Just back from Salsa Mayor at Galiano. They were quite good. I almost didn't go cause I've been a bit depressed. But I went, and it was good. They were heaps better than when I saw them four weeks ago. I could swear there was an extra singer (four in total) and they were a great deal slicker; much tighter. The brass was a lot better - it was quite ragged the last time I saw them. More people too - lots of Cubans. I don't get it: why are there more some days than others? I mean, obviously there is sometimes competition; but often there isn't - today for instance - and the last time I saw them; I'm sure there wasn't anything else much on.
I had a great dance with this teacher Erodys, who is really dancing beautifully at the moment. I was tempted to arrange to meet him somewhere this week, but then I thought, well if it's Manolito or something, I don't really want to dance with anyone. The groups have all been so good this trip, I don't really want to dance with anyone - they are my pareja. When you dance with a partner, the first thing you need to do is connect with that person - the group and their music then comes second. And the good bands here this time - the really good ones (Trabuco, PFG, Pupy) - have just commanded my attention. Also the few guys I have danced with have mostly just managed to piss me off in the first few seconds. (Here's a tip for anyone interested: if you want to dance with me; then dance with me - don't use me as a vehicle to show off your fancy columbia moves and do not ask me which country I come from until we have at least one dance under our belts.)
I danced with a couple of other guys (one asked which country I came from), who were pretty average, but mostly I danced on my own and enjoyed it.
Salsa Mayor have such a strong contratiempo thing on the bass. Interesting. And mostly I find that dancing contratiempo (at least on my own) fits their music better, though they do go in and out of it. Nobody else seemed to feel the same though: everyone was pretty much dancing a tiempo.
They're still a bit on the undeveloped side I think. Just a little bit ragged, and a little lacking in ... hooks. They need, I don't know. Time, probably. But they have a nice feel. And they're worth a look.
After my dance with Erodys I went to buy water and there wasn't any. I said, limon. She said tampoco. I said: que hay? she said "cola". I said no thanks. So I dehydrated until the band finished and I had almost spontaneously combusted, then went to the little tienda next door for water.
For the first time this trip, I saw Douglas, who I met here in 2002 when he was singing with Danny Lozada's kickass timba band. I had left his number behind this time but didn't think it would be a problem hooking up, as the two trips afterwards I saw him at a matinee the first time I went to Galiano. But he told me he has been recording with a group (which is why he hasn't been going out), so I'll hopefully hear the disc later this week and see what it's like.
Paulito is up on the cartelera for Monday. Hope it isn't a total disaster like the last matinee. Especially as it's probably going to be the last time I can see him. I've just realised that my favourite song from his set isn't on the album.
DAMN IT.
© Gabriel Wilder 2006
Wednesday, May 31, 2006
Monday, May 29, 2006
Heavana
PFG, Morro-Cabaña
Got there too early, of course. But we didn't miss it (unlike Trabuco - they played at Pabellon Cuba yesterday and I didn't know); so that was great! It was quiet and serene there,and nice place to hang for a wee while. Martin K turned up, after spending a week in Santiago, to see me eat my words about Paulo in person. Eminencia Classica started - they're a group of reggaeton rappers and dancers who share PFG's management (I think). Their stuff is on the less objectionable end of the reggaeton spectrum; but really they're more fun to watch than to listen to. Great dancers. really spectacular. And in a country of great dancers, that's saying something. After them they had a dumb dance contest; with some of the country's less spectacular dancers, and me and my group moved away to the Morro wall to talk. We were deep in conversation when I heard something ... something good ... something like ... Paulito! I ran squealing like a Bay City Roller fan to the stage 100 metres away, where PFG and his group were already playing my favourite song. (Which I have yet to find out the title of).
His concerts on this trip have just been like a drug. They start and then suddenly they're over, and I don't know what happened in between. He's some kind of freaky magic guy - look into my eyes; look into my eyes. I went to this concert with my ex, among others; and it reminded me that we saw him at Cecilia in 2003 and he was pretty damn, well, lame is probably a bit harsh. But he was nowhere near as good as he is now. Better band. Better material, though not in the style of his legendary timba stuff; but it works really well live. Big timba-pop stuff; but without the sucky boyband vocals. And he is so great - no matter what kind of person he is off-stage - on stage he's one of the best. Great singer; great communicator. Oh I've said all this before; but man, everytime I've seen him - exept for the time it ended in fights - I've just emerged as if from a dream. His show is completely intoxicating.
Tonight I could hear the piano for the first time: pretty cool tumbao slabs; lil Pututi jnr, who looks to be all of about 9 years old was banging away on the timbales; the beauty queen was struttin her stuff to Paulo's right; and his duet partner on Te Boté on his left. That guy is a sweetie; always smiling and constantly looking to PFG for, it seems, approval. My only gripe would be that the horns are underused. But I don't know that that's a bad thing. Just different to the in-your-face metales of most of the timba bands. They go dixie from time to time too, which is weird. But it works.
It wasn't a big crowd but it was big enough and it was comfortable. Except for the dick who tried to physically force me to dance with him after I said no five times. Thanks mate.
Great setting, the Morro Cabaña. The sea; the sea breeze; one of the best timba bands in the world. Sigh. I was in heaven.
Earlier in the day I went back to Teatro America for Maravillas de Florida. The theatre was about a quarter full which was a tragedy, cause these guys really fire. Those strings - zowie. Though I'm tailormade to be a charanga fan - already being a huge fan of Chic's charanga disco; after seeing sundry lacklustre charanga bands in New York, I would never have thought that one could pack a punch like these guys. And boy do they. They've got the mandatory boy singers; but they have good songs and a load o' funk. They really worth any timba geek's attention en vivo, for sure. Really enjoyable. Pepe from Pupy was there (as was Chino, Trabuco's new bass player) and afterwards we talked to him for quite a while. What a nice chap.
© Gabriel Wilder 2006
Sunday, May 28, 2006
Pupy/Maravillas de Florida/Trabuco
Saw Pupy at Teatro America, this bomby old deco theatre next door to Casa de la Musica on Galiano. Full of Cubans - 8 pesos for them I think; $5 for us. There were vendors with old-school trays hung around their shoulders selling bags of popcorn. It was all so cute. The stage is like a giant clam shell - kinda like the title screen for Looney tunes but with a chunk bitten out of it. Although it was a sit down gig; it was great. Best sound I've heard with them so far - you could actually hear the brass. Amazing. They started with and were accompanied by dancing girls in flimsy lilac chiffon; then they left (yay) and the band got down to business. Mostly same songs as the other gigs but withoutQue Cosas Tiene la Vida Buena Gente, and instead - que bueno! - Del Trabajo a la Casa. Oh my god I nearly fucking died. I love that song. Pepe did a great job - it's so soulful; but the crowd didn't get into like the other songs. Bah! What do they know?
All the singers were wearing suits and kept the jackets on the whole show - they must have been dying. I think I lost about 5 kg at that gig alone. No air con; sweat pouring off. Lotsa dancing in the seat - standing up of course. It was a really great experience. When Pupy did the solo in La Bomba Soy Yo the crowd went off, which was nice. It was a good solo; despite what some peeps say about him not being able to solo for shit.
Really worth the effort - heaps different to the Casa de la Musica gigs. Great stuff.
I went back to my casa and got a taxi out to Miramar for Manolito. The guy out the front said: Do you want to come in? I said, uh, yeah. He said it's full (and made that hand movement they make; like they're jiggling a handful of grapes). But it wasn't actually closed so I don't really know what he was wanking on about. It was busy; but not super busy. I remember a Pupy matinee in 04 that was so packed you could hardly move. This was still civilised. Just no tables left. I went and stood by the stagedoor, looking for Yoko who wasn't there yet. Trabuco flautista David Bencomo was behind me talking to someone and when I said hello he introduced me to her - the flautista from Maravillas de Florida. He then introduced me to several other members and it turned out that they were playing before Trabuco (they hadn't been on the bill). It also turned out that a Bahamaian jazz band was playing before them, so ... long night. Fortunately the chaps from Trabuco were entertaining and Maravillas were really good. Really cool to see, in place of the horn section, a line of strings. And they have a great chunky sound, unike other charanga orquestas. It's basically timba, without horns. If that's allowable under the timba-geek charter of 2004.
Gratuitous Mayami reference appearing now: It was his birthday - 30, according to Bencomo - he looks like such a little slip of a lad. And OK, he looked hot (there; that's out of the way).
Trabuco came on about 2:45am. They started with Marcando la Distancia and it was sensational. Unexpected and sensational. El Indio was in super-top form. Yoko had arrived and I was standing next to her down the front, dancing. Next up: I think it was Guiro, Calabaza y Miel, which, frankly, was a dog's breakfast: Amaray forgot all the words to the first verse and just sang the bridge three times, which wasn't really a good fit. Mayami was dancing behind him, trying not to look perturbed and eventually El Indio tried to help him out but it never really got back on track - it was as if he'd put everyone else out of wack too. Couldn't hear the 'bones either. The whole Trabuco set was a bit disappointing - it was really short, cause they went on so late - the curtain came down at 3.50 and they'd only really done half a dozen songs, including Sacude la Mata and Comunicate and Locos. And actually I think that was it. The violinist handed over to one of the Maravillas violinsts after about the second song - and never came back. I saw the cellist ask him a question; that looked like "Where's whatsisname?" The Maravillas guy shrugged. He was in it for the long haul now. It was that kind of night: totally chaotic and very Habanera. People were swapping instruments all over the place - Amaray played Manolito's keyboard; Mayami ended up plucking the cello. Pretty funny really.
Los Van Van had played the Saturday Macumba matinee and Yeni and Lele were apparently there, and during one his songs Mayami mentioned los que Son Son too, but I didn't see any of them. Probably cause I was down the front dancing like an idiot.
An American guy came and talked to Yoko and I after and said we should go and see Interactivo tomorrow - he'd been at rehearsals all week and they were sounding hot, he said. I said, um, I have Maravillas at 5pm and PFG after that (hopefully).
We got shooed outside, where everyone was hanging around in the hot night, and got into a taxi.
© Gabriel Wilder 2006
Another Friday in La Habana
Went to see Maraca at the Friday matinee at Miramar - very quiet. ossibly a few more people than at Charanga Forever, thanks to a group of about 20 Spaniards and their Cuban instructors (possibly - it's getting harder to tell the difference). Was weird to see a small band - only 11 players. They wear a kind of uniform which is kinda dowdy, but Maraca is a bright little spark at the front, happily playing guiro and singing coros when he isn't tootling on his flute.
Maraca's music was some of the first Latin music I ever got into - I especially love the Descarga Total album, and Llevatela, which has a swing and groove that always sounds good. I'm not such a big fan of this quasi-merengue-bomba-file-under-tropical thing he's got going on these days. I particularly dislike Castigala, which the band closed with. But they were pretty enjoyable, though didn't really inspire me to get up on my feet till the end, even though I was being slowly frozen by the air-con. Nice playing from the pianist; and I really love that singer - he's really something. He sings high and belts just a tad but I like him. It was a quite civilised state of affairs compared to most of the shows I've seen. Especially genteel was a long danzón, which a Cubano and his extranjera danced to (my cuban friend wasn't impressed with her footwork). That was quite interesting in light of my recent reading of the Ned Sublette book, which I know I'm going to have re-read at least once more, just to retain all the information in it.
Today was a double header. After a brief rest at home, I went down to Galiano at 12:20am to see Los Van Van. Hadn't seen them yet and thought I should splash out or I might miss them entirely.
I had been told that last week's Galiano gig was a bit of a shitfight; but tonight I sauntered in late and found the place half-full. Really weird. Danced to La Madrugada with Yoko which was fun and about 1am the band came on. Though looking at all the peeps on stage it struck me how approproiate the Cuban term "orquesta" is. Listening to it, too. One of things that is so special about these bands is that fantastically voluptuous sound they - all the good ones here have it: LVV, Pupy, Trabuco, PFG - it really is so special. It's not like anything you get anywhere else. Well, it's certainly not like anything you find in Sydney anyway.
The Van Van sound is massive, but not in an anthemic way. Just in a satisfying way. They have that great undulating thing going on too, which gives them a different sound to the others - though most of the others sound different in their own ways too. Also love the gospel/soul thing that pops in LVV's harmonies from time to time. Luscious. Overall, though they don't grab me like Trabuco or Pupy.
I love Yeni. She's just gorgeous and she did a great version of Despues de Todo - unfortunately, her only song; but she did some great improv in it and she is just so lovely. Lele only got one song too - two each to Roberton and Mayito. No wait: three for Mayito - Timba con pop con Birdland or whatever it's called (which I still hate), the Presta'o song (I know, I know, I'm such a professional) and Somos Cubanos which was a nice surprise and got me back up on my feet towards the end of the gig. Roberton is a giant, figuratively, as well as literally. Love his little bum-waggle dance. Formell was there and played bass on a medley of their old stuff - the same one the DJs are playing here. He sang on it too which was a bit weird. Calvo joined in. Some dude got up out of the audience to play tres for Yeni's song, and stayed till the end. There was a lot of talk about Changuito but I couldn't figure it out: he was either in the audience or another world.
In the end; though I like Van Van, I never get fired up the way I do with the others. A little too genteel perhaps? Not sure. Still worth the trip though
At the end of the night, Mayito stopped to say hi to the Japanese timba freaks, and introduced them to his wife; a young looking lass, who, I think, may have been rushing home to finish a school assignment ...
© Gabriel Wilder 2006
Went to see Maraca at the Friday matinee at Miramar - very quiet. ossibly a few more people than at Charanga Forever, thanks to a group of about 20 Spaniards and their Cuban instructors (possibly - it's getting harder to tell the difference). Was weird to see a small band - only 11 players. They wear a kind of uniform which is kinda dowdy, but Maraca is a bright little spark at the front, happily playing guiro and singing coros when he isn't tootling on his flute.
Maraca's music was some of the first Latin music I ever got into - I especially love the Descarga Total album, and Llevatela, which has a swing and groove that always sounds good. I'm not such a big fan of this quasi-merengue-bomba-file-under-tropical thing he's got going on these days. I particularly dislike Castigala, which the band closed with. But they were pretty enjoyable, though didn't really inspire me to get up on my feet till the end, even though I was being slowly frozen by the air-con. Nice playing from the pianist; and I really love that singer - he's really something. He sings high and belts just a tad but I like him. It was a quite civilised state of affairs compared to most of the shows I've seen. Especially genteel was a long danzón, which a Cubano and his extranjera danced to (my cuban friend wasn't impressed with her footwork). That was quite interesting in light of my recent reading of the Ned Sublette book, which I know I'm going to have re-read at least once more, just to retain all the information in it.
Today was a double header. After a brief rest at home, I went down to Galiano at 12:20am to see Los Van Van. Hadn't seen them yet and thought I should splash out or I might miss them entirely.
I had been told that last week's Galiano gig was a bit of a shitfight; but tonight I sauntered in late and found the place half-full. Really weird. Danced to La Madrugada with Yoko which was fun and about 1am the band came on. Though looking at all the peeps on stage it struck me how approproiate the Cuban term "orquesta" is. Listening to it, too. One of things that is so special about these bands is that fantastically voluptuous sound they - all the good ones here have it: LVV, Pupy, Trabuco, PFG - it really is so special. It's not like anything you get anywhere else. Well, it's certainly not like anything you find in Sydney anyway.
The Van Van sound is massive, but not in an anthemic way. Just in a satisfying way. They have that great undulating thing going on too, which gives them a different sound to the others - though most of the others sound different in their own ways too. Also love the gospel/soul thing that pops in LVV's harmonies from time to time. Luscious. Overall, though they don't grab me like Trabuco or Pupy.
I love Yeni. She's just gorgeous and she did a great version of Despues de Todo - unfortunately, her only song; but she did some great improv in it and she is just so lovely. Lele only got one song too - two each to Roberton and Mayito. No wait: three for Mayito - Timba con pop con Birdland or whatever it's called (which I still hate), the Presta'o song (I know, I know, I'm such a professional) and Somos Cubanos which was a nice surprise and got me back up on my feet towards the end of the gig. Roberton is a giant, figuratively, as well as literally. Love his little bum-waggle dance. Formell was there and played bass on a medley of their old stuff - the same one the DJs are playing here. He sang on it too which was a bit weird. Calvo joined in. Some dude got up out of the audience to play tres for Yeni's song, and stayed till the end. There was a lot of talk about Changuito but I couldn't figure it out: he was either in the audience or another world.
In the end; though I like Van Van, I never get fired up the way I do with the others. A little too genteel perhaps? Not sure. Still worth the trip though
At the end of the night, Mayito stopped to say hi to the Japanese timba freaks, and introduced them to his wife; a young looking lass, who, I think, may have been rushing home to finish a school assignment ...
© Gabriel Wilder 2006
Thursday, May 25, 2006
So Wednesday I was standing next to the Habana Libre waiting to cross the street and someone "ssss"ed at me and it was Tirso Duarte and his little chamaca. We went and had a beer and talked about timba and music in Habana - he's recording with Juan de Marcos, as he told me he would be when I interviewed him in Australia in April. It was good to see him, and great to rave about timba with him. He was asking my opinions about various singers and we more or less agreed about everything. Hope I haven't dropped him in anything, seeing as how my opinions are all over the place. He mentioned going to see Adalberto at Miramar that night, but I got a migraine about 11pm, so that was the end of that.
Spent the whole day in bed - cancelled a dance class and everything - so I could be spry for Manolito at Cantante. And ... well it wasn't as good as last week. How could it have been? Still I was grateful. Another two weeks and I'll be back home with no Trabuco at all, let alone one that does the songs I'm not crazy about. And even those have their moments: a nice rap from Mayami or a shake or two of his hips. Where was I? Oh yeah.
It didn't start as I would have liked: with Comunicate instead of La Raspadura. And OK, so familiarity is making me picky; but Raspadura is the perfect curtain raiser - a ball of energy and melody, laden with sassy horns, that always threatens to overshadow the rest of the show. Trabuco, of course, have more great songs to back it up, but even so, I was disappointed that they didn't start with it; and when they did it halfway through the show, I was ecstatic, but still, it sounded weird: "ya la orquesta comenzó, y viene dura/ya la gente comienza llegar". Huh? Hadn't the orquesta already been playing hard for 40 minutes? Didn't we arrive like, an hour ago? Jajaja. Getting picky, like I said. So they followed Comunicate with Guiro, Calabaza y Miel. Which just sends me to heaven. If you never got into that song, get out Se Rompieron los Termometros and listen to it again.
The male singer from Bamboleo got up to sing Ya No Hace Falta, but it wasn't in his key and Indio had to take over. That was weird. Daniel Amat (I think that's his name) spent a fair bit of time playing piano, leaving Manolito - who I realise I haven't actually mentioned much in my blog reports - standing in front of Riverón (the god of drums), conducting. The group has been doing long sets at these Cantante gigs, that's why it's worth it. Even if they do some songs that you don't like (Marilu), you know they have plenty of time to deliver the good stuff (Hablando en Serio).
So today I went to the CubaDisco fair at Pabellon Cuba which is, ahem, a little on the lame side, though I did manage to get a real copy of Hablando en Serio which is cool. Interesting to see who wrote what. And also the two video vlips are a nice bonus: I'd never seen the Locos por mi Habana one before, and even though I would put it in the same category as the fair, it's still good to have it. And of course it's my favourite Trabuco album after Se Rompieron. My remaining wish for this holiday is that Calunga joins them next week at Cantante. (Did I already put that in here somewhere?)
Bumped into a couple of Yumas there and also Yoko, a sweet, bubbly Japanese girl who is here for about ten days and seeing two bands everyday. The farandula is all set to see Paulito FG on Sunday at Morro Cabaña, but I have tickets for Maravillas de Florida. If I can do both, I will.
I'm addicted to Paulito en vivo at the moment. Even though I stand by my assertion that the album fully sucks. I don't know if it's just the production - it just sounds so lame compared to the grunt of his live gigs. Though actually it sounds quite good booming out of the bar downstairs on Belascoain (where it is playing for the third consecutive time right now), so maybe you just need a kickarse stereo.
© Gabriel Wilder 2006
Spent the whole day in bed - cancelled a dance class and everything - so I could be spry for Manolito at Cantante. And ... well it wasn't as good as last week. How could it have been? Still I was grateful. Another two weeks and I'll be back home with no Trabuco at all, let alone one that does the songs I'm not crazy about. And even those have their moments: a nice rap from Mayami or a shake or two of his hips. Where was I? Oh yeah.
It didn't start as I would have liked: with Comunicate instead of La Raspadura. And OK, so familiarity is making me picky; but Raspadura is the perfect curtain raiser - a ball of energy and melody, laden with sassy horns, that always threatens to overshadow the rest of the show. Trabuco, of course, have more great songs to back it up, but even so, I was disappointed that they didn't start with it; and when they did it halfway through the show, I was ecstatic, but still, it sounded weird: "ya la orquesta comenzó, y viene dura/ya la gente comienza llegar". Huh? Hadn't the orquesta already been playing hard for 40 minutes? Didn't we arrive like, an hour ago? Jajaja. Getting picky, like I said. So they followed Comunicate with Guiro, Calabaza y Miel. Which just sends me to heaven. If you never got into that song, get out Se Rompieron los Termometros and listen to it again.
The male singer from Bamboleo got up to sing Ya No Hace Falta, but it wasn't in his key and Indio had to take over. That was weird. Daniel Amat (I think that's his name) spent a fair bit of time playing piano, leaving Manolito - who I realise I haven't actually mentioned much in my blog reports - standing in front of Riverón (the god of drums), conducting. The group has been doing long sets at these Cantante gigs, that's why it's worth it. Even if they do some songs that you don't like (Marilu), you know they have plenty of time to deliver the good stuff (Hablando en Serio).
So today I went to the CubaDisco fair at Pabellon Cuba which is, ahem, a little on the lame side, though I did manage to get a real copy of Hablando en Serio which is cool. Interesting to see who wrote what. And also the two video vlips are a nice bonus: I'd never seen the Locos por mi Habana one before, and even though I would put it in the same category as the fair, it's still good to have it. And of course it's my favourite Trabuco album after Se Rompieron. My remaining wish for this holiday is that Calunga joins them next week at Cantante. (Did I already put that in here somewhere?)
Bumped into a couple of Yumas there and also Yoko, a sweet, bubbly Japanese girl who is here for about ten days and seeing two bands everyday. The farandula is all set to see Paulito FG on Sunday at Morro Cabaña, but I have tickets for Maravillas de Florida. If I can do both, I will.
I'm addicted to Paulito en vivo at the moment. Even though I stand by my assertion that the album fully sucks. I don't know if it's just the production - it just sounds so lame compared to the grunt of his live gigs. Though actually it sounds quite good booming out of the bar downstairs on Belascoain (where it is playing for the third consecutive time right now), so maybe you just need a kickarse stereo.
© Gabriel Wilder 2006
Cintura timba 4 eva
Listened to Disco Fiesta today - is that the best name for a radio station ever, or what? - and discovered that Charanga Forever were playing at Casa de la Musica Miramar. There was no competition elsewhere so off I went. Wow. These chiquiticos rock. Really. They are in great form and sounding much better than the recent demos which are floating around. - the horns on those are so sharp they'll make your eyes water. There was like 50 people there, plus Michel Maza and his bodyguard. When the MC mentioned that Michel was there and I turned my head wildly to see him, so of course when I located him he was looking straight at me. I smiled and waved and got a smile and a wave back. Awww. He sang half of Nube Pasajera with them and a bit of Una dispara en la mirada. He was good too. Of course. He and his bodyguard skedaddled after he'd had his spot in the limelight. CF has, I think, a new singer: very charismatic chap who sings and dances really well, and is great with the audience too. I suspect he will shortly be snapped up by a bigger group. The other two (not as good) I seem to recall from 2004. The songs were great and though the set was short (less than an hour I think) it really rocked. Excellent old-school timba. Gonna try and see them again. Well worth it. When my friend and I walked out it was PISSING down. The street out front was a river - that converged with other rivers at various intersections. We walked with the two Japanese girls down to the main street (I took off my shoes and socks and rolled my jeans up) and flagged down a 4-wheel drive: lucky he stopped for us; most other cars didn't make it. The streets; more than knee-deep in water were littered with abandoned vehicles. We had to go all the way round the world to drop the Japanese off - then he went all the way round the world - we wound up on Calzada del Cerro, which I know from the Irakere song; and passed the baseball stadium to get to Belascoain. I'm not sure if it was because the streets were flooded or because driver didn't know his way around (quite possible). It took us more than 90 minutes to get home. My friend said, as we did a u-turn on yet another submerged street, and drove passed stalled cars: this is why Cubans don't go out when it rains. Thank god Galiano is within walking distance of my house. Of course, when I finally arrived back at my house, my bedroom had flooded too. Así es la vida. © Gabriel Wilder 2006
Tuesday, May 23, 2006
Bailala, como yo
Goza, como yo
Pupy y los que Son Son
"Super-matinee" Casa de la Musica, Galiano
A late matinee at one of the Casas can I either be great or, to paraphrase myself, "a fucking disaster" (see Paulito review below). The doors open at 4pm as usual, but the band doesn't play until 8pm - leaving plenty of time for everyone to drink themselves silly. Though if there's no worry about it being a sell-out; more people opt to go a bit later - this benefits everyone as there is less likely to be an interruption in the proceedings in the form of a bit of biff.
Today's show was helped, I think, by a couple of thunderstorms that hit Centro Habana simultaneously at about 5pm. Cubans seems to be more rain and thunderstorm-shy than most - and indeed the egress of myself and my Australian friend Helen was delayed a tad by my lovely Spanish teacher Isabel, who was reluctant to venture out into the tormenta. Truth be told I wasn't in much of a hurry either - what with the band not playing till 8 - even though this could have meant we would be unable to go in.
The storm dissipated about 5:40pm and we walked in the rain, splashing through the muddy puddles of Centro's labrynthine streets towards Galiano. There was no queue outside but there was a girl wearing a timba.com t-shirt: Michelle White had arrived (ta-da!). (Later, I also found another timba geek, Suki.)
It was busy but not overcrowded inside - just right, said the little blonde girl. The DJ played reggaeton and timba - and then, to my surprise, some urban stuff: R. Kelly's (an oldie but a goody), Sugarhill Gang's She's got that VibeRapper's Delight (even older and better!) and Pharrell and Snoop's Beautiful. Man, Pharrell really can't sing for shit, can he? But I still love him.
The band came on bang on 8pm. It was the set that begins with Buena Gente this time (I like the other one, cause then you get Buena Gente and Que Cosas Tiene la Vida), and Pepe, dressed all in white, was belting it out. The sound was AWFUL, como siempre: Where were the horns? Where was the piano? What you could hear a lot of was distortion. Nice.
Still, the band transcended this: the songs are so great and the singers are really great to listen to (you could hear them very well) and to watch. Mandy and Pepe are so compelling and the other guy (in the interests of journalism, I promise to learn is name before the next post ... that's how dedicated I am!) got the crowd going with his Pon! Pon! Pon! song which I'm pretty sure is a reference to a Chano Pozo oldie, but I could be wrong about that. I danced with Isabel and Suki, and, for Dicen que Dicen, a nice-looking chap with an afro - everytime they play that sweet horn intro, I just melt. I never get tired of that song live. Odd that it packs such a punch with such a laidback groove.
The house lights were on the for entire show - to discourage fights I reckon - and as the set played on, it became obvious that there were more than a few "tired and emotional" people there: the floor was a swamp as usual, and people were slipping over but everyone seemed in good spirits and I didn't see any biff.
Pedrito Calvo - the walking moustache - butted into a song of Mandy's at one point (great track - need to find out its name) and a rapper (who I didn't regonise) did his thing during Borrachera, which fully rocked - that song is really something live - it was made to be played en vivo. Love all the false stops. Timba a Pogolotti was the closer.
Me pregunta por aqui
Me pregunta por alla
¿Donde Pupy va a tocar?
... Casa de la Musica, Habana!
© Gabriel Wilder 2006
Goza, como yo
Pupy y los que Son Son
"Super-matinee" Casa de la Musica, Galiano
A late matinee at one of the Casas can I either be great or, to paraphrase myself, "a fucking disaster" (see Paulito review below). The doors open at 4pm as usual, but the band doesn't play until 8pm - leaving plenty of time for everyone to drink themselves silly. Though if there's no worry about it being a sell-out; more people opt to go a bit later - this benefits everyone as there is less likely to be an interruption in the proceedings in the form of a bit of biff.
Today's show was helped, I think, by a couple of thunderstorms that hit Centro Habana simultaneously at about 5pm. Cubans seems to be more rain and thunderstorm-shy than most - and indeed the egress of myself and my Australian friend Helen was delayed a tad by my lovely Spanish teacher Isabel, who was reluctant to venture out into the tormenta. Truth be told I wasn't in much of a hurry either - what with the band not playing till 8 - even though this could have meant we would be unable to go in.
The storm dissipated about 5:40pm and we walked in the rain, splashing through the muddy puddles of Centro's labrynthine streets towards Galiano. There was no queue outside but there was a girl wearing a timba.com t-shirt: Michelle White had arrived (ta-da!). (Later, I also found another timba geek, Suki.)
It was busy but not overcrowded inside - just right, said the little blonde girl. The DJ played reggaeton and timba - and then, to my surprise, some urban stuff: R. Kelly's (an oldie but a goody), Sugarhill Gang's She's got that VibeRapper's Delight (even older and better!) and Pharrell and Snoop's Beautiful. Man, Pharrell really can't sing for shit, can he? But I still love him.
The band came on bang on 8pm. It was the set that begins with Buena Gente this time (I like the other one, cause then you get Buena Gente and Que Cosas Tiene la Vida), and Pepe, dressed all in white, was belting it out. The sound was AWFUL, como siempre: Where were the horns? Where was the piano? What you could hear a lot of was distortion. Nice.
Still, the band transcended this: the songs are so great and the singers are really great to listen to (you could hear them very well) and to watch. Mandy and Pepe are so compelling and the other guy (in the interests of journalism, I promise to learn is name before the next post ... that's how dedicated I am!) got the crowd going with his Pon! Pon! Pon! song which I'm pretty sure is a reference to a Chano Pozo oldie, but I could be wrong about that. I danced with Isabel and Suki, and, for Dicen que Dicen, a nice-looking chap with an afro - everytime they play that sweet horn intro, I just melt. I never get tired of that song live. Odd that it packs such a punch with such a laidback groove.
The house lights were on the for entire show - to discourage fights I reckon - and as the set played on, it became obvious that there were more than a few "tired and emotional" people there: the floor was a swamp as usual, and people were slipping over but everyone seemed in good spirits and I didn't see any biff.
Pedrito Calvo - the walking moustache - butted into a song of Mandy's at one point (great track - need to find out its name) and a rapper (who I didn't regonise) did his thing during Borrachera, which fully rocked - that song is really something live - it was made to be played en vivo. Love all the false stops. Timba a Pogolotti was the closer.
Me pregunta por aqui
Me pregunta por alla
¿Donde Pupy va a tocar?
... Casa de la Musica, Habana!
© Gabriel Wilder 2006
Saturday, May 20, 2006
A tale of two itos
Luckiest girl in the world, me. Two great gigs in one day, count 'em: Manolito matinee at Casa de la Musica, Miramar; Paulito FG at Casa de la Musica, Galiano t night. Oh boy. Get higher baby ... higher baby ... and don't ever come down... Until you get back to Australia and the timba void. Best not to think about that right now. Best to think about the best things ever; well the two best things today, in Havana, at least.
After seeing Manolito and the BEST GIG EVER yesterday, I prevaricated for, ooh, about two seconds, about seeing them again. When I found out Charanga Forever were playing the matinee at Galiano, I prevaricated for about ten seconds more. Then I got in a cab for Miramar.
When I arrived there was a sad little reggaeton trio rapping to a backing track. This was followed by house music and vomit-inducing strobe lights. On leaving the main room for some respite in the lobby, I encountered the legendary Bill W and his lovely gf Sandra. As we stood there chatting - having decided that was the best place to be until the band came on - various members of Trabuco stopped to say hi to Bill as they entered. Flautista David Bencomo; Mayami. Mayami. Oh sorry. Yeah. Where was I? OK.
When we heard the Miramar theme - which is Manolito's Musica Cubana - which is a bit weird when you're about to see Manolito - we went inside. So it wasn't as good as yesterday - that would have been well-nigh impossible: Bill had seen Manolito after the Cantante gig and he was like: where were you? It was the best gig ever. (I'm paraphrasing, obviously.) But it was Trabuco; and they are solid gold. Apart from the regulars - Raspadura, Hablando en Serio, Comunicate, they did Guiro Calabaza y Miel again (thank you!); and El Indio did Como Fue, which was lovely, and segued into a jazz number, like they did yesterday. Nice stuff.
When Amaray was doing the country roll call; I shouted Australia over and over until he came over and bent down to hear.
Later he said: cintura Australia!
No te Pases started - time for a toilet break. Back in time for Mayami's ragga. Me Dijiste Mentiras - waaaay too long. Jeez, come on guys. Somebody stop Amaray before I do. Don't get me wrong: I love him, but really, too much of a good thing and all that.
Earlier in the day I had passed by Galiano and seen that PFG was playing there at night. I came home from Manolito; did a bit of writing, changed my top, and got my ass down there.
Arrived about midnight - no queue. Inside: about half full; many unco foreigners and a few unco Cubans too. Was trod on more than once during the course of the evening. Bit of recorded music - the show started at 12. Well, what can I say? Macumba was no fluke. I wasn't sure after the Galiano matinee, what with the shitty sound and the peleas. But tonight: yow! Great sound - nice and clear; great horns - great horns. Love em. Legendary singer. Good songs. Everything slick as. Que más tu quieres, mamí?
As with the Macumba; the one time I sat down (Me Gusta Tanto), I was up again dancing before I realised - couldn't help myself. And oh! oh! oh! They did Con la Conciencia Tranquila! Really! After a few songs from the new album (I love the opener, but I don't know what it is), they started Illusion del Papel from El Bueno Soy Yo - which I lurv. The Cubans down the front were watching it without moving a muscle - they wre probably all busy playing hopscotch and braiding hair when this record was big. But after a chorus the band stopped. Then Con la Conciencia! The whole thing - yay! It was fab. Even though it didn't sound like the record; it was great.
The rest was all just class up the wazoo. Great stuff. And hang onto your hats: I like the reggaeton song. I do. I'm sorry. I can't help it. Be careful: this is what happens when you see Paulo. He should come with a warning: seeing this man live will make you like the music you've spent the last two years excoriating.
So here I am, 2:30am. Tapping away in my flat on Belascoain in Centro after a day of ecstasy.
Sometimes life rules.
© Gabriel Wilder 2006
Luckiest girl in the world, me. Two great gigs in one day, count 'em: Manolito matinee at Casa de la Musica, Miramar; Paulito FG at Casa de la Musica, Galiano t night. Oh boy. Get higher baby ... higher baby ... and don't ever come down... Until you get back to Australia and the timba void. Best not to think about that right now. Best to think about the best things ever; well the two best things today, in Havana, at least.
After seeing Manolito and the BEST GIG EVER yesterday, I prevaricated for, ooh, about two seconds, about seeing them again. When I found out Charanga Forever were playing the matinee at Galiano, I prevaricated for about ten seconds more. Then I got in a cab for Miramar.
When I arrived there was a sad little reggaeton trio rapping to a backing track. This was followed by house music and vomit-inducing strobe lights. On leaving the main room for some respite in the lobby, I encountered the legendary Bill W and his lovely gf Sandra. As we stood there chatting - having decided that was the best place to be until the band came on - various members of Trabuco stopped to say hi to Bill as they entered. Flautista David Bencomo; Mayami. Mayami. Oh sorry. Yeah. Where was I? OK.
When we heard the Miramar theme - which is Manolito's Musica Cubana - which is a bit weird when you're about to see Manolito - we went inside. So it wasn't as good as yesterday - that would have been well-nigh impossible: Bill had seen Manolito after the Cantante gig and he was like: where were you? It was the best gig ever. (I'm paraphrasing, obviously.) But it was Trabuco; and they are solid gold. Apart from the regulars - Raspadura, Hablando en Serio, Comunicate, they did Guiro Calabaza y Miel again (thank you!); and El Indio did Como Fue, which was lovely, and segued into a jazz number, like they did yesterday. Nice stuff.
When Amaray was doing the country roll call; I shouted Australia over and over until he came over and bent down to hear.
Later he said: cintura Australia!
No te Pases started - time for a toilet break. Back in time for Mayami's ragga. Me Dijiste Mentiras - waaaay too long. Jeez, come on guys. Somebody stop Amaray before I do. Don't get me wrong: I love him, but really, too much of a good thing and all that.
Earlier in the day I had passed by Galiano and seen that PFG was playing there at night. I came home from Manolito; did a bit of writing, changed my top, and got my ass down there.
Arrived about midnight - no queue. Inside: about half full; many unco foreigners and a few unco Cubans too. Was trod on more than once during the course of the evening. Bit of recorded music - the show started at 12. Well, what can I say? Macumba was no fluke. I wasn't sure after the Galiano matinee, what with the shitty sound and the peleas. But tonight: yow! Great sound - nice and clear; great horns - great horns. Love em. Legendary singer. Good songs. Everything slick as. Que más tu quieres, mamí?
As with the Macumba; the one time I sat down (Me Gusta Tanto), I was up again dancing before I realised - couldn't help myself. And oh! oh! oh! They did Con la Conciencia Tranquila! Really! After a few songs from the new album (I love the opener, but I don't know what it is), they started Illusion del Papel from El Bueno Soy Yo - which I lurv. The Cubans down the front were watching it without moving a muscle - they wre probably all busy playing hopscotch and braiding hair when this record was big. But after a chorus the band stopped. Then Con la Conciencia! The whole thing - yay! It was fab. Even though it didn't sound like the record; it was great.
The rest was all just class up the wazoo. Great stuff. And hang onto your hats: I like the reggaeton song. I do. I'm sorry. I can't help it. Be careful: this is what happens when you see Paulo. He should come with a warning: seeing this man live will make you like the music you've spent the last two years excoriating.
So here I am, 2:30am. Tapping away in my flat on Belascoain in Centro after a day of ecstasy.
Sometimes life rules.
© Gabriel Wilder 2006
Friday, May 19, 2006
Best. Gig. Ever.
or
Preparate pa' lo que viene!
Yeah yeah. I know you've heard it all before - and there's a wolf over there in the bushes too - but hear me out. Really.
Manolito y su Trabuco y invitados
Cafe Cantante Mi Habana
Matinee May 18
Weird thing happening in the Habana clubs at the moment: house music. Get the fuck out! When I walked into the dank cave that is Cafe Cantante Mi Habana, there was a house mix of a Madonna song and a Cubana dancing like Madge. Huh? It was like some weird parallel universe - until Trabuco hit the stage at 6:40.
They've started playing a little funk snippet at the beginning of their sets. It's really familiar but I can't place it at the time. And I always think: I'll figure it out later. Then of course their set wipes everything from my mind.
I scurried down the front and got the last spot left - in front of Mayami (total accident, honest) and the dour tecladista. And right next to the horns, so I could hear all them in all their bitchin'ness. They did my favourite start: the Raspadura/Hablando combo. Both those songs are so frigging hot. But I've banged on about them enough previously, so I'll just say two things re Hablando: 1. They really need to figure out a workable beginning and 2. Riverón is god. And I know I've said that before (or something like it), but seriously. How does he do so much - he's like, bangin away like bam-bam - and it doesn't sound crowded or messy? It just sounds like the bomb. It's a big mystery. And one I'll be eternally grateful for. I think the musical fandom is developing into something else re Riverón - he has this rough trade look going on that I'm totally digging. But I digress.
Next was - OMG! Guiro Calabaza y Miel (from Se Rompieron los Termometros) - one of the my favourite songs EVER. The horns; the gears; the bloques! "Ay mamita no me - da-da-da-dah!!!" (er, that's sposed to be the horns. They do this weird timing thing at that moment that I love. Wish I were a bit more musically literate so I could convey a little better how fucking great this song - and all of the others - was. Mayami, who seems to like mouthing the words when it isn't his turn to lead, mouthed the entire song to a chica, stage right. "El gran problema es tuyo - te equivocaste mujer!" But he did it all with that charming smile of his that turns me to butter. (Didn't seem to work on her though. I saw her later with her arms folded. Not so impressed.)
They did the truncated Ya no hace falta again, which I love - until they truncate it, right before that great clave change bit. It lived again later in the evening; but I'll get to that in a minute.
They're billing this as a peña, which I think is why they're changing the setlist around so much. Mostly, this is good (Guiro Calabaza); sometimes, not so good: El Indio and Mayami took turns on some cheesy bolero/cha-cha-cha (possibly called Marilu) that was the only unpleasant spot in the whole evening. Seems churlish to even mention it really. Then: Diablo Colorado - what a great song that is. Fiery, melodic, choc full o'swing. Awesome. Mayami and Amaray have a weird little slow-mo dance they do in the middle. Have yet to figure that one out.
The dour tecladista played a phone ring on his keyboard, and Amaray, the big ham, took his mobile off his belt and pretended to answer it. Nice to hear this swingin' pop track as it's been some gigs since I've heard them play it.
I was standing down the front, covered in sweat; grinning like a complete mental patient. I know I look like a loca; but when you're having this much fun, who cares?
At some point, an older black chick and Tania - dressed in oodles of gold (there's a surprise) came on stage. The band slipped into a jazz thing to allow the older woman (someone told me it was Beatrice Valdes, sister of Chucho) to do her thing, which was amazing. Raw, full-throated jazz-gospel. Goose-bump material. She traded licks with the dour tecladista, while someone sat in for Riverón (huh?) and a chick took over the congas. Tania mostly stood there and watched her; then had a go at matching her. Not that successful; so the band launched into Ya no haca falta; and Tania Ethel Mermanned her way through it. Trabuco played it all the way through this time, and I noticed that Tania pretty much sings the guias as they are on the Bamboleo recording. Though she added some nice touches as the song played on. The potpourri was next (I think). Which I could really do without. I think I've said this before, but: if a song is good, play the whole thing; if it isn't good enough to be played in its entirety, DONT PLAY IT ALL. (I won't mention this again.)
They slid into Como fue, and a cantante from Tumbao Havana did a nice job, but he was completely overshadowed by the next guest: Michel. What a fucking master he is. That voice. And how has he managed to hang onto it after, ahem, everything he has been through? He sounds AMAZING. It's full, pure, bang on - he never hits a bum note. And it always seems effortless for him - it just pours out. He started with a bolero - I forget which one it was, then slowly and slyly, led the band into La Madrugada - the master showman at work. [By this time, Chispa was on bass.] There was the usual line of chicas standing at the front - three in particular were really having a great time. One was flirting like mad with Mayami and Michel got her on stage for the obligatory grinding. As she did, his shirt rode up to reveal his enormous stomach hanging over the top of his pants. The whole time she's looking at her friends snapping her forefinger and thumb together - take a picture!!! Seems like Michel has almost recovered as I couldn't see his crutches and he was actually dancing a bit too. (Why does he grab his crotch when he sings?) He would have gone all night (obviously), so Manolito wound him up after, I dunno 10-15 minutes (I was so not looking at my watch!).
They started playing Locos, which is their finish these days; when the sound cut out. By now it was about 8:20pm, so it was after matinee finishing time; and I thought that would be the end. But everyone stood around waiting; the horns were still on their stands and though the musos wandered off, none of them seemed to be leaving. The DJ played Gangsta's Paradise; and about 15 minutes later they came back on - with No te pases. Which is my go-to-the-bar/sit-down-for-a-minute song (along with the potpourri). Though as I sat watching it, I realised that the hornlines are stupendous: huge slabs of funk - and Mayami's dancehall turn is a lot of fun too.
Then they did Locos; which has a new coro on the end now:
La Habana pa' vivirla; La Habana pa' gozarla.
Indeed.
© Gabriel Wilder 2006
or
Preparate pa' lo que viene!
Yeah yeah. I know you've heard it all before - and there's a wolf over there in the bushes too - but hear me out. Really.
Manolito y su Trabuco y invitados
Cafe Cantante Mi Habana
Matinee May 18
Weird thing happening in the Habana clubs at the moment: house music. Get the fuck out! When I walked into the dank cave that is Cafe Cantante Mi Habana, there was a house mix of a Madonna song and a Cubana dancing like Madge. Huh? It was like some weird parallel universe - until Trabuco hit the stage at 6:40.
They've started playing a little funk snippet at the beginning of their sets. It's really familiar but I can't place it at the time. And I always think: I'll figure it out later. Then of course their set wipes everything from my mind.
I scurried down the front and got the last spot left - in front of Mayami (total accident, honest) and the dour tecladista. And right next to the horns, so I could hear all them in all their bitchin'ness. They did my favourite start: the Raspadura/Hablando combo. Both those songs are so frigging hot. But I've banged on about them enough previously, so I'll just say two things re Hablando: 1. They really need to figure out a workable beginning and 2. Riverón is god. And I know I've said that before (or something like it), but seriously. How does he do so much - he's like, bangin away like bam-bam - and it doesn't sound crowded or messy? It just sounds like the bomb. It's a big mystery. And one I'll be eternally grateful for. I think the musical fandom is developing into something else re Riverón - he has this rough trade look going on that I'm totally digging. But I digress.
Next was - OMG! Guiro Calabaza y Miel (from Se Rompieron los Termometros) - one of the my favourite songs EVER. The horns; the gears; the bloques! "Ay mamita no me - da-da-da-dah!!!" (er, that's sposed to be the horns. They do this weird timing thing at that moment that I love. Wish I were a bit more musically literate so I could convey a little better how fucking great this song - and all of the others - was. Mayami, who seems to like mouthing the words when it isn't his turn to lead, mouthed the entire song to a chica, stage right. "El gran problema es tuyo - te equivocaste mujer!" But he did it all with that charming smile of his that turns me to butter. (Didn't seem to work on her though. I saw her later with her arms folded. Not so impressed.)
They did the truncated Ya no hace falta again, which I love - until they truncate it, right before that great clave change bit. It lived again later in the evening; but I'll get to that in a minute.
They're billing this as a peña, which I think is why they're changing the setlist around so much. Mostly, this is good (Guiro Calabaza); sometimes, not so good: El Indio and Mayami took turns on some cheesy bolero/cha-cha-cha (possibly called Marilu) that was the only unpleasant spot in the whole evening. Seems churlish to even mention it really. Then: Diablo Colorado - what a great song that is. Fiery, melodic, choc full o'swing. Awesome. Mayami and Amaray have a weird little slow-mo dance they do in the middle. Have yet to figure that one out.
The dour tecladista played a phone ring on his keyboard, and Amaray, the big ham, took his mobile off his belt and pretended to answer it. Nice to hear this swingin' pop track as it's been some gigs since I've heard them play it.
I was standing down the front, covered in sweat; grinning like a complete mental patient. I know I look like a loca; but when you're having this much fun, who cares?
At some point, an older black chick and Tania - dressed in oodles of gold (there's a surprise) came on stage. The band slipped into a jazz thing to allow the older woman (someone told me it was Beatrice Valdes, sister of Chucho) to do her thing, which was amazing. Raw, full-throated jazz-gospel. Goose-bump material. She traded licks with the dour tecladista, while someone sat in for Riverón (huh?) and a chick took over the congas. Tania mostly stood there and watched her; then had a go at matching her. Not that successful; so the band launched into Ya no haca falta; and Tania Ethel Mermanned her way through it. Trabuco played it all the way through this time, and I noticed that Tania pretty much sings the guias as they are on the Bamboleo recording. Though she added some nice touches as the song played on. The potpourri was next (I think). Which I could really do without. I think I've said this before, but: if a song is good, play the whole thing; if it isn't good enough to be played in its entirety, DONT PLAY IT ALL. (I won't mention this again.)
They slid into Como fue, and a cantante from Tumbao Havana did a nice job, but he was completely overshadowed by the next guest: Michel. What a fucking master he is. That voice. And how has he managed to hang onto it after, ahem, everything he has been through? He sounds AMAZING. It's full, pure, bang on - he never hits a bum note. And it always seems effortless for him - it just pours out. He started with a bolero - I forget which one it was, then slowly and slyly, led the band into La Madrugada - the master showman at work. [By this time, Chispa was on bass.] There was the usual line of chicas standing at the front - three in particular were really having a great time. One was flirting like mad with Mayami and Michel got her on stage for the obligatory grinding. As she did, his shirt rode up to reveal his enormous stomach hanging over the top of his pants. The whole time she's looking at her friends snapping her forefinger and thumb together - take a picture!!! Seems like Michel has almost recovered as I couldn't see his crutches and he was actually dancing a bit too. (Why does he grab his crotch when he sings?) He would have gone all night (obviously), so Manolito wound him up after, I dunno 10-15 minutes (I was so not looking at my watch!).
They started playing Locos, which is their finish these days; when the sound cut out. By now it was about 8:20pm, so it was after matinee finishing time; and I thought that would be the end. But everyone stood around waiting; the horns were still on their stands and though the musos wandered off, none of them seemed to be leaving. The DJ played Gangsta's Paradise; and about 15 minutes later they came back on - with No te pases. Which is my go-to-the-bar/sit-down-for-a-minute song (along with the potpourri). Though as I sat watching it, I realised that the hornlines are stupendous: huge slabs of funk - and Mayami's dancehall turn is a lot of fun too.
Then they did Locos; which has a new coro on the end now:
La Habana pa' vivirla; La Habana pa' gozarla.
Indeed.
© Gabriel Wilder 2006
Wednesday, May 17, 2006
Since I've been here, Tuesdays and Wednesdays have been kind of a black hole for timba lovers: or days of recuperation, depending which way you look at it. For some reason, Galiano always seems to book hip-hop/pop on these days; and Eddy K (reggaeton) has done Mondays there for the last four weeks as well. Not such a big deal this week, as I have the infamous Havana catarro and need to take it easy. Of course if you like Bamboleo, Wednesday is a great day, as they play Galiano every week on that day. For me, though, this week won't get going until Manolito on Thursday. At the same time in different places are Haila and La Barriada, who I've never seen. And as Manolito is also doing the Miramar matinee the next day, I may give them a miss in favour of one of the others.
But you know I won't. If Manolito is playing, I must be there.
The big gig of the week is probably the supermatinee on Friday with PFG and Sur Caribe, but after my last experience with PFG at Galiano, I might give it a miss. Though actually that was the first time in all of my many trips to either of the Casas where I've seen a fight. My plan regarding Paulito, is to get a posee together to see him again at Macumba, seeing as that was so much fun the first time.
On Sunday, it was Mother's Day - a big deal here, and I went to see Angel Bonne at a Galiano matinee. Not many chaps there - probably getting drunk at lunch at their mum's house. But quite a ladies (I hestitate to say "mums" as I kept getting "felicidades" all day and I am not a mother!) and older ladies too - (dare I say?) grandmothers, all getting down. All the ladies were dressed in a very different style to the usual liggers at Galiano: a bit more downhome - not a midriff or sequinned belt to be seen. Although one grey-haired lady who was really getting into it was sporting a white t-shirt with a gold motif (her granddaughter's?). Really nice vibe, as there often is at an Angel gig. Good set, as well; usual mix of his salsa suave and his more energetic numbers like Pura Vestimenta, which really rocks and always comes as a welcome surprise after the rest. He has a chica on guiro and backing vocals which is a nice change - women still being something of a rarity in most of the big bands here. When I complemented him on this new addition to the band her after the show he said: well really, I was looking for a guiro player; but "ella canta bonita". And indeed she does. She is actually quite bonita too, which is an added bonus. She sings the duet from his last album, Donde vayas yo te seguiré, which they didn't actually do on Sunday, but which I saw them play a couple of weeks ago at Cantante.
Sunday, May 14, 2006
Si tú no baila' con esto
Tú no baila' con na'!
Pupy y los que Son Son
Casa de la Musica, Galiano
So. Pupy rocked. Maybe they weren't tired last time - maybe I was tired (I was jetlagged). Whatever. Again the horns were down in the mix. Jeez - those hornlines so rule; it's a crying shame when you can't hear them. The band was on fire though. They have this new super funk going on - chunky grooves in their trademark minor keys. Smokin' stuff. When they're not funkin, they are sooo soulful. Manolito is more soulful than he used to be too, I think, but his is like Motown. This is more like Stax - like Ann Peebles. Tough, but relaxed. Bummed out, but in a "let's party anyway" way.
They opened with Que Cosas Tiene la Vida - ow! That song is terminally kickarse (when Pupy does it anyway). Another favourite, Buena Gente, followed - that song is like a smack in the mouth. But in a good way. It has a new supergroove on the end which is well-wickid. Love it. Also in the set: Dicen que Dicen, El Gato Amaga y no Araña, Timba a Pogolotti - awwww. Never get tired of that one. La Borrachera - man, by the time they played this one, I was tired, but I couldn't stop dancing! (And isn't that just about the best feeling in the world? To be in a situation where you're exhausted but the music is so good, so good, that you can't stop. I wish every day were like that.) Mandy sang La Bomba Soy Yo, which I love, but it had three solos in it (at least two too many). He also sang another cool song I didn't recognise that has another supergroove. The world's oldest rumbero (ok, maybe not - I know it's a big call) got up for a shimmy in the closer (Pogolotti) and there was much talk on the stage about el dia las madres - and quite a few in the crowd too - it was a different audience, compared to, say, last night. Quite a few Cubans, but homier than usual - Cubanos para los Cubanos. If you know what I mean. It was nice.
Nosotros somos de Cuba.
Well I'm not. But they were.
© Gabriel Wilder 2006
Tú no baila' con na'!
Pupy y los que Son Son
Casa de la Musica, Galiano
So. Pupy rocked. Maybe they weren't tired last time - maybe I was tired (I was jetlagged). Whatever. Again the horns were down in the mix. Jeez - those hornlines so rule; it's a crying shame when you can't hear them. The band was on fire though. They have this new super funk going on - chunky grooves in their trademark minor keys. Smokin' stuff. When they're not funkin, they are sooo soulful. Manolito is more soulful than he used to be too, I think, but his is like Motown. This is more like Stax - like Ann Peebles. Tough, but relaxed. Bummed out, but in a "let's party anyway" way.
They opened with Que Cosas Tiene la Vida - ow! That song is terminally kickarse (when Pupy does it anyway). Another favourite, Buena Gente, followed - that song is like a smack in the mouth. But in a good way. It has a new supergroove on the end which is well-wickid. Love it. Also in the set: Dicen que Dicen, El Gato Amaga y no Araña, Timba a Pogolotti - awwww. Never get tired of that one. La Borrachera - man, by the time they played this one, I was tired, but I couldn't stop dancing! (And isn't that just about the best feeling in the world? To be in a situation where you're exhausted but the music is so good, so good, that you can't stop. I wish every day were like that.) Mandy sang La Bomba Soy Yo, which I love, but it had three solos in it (at least two too many). He also sang another cool song I didn't recognise that has another supergroove. The world's oldest rumbero (ok, maybe not - I know it's a big call) got up for a shimmy in the closer (Pogolotti) and there was much talk on the stage about el dia las madres - and quite a few in the crowd too - it was a different audience, compared to, say, last night. Quite a few Cubans, but homier than usual - Cubanos para los Cubanos. If you know what I mean. It was nice.
Nosotros somos de Cuba.
Well I'm not. But they were.
© Gabriel Wilder 2006
Saturday, May 13, 2006
One day soon, I'm going to write about a band other than Manolito - I swear. In fact it could even be tomorrow (Pupy at Galiano, and maybe even Vannia, if I get my shit together). But it's not today.
I've just walked up a deserted Neptuno - which is a little disconcerting alone, and at this hour (2am); especially for the last two blocks which have no streetlights at all - after seeing Trabuco at Galiano. Fantastic. Again.
The great news is that they started with La Raspadura and followed it with Hablando en Serio - which, I hope, is now part of the set. I'm wondering if the new residency at Cantante - which they're calling a "peña" - is kind of a rehearsal; or at least a dry run for their other gigs. Whatever, I'm the happy recipient of their toil, so bring it on, I say.
There were very few Cubans there tonight - which was weird. What was funny though, was when a huge group of tourists started doing a rueda during Sacude la Mata; and Mayami started yelling out calls: Dame! Dame otra! then I'm sure he just made something up. He said something like "setenta y nueve con sesenta y dos complicado!". I dunno: he probably didn't make that up - there's probably some school somewhere that does that. Funny though. I was actually the victim of a horrible dancer at that point. Que tragedia; as I love to drink in Mayami when he's in the spotlight. Or any time, quite frankly. And this guy was being a total wanker: you know, leaving me with absolutely nothing to do while he did all these fancy steps and kicks. AND I COULD HAVE BEEN WATCHING MAYAMI. I was craning my neck, on the few turns he did, so I could see him. He actually wandered throughout the room, singing, which was cool. Anyway, this guys says: do you know who you're dancing with? And I say no. And could have added, and actually I don't really care. But I just stopped dancing with him and directed my attention elsewhere (ie the band, who were actually deserving of it).
Some old dude got up and did some decima improv during El Indio's song Sabrosona, which made me feel a bit sorry for him, as he gets so little time in the spotlight these day, though they did a bit of Ya no hace falta again - would have been nice if they had done it all.
Amaray is singing this song at the moment - it's familiar, but I'm not sure what is. It might be Amar ... y, but I'm not sure. They opened with it at Miramar last week, and my first thought then was: wow, I hope he has really shitty foldback. He was out of tune for more or less the entire song. News just in: not shitty foldback. He didn't nail it tonight either. The times he isn't out of tune he's straining so hard to reach the notes it's painful. I don't know why he needs to do it: he has plenty of other good songs that suit him (not least of which is the previously mentioned and totally ace Habland en Serio). I had another really sad dance with another wanker who just dicked around, gave me no leads, then got pissed off when I wasn't where I "supposed" to be. His lead was a finger pointing to his side. Mate, I said, lead me there and I'll go there (but obviously in Spanish, ja ja). Much better off dancing on my own with the band. Which is what I prefer when the band is as smoking as this anyway.
Apart from the awesome music, what I love about this band is how much fun they have on stage: they're all smiling and doing little dances with each other - it's so cool. Tonight they seemed in especially fine spirits: even the usually dour tecladista did a funny littl dance with El Indio. It's fantastic. If I hadn't already been smiling because the music was sending me to a higher plane; I would have been smiling to see them all having such a good time. Bless.
Next post: not about Manolito.
© Gabriel Wilder 2006
I've just walked up a deserted Neptuno - which is a little disconcerting alone, and at this hour (2am); especially for the last two blocks which have no streetlights at all - after seeing Trabuco at Galiano. Fantastic. Again.
The great news is that they started with La Raspadura and followed it with Hablando en Serio - which, I hope, is now part of the set. I'm wondering if the new residency at Cantante - which they're calling a "peña" - is kind of a rehearsal; or at least a dry run for their other gigs. Whatever, I'm the happy recipient of their toil, so bring it on, I say.
There were very few Cubans there tonight - which was weird. What was funny though, was when a huge group of tourists started doing a rueda during Sacude la Mata; and Mayami started yelling out calls: Dame! Dame otra! then I'm sure he just made something up. He said something like "setenta y nueve con sesenta y dos complicado!". I dunno: he probably didn't make that up - there's probably some school somewhere that does that. Funny though. I was actually the victim of a horrible dancer at that point. Que tragedia; as I love to drink in Mayami when he's in the spotlight. Or any time, quite frankly. And this guy was being a total wanker: you know, leaving me with absolutely nothing to do while he did all these fancy steps and kicks. AND I COULD HAVE BEEN WATCHING MAYAMI. I was craning my neck, on the few turns he did, so I could see him. He actually wandered throughout the room, singing, which was cool. Anyway, this guys says: do you know who you're dancing with? And I say no. And could have added, and actually I don't really care. But I just stopped dancing with him and directed my attention elsewhere (ie the band, who were actually deserving of it).
Some old dude got up and did some decima improv during El Indio's song Sabrosona, which made me feel a bit sorry for him, as he gets so little time in the spotlight these day, though they did a bit of Ya no hace falta again - would have been nice if they had done it all.
Amaray is singing this song at the moment - it's familiar, but I'm not sure what is. It might be Amar ... y, but I'm not sure. They opened with it at Miramar last week, and my first thought then was: wow, I hope he has really shitty foldback. He was out of tune for more or less the entire song. News just in: not shitty foldback. He didn't nail it tonight either. The times he isn't out of tune he's straining so hard to reach the notes it's painful. I don't know why he needs to do it: he has plenty of other good songs that suit him (not least of which is the previously mentioned and totally ace Habland en Serio). I had another really sad dance with another wanker who just dicked around, gave me no leads, then got pissed off when I wasn't where I "supposed" to be. His lead was a finger pointing to his side. Mate, I said, lead me there and I'll go there (but obviously in Spanish, ja ja). Much better off dancing on my own with the band. Which is what I prefer when the band is as smoking as this anyway.
Apart from the awesome music, what I love about this band is how much fun they have on stage: they're all smiling and doing little dances with each other - it's so cool. Tonight they seemed in especially fine spirits: even the usually dour tecladista did a funny littl dance with El Indio. It's fantastic. If I hadn't already been smiling because the music was sending me to a higher plane; I would have been smiling to see them all having such a good time. Bless.
Next post: not about Manolito.
© Gabriel Wilder 2006
Friday, May 12, 2006
I can die happy.
Today Manolito did Hablando en Serio (for the first time since I've seen them play this year). In an album of great songs, this one is my pick. Well, it changes. But it's one of the top three. I was dying to see them do those monstrous bloques live, and although they still need to iron out a few kinks, it was still awesome. Riveron was going off - all night (er, afternoon - it was a matinee) actually. That guy is an amazing drummer - and doesn't play like any of the others I've seen in Havana so far. He's full on.
The bad thing about Cafe Cantante is that the sound is invariably muddy, and distorted too, a lot of the time. The good thing is that stage is so tiny - and OK, this was bad for the cellist and violinist, who had to sit behind Manolito, almost falling off the edge - but it's great for Riveron, because it's not only low, it's shallow too; so if you stand centrefront; his beats are coming right at you. Monstrous.
So I was singing every word of it, and during the second part of the cuerpo, Amaray saw me singing it and stopped singing himself, just looking at me. No one else was singing along. I'm not sure they've done it live in Havana yet - no one there even knew the coro. Of course by next week, they'll all know it.
As well as Hablando en Serio, they did Marcando la Distancia, which they didn't do at any of the three other gigs I've been to, and which was, como siempre, wonderful. Ay, El Indio. Also, Lazaro Valdes was there, and he got on the keys and they did Ya no hace falta, which, of course, El Indio sang with him on the great Nuevas Estrellas de Areito album; and they did some other song that I didn't know. I guess it was a Bamboleo song - none of the singers wanted to sing it. El Indio and Amaray were talking with each other and shaking their heads: "Do you want to sing this?" "No fucking way!" "Me neither." Mayami (sigh) had a go at it; but it kinda petered out. During Locos por mi Habana, one of the Tumbao Havana singers got up. I think those guys live at Cantante. He was a small white chap wearing a t-shirt with "De puta madre" on it. He didn't last long either - Amaray, who doesn't seem to like being out of the spotlight for too long; took the mike off him and took over.
Lately he's singing Linda Melodia, and I wish he wouldn't. Not just cause its Calunga's song, but cause he struggles with it, and kinda ends up sounding like a wailing cat. It ain't pretty. Great song though. Maybe Calunga will drop into Cantante himself and sing it. (I would die again, if that happened. Blissfully of course.) Missing from the set were Comunicate (whose absence I didn't even notice, even though I love it - everything else was so good) and Sacude la Mate (which I did, as it's sung by the boy du jour, Mayami). They started again with La Raspadura which is so great that words fail me. Which isn't great, cause being a writer, words are all I have. Humour me. Imagine the bestest thing you've ever experienced and triple it: that's La Raspadura en vivo. (And see my previous review of the album.)
And speaking of words failing me, I haven't been able to get my camera to take any decent shots to accompany these stories (yeah yeah, blame the tool) but help is coming soon, hopefully, in the form of Cristian Muñoz. Oddly, my camera takes all right video, so when I get back home I'll put some of that up.
The TWO HOURS of reggaeton at full bore before the band hit the stage almost drove me away. Amaray says they're playing the matinee there every Thursday, so here's a tip for any timba geeks that might be coming down: get there late (they didn't start till after 7). Unless of course you like that godless music.
So yeah yeah, I know I was sposed to go to see Alain Daniel's band, but he'll have to wait for another time. And even though this is the fourth time this trip I've seen Trabuco, I'm still up for more.
© Gabriel Wilder 2006
Today Manolito did Hablando en Serio (for the first time since I've seen them play this year). In an album of great songs, this one is my pick. Well, it changes. But it's one of the top three. I was dying to see them do those monstrous bloques live, and although they still need to iron out a few kinks, it was still awesome. Riveron was going off - all night (er, afternoon - it was a matinee) actually. That guy is an amazing drummer - and doesn't play like any of the others I've seen in Havana so far. He's full on.
The bad thing about Cafe Cantante is that the sound is invariably muddy, and distorted too, a lot of the time. The good thing is that stage is so tiny - and OK, this was bad for the cellist and violinist, who had to sit behind Manolito, almost falling off the edge - but it's great for Riveron, because it's not only low, it's shallow too; so if you stand centrefront; his beats are coming right at you. Monstrous.
So I was singing every word of it, and during the second part of the cuerpo, Amaray saw me singing it and stopped singing himself, just looking at me. No one else was singing along. I'm not sure they've done it live in Havana yet - no one there even knew the coro. Of course by next week, they'll all know it.
As well as Hablando en Serio, they did Marcando la Distancia, which they didn't do at any of the three other gigs I've been to, and which was, como siempre, wonderful. Ay, El Indio. Also, Lazaro Valdes was there, and he got on the keys and they did Ya no hace falta, which, of course, El Indio sang with him on the great Nuevas Estrellas de Areito album; and they did some other song that I didn't know. I guess it was a Bamboleo song - none of the singers wanted to sing it. El Indio and Amaray were talking with each other and shaking their heads: "Do you want to sing this?" "No fucking way!" "Me neither." Mayami (sigh) had a go at it; but it kinda petered out. During Locos por mi Habana, one of the Tumbao Havana singers got up. I think those guys live at Cantante. He was a small white chap wearing a t-shirt with "De puta madre" on it. He didn't last long either - Amaray, who doesn't seem to like being out of the spotlight for too long; took the mike off him and took over.
Lately he's singing Linda Melodia, and I wish he wouldn't. Not just cause its Calunga's song, but cause he struggles with it, and kinda ends up sounding like a wailing cat. It ain't pretty. Great song though. Maybe Calunga will drop into Cantante himself and sing it. (I would die again, if that happened. Blissfully of course.) Missing from the set were Comunicate (whose absence I didn't even notice, even though I love it - everything else was so good) and Sacude la Mate (which I did, as it's sung by the boy du jour, Mayami). They started again with La Raspadura which is so great that words fail me. Which isn't great, cause being a writer, words are all I have. Humour me. Imagine the bestest thing you've ever experienced and triple it: that's La Raspadura en vivo. (And see my previous review of the album.)
And speaking of words failing me, I haven't been able to get my camera to take any decent shots to accompany these stories (yeah yeah, blame the tool) but help is coming soon, hopefully, in the form of Cristian Muñoz. Oddly, my camera takes all right video, so when I get back home I'll put some of that up.
The TWO HOURS of reggaeton at full bore before the band hit the stage almost drove me away. Amaray says they're playing the matinee there every Thursday, so here's a tip for any timba geeks that might be coming down: get there late (they didn't start till after 7). Unless of course you like that godless music.
So yeah yeah, I know I was sposed to go to see Alain Daniel's band, but he'll have to wait for another time. And even though this is the fourth time this trip I've seen Trabuco, I'm still up for more.
© Gabriel Wilder 2006
Thursday, May 11, 2006
Bamboleo, Casa de la Musica, Galiano
Ten bucks to get in - $10! They have a new policy of pricing it seems - before, matinees were always $5 and night shows were rarely that cheap. Now big band matinees (Bamboleo, Manolito, PFG) are $10 and there are a lot more $5 nights. Since I've been here, Salsa Mayor, Eddy K (three times) and Tumbao Havana (tonight) have played for five buckaroonies at night. Interesting. Presumably it means less Cubans during the day (sometimes) and more at night.
So I got there at about 5.45. There was a small queue, and I coughed up the ten bucks, after saying, to the guy in the window, who couldn't have cared less, "Ten bucks!" (I said it in English too. Even more futile.) Inside it was pretty much packed, if not to the gills, at least almost to the rafters. There was a video DJ set up, playing reggaeton videos (mmm, my favourite!). Stood around a bit. Talked to this guy I met on Prado today, Michael, who told me he's going to Sydney to teach with some university in October. If it's a line, it's a new one. The Italians I met at Paulito on Monday were there. Talked to them a bit. Coincidentally, Michael is teaching them dancing. Small town, Havana.
Bamboleo came on about 6:15 I guess, and after "camina pa la pista" which I think is one of their best songs; I lapsed into a daze. I remember now that Bamboleo has that effect on me. Tania looked like someone's Auntie Ev - daggy hairdo and baggy lime green top. Of course she despeloted like it was gold medal event (as usual) and her top fell open to reveal a minuscule lime green bikini. Then she didn't look like Auntie Ev any more. She looked like your teenaged friend's slightly foxy mum.
ANYWAY. The music. Um. I don't know. The third song wasn't bad. No idea what it was. Don't mind the young dude they have singing with them. He did a slightly reggaeton number that was actually OK. They seem to be leaning towards Latin pop, which seems to be a trend here. Might not be all bad - the result could be the first decent Latin pop, um, ever?
Next up was 30 minutes of ballads - it could have actually been 20 - it felt like 20 days (and nights), and included a saxophone solo (when the saxophonist walks to the front of the stage, afraid) and a bass solo. The room's booker, with whom I've become a little cozy (so cozy I have no idea what his name is) wasn't impressed to see me leaning on the railing, bored out of my mind.
I got more interested with Amor Loco, which must be a single, as the video clip was playing on the adjacent screen. Some nice horn parts and, well nice horn parts. Bit of swing. Not bad. Tania did a big long MC bit which was amusing. Got some Cubano up on stage who couldn't dance to save his life and totally took the piss. He didn't seem to mind. I actually started dancing for the first time during this song.
The last one really made it all worth it: I never get tired of Ya no hace falta, especially this arrangement, with that clave change after the verses and the great coros - fantastic stuff.
As well as the guy, there is a pretty flaccita on vocals, but she just does back-ups - it's pretty much Tania's show. Interesting how she kinda bulldozed her way to stardom.
Not sure why this group is so popular with the Cubans at the moment (there were lots of foreigners there, but many more Cubans) - or ever, really. I remember their matinees were big when I was here in 2004. I mean the Manolito matinee had half as many peeps. MANOLITO, for chrissakes. What's up with that? And come on, isn't Mayami sexier than Tania (no matter what your sex)?
© Gabriel Wilder 2006
Ten bucks to get in - $10! They have a new policy of pricing it seems - before, matinees were always $5 and night shows were rarely that cheap. Now big band matinees (Bamboleo, Manolito, PFG) are $10 and there are a lot more $5 nights. Since I've been here, Salsa Mayor, Eddy K (three times) and Tumbao Havana (tonight) have played for five buckaroonies at night. Interesting. Presumably it means less Cubans during the day (sometimes) and more at night.
So I got there at about 5.45. There was a small queue, and I coughed up the ten bucks, after saying, to the guy in the window, who couldn't have cared less, "Ten bucks!" (I said it in English too. Even more futile.) Inside it was pretty much packed, if not to the gills, at least almost to the rafters. There was a video DJ set up, playing reggaeton videos (mmm, my favourite!). Stood around a bit. Talked to this guy I met on Prado today, Michael, who told me he's going to Sydney to teach with some university in October. If it's a line, it's a new one. The Italians I met at Paulito on Monday were there. Talked to them a bit. Coincidentally, Michael is teaching them dancing. Small town, Havana.
Bamboleo came on about 6:15 I guess, and after "camina pa la pista" which I think is one of their best songs; I lapsed into a daze. I remember now that Bamboleo has that effect on me. Tania looked like someone's Auntie Ev - daggy hairdo and baggy lime green top. Of course she despeloted like it was gold medal event (as usual) and her top fell open to reveal a minuscule lime green bikini. Then she didn't look like Auntie Ev any more. She looked like your teenaged friend's slightly foxy mum.
ANYWAY. The music. Um. I don't know. The third song wasn't bad. No idea what it was. Don't mind the young dude they have singing with them. He did a slightly reggaeton number that was actually OK. They seem to be leaning towards Latin pop, which seems to be a trend here. Might not be all bad - the result could be the first decent Latin pop, um, ever?
Next up was 30 minutes of ballads - it could have actually been 20 - it felt like 20 days (and nights), and included a saxophone solo (when the saxophonist walks to the front of the stage, afraid) and a bass solo. The room's booker, with whom I've become a little cozy (so cozy I have no idea what his name is) wasn't impressed to see me leaning on the railing, bored out of my mind.
I got more interested with Amor Loco, which must be a single, as the video clip was playing on the adjacent screen. Some nice horn parts and, well nice horn parts. Bit of swing. Not bad. Tania did a big long MC bit which was amusing. Got some Cubano up on stage who couldn't dance to save his life and totally took the piss. He didn't seem to mind. I actually started dancing for the first time during this song.
The last one really made it all worth it: I never get tired of Ya no hace falta, especially this arrangement, with that clave change after the verses and the great coros - fantastic stuff.
As well as the guy, there is a pretty flaccita on vocals, but she just does back-ups - it's pretty much Tania's show. Interesting how she kinda bulldozed her way to stardom.
Not sure why this group is so popular with the Cubans at the moment (there were lots of foreigners there, but many more Cubans) - or ever, really. I remember their matinees were big when I was here in 2004. I mean the Manolito matinee had half as many peeps. MANOLITO, for chrissakes. What's up with that? And come on, isn't Mayami sexier than Tania (no matter what your sex)?
© Gabriel Wilder 2006
Tuesday, May 09, 2006
Paulo y la pelea
Well that was a fucking disaster. Got to Galiano about 4:15, just in case there was an enormous queue. There was a tiny one. But I thought I'd go in, just in case it got big quick. It was pitch black inside as always, and the music playing was Saturday Night Fever, which was pretty cool.
So I thought I had two hours to kill - unlike last Monday, however, today's was a late matinee - PFG wasn't expected on stage till 8pm. Shiiiiiiit.
Fortunately the DJ played timba for a couple of hours. Unfortunately he switched to reggaeton and house at 6pm. Didn't keep it up though - by 7 he was playing timba again and I had some cool dances. It had filled slowly, but by then, the place was pretty much full.
At 8pm, there was no PFG. The DJ stopped playing music about five minutes past, then started playing it again about quarter past. At 8.30 he finally came on. I love it when he comes out - it's like he's a big star; which I spose he is. The other bands here are more ensembles, so it's a bit different. The sound was muddy: could hear neither his voice nor the metales very well. I always wonder what kind of sound guy can't get the horns to be heard. I mean, come on. It was the same at Pupy.
The shine wore off very quickly tonight - the first three songs kicked arse, but after that, I don't know. It was a total crush down the front, so that was out. Further back, the floor was slick with spilt drinks; and there were peeps bumping into each other and slipping over. About 40 minutes into the set, a fight erupted, right next to Michel Maza, who was standing there with his crutches. Of course the whole crowd turned to look at it. I don't know why they're so fascinated: I mean, there's this totally kick arse band on stage and everyone would rather watch a fight?
The security guys chucked them out. Then about five minutes later there was another. And five minutes after that ... well, you get the idea. The band wrapped up after only an hour of playing, ending with a nod to Michel and the coro from one of the best songs this year: "esto es mi secreto/esta es mi receta/si te sientes bien" ... well they didn't do the "fiesta" part. But I did.
The lights had been on for the whole show, but they turned em up even brighter after the fights. They must have expected it: a bunch of peeps with nothing to do but drink while they wait for four hours for a band - many of them drinking straight rum ... What else is gonna happen? It's hardly a recipe for hugs and puppies.
Later this week: more Manolito and more Pupy.
I <3 Havana. Peleas and all.
© Gabriel Wilder 2006
Monday, May 08, 2006
Bailar casino and the scariest party band in the world
Went to Casa de la Amistad for the casino night that timba geek Richard had told me about. It was bloody hot. The cab driver didn't know where it was. As it turned out, I didn't really know either, but if he'd just taken me down Paseo we would have found it. Dick. For the record: it's Paseo and 19. Crowded inside - lots of Cubans. Lots of foreigners too. Recorded music - lots of Adalberto. I danced a bit with a guy I'd danced with at Salsa Mayor at Galiano last week - great dancer. Fuck it was HOT. I had sweat dripping off me. That's the problem when it's outdoors and there is no air con. Macumba has big-ass fans, but it's way more upmarket than this place.
There was a rueda performance by a group from Guanabacoa. They had that great trailer park look going on: tanned skin; yellow bleached hair; too much mascara and minute minis which started at the hip ... and pretty much ended at the hip (reminds me of the chick at Klimax last week whose pants rode so low I kept thinking we were going to see her labia majora smile). Their song started: heavy bass, reggaeton feel, a rap... Just as I was thinking what is this godawful song they're dancing to? The vocals started and it was ... guess who? Yep, our hero from yesterday's instalment, PFG.
The band started getting ready to play. It looked ominous: guitars; long hair... eek! It was Moncada - a bit of tropical; a bit of reggae, the odd 50s rock'n'roll tune; rock anthems and screaming guitar solos. For a moment I thought I was at a 21st in Sydney's suburbs in the 80s. But there were neither day-glo nor Choose Life t-shirts. Just micro minis and the band from hell. I was in Havana, in 2006.
Why is a band like this playing a casino night? Or am I misunderstanding the sitch?
And oh yeah, that Klimax thing? I'll report anon. Or maybe not. Depends how much is going on (PFG tomorrow, yay!). Just in case I don't: first half of the set was extremely messy: they got better as the matinee progressed and they got a bit funkier. The sound was shit - why don't those guys get themselves a good sound guy?
© Gabriel Wilder 2006
Went to Casa de la Amistad for the casino night that timba geek Richard had told me about. It was bloody hot. The cab driver didn't know where it was. As it turned out, I didn't really know either, but if he'd just taken me down Paseo we would have found it. Dick. For the record: it's Paseo and 19. Crowded inside - lots of Cubans. Lots of foreigners too. Recorded music - lots of Adalberto. I danced a bit with a guy I'd danced with at Salsa Mayor at Galiano last week - great dancer. Fuck it was HOT. I had sweat dripping off me. That's the problem when it's outdoors and there is no air con. Macumba has big-ass fans, but it's way more upmarket than this place.
There was a rueda performance by a group from Guanabacoa. They had that great trailer park look going on: tanned skin; yellow bleached hair; too much mascara and minute minis which started at the hip ... and pretty much ended at the hip (reminds me of the chick at Klimax last week whose pants rode so low I kept thinking we were going to see her labia majora smile). Their song started: heavy bass, reggaeton feel, a rap... Just as I was thinking what is this godawful song they're dancing to? The vocals started and it was ... guess who? Yep, our hero from yesterday's instalment, PFG.
The band started getting ready to play. It looked ominous: guitars; long hair... eek! It was Moncada - a bit of tropical; a bit of reggae, the odd 50s rock'n'roll tune; rock anthems and screaming guitar solos. For a moment I thought I was at a 21st in Sydney's suburbs in the 80s. But there were neither day-glo nor Choose Life t-shirts. Just micro minis and the band from hell. I was in Havana, in 2006.
Why is a band like this playing a casino night? Or am I misunderstanding the sitch?
And oh yeah, that Klimax thing? I'll report anon. Or maybe not. Depends how much is going on (PFG tomorrow, yay!). Just in case I don't: first half of the set was extremely messy: they got better as the matinee progressed and they got a bit funkier. The sound was shit - why don't those guys get themselves a good sound guy?
© Gabriel Wilder 2006
Sunday, May 07, 2006
Pauliiiiiiiiito!
Two minutes ago I just got back from one of the most kickass concerts of my life: Paulito FG at La Macumba, Havana.
I almost didn't go: it was by chance that I checked Canal Cubano today and found that he was playing there. My first thought: [timba geek] Lionel, who is here with his lovely wife, visiting her family, and seeing as many timba gigs as he possibly can, might like to go. I wasn't really considering going myself. Then I thought: woah - Lionel has a car (essential for getting to La Macumba which is on Habana's outskirts - or at least seems to be. Actually, it seems like it's in Matanzas, but no matter.); maybe he can take me. I heard that it started at 5pm; but Lionel had been hanging out with the other Leonel (Limonta) who told him PFG wouldn't be on until about 10pm. So when I met Lionel (the other one) at Galiano, he said why don't we go and see Chispa, because Michel will probably play with them, then go to PFG later.
I was kinda lukewarm on the idea; and once the band started playing, they didn't really do anything to warm me up -- until Michel hobbled on stage (he has had some kind of accident) for La Madrugada from Que Hablen los Habladores. It's a dumb song but he was in fine form. Really cool. Now he got me going.
When that was over we drove straight to La Macumba - took nearly an hour. The girl at the box office told us PFG wouldn't start till 10. We went in - masses of peeps. It's a great venue: a big open air venue with a huge marquee; and a big stage with a catwalk - shame it's just so damn far from the city. Lionel spent another $20 buying a bottle of aged Havana Club which also got us a table not too far from the stage. Good on you Lionel!
The DJ was playing pretty ordinary reggaeton and house; the odd video (Haila; CH);but we didn't have to wait too long for the main event. After some pretty ordinary dancing girls; PFG came on about 9:40 and it was fucking amazing. I hate his latest album - and they did just about every song from it I think - but this was fucking awesome. Super-tight. Powerful. Great coros. He's such a great performer too. Energetic; charismatic. He's ... it's like he's available to the audience - I don't mean that literally; though that was certainly true: masses of peeps jumped up mid-song to have their photo taken and he pretty much always obliged. I guess I mean that he gives himself to them. And he does. I mean it's all about him being a star, I think, ultimately; but he really projects; reaches out, metaphorically. You feel like there's something tangible between you and him. I don't mean individually either - you don't feel like you're the only one in the room with him. More like you're part of this big group with whom he's communicating. Everyone was getting off on it. The place was going off.
I've been at a few gigs here in the last couple of weeks where, when the singer tried to get the crowd singing, you could hear a mouse squeak. But tonight, when Paulo sang: "nací en La Habana" the crowd roared: "SOY HABANERO."
It was fantastic. I despeloted and temblequed all night. When the band startd playing and I started dancing, Lionel et all were like: woah! Cause I hadn't really danced at Chispa - only a bit for Michel. But there was just something about the music and the atmos that made me want to do it - all night too. I hardly stopped.
The sound was great: clear and full. This was like some grand concert; a major event. Yet in some ways it was just another Saturday night in Havana. And it cost $10 to get in.
This is how my life is in my dreams. A kick-ass band every Saturday night for 10 bucks.
© Gabriel Wilder 2006
Two minutes ago I just got back from one of the most kickass concerts of my life: Paulito FG at La Macumba, Havana.
I almost didn't go: it was by chance that I checked Canal Cubano today and found that he was playing there. My first thought: [timba geek] Lionel, who is here with his lovely wife, visiting her family, and seeing as many timba gigs as he possibly can, might like to go. I wasn't really considering going myself. Then I thought: woah - Lionel has a car (essential for getting to La Macumba which is on Habana's outskirts - or at least seems to be. Actually, it seems like it's in Matanzas, but no matter.); maybe he can take me. I heard that it started at 5pm; but Lionel had been hanging out with the other Leonel (Limonta) who told him PFG wouldn't be on until about 10pm. So when I met Lionel (the other one) at Galiano, he said why don't we go and see Chispa, because Michel will probably play with them, then go to PFG later.
I was kinda lukewarm on the idea; and once the band started playing, they didn't really do anything to warm me up -- until Michel hobbled on stage (he has had some kind of accident) for La Madrugada from Que Hablen los Habladores. It's a dumb song but he was in fine form. Really cool. Now he got me going.
When that was over we drove straight to La Macumba - took nearly an hour. The girl at the box office told us PFG wouldn't start till 10. We went in - masses of peeps. It's a great venue: a big open air venue with a huge marquee; and a big stage with a catwalk - shame it's just so damn far from the city. Lionel spent another $20 buying a bottle of aged Havana Club which also got us a table not too far from the stage. Good on you Lionel!
The DJ was playing pretty ordinary reggaeton and house; the odd video (Haila; CH);but we didn't have to wait too long for the main event. After some pretty ordinary dancing girls; PFG came on about 9:40 and it was fucking amazing. I hate his latest album - and they did just about every song from it I think - but this was fucking awesome. Super-tight. Powerful. Great coros. He's such a great performer too. Energetic; charismatic. He's ... it's like he's available to the audience - I don't mean that literally; though that was certainly true: masses of peeps jumped up mid-song to have their photo taken and he pretty much always obliged. I guess I mean that he gives himself to them. And he does. I mean it's all about him being a star, I think, ultimately; but he really projects; reaches out, metaphorically. You feel like there's something tangible between you and him. I don't mean individually either - you don't feel like you're the only one in the room with him. More like you're part of this big group with whom he's communicating. Everyone was getting off on it. The place was going off.
I've been at a few gigs here in the last couple of weeks where, when the singer tried to get the crowd singing, you could hear a mouse squeak. But tonight, when Paulo sang: "nací en La Habana" the crowd roared: "SOY HABANERO."
It was fantastic. I despeloted and temblequed all night. When the band startd playing and I started dancing, Lionel et all were like: woah! Cause I hadn't really danced at Chispa - only a bit for Michel. But there was just something about the music and the atmos that made me want to do it - all night too. I hardly stopped.
The sound was great: clear and full. This was like some grand concert; a major event. Yet in some ways it was just another Saturday night in Havana. And it cost $10 to get in.
This is how my life is in my dreams. A kick-ass band every Saturday night for 10 bucks.
© Gabriel Wilder 2006
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