Cubanismo

UPDATE: Greetings from Havana earned a GRAMMY Nomination for "Best Tropical Latin Album". Congrats to Cubanismo, Jesus, Susie, our own Joel for the liner notes and AIM Records.

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PRESS RELEASE followed by LINER NOTES

It all started as so many worthwhile stories do, over drinks at the local pub. That was where Peter Noble, owner and director of AIM Records, and trumpeter Jesús Alemañy first discussed the idea of recording a new ¡Cubanismo! album. It’s only fitting that Havana Club Anejo and Coke was the drink of choice that evening. Although, the location was surprising—it was half way around the world from Havana...Byron Bay, Australia.

¡Cubanismo! had just finished playing at The 16th Annual East Coast Blues & Roots Music Festival, the largest outdoor festival in Australia and one of the largest worldwide. It was in the bar after the show where ideas for the new album began to take shape. After hammering out the details of the project, it was agreed that the band would travel back home to Havana’s Abdala Studios for the recording sessions.

After a 6-year absence from the studio, going in to record new material felt "like the first time," says Jesús. But that apprehension quickly dissolved as the atmosphere and vibe between musicians made it seem as if they’d never left. Given the freedom to explore in the studio, Jesús and the other players of ¡Cubanismo! used the opportunity to showcase a wide range of classic Cuban musical styles. The result is Greetings from Havana, released May 1st on AIM Records. Each of the 11 songs on the album represents a snapshot of Cuban culture and life. Music, Romance, love, religion, history, humor, food, dance and a love of life are all celebrated. All are important parts of the Cuban way of life.

Due to the political standoff between the USA and Cuba, it’s been four years since ¡Cubanismo! have been allowed to play in the United States, the place where they first performed together and where they last recorded. Greetings from Havana gives US listeners the long awaited opportunity to catch up on what the rest of the world has been hearing from Cuba’s hottest band for the past several years.

Since they can’t play for the thousands of US fans left wanting, and in true Latin gentleman’s fashion, Jesús thought the next best way to keep in touch would be to send a postcard—a particularly swingin’ postcard. That postcard is Greetings from Havana, a "wish you were here" of sorts.

Greetings from Havana offers plenty of evidence that indicates we have indeed been missing out on some of the most incendiary dance music on the planet. Having 9 different Cuban music styles (everything from the Son-"Idilio" to the Bolero-"Paloma sin Nido") within, the new album gives listeners a chance to hear what has historically made this country the biggest musical influence in Western culture. ¡Cubanismo! plays the role of Music Ambassador and Educator to perfection and with the gusto one might expect would garner an Academy Award, or in this case, a Grammy nomination.

So here we have it—an album with some of the hottest music to come out of Cuba in years, brought to you by an Aussie record label and sent as a postcard to America. An unlikely combination but one we can all be thankful for. If only countries could talk over drinks at the local pub...
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LINER NOTES
By: Joel Thomas & Fly on the Wall Media (with grateful assistance from Susie Lopez)

The Aussie-Cuban Connection

It all started as so many worthwhile stories do, over drinks at the local pub. That was where Peter Noble, owner and director of AIM Records, and Jesús Alemañy first discussed the idea of recording a new ¡Cubanismo! album. It’s only fitting that Havana Club Anejo and Coke was the drink of choice that evening. Although, the location was surprising—it was half way around the world from Havana...Byron Bay, Australia.

The most easterly point of the continent is known throughout Australia for its natural beauty, multiculturalism and alternative lifestyle—valuing personal freedom, tolerance and relaxation. It’s long been a destination for those who want to get out of the rat race and take life a bit easier.

¡Cubanismo! had just finished playing in Byron Bay at The 16th Annual East Coast Blues & Roots Music Festival, the largest outdoor festival in Australia and one of the largest worldwide. After the set, Peter (who also directs and produces the festival) suggested that they all come out to the bar, have some drinks and unwind. "While at the bar, the Cubans pulled out some cigars, the best Cohibas. My friends and I, of course, bought some—jokingly calling them capitalists. We became fast friends. That’s what spawned the record deal," Peter recalls.

After hammering out the details of the project, it was agreed that Abdala Studios in Havana would be the location of the recording sessions. First opening in 1998, Abdala Studios is Cuba’s premier state-of-the-art studio and considered one of the finest studios in all of Latin America. A regular visitor to Cuba, Peter flew in from Australia to attend the recording sessions. Interested to discuss what AIM was looking for in this album, Jesús found that Peter was more keen to know what the guys in ¡Cubanismo! were striving for and left him and the band to make the music the way they wanted to.



Having been out of the studio for 6 years, going in to record Greetings from Havana felt "like the first time," says Jesús. But that apprehension quickly dissolved as the atmosphere and vibe between musicians made it seem as if they’d never left. The exceptional facilities also helped make the transition to the studio a smooth one. Given the freedom to explore in the studio, Jesús and the band used the opportunity to showcase a wide range of classic Cuban musical styles. The results are the 11 tracks you have now. Each song represents a snapshot of Cuban culture and life. Music, Romance, love, religion, history, humor, food, dance and a love of life are all celebrated. All are important parts of the Cuban way of life.

The Musical "Snapshots"

"Celebrando" was written in celebration of the 10-year anniversary of Cubanismo. The lyrics talk of pre-show tension and the excitement both the audience and the band feel upon playing the first notes of a show, "the musicians are warming and tuning up... the party is ready...the audience is coming close." The rhythm follows this theme as well, building the tension as the song progresses. It’s also in pilon style—the same as the opening number of their concerts for many years.

"Calor en Santiago" (Heat in Santiago) is a classic Cuban dance number done in guaracha son style. It was originally recorded by Conjunto Rumbavana, a popular Cuban band in the 1970s and 80s, and is a favorite of dance aficionados throughout Cuba. It is a song that Jesús often listened to when he was young, and has influenced his career ever since. Santiago de Cuba is Cuba’s second city and the birthplace of son, dating back to the 1570s. It’s also the hottest place in Cuba, where the people are known for beating the heat by drinking plenty of rum, smoking cigars and dancing on the street corners. The heat the musicians generate on this number matches the heat Santiago de Cuba is known for.

"El Solar" features guest lead vocalist Pedro Lugo Martinez ‘El Nene’—from the group Jovenes Clasicos del Son (Young Classics of Son) who have gained worldwide praise as frontrunners in the new generation of Cuban musicians set to carry on the tradition of the masters such as Beny Moré, Arsenio Rodriguez and Miguelito Cuni. It was inspired by a regular Sunday rumba jam-session in Callejon de Hamel in Old Havana and written by friend, Juan Kemer. In this number, Nene sings of Jesús’ hometown and uses an old Cuban word for the place "Guanabacuramento" giving praise to the town, its inhabitants and its music. The soaring high-tenor of Nene is sure to find its place among the great Cuban vocalists.

"Petit Mambo" was written by tres player Pablosky Rosales. This tune is everything a classic mambo should be...swanky, jazzy and sexy with underlying syncopations that will make it a pleasure for dancers everywhere. Featuring fantastic solos by both Jesús and piano player, Rodolfo Argudin ‘Peruchin’—who demonstrates incredible range and touch—this number is sure to become a popular request at live shows. Pérez Prado would most certainly be proud (and dancing wildly).

Originally a Mexican love song done in the ranchera style, "Paloma sin Nido" (Dove without a Nest) is beautifully arranged here as a Cuban bolero. In his vocals, Rolo Martinez perfectly captures the imagery brought about by the title. Jorge Maza’s flute also adds greatly to the image of a wandering dove. Life-long mates, Doves have long been a symbol of love and dedication. The analogy is perfect for such a beautiful love song. Rolo first made this number a big hit in the early 1950s. His commanding yet tender vocals on this version demonstrate to a new generation of listeners exactly why he is revered as one of the greatest Cuban vocalists of all time.

"Presteme su Mujer" is a popular Cuban number that tells a humorous story about the complications of love; a man asking to borrow his friend’s wife in order to pretend he has a partner in front of an old lover who now lives with the local night watchman. He doesn’t want to lose face by being seen alone and wants to make his ex-lover jealous. It is arranged here in guaracha son style.

"Mi Proposicion" continues the story of "Presteme su Mujer" in classic Cuban fashion. It serves as the second part of the story and will strike a familiar chord with men everywhere. In this song, the man finds humility and comes back to his ex-lover asking for a second chance to "get together" with her.

Jesús fell in love with the beautiful son, "Idilio," many years ago when he heard Jose de Jesús Hernandez, ‘Laito’ singing it in Cuba. On this number Jesús commented, "I am particularly proud to record it here with not only Laito but also Rolo who are, in my opinion, two of the finest Cuban vocalists of all time."

"Congo Real" was inspired by, and dedicated to, the strong African roots that run so deep in Cuba. In particular, it illustrates Africa’s influence on Cuban religious music. The lyrics—today here and tomorrow only God knows—represent not only being on tour and moving everyday but also a trust in God to protect.

The great Cuban singer Tito Gomez originally recorded "Estiro Bastidores," a humorous song about a street trader’s sales pitch shouted in the street to attract customers. This man mends beds—estiro bastidores is, "I stretch bed frames/slats." He also shouts that he’ll "treat woodworm" but won’t come up to high floors, "unless there’s a lift!" This light hearted and fun song continues to hold relevance in today’s Cuba as street traders still shout-out, often using funny and catchy slogans, selling wares or services. In Guanabacoa (the area of Havana Jesús is from), the familiar cry of the candy seller—Get up! or I’ll be gone!—still has the children scrabbling for their cents. This song is special to Jesús as it reminds him of listening to music on the radio as a child.

"Descarga Caliente" is exactly what the title claims, a hot jam session. From the opening bass line, this one never stops. Providing the opportunity for ¡Cubanismo! to showcase their individual talents, this number also shows the strong jazz influence present in Cuban music. Rolando Perez Perez’s brief but incredible alto sax solo that helps launch the song is evidence of this. One might expect to hear similar sounds coming out of Jackie McLean’s horn in NYC jazz clubs in the 1960s. The same jazz feel holds true for the solos and blistering percussion scattered throughout this number as well.

Ninety Miles and a World Apart

Ninety miles is all that separates Cuba and its closest neighbor to the north. It’s also the same distance between ¡Cubanismo! and thousands of their most passionate followers. For American fans, it’s the longest 90 miles in the world. Because, try as he may, even the great screaming horn of Jesús Alemañy can’t be heard quite that far. Like a long distance love affair, each party waits optimistically for the day they can greet each other with open arms once again.

Although they tour almost constantly, it’s been four years since ¡Cubanismo! has been allowed to play in the United States, the place where they first performed together and where they last recorded. Their first performance as a band was at the New Orleans Jazz and Heritage Fair in 1997. Their last studio album, Mardi Gras Mambo was recorded in the Crescent City as well. From 1997-2004 they played well over 600 U.S. shows, performing in 49 of the 50 states (and found the time to visit the 50th as tourists). Fans grew accustomed to expecting an annual tour to enjoy, as did the band. But due to the political standoff between the two countries, that is no longer a reality.

But this album isn’t about governments or politics. It’s about people; people who love to listen and dance to some of the hottest rhythms on the planet. Since they can’t meet in person, Jesús thought the next best way to keep in touch would be to send a postcard—a particularly swingin’ postcard. That postcard is Greetings from Havana, a "wish you were here" of sorts.



So here you have it—an album with some of the hottest music to come out of Cuba in years, brought to you by an Aussie record label and sent as a postcard to America. An unlikely combination but one we can all be thankful for. If only countries could talk over drinks at the local pub...


Liner Notes By:
Joel Thomas &
Fly on the Wall Media
(with grateful assistance from Susie Lopez)





Note:
UPDATED SONG ORDER: Some early copies had back covers with mislabeled songs. The order on your CD's are as follows...

01. Calor en Santiago
02. Congo Real
03. Idilio
04. Estiro Bastidores
05. Presteme su Mujer
06. Petit Mambo
07. El Solar
08. Paloma sin Nido
09. Mi Proposicion
10. Descarga Caliente
11. Celebrando
Thank You.

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