pays homage to, the album’s nostalgia derives from its soulfulness, not imitation. I’m still curious, though. With songs as beautiful as this, why is Sylvia Rexach a cult figure, a term that implies devotion from a select but limited audience?

“In my opinion, it’s because she was a songwriter, not a performer. She only had one recording out [a simple and unadorned album of her voice accompanied by acoustic guitarist Tuti Umpierre] and while people may know her songs, they don’t necessarily know who wrote them, because they associate the song with the performer,” says Marlysse Simmons-Argandoña, speaking to me by phone from the road. “She gave songs away, so it’s possible that there are songs that we don’t even know are hers.”

Returning to the Miramar album, I ask about the Puerto Rican duo tradition that inspired the vocals. “We didn’t initially take the duo approach. Rei and I are both big record collectors. There is a café in Santurce right around the corner from a big record store that we would go to when visiting Puerto Rico. An older generation of musicians hangs out there. They introduced us to a lot of duo music, including Duo Irizarry de Córdova. We both loved the sound, but Rei was the only singer in Miramar at the time.  We didn’t know Laura Ann. We met her and she joined Rei for a couple of songs at one of our concerts and we were like wow, that’s it.”

Miramar 1
Instrumentally, the album has a classic feel: piano, guitar, bongos, maracas, strings – and one distinct feature that I’m not used to hearing in tropical music, organ. That last thing, I assumed, was sort of a hipster affectation, the way some indi-rock bands use ukuleles or toy pianos. Wrong. I found some Duo Irizarry de Córdova music on YouTube, and the organ is there in all its nostalgic glory. “Those albums are full of haunting organ,” says Marlysse.

There are thirteen songs on the one, rare Sylvia Rexach album (as far as I can tell – I’ve had to patch it together from YouTube videos containing the audio of old albums), so I ask Marlysse how they arrived at the seven that were recorded by Miramar. “The Irizarry de Córdova album of her songs was our starting point, so our sound and song selection originate there. However, we have since learned a few more and will be debuting them in Chicago.”

Sylvia Rexach will probably never be as well-known as Rafael Hernandez or Pedro Flores. But with Miramar’s help, some much needed recognition will surely come her way.
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Miramar appears twice this weekend in Chicago, both shows presented by Segundo Ruiz Belvis Cultural Center

Friday, June 24 @ 3:00PM at Hermosa Park, 2240 N. Kilbourn Avenue – Free Admission (co-presented by Night Out in the Parks)
Saturday, June 25 @ 7:00PM at Segundo Ruiz Belvis Cultural Center, 4048 W. Armitage Avenue – $20 Donation goes to SRBCC’s educational and cultural programs. Tickets and info at srbcc.org

Agúzate Review: Céu, Tropix

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By Don Macica –

Céu could have taken the easy path. She has a classically intimate Brazilian voice that lures you into listening to her every syllable, one that is easily marketed to folks who crave those soft summer sambas. But that’s not what artists do, and Céu is, above all else, an artist.

The São Paulo-born singer and composer shares a restless curiosity and drive with fellow Paulistas like Curumin, Luisa Maita and Cibelle. If you compare New York City to Los Angeles, then you have some idea of the difference between São Paulo and Rio. Compelling music certainly emerges from both places. In São Paulo, though, it has a bit more edge.

Céu’s fourth studio album Tropix, like its three predecessors, is a departure from the one that came before it. Whereas her 2012 release Caravana Sereia Bloom employed an almost alternative rock-like backing band to explore Brazilian music, Tropix is built almost entirely on electronics, using an arpeggiator to sequence beats and rhythms. Despite this, it retains the warmth and intimacy of an acoustic session.

CeU 3 album cover
The word ‘tropix’ is Céu’s amalgam of ‘tropical’ and ‘pixel’. She has described the pixel as the inspiration for this music: “A pixel is a small part of a big thing—defragmentation as a concept.” This idea is built into the lead off track and video, Perfume do Invisível. A synth pattern bubbles under a close up black & white shot of a rather sultry and elegant Céu singing of intoxicating, invisible perfume. Soon, though, the image flickers, splits and distorts like a digital transmission on a stormy night. After sixteen lines of verse, the beat kicks in along with funk guitar worthy of Nile Rodgers and the imagery switches to Céu disco dancing in in glittery clubwear. Funk break over, the verse returns but this time the singer is unadorned, no makeup, wearing what looks like a science fiction take on a monastic tunic. In the outro, the funk is back along with the dancing, but this time from what appears to be inside a strobe-lit cage.

Visually, it’s an avant-garde gem. Musically, it has the same adventurous spirit of Caetano Veloso’s work in the 80s and 90s, smartly balancing satiny smoothness with a grittier edge.

The remaining eleven songs on the album stay in this warm, highly listenable space. You could put this album on while cooking dinner and it would sound great. At the same time, a closer listen will reward you highly. The lyrics continue their exploration of a fragmented world, but viewed intimately, not from afar. I probably don’t have to translate Amor Pixelado for you, but I will tell you that it is as beautiful and honest a love song as I’ve ever heard.

Only a few of the songs sound ‘Brazilian’ on first listen. The ones that do, Minhas Bics and especially Sangria, are gorgeous. Still, even a propulsive anthem like Chico Buarque Song or a dance workout like Etílica/Interlúdio are clear descendants of the Brazilian Tropicália movement. When acoustic sounds (guitar, bass, drums, a string arrangement) intrude on the electronic soundscape, the effect is beguiling.

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photo: Luiz Garrido

And, of course, there’s that voice. Along with the overall strength of her songwriting, it is the constant that powers all four of her albums. Caetano Veloso once sang “Some may like a soft Brazilian singer. But I’ve given up all attempts at perfection.” Veloso, of course, has one of Brazil’s all time most marvelous voices. Céu possesses an instrument that is similarly captivating, but like Veloso, she, too, is not content to get by on charm.
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Céu is in concert at City Winery, 1200 W. Randolph St, Chicago on Friday, June 24. Tickets at citywinery.com.