Edito de Son: Soul Of A NationSon ? a generic term covering numerous earlier musical styles that had varying histories ? guajira, guaracha, changüi, sucu-sucu, etc. In the second half of the nineteenth century these coalesced under the heading of son, which had its heyday in the 1920s with the advent of recording and radio and is the DNA of twentieth century Cuban music and salsa, which was revived in the 1970s by Sierra Maestra. On this album, Sierra Maestra present a selection of classics from the Cuban son repertoire. Just looking at some of the names of the writers and composers involved gives an idea of the treats in store. Ignacio Piñeiro, Ñico Saquito, Beny Moré, Manuel Corona, Bola de Nieve and Arsenio Rodríguez are all glorious names from the 1920s to 1960. The group has picked out songs in the different styles that have marked the highest achievements in their music. To do this they have used different musical formats, which range from the trio (traditional Trova), septet, Sierra Maestra's regular nine-piece, conjunto, up to the larger Cuban jazz band of the 1950s. The album serves to illustrate the supremacy and modernity of Cuban music both nationally and internationally, as well as supporting the dictum that ?Son is the soul of our nation.? The Recording It is appropriate that Sierra Maestra recorded this tribute to son in an old studio in Havana. Their last four albums were all recorded in Europe, but it was back home for this review of the glorious history of son, the style they play and have done so much to revive in Cuba. The studio is one of the state radio and television buildings, where every afternoon they record the round-table political radio show that goes out nationally, featuring journalists, academics and lots of government spokespeople, and with Fidel Castro himself sometimes dropping in. On these occasions this would mean closing off the side entrance for his arrival, and our having to use the front entrance on La Rampa. Sierra Maestra are, and feel, at home. Most live within walking distance of the studio, except Maceo, who now lives out by the airport and cycles or hitches the fifteen kilometres, and Luis, who drives in from Alamar. Due to the studio?s daytime use, they?re working the 5pm to 1am shift each day. Supper arrives in cardboard popcorn buckets with the woman who?s cooked the pork, onions and rice ? the same each day, washed down with fizzy drinks, water and black coffee, with an occasional rum to clear the throat (though very few of Sierra Maestra now drink). Only a few now smoke ? how times have changed! This very same recording week, it?s announced that Cuba is enforcing the no-smoking-in-public law that is so creepingly popular in Europe. In one of the world capitals of tobacco, it?ll be interesting to see how it will work. Being at home also creates a relaxed and easy atmosphere. The two studio engineers add to this. Both Gogó and Misha are not just totally into the music, but understand it and know exactly what needs to happen. Gogó regales me with his tales going back fifty years in the Havana studio scene, right back to the Beny Moré heyday. He?s known them all. Both he and Misha are ? like most Cubans in musical circles, at least ? also wise-cracking pranksters, and the whole atmosphere is clearly conducive to the job in hand. I think you can hear the results on this album. Relaxed, with the tempos just perfect. Sierra Maestra are here making very much a Sierra Maestra record, which means that the whole production was done by them on their terms, the way they like it. If you don't like this record, then son, a style so fundamental to the whole of twentieth-century Cuban music, is not for you. It?s classically done. David Flower 1 El Son No Puede Fallar 2:47 (Eduardo Himely, arr Eduardo Himely) Guaracha Mucho tiempo ha transcurrido Y aquí estamos los soneros Pero no hubiera ocurrido Si no estaban los primeros Piñeiro, Cuni y Arsenio Chapottin, Maria Teresa Sindo Garay, Matamoros Y la Trova Santiaguera El Beny es punto y a parte Saquito y Roberto Faz La Sonora Matancera Pacho Alonso y diré más Sentando a Lilí en el piano El son: No pudo fallar Chorus No pudo fallar, no pudo fallar Con ese piquete asere El son no puede fallar Santa Isabel de las Lajas Lo vio nacer lo vio crecer y fue puntero mayor el gran señor Beny More Chorus Maria Cristina me puede gobernar Y yo le sigo le sigo la corriente Porque no quiero que diga la gente Que Maria Cristina me quiere gobernar Chorus Manuel Corona , Cuní, Mañungo, Lázaro Herrera Compay Segundo, Laito, Embale? Ah y los Compadres! Chorus Improvisations Chorus 2: Este son es pa? los grandes asere ?So much time has passed. And here we are, the soneros, but it wouldn't have happened without the pioneers.? A roll call of some of the great writers and performers of son. ?Son cannot fail.? 2 Al Vaivén De Mi Carreta 3:32 (Ñico Saquito, arr Eduardo Himely) Guajira-Son Erdwin Vichot (Frente Campesino): laud EH! Se acerca la madrugada Los gallos están cantando (twice) Guajiro están anunciando Que comienza la jornada, bien EH! Trabajo de Enero a Enero Y también de sol a sol (twice) Y que poquito dinero Me pagan por mi sudor EH! Del vaivén de mi carreta Nació esta lamentación (Bis) Caramba oigan mi cuarteta No tenemos protección tu ves Chorus ¿Cuando llegaré? ¿Cuando llegaré al bohío? Triste vida es la del carretero Que anda por esos cañaverales Siempre lucha el pobre resignado Por romper los rudos pantanales Sabiendo que su vida es un destierro Se alegra con sus cantares Chorus ?All day long, all year round, I work for so little money. This lament comes from the rocking of my ox-cart. When will I ever get home to my shack?? The sugar-cane cutter's lament on the miseries of his working life. This standard by trovador Ñico Saquito, from Santiago de Cuba, was initially banned from the radio on its 1936 release for its social criticism. 3 Santa Isabel De Las Lajas 3:19 (Beny Moré, adapted by Eduardo Himely, brass arr Yelfris C. Valdés) Son Montuno Antonio Sesma: trombone Raúl Nacianceno: saxophone Ludwing E. Nuñez Pastoriza (Bamboleo): timbal Luís R. Barzaga (Jr): piano Chorus: Santa Isabel de las Lajas,querida Santa Isabel Lajas mi rincón querido Pueblo donde yo nací (twice) Lajas tengo para ti Este mi cantar sentido Siempre fuiste distinguido Por tus actos tan sinceros Tus hijos son caballeros Y tus mujeres altivas Por eso grito que viva Mi Lajas con sus Lajeros Chorus Mi cantar quiero que sea perfumado porque lleva (twice) Saludo para La Cueva Guayabal y la Guinea Pueblo Nuevo se recrea Viendo que yo soy sincero que abro mi pecho entero igual que mi corazón al gritar con emoción orgulloso soy Lajero. Tu ves! Chorus Ay! Mira nena, pero yo te llevo en mi vida Chorus Que yo no te olvido, mi pueblo Porque tu eres mi vida Chorus Santa Isabel yo te llevo entera en mi vida Chorus/improvisations The son montuno was a style developed by Arsenio Rodríguez around 1946. The repeated section, the montuno, was given extra horns and rhythm to add excitement and tension for dancers. Rodríguez would shout ?diablo? at this point, as in ?devil?. Original singer of this song Beny Moré ? the ?Barbarian of Rhythm? ? was massive in the 1950s, and probably the single most popular Cuban performer of all time. He dedicated this song to his countrymen. 4 Ausencia/Aurora/Se Fue/La Mora 4:17 (Ausencia: Jaime Prats/Aurora: Manuel Corona/Se Fue: Ernesto Lecuona/La Mora: Eliseo Grenet, arr Emilio Ramos) Song selection by Eduardo Himely Ausencia quiere, decir olvido Decir tinieblas, decir jamás Las aves pueden, volver al nido Pero las almas que se han querido Cuando se alejan, no vuelven más ¿No te lo dice ,la luz que expira? Sombra es la ausencia, desolación Si tantos sueños fueron, mentiras ¿Por qué te quejas cuando suspira Tan hondamente mi corazón? Ay! Aurora me has echado al abandono Yo que tanto y que tanto te he querido Con tu negra traición, me has engañado Y en el fondo del alma me has herido Has tratado de engañar el alma mía ¡Castígala Gran Dios! Con mano fiera Que sufra mucho, pero que no muera Ay! Aurora yo te quiero todavía (twice) Se fue, para no volver Se fue, sin decirme adiós Muy lejos de mi se fue Matando mi ensueño de amor Allá en La Siria Hay una Mora Que tiene los ojos más lindos Que un lucero encantador Ay! Mora Acábame de querer No me martirices más Que mi corazón está Que te devora Por quererte tanto Mora (twice) Chorus: Cuando volverá La noche buena El buen vinito La lechuguita Ay! Mira niña A selection of trova standards by some of the great writers. The Trova tradition (as in European troubadour) developed in Santiago de Cuba at the beginning of the twentieth century and were, essentially, simply arranged boleros (romantic ballads). Jaime Prats was chiefly a bandleader and ?Ausencia? one of his few songs, written around 1918 and a great favourite in that romantic era. Manuel Corona, by contrast, was a highly prolific writer of boleros and a bohemian, and died in abject poverty. In Latin America, Ernesto Lecuona remains probably the most famous composer of all time. He certainly composed many of Cuba's best-loved anthems. Eliseo Grenet was an all-round musician, who wrote a good few standards and also popularized the sucu-sucu ? see Sierra Maestra?s version of his ?Felipe Blanco? on their album Tibiri Tabara. 5 Bruca Maniguá 4:34 (Arsenio Rodríguez, arr Sierra Maestra) Son Afro Yo son Carabalí Negro de nación Sin la libertad No puedo vivir Mondele acabá Con mi corazón Tanto maltratá Tanto taguiré Mondele comba fiodé Siempre está engaruchá Que esta por mucho que don diga Siempre ta? engarua?chá Mondele acabá Con mi corazón Tanto maltratá Tanto taguiré Chorus 1: Yenyere bruca maniguá AE! Improvisations/Chorus 1 1. Esa negra que me engaña es bruca maniguá AE! 2. Yo no creo en negra santa bruca maniguá AE! 3. Sin los fulas tu no escapas, bruca maniguá AE! 4. Lo cochino a 25 bruca maniguá Chorus 2: Sierra Maestra con Arsenio y Barroso Improvisations/Chorus 2 Ay Sierra Maestra con Arsenio y Barroso Para mi a sido un honor Cantar esta melodía Pues tuve la garantía De acercarme a lo mejor Arsenio y Barroso son Dos pilares de esta tierra Por eso Sierra Maestra Con gusto y con armonía Su tributo les envía Con elegancia y honor Written in 1937, this was the first tune by key figure Arsenio Rodríguez ever to be recorded, and a landmark in son for its ?black pride? attitude and lyrics, and the increased importance he gave the clave. It?s written in half Spanish, half African dialects. ?I am Carabalí, a black man from a nation. Without freedom I cannot live. The white man has hammered my heart and his ill treatment finished off my body.? 6 A La Loma De Belén 3:21 (Geraldo Martínez, arr Eduardo Himely/Alejandro Suárez) Traditional Son Francisco Bacallao (Típico de Sones): botija A la loma de Belén, de Belén nos vamos (twice) AE, EA AE Componedores AE Remachadores Y yo voy a la loma Buscándote Chorus Yenyere, Colombiano, Yenyere Improvisations ¡Colombiano! ¡Masitas de puerco! ¡Colombiano! Que vamos a Cumbanchar Que vamos a guarachar Con música de ayer ¡Colombiano! ?To the hill of Belen we'll go, to the mountains I will go looking for you, to dance guaracha.? 7 Pa? Quien Un Pollito (versión libre) 3:20 (trad, arr Eduardo Himely, brass arr Yelfris C. Valdés) Son Montuno Antonio Sesma: trombone Ludwing E. Nuñez Pastoriza (Bamboleo): timbal Luís R. Barzaga (Jr): piano Tengo que darle un pollito a Elegua Tengo que darle un carnero a Changó Y cuatro gallinas prietas A mi madre Yemaya Me lo han dicho los santeros Que son bravos de verdad Que cuando me haga ese ebbo Ya me voy a enderezar Ay Dios! Pa? quien un pollito Chorus: Pa? Elegua Pa? quien un carnero Chorus: Pa? Changó (twice) Cuatro cocos y una vela Pa? mi Elegua de verdad Y la próxima limpieza Que la voten pa? la mar Pa? quien un pollito Chorus: Pa Elegua Pa? quien un carnero Chorus: Pa? Changó (twice) Improvisations Oye los lunes mi hermano Chorus: Pa? Elegua Me voy a casa el madrina Chorus: Pa? Changó Pa? que me diga si ocana Chorus: Pa? Elegua O que me diga e yeife Chorus: Pa? Changó Y es que el problema que tengo Chorus: Pa? Elegua No se resuelve con nada Chorus: Pa? Changó Ni flores blancas, ni muertos, Chorus: Pa? Elegua Ni cascarilla mi hermana Chorus: Pa? Changó Por eso prendo una vela Chorus: Pa? Elegua Por eso doy un tambó Chorus: Pa? Changó Tocale el piano Luisito Traigo Rompe Saraguey Chorus: Pa? Elegua Pa? quien le duela el bolsillo Chorus: Pa? Changó La fiesta nunca le falta Chorus: Pa? Elegua El platanito maduro Chorus: Pa? Changó El pito y una matraca Chorus: Pa? Elegua La jicotea no falta Chorus: Pa? Changó Pa? quien un pollito Chorus: Pa? Elegua Pa? quien un carnero Chorus: Pa? Changó (twice) Elegua, Changó and Yemaya are Gods of santería, the Afro-Cuban syncretic religion. Offerings to these are made: ?to one a chicken, to the other a lamb, the other some dark hens. Coconuts, a candle, etc. etc. They'll straighten me out?. 8 El Paso Franco-Bardo 3:52 (Ignacio Piñeiro, arr Eduardo Himely) Guaguancó Amado Dedeu (Grupo Clave y Guaguancó): congas Amado de Jesús Dedeu (Jr) (Grupo Clave y Guaguancó): conga 3/2 Caridad E. Paisan (Grupo Clave y Guaguancó): vocal El paso Franco Te está cantando, amigo No le tires a mi guaguancó (twice) Señores Ay! Todos quieren saber como vivo yo Como vivo yo cosa buena, como gozo yo Chorus Todos quieren saber como vivo yo Ay ¡ La pastora de los Sitios, sobrellevame Chorus Guia: Como vivo yo cosa buena, como vivo, como vivo yo Chorus Párate y oye cantor Lo que he sufrido Tan solo por quererte un solo día Pensar que me desprecias divertido Me da mucho dolor fuerte agonía Pues ya no queda un lugar del alma mía Que no sufra la pena del martirio ¡No te detengas para contarme penas! ¡Sigue sin molestar mi fe perdida! Bardo que te mueva mi dolor Pero Bardo, di si tienes corazón Bardo porque no sientes amor No te quiero ni aun estando arrepentida Ya que por ti mi mente no reposa Solito, con mi vieja en una choza Quiero pasar, el resto de mis días Todos quieren saber como vivo yo Como vivo yo, Madre Santa Como vivo yo Chorus Improvisations Ay! Mira como averiguan Como me siguen, por Dios! Chorus Que si presumo de un coche Y buena mulata. Por Dios! Here Sierra Maestra combine a pair of guaguancó by Ignacio Piñeiro, the father of modern son, in their own unique and characteristic arrangement. The two songs are slightly different styles within guaguancó, which is the best known of the couple dances that form rumba, the percussion-based traditions going straight back to African origins. ?Everyone wants to know how I live like I do, how I have such a good time.? 9 No Hay Como Mi Son (Mi Son, Mi Son, Mi Son) 2:59 (Luís Martínez Griñán (Lili Martínez), arr Eduardo Himely, brass arr Yelfris C. Valdés) Son Se pasan la vida hablando Del nuevo ritmo mi hermano Si el Batanga, el Cha Cha Cha y el mambo Nacieron del son Cubano Tenemos que conservar, nuestro ritmo original No se dejen engañar, porque Para bailar no hay como mi son Chorus Mi son, mi son, mi son Para bailar, Mi son, mi son, mi son (repeated) Para bailar no hay como mi son El Cha Cha Cha señores, tiene celos de mi son Tengo en mi casa una pareja de gata con ratón que bailan son Vamos a bailar con el edén que tienen ?Los Roncos? Arsenio Rodríguez is such a figure in son that he gets two songs on this album. And, in a sense, a third, as ?No Hay Como Mi Son? was written by Lili Martínez, who followed Ruben González as pianist in Arsenio Rodríguez's conjunto and was reckoned by some to be son?s greatest pianist and arranger. It?s a hymn to son. ?People are always arguing whether some rhythms ? batanga, cha-cha-cha and mambo ? came from son. We should just keep on playing it. There's nothing to touch it. I even have a cat and mouse at home who dance son together?? 10 Si Me Pudieras Querer 3:13 (Ignacio Villa, arr Eduardo Himely/Emilio Ramos) Bolero Despertaste nueva vida en mi Para ser faro de mi querer Y hoy me tienes medio loco Porque tan si quiera un poco Has de lograr mi sentir Hoy la vida me ha de sonreír Tengo ya deseos de sentir Los besitos de tu boca Que mejor me harán vivir. Si me pudieras querer, como te estoy queriendo yo Si no me fuera traidora la luz de tu amor Yo no sé si existiera por ti, todo mi querer Yo no sé que sería la vida, sin ti Pero, no puedo pensar Que nunca me podrás amar Porque la vida lo quiere y nada más Deja que Dios O que el destino quiera Y entonces la vida, también lo querrá Deja que Dios A bolero by the one-off Bola de Nieve, a great showman in the 1930s heyday of the bolero. He had a unique style and became famous not just all over Cuba, but internationally as well. This song recalls the many, many interpreters who have also covered this song. The version sung by Roberto Faz, mighty sonero and magnificent bolero singer, was one of the first songs to inspire Sierra Maestra to establish their own group with its own style, where different traditional elements and a touch of jazz are all combined. ?You awoke new life in me, to become the lighthouse of my desire.? 11 Suavecito 3:00 (Ignacio Piñeiro, arr Sierra Maestra) Son A ti te gusta mucho Carola El son de altura, con sabrosura Bailarlo a solas Lo mismo a prisa que despacito Cuando lo bailas, con tu chiquito Contenta dices Chorus Suavecito, Suavecito Improvisation 1: Una linda Sevillana, le dijo a su maridito (twice) Me vuelvo loca chiquito, por la música Cubana Chorus Improvisation 2: El son es lo más sublime, para el alma divertir (twice) Se debería de morir, quien por bueno no lo estime Chorus One of the most popular and important sons for the septet line-up, its rhythm and tempo are perfect for dancers of any era. It dates from 1929, when Ignacio Piñeiro Septeto Nacional scored their first sensational success in Europe. Piñeiro wrote a lot of rhythmic rumba into his son, as you can hear on ?Suavecito? ? a hymn to the delights of son and dance, be it quick or slow! 12 Olvido 2:56 (Miguel Matamoros, arr Sierra Maestra) Son Aunque quiera olvidarte ha de ser imposible porque eternos recuerdos tendrás siempre de mi mis caricias serán el fantasma terrible de lo mucho que sufro de lo mucho que sufro alejado de ti Por doquiera que mires Verás lobregueces Y si buscas otro amor Hallaras soledad Porque todo el que olvida Recoge ?esquiveses? Donde quiera que siembra Donde quiera que siembra La flor de amistad (repeat) Chorus Y si vas al Cobre Quiero que me traigas Una virgencita de La Caridad Improvisations Miguel Matamoros, as both writer and performer, was a crucial link between trova and son. 13 La Yuca De Casimiro (Dile A Catalina) 3:29 (Arsenio Rodríguez, arr Eduardo Himely/José A. Rodríguez) Son Chorus Dile a Catalina que te compre un guayo que La yuca se me está pasando? Dile a Catalina, que venga acá Dile que la vianda se me va a acabar Chorus La yuca la traigo buena, verdad Dile a la vecina que si va a comprar Chorus Mira que el viandero, no vuelve más Dile que por fin si me la va a comprar Chorus Que la vianda Se me está pasando Oye la malanga Se me está pasando Mira mamita Se me está pasando Mira la papa Se me está pasando Ay que la yuca Se me está pasando Yo toque con Chapotin Y canté con Miguelito (twice) Recuerdo a Arsenio, a Lily Cuando tocaban te la ponían bonito Arsenio Rodríguez again. This song is almost like a pregón ? a trade-related song (as in ?Peanut Vendor?). Here numerous fruits and vegetables fulfil their customary role as metaphors. 14 El Son Es Para Siempre 2:45 (Carlos R. Más/Eduardo Himely, arr Eduardo Himely) Son Montuno Chorus Este es el son de hoy Este es el son de siempre Tiene sol Siboney Y vive en Cuba caliente Cuando tu escuches un son Que tenga un ritmo candente Que haga vibrar corazones Ese son es de mi gente? de Cuba Chorus Como dijimos al principio Mucho tiempo ha transcurrido Pero es que nadie a podido Cortale alas, sacar de paso a mi son Chorus Y hay que contar con nosotros Sierra Maestra,Turquino Jóvenes Clásicos, Polo Pancho Amat y Barbarito Se mencionan otros nombres Chorus Y a toda la gente linda Que esta tocando mi son (twice) Lo invito a este homenaje Que le estamos haciendo al son? a los grandes. Chorus Chorus 2: ¡Y vive en Cuba caliente! The conclusion of the album: ?Son Is Forever?. This time the names evoked are contemporaries of Sierra Maestra: ?As we said at the beginning, so much time has passed, but still nothing can stop son or clip its wings. And to all those beautiful people who are playing my son, I invite them to join in this homage we are paying to son and to the greats of son from the past and present.? Sierra Maestra are: José Antonio Rodríguez: lead vocal, chorus Luís Barzaga: lead vocal, chorus Alberto V. Valdés: lead vocal, chorus, maracas Emilio Ramos: tres, guitar Eduardo ?Ñiquito? Rico: percussion Carlos Puisseaux: güiro Yelfris C. Valdés: trumpet Eduardo Himely: bass, guitar Alejandro Suárez: percussion Guest appearances by: Francisco Bacallao Erdwin Vichot Amado Dedeu Amado de Jesús Dedeu (Jr) Caridad E. Paisan Antonio Sesma Raúl Nacianceno Ludwing E. Nuñez Pastoriza Luís R. Barzaga (Jr) Many thanks to: Barbarito Torres for his collaboration on ?Al Vaivén De Mi Carreta? Carlos R. Más for his advice Familia Mederos for his collaboration on ?Pa? Quien Un Pollito (versión libre)? Joe Luis Vazquez for his collaboration on ?El Son No Puede Fallar? Dinorah Valdés for her valued opinions and assistance Dedicated to the great masters of son (wherever they may be) and the soneros Tracks 1 and 14 published by Riverboat UK Music (MCPS). All other tracks Copyright Control. A World Music Network production Musical director: Eduardo Himely Recorded by Luís Guillermo Rodríguez Gogó and Mijaíl Arteaga (Misha) Recording assistant: Luís G. Rodríguez (Jr) Post-production by Mijaíl Arteaga, Eduardo Himely and Boris León Mixed by Luis Guillermo Rodríguez Gogó, Eduardo Himely, Alejandro Suárez and Boris León Recorded in 2005 at Migo Records studios, Havana, Cuba Photography courtesy of Sierra Maestra Design by Undertow www.undertow-design.co.uk, coordinated by Duncan Baker Special thanks to Katsunori Tanaka of Office Sambina/Rice Records (Japan) for track suggestions and album concept Thanks to Ned Sublette, Phil Stanton, Sandra Alayón-Stanton and all at World Music Network Booking agent/contratación: SASA MUSIC David Flower tel: + 44 (0)20 7359 9232 fax: + 44 (0)20 7359 9233 rab@sasa.demon.co.uk www.sasamusic.com Visit www.sierra-maestra.net to keep up to date with all Sierra Maestra news and tour dates Visit www.worldmusic.net to listen to sound samples of all World Music Network and Riverboat Records releases Lire la suite