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Cubanismo means a "word or phrase, which is specifically Cuban, something unique to the island and not common to the general Spanish culture of Latin America". And 'all Cuban' is Cubanismo-the very talented, very successful Cuban band, which is comprised by an all-star line up and led by Jesus Alemany, the former trumpeter of Cuba's prominent Son group Sierra Maestra. Cubanismo was originally a recording project put together in 1995 , upon the insistence of Rykodisk/Hannibal founder, Joe Boyd, with whom Alemany shared few conversations about the US trade embargo on Cuba and how it is, at times, still keeping the island's sophisticated musical treasures from the American consumers. Boyd knew the potential such project has, especially with Alemany in the lead; what he might have not anticipate is that, in just two short years, Cubanismo would become the hottest export out of Havana. Since that time, there have been three CDs. All recorded in Havana and with Boyd on the production end. The first, self titled CD was released in 1996 and broke record sales in Europe and the US, naturally making it the Top 10 List of Billboard and Latin Beat magazine. Melembe came out in 1997 to solidify the band's position as one of the most powerful and influential bands to come out of Cuba. Reencarnacion was just released on September 15th of this year giving Cubanismo the added designation of a leading Latin dance band. With all three CDs, Cubanismo's success has been immensely large. The band was able to break into the world's market like no other Cuban band has before. Largely due to Alemany's great leadership and musical contribution but also closely related to the presence of such Cuban music legends in the line-up-Tata Guines on Congas, Orlando 'Maracas'Valle of Irakere on flute, saxophonist Yosvany Terry and bassist Carlos Del Puerto to name a few. Their success, however, is attributed in part to their originality. Their music does not attempt to take the listener back in time to a past era of Cuban music, nor does it make any apologies for not following Cuba's new dance craze, Timba. Cubanismo pays tribute to the traditional rhythms of Cuba and stays faithful to them. The son montuno, the mambo, the descarga, guaracha, guajira, abacua and chagui are all revisited, but they are put forth, with no hesitation, in a bold and refined fashion producing a modern Cuban sound that is widely appealing to Cubans and non-Cubans alike. In addition to the success of their music, Cubanismo has also emerged as a touring force on the world music scene. Two extensive, and unprecedented for a Cuban band, world tours have followed the release of Melembe and Reencarnacion. Alemany and his group have been to so many countries that one can arguably say, aside from Cuban cigars, Cubanismo has conquered more cities around the world than any other Cuban thing since the embargo began 35 years ago. Through Europe, the Mediterranean, the Far East and the US, they have taken something that is so authentically Cuban to New York and Hong Kong, Croatia and Slovenia, Beirut and Tel Aviv, Paris and Istanbul all on the same tour. In doing so, Cubanismo has become the good will ambassadors for Cubans wherever they go. For the rest of us, they have proven again that music knows no limitations; that it rises above politics and, in the end, prevails as one of the best tools that reach beyond our self-imposed boundaries. Texas has been fortunate to be on the long list of places in which Cubanismo has played. The first was in April of 1997 at the Houston International Festival. They were the last band on the last day of the two-weekend long festival. Afropop, the world wide, PRI show of World Music (produced by Shawn Barlow and hosted by George Colinet) was covering the festival. Rumors of a bomb threat, in protest of the inclusion, on the promoter's part, of a Cuban band, were circulating. The band was scheduled to appear on stage at 7:00 PM, but due to equipme nt problems, 45 minutes later there was still no music being played. And everyone was holding their breath and praying that the, ever so generous April skies of Texas, will hold off on the rain for another hour or so until the show is over. Just before 8 :00 PM, as the musicians began to appear on stage, the skies decided that we have outlived our good deed and opened up its wings releasing sheets of water, typical of our beloved Texas April showers. Scramble for umbrellas, rain ponchos, whatever was there to give a bit of coverage from the rain that soaked everything within just a couple of minutes. Phrases of disappointment were heard around. Then the piano starts playing, just a few chords......a couple of percussion phrases and the horns exploded. it is Descarga De Hoy, the first cut on the first Cubanismo CD starts the show. Suddenly, everyone became some kind of a Jean Kelly 'dancing in the rain', Cuban style. The big puddles of water are now competed over; they added to the charm and finesse of the dance. The next 35 minutes (the show had to be cut short because of the hazardous conditions of the rain) would become one of those experiences that don' t happen often in one's life. Cubanismo, all talent, all masterful playing, and all enthusiasm made the rain a welcomed packaging to the beautiful music. Back on October 11th of this year, Cubanismo returned to Texas; this time to La Zona Rosa in Austin. There was no rain and instead of the one hundred people or so who gathered around the stage soaking wet, there were 900 hundred fans on a Sunday evening eager for the band to play. The show was delayed here as well in order to give those waiting in the long ticket line a chance to experience the show from its beginning. After 40 minutes of waiting the crowd's patience was wearing thin and the Cubans in it decided to start the show on their own. Circles of them began to sing the songs they grew up with, which set the perfect mood for the evening. When the band showed up on stage, the crowd was ready. The piano starts playing, just a few chords......a couple of percussion phrases and the horns explode......it is, again, Descarga De Hoy. For the next two hours and ten minutes there was nothing but musical perfection coming from the stage. There was Jesus Alemany painting wonderful images of the island with his trumpet. Rolo Martinez personifying Cuba's past with his voice. Coto giving all of himself and his tres to the audience on 'Donde Esta Coto?' from the latest release. From beginning to end, there was so much mastery on everyone's part that is hard to put in words. There it was again, Jesus Alemany and his band shining with everyone captivated by the light, singing, dancing, waving their arms, cheering and not contemplating anything but giving their full attention to the music. Alemany is aware that the situation of his country puts in his hand a message to give to the world with the music that he plays-a task he considers a privilege to take on. He says "we have the task of bringing the message of the Cuban people to those on the outside, especially our friends and relatives whom we have not seen for over 30 years.......The message of learning to respect everybody's ideas and convictions; of realizing that we are at the breaking point and need to learn how to help the situation and become one". From our Texas encounter with the band we know that Jesus Alemany can rest assured that his message, whether consciously or sub-consciously, is being received. The world has embraced their music and been touched by them. "You can see it in the reaction of the audience", Alemay says with a great sense of pride and joy. And indeed, when the music plays, the horns are soaring, the percussio n is exploding, and the piano is dancing about with the tres adding a sweet touch to all of it, there is no embargo, there are no differences. There are only people sharing a common magical language--one that is called Cubanismo. |
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