Sonando con calidad!

Hot on the heels of Charanga Forever’s revitalising Somos Charangueros, comes another Envidia release, Los Ases de la Timba's Aquí están Los Ases - a kind of supergroup featuring Michel Maza, Tirso Duarte, Mandy Cantero and former Charanga Habanera bassist Pedro Pablo, last seen playing with his group Rebambaramba. Do your best to ignore the name (it's Spanish for "aces", apparently, despite what it looks like in English ...), this is reason for timberos to get very excited indeed.

The opener, Aquí están, sets the tone, with thumping piano, tectonic bass and a few references to previous work from the participating parties, including the coro from Rebambaramba’s Rembanero soy; Michel’s La vida es tan tan from Que hablen los habladores and Tirso’s “eso es; para que nada te pueda pasar” coro; a kind of signature of his which goes back as far as his days in Charanga Habanera, and finally turned up fully formed as the song Me Quiere La Habana on his last album Timba Cubana. The other singing star of the project, Mandy is in there too, vamping on Klimax’s Juego de manos (Tirso also references Lozada’s Que venga lo que venga), among other things. There is also, puzzlingly, a mambo that Paulo has added to the live version of El Punto. Perhaps it’s from something far older, which would explain its inclusion in both. This track is far more than a bunch of backward glances though - like the rest of the album, it rocks hard, is crammed with hooks, and is replete with great performances, not just from the aforementioned, but props to the piano player, Karina Gutierrez, sister of Pedro Pablo, who plays with a great deal of grunt and style.

The star singers are all credited with singing four songs each, but surprisingly, for me at least, it’s the tunes of Tirso and Mandy that really stand out. (Surprising, cause I loves me some Michel). Their songs just seem to pack more punch. That duo have a more agressive style than Michel, whose songs are among the softest here. Though I still find it perplexing, given his hard rockin’ persona live - en vivo his concerts invariably consist of little more than jams, grooves and reparto. Mind you it’s worth adding that his songs here are not actually soft - they’re just a bit tamer compared to the (mostly) stomping songs by the others (though Tirso’s La Vecina is on the smoother side).

There are too many good songs for a track-by-track analysis (there are only a couple that don’t grab me); but I’ll single out three:

Tirso’s Cuenta con los santos is a robust blend of rumba and timba, with stuttering percussion, solid bass and blaring horns that hark back to his song with Calixto, Rumbero de Corazon. Las aparencias engañan is my pick of Michel’s offerings: mid-tempo, funky, with a classic performance by Michel - cheeky, playful, melodic, confident. Tu tin de suerte has a kickarse beginning with horns slightly reminiscent of Oye como va. This is probably Mandy’s best moment here: joyous, hard and swinging, with great improvising. I’m liking his style more and more. The song changes up rhythms and breakdowns before it builds up again. Great coros. There is a chick in the mix there, which sounds good.

The coros throughout the album are excellent - good melodies, well sung - and make you realise how important they are to lifting a song (are you listening, Paulito?).

Likewise the arrangements are lively and engaging - I'm assuming that they’re the work of Pedro Pablo, who also wrote the lion’s share, according to Tirso. This is a better album than Pablo’s ¡Yo tengo el don!, probably largely due to the vocal talents involved - hard to go wrong with three of Cuba’s best.

Hear samples of Los Ases songs at Camajan or Prodland. If you're outside of their delivery area, you can buy it at Descarga.

The timba geek's guide to Havana
Part IV: Getting online in Havana

The Capitolio: not just an icon, but a place to get wired.
Fab pic by Helen Ferry

So the emphasis in this instalment is on the "geek" of "timba geek", though as the estimable Joss "Buffy" Whedon has pointed out: geeks are getting cooler and the world is getting geekier, so you don't have to be so geeky to spend precious timba time emailing your buds at home, or checking Canal Cubano to see if that Trabuco matinee you wanted to see is still happening (if it's listed, you would, of course, go home and call, just to make sure. See Part 2: The venues in sidebar for more).

If you're lucky, the casa where you're staying will have (illegal) access; if not, you'll have to sally forth into the calle. Post offices offer access to an email server for Cubans - but not the net. I'm not sure if a foreigner can get their own address (probably not); but if you know a Cuban with one, and you don't need the net, this will, by far, be the cheapest way to send email. Also: post offices are everywhere.
This is a rough, and far-from-comprehensive, guide of places that have net access. Bear in mind that queues are usually longer on rainy days and in the afternoon. Night-time can be a good time (if you duck down to the Sevilla after a Galiano matinee for instance, you'll likely be able to sit right down at a terminal).
Note: broadband doesn't exist in Cuba as far as I know. You're looking at 56kpbs.

In Centro Habana, there is a bunch of places, and it's worth going to this area, because if it's busted in one place, or there is a humungous queue, you don't have to walk far to find somewhere else: they're either all on the Capitolio strip, or not much further away.
The absolute cheapest is the Telegrafo, on the corner of Neptuno and Paseo del Prado It's only $4/hour (and you can buy 30 minutes) - when it's operating. They had no functioning machines when I was there earlier this year, but it's always worth a look, because nowhere else is this cheap.

Next cheapest would probably be the Capitolio. Walk up the many steps; try not to get heatstroke in the time it takes to reach the top, then tell whoever is at the entrance that you're want to use the internet (you avoid the covercharge for the Capitolio itself this way). It should be about $5/hour. The problem here is that this is one of the most popular places. You'll have to wait in a (probably lengthy) queue, and you may need your passport to reserve your place in line.

A little further down the road towards the Malecon is the Hotel Sevilla (Trocadero No 55 between Paseo de Martí and Agramonte). They sell their net time in 20-minute lots - $2/20minutes. It's pricier, but it's convenient if you're staying in the area, and their lobby is a genteel blast from the past. The son band in the cafe isn't bad either.

Back towards the Capitolio by the park is the Hotel Park Central - it's super ritzy; has a beautiful roof pool and the net there, last time I asked (04, I think) goes for $14/hour (I was assured it was superfast, but I didn't bite). The adjacant Hotel Plaza used to have net access, but I haven't seen it there in recent years. The Inglaterra (Paseo de Martí and San Rafael) has it still; but I haven't used it there, so I'm not sure how much it costs. There is usually a queue.

That's it for this particular stretch - I'm sure you can also find it in Habana Vieja - at Hotel Santa Isabel or Hotel Ambos Mundos or Hotel Raquel (this last one is jaw-droppingly gorgeous and worth visiting just for a bit of a squizz). But I tend to avoid this area, as I get dogged every step: lady, lady, lady, de que pais tu eres? etc. Can't stand it. So you're on your own there.

The other main area is, of course, Vedado. I'm a bit hazy on prices, cause almost everywhere there (as far as I know) is more expensive than Centro, so I tend not to go there much; but it is reliable and there are usually smaller (or no) queues. Try: Habana Libre and Hotel Nacional (while you're there, have a limonata in the fabulous grounds that look onto the Malecon out the back).
Of course there will be many more places - in Miramar, for example - these are just the ones I've had experience with. If I've missed anywhere obvious, could someone please let me know.

Still to come: chilling out in Havana, more bands, Havana havens.

The timba geek's guide to Havana
Part III: The bands (Chapter I)

Introduction:
I don't know how much use this will be: if you read this blog, you probably already know a bit about timba and what you like. But who knows, you might be entertained. Once I started, I realised this would be a much bigger job than I had anticipated, so it might take a while to cover all the bands I want to.
I'm going to concentrate on timba, though of course there are lots of different styles of music to be seen in Havana - from traditional rumba and son, to reggaeton, pop and hard rock. It isn't that easy to find bonafide charanga, oddly, which is a shame. But I digress. The first thing to be aware of is that although the bands pretty much all consist of talented and experienced players, timba can be broken down into various, well I won't say subgenres, but rather, sounds, or styles: some lean towards are more traditional son, or salsa cubana style, others play old-school-cintura timba, with a funkier, tougher sound. Others mix the two; still others incorporate pop, ballads and R&B; others reggaeton, and some are doing something completely new altogether. Though having said that, there are some bands that seem to be able to win over just about anyone live, just through sheer kicking ass (Elito Revé springs to mind). Also merely seeing a band in an environment with all the right factors can enhance the experience and have you coming away raving like a lunatic.
I'm going to offer a brief description and opinion of various band currently playing in Havana. Disclaimer: this is not meant to be a definitive guide. For a geekier guide and in-depth analysis, follow the links to timba.com.

Manolito y su Trabuco

Styles: traditional son/salsa Cubana/timba/timba-R&B/reggaeton
You only have to glance at my blog to find out more about these guys. They were my favourites on the last trip, and I was lucky enough to be able to see them about twice every week - I never got tired of them. They are totally kicking ass live at the moment; have a great new album, and a hot bod in the line-up. They are personable - their onstage joie de vivre is completely infectious, and they have one of timba's most exciting bateristas, or trap drummers, in Roícel Riverón - seeing him bash those babies at close range (Cafe Cantante is good for that) is one of timba's finer pleasures. Of course group director and pianist Manolito's fluid playing is gorgeous, as are their songs, which are an irresistible combination of melody and energy. Many of this group have been playing together since their days in Camaguey group Maravilla de Florida more than a decade ago, and it shows: their sound is seamless. The charanga (violin, cello and flute)/horns combo is an absolute winner - you get the best of both worlds.
Recommended albums: Se rompieron los termometros, Hablando en serio, Para que baile Cuba
Manolito y su Trabuco at timba.com

Pupy y Los Que Son Son

Styles: nuclear son/timba/a-yet-to-be-defined-timba-
meets-stax-meets-funk
My next favourite group after Trabuco (or maybe equal...), Los Que Son Son I think are unique. All the groups - more or less - have their own sello (sound), but Van Van founder César Pupy Pedroso and his group are doing something live that blows my mind and consequently makes it almost impossible to articulate. Pupy's innovative updates of son and Van Van classics have to be heard to be believed; and live, the majority of the songs have been extended to incorporate exciting new coros and grooves. They have two of Cuba's fierciest singers in lithe rumbero Mandy and Pepito, the little guy with the big voice, who also has a nice line in smoothness when required (Del trabajo a la casa; Dicen que dicen). Line-up includes one violin (Gerardo Miró) and metales. Solid grooves with a superfunk tinge and kickarse timba.
Recommended albums: Mi timba "cerra", Buenagente, Que cosas tiene la vida
Official web site; Pupy at timba.com

Paulito FG

Styles: Timba/salsa/pop/reggaeton
Don't be fooled by his recent studio albums (one was a set of ballads; the other a tepid salsa-pop) Paulo and his group the Elite are explosive live. Partly due to the man himself - his voice is in fine form; as is his body (he must be one of timba's sexiest dancers - some of his moves could make a harlot blush); but also due to his musos. Props here to my mate Cristóbal who plays a solid, funky bass, and relative newcomer and former member of Charanga Forever member Maikel on piano. Thanks to his charisma and "callejero" persona, Paulo is one of Cuba's favourite sons, and his sway with the public there shows no signs of waning. I just wish he'd toughen up his albums - though as this is a guide to timba en vivo, all that is required here is that he put on a riveting and energetic live show - which he does. Don't miss him.
Recommended albums: Con la conciencia tranquila; El bueno soy yo; anything recorded "en vivo".
Official web site; PFG at timba.com

Bamboleo

Bamboleo cantantes by Che Allen.

Styles: Timba/salsa/pop/reggaeton
Bamboleo have an impeccable pedigree - alumni include the charismatic Haila and the very suave Vania. These days, though, they are a mere shadow of their former selves, though for reasons that elude me, they are still one of the most popular bands in Havana. Their matinees are invariably packed to the gills with ecstatic Cubans who never take their eyes off diva Tanja: when she sings the ballad Sueño cristal, everyone sings every word, and if it were the US, cigarette lighters would be held aloft. But these guys know better than to waste precious fuel for a song - no matter how much they love it. Though I can't abide Tanja's bellowing; she has an undeniable connection to her public and the band is usually pretty tight. They're a bit light-on for decent tunes though, although I've seen them a few times - just to make sure I wasn't writing them off for spurious reasons, they have so far failed to engage me like others on the scene.
Recommended songs: (still in their repertoire) Opening estudio 10/Shake your body; Ya no hace falta; Todo lo bonito; (old classics) Yo no me parezco a nadie; Con un canto en el pecho, La pelicula.
Bamboleo at timba.com

Los Van Van

Los Van Van's Yeni by Fabio Macori.

Styles: songo with a smattering of timba and (live) lashings of Latin jazz
This venerable Cuban institution - now in their fourth decade - aren't that easy to see in their homeland. Their long tenure and popularity outside of Cuba means they tour a great deal more than any other Cuban band (this year they have toured Europe, Japan, and Australia, they are currently touring South America and will be in Canada next month) and when in Cuba, they never, as far as I am aware, play matinees. When at home, you'll find them on most Saturday nights at Casa de la Musica, Centro Habana, though they occasionally play at Miramar, Macumba, La Tropical and La Piragua/El Triunfo. I'm not mad about this band: they do have a unique and enchanting sound, but they're a little tame for me, and the length of their songs and surfeit of improvising usually has me noticing how much my feet hurt and looking for a chair. I'm pretty much Robinson Crusoe there though: Los Van Van are universally loved for their street lyrics, blend of trombones and violins, and charismatic singers Yeni, Mayito, Roberto and Lele, not to mention the powerhouse Samuell Formell on drums.
Recommended albums: Chapeando; Ay Dios, ampárame; Te pone la cabeza mala.
Official web site; Los Van Van at timba.com

Still to come in the Timba Geek's Guide to Havana: more bands evaluated; where to find the internet, how not to go crazy in Havana.

Luis Valle, The Marquee, November 8

So I was overworked, and my car was broken (still is) and it was unseasonably cold (what good is global warming if it doesn't actually "warm"? False advertising, I say! Enough with this winter-in-November thing we've got going on at the moment - wtf is up with that?), and if Luis had been playing another night as well, I wouldn't have gone at all. But the Cuban trumpeter, brother of Maraca and resident of Japan was here for one night only, so after lying in front of the heater for longer than I should have, I finally got into the shower, got dressed and went into the calle to find a taxi. Got there just as the band launched into their last song of the first set - yep, you guessed it, that ol' favourite of mine, Son de la Loma. I sat down. The place was not packed, but had a decent crowd. I was in a pretty bad mood, and didn't really talk to anyone until I was spoken to first.
After the band finished my least favourite song, spunky MC Cristian Guerrero chatted with the crowd, then introduced Morro and Yarima (above), who did a wee dance performance. Don't ask me what they were wearing, but they danced well, as usual.
When that was over, the DJ played some pretty ordinary Cuban music, and Mauricio asked me to dance. It's been about 100 years since I followed, and, well, let me just say it is not like riding the proverbial: I followed very badly, despite his firm lead, but improved as the song went on. Mauricio has really become a kickass dancer since he augmented his salsa dancing skills with tango, which is his most recent passion. Danced with some chicas, and didn't actually lead them that well either, so maybe my malhumor was affecting my dancing.
The band soon came back on, for a set of son/salsa and finished with a Latin jazz number.



Luis was there in a huge yellow shirt, with a shock of Eraserhead-esque hair. He was accompanied by a gordita, the Cuban wife of Kenny Lopez who was playing tres. She has a really lovely voice - soft and husky - and a lively stage presence. The band consisted of pretty seasoned players, but many had not worked together before and it wasn't as cohesive as it could have been. Luis sang - nice voice - and played, without hogging the attention or boring with two many solos. He and Armandito, a trumpet player from Santiago who lives here, played very nicely together - lovely harmonies.
I know I should have gone and spoken to him after, but I just took my miserable ass home and got into bed.

For locals:

A reminder about the Marconi Club's 2nd annual Cuban Festival. There don't seem to be any details about who is playing when on their web site (or at least there weren't, last time I looked), so here is the line-up for the month, courtesy of Mucho Mambo's Martin. All the gigs are on Saturdays, and they're all free (you just have to get your ass out to Bossley Park). I don't have times, but I remember from last year that it goes till quite late, with two sets from each band (I think).

November 4 Armandito y su Trovason + Mucho Mambo
November 11 Armandito y su Trovason + Mi Tierra
November 18 Armandito y su Trovason + Mucho Mambo
November 25 Armandito y su Trovason + Mi Tierra

¡Cintura! ¡Cintura! ¡Cintura!

Charanga Forever put on one of the best timba shows in Havana when I was there earlier this year (jeez, earlier this year? It seems like several lifetimes ago) - energetic, funky, fully danceable. And now there is a new album, that packs as a big a wallop as their live show. Yay!

There have been a few demos of tracks from this album around for quite sometime, and although they sounded promising - full of energy and catchy hooks - there was a lot wrong with them too: the most irksome being the out-of-tune horns. The good news is that everything seems to have been re-recorded - and improved - for the album release. There are also some other pleasant surprises in the form of cameos from Michel Maza and Tirso Duarte.

Tirso sings on the opener, Estás perdiendo tu brillo. This is a great track enhanced by Tirso's powerhouse vocal performance - though the radio version with one of the group's regular singers, Michel Pérez, is also recommended. As well as Tirso, the song has a lot of adornments that weren't on the original demo and there are a lot of ideas here - grinding bass lines, catchy coros, shiny hornlines - that all come together to make a great timba track. It keeps going off in unexpected, but entirely pleasing directions. When I listen to this, I imagine dancing my ass off ... something that, in this current anti-timba climate in Sydney, is likely to remain in my imagination.

Next up is mi amor, Michel Maza on Dicen que amor. It has a more regular salsa intro, but from Michel's first honeyed notes, I'm hooked. He is singing better than ever, sounding ever more confident and relaxed - his voice just seems to pour out of him: whether climbing high or swooping low he never fails to hit his mark. His other contribution, Se cree se las sabe todas has a bit more energy, with a great staccato piano tumbao and funkier percussion.

The title cut, Somos charangueros is a real highlight for me. It springs out of the blocks, like a timbera denied live timba for ten months at a Cafe Cantante matinee. This one is brimming with hooks - some borrowed (there are hornlines from Nu Shooz's I can't wait and the Chi-Lites' Are you my woman?, which some people might know better from Beyoncés Crazy in love; and I think there is also a coro taken from a ... Ricky Martin song!); but they just serve to spice up an already tantalising mix.

Another favourite is Agente 008. It's an interesting song - a bit more tightly wound and stripped back than the others - it has a great funk feel, outstanding melodies (in both lead vocals and coros) and mambos. Te enredastes was another of the early demos - it has the classic Charanga Forever Earth, Wind & Fire-inspired opening of rapid, jazzy hornlines and gospelly vocals, before settling into a fierce, classic cintura timba groove.

There are a couple of low points on the album - I could do without the cha-cha-cha - but with so much kickass timba, and such a minimum of reggaeton, one has to be grateful. And one is! Gracias, chicos!

When I listen to this album I can forgive Calzado his recent transgressions: with Charanga Forever rocking this hard, I'll no longer give him a second thought. Or even a first one.

Buy it.