http://afropopshop.org/New Music From Sierra Maestra on Calabash Music2008-11-21T05:59:46ZThe Calabash Music Teamsupport@calabashmusic.comRumbero Soyhttp://sierramaestra.afropopshop.org/#album_643572007-12-01T09:52:23ZMusic from Rumbero SoyRecorded in the southwest of France, deep in Bordeaux wine country at producer Chris Birkett’s home and studio, this innovative new album marks Sierra Maestra’s first full band recording for newer members Oslén, Emilio and Ñiquito, each fresh from the Cuban talent factory. A sweltering hot August fortnight, spectacularly punctuated one night by a lightning storm worthy of Havana itself, was spent shuttling between the studio in the chateau and the band’s lodgings across the road. From the outset, the idea was to include some new elements and ambience to the usual Cuban son sound, and to produce an album that would resemble the band’s dynamic on-stage performances. Throughout the two weeks, while the air-conditioning unit struggled to combat the heavy weather, Himely (the band’s musical director) and Chris sweated twelve-to-fifteen hour days, or until their ears gave out for the night. Some diversion was available to those during the times when they were not recording their own parts: Luis and Ñiquito took to the bicycles in their own mini ‘Tours de France’, Puisseaux jogged short distances and then checked his cardiovascular status, Oslén arranged nonstop on the piano, Maceo (José Antonio) practised continually, and six o’clock sundown was marked by a round of Alex’s patent mojitos – a traditional Cuban drink made with rum. Supper – an ever-changing menu but heavy on the white rice please, we’re Cubans – was outdoors, floodlit by a motion-sensitive security lamp that had to be continually switched back on by the sort of furious arm-waving used by a castaway hailing a passing aeroplane. We all took turns with this, some miraculously having the ‘gift’ and others having to put a little more effort into it and actually get to their feet. Marc Ribot (New York session guitarist to the stars and big-time Cubaphile) joined the throng during the second week, and his three-day visit was just enough time for him to teach Emilio his tricky arrangement of ‘Misty’ – Cubans still have a great appetite for old American standards. Final recording, including that of guest vocalists Ibrahim Ferrer and Omara Portuondo and other musicians, was completed in the new EGREM studio in Havana in similarly hot conditions – although the air conditioning had the upper hand in this instance, almost to the point of being a touch chilly. This album marks twenty-five years in the life of Sierra Maestra – a landmark worthy of celebration. To many, twenty-five years might seem a long time and to the musicians themselves (veterans of a thousand gigs and a catalogue of recordings) it surely must. And, when their videos and album sleeves of the late 1970s and early 1980s reveal the stupendous selection of flares, heels and Afro hair structures of those times, we are all reminded that nothing distances us from our early years so greatly as long-lost fashions. On the other hand, when you consider other Cuban groups who are still going strong – many of the great son septets and nonets that originally inspired Sierra Maestra (some established back in the 1920s and 1930s heyday), the seminal figures from Cuba’s nueva trova period in the 1970s and the figures who have recently reached global fame in their 80s and 90s – it does not seem quite so glib to look ahead to the next quarter-century. Sierra Maestra have played an astonishing variety of countries over the years and, mainly due to geopolitics, some of these have been off the usual touring tracks. A peculiarity of Cuba was that from the 1960s to the late 1980s all touring was organised for Cuban groups by the state agencies. So visits to Russia, Eastern Europe and Moscow-friendly African states were just as frequent as those to western Europe or Japan. The USA, of course, was out of the question (except on cultural exchanges) whereas Canada was always a welcoming contrast and air-junction. The compendium of strange and wonderful stories resulting from all this travel, always related in typically hilarious Cuban style, would make for a terrific book. Wherever they have played in the world Sierra Maestra have benefited most from two things in particular: the immense legacy of the rich and elegant tradition of son, the music style that dominated Cuba in the first quarter of the twentieth century and which they themselves first revived for a new generation; and their happy marriage of the vigorous Cuban character to an unfailing ability to rouse and entertain an audience. For twenty-five years they have refreshed and revitalised son music… and for that they remain unequalled. David Flower 1 La Caminadora 5:44 (N. Mili, arr Eduardo Himely) lead vocal: Alberto Virgilio Valdés electric guitars: Chris Birkett pans: Eduardo Himely [Spanish] Caminando por la calle Del pueblecito natal Con su ritmo espiritual Ella va regando flores Con la bata remanga Sonando sus chancleticas Los hombres le van detrás A su linda mulatica Coro: Caminando va, guarachando va Fefita no te disgustes Con lo que te voy a dar Caminando va, guarachando va Mi rumba se ha puesto buena Ven conmigo a cumbanchar Que los Zafiros son son Yo tengo una canastica Muy chiquitica y bonita La traigo llena de flores Para tu bello jardín Ah ah ah jardinero soy yo Jardinero, jardinero Jardinero soy yo Ah... El jardinero soy yo Jardinero... Jardinero el amor Alalae mamá que tu no sabe’ hacer na’ Que rico suena mi bombo que rico suena el tambo’ Palo Mayimbe me llevan pa’la loma [English] Walking down the street Of the town where she was born In that special way of hers She’s watering the flowers In her housecoat, sleeves rolled up Clacking about in her flip-flops Men follow around after This pretty young mulatta Chorus: There she goes walking, there she goes for fun Fefita don’t get upset by What I’m going to give you There she goes walking, there she goes for fun My rumba is really getting going Come with me and enjoy yourself We’ve got the Zafiros on I have a little basket In neat and pretty order I give it full of flowers For your ornamental borders Ay ay ay the gardener that’s me I’m the gardener, the gardener The gardener of love Ay mama, you are simply not aware How sweet the sound of my bass drum How sweet the sound of my snare Palo Mayimbe*, take me away up the hill (*senior figure in the santería religion) 2 Sabina Gómez 4:46 (arr Eduardo Himely/Oslén Ceballo Brian) lead vocal: José Antonio ‘Maceo’ Rodríguez guest vocal: Ibrahim Ferrer acoustic guitar: Eduardo Himely electric guitars: Chris Birkett keyboard pizzicato strings: Chris Birkett keyboard brass: Eduardo Himely Ibrahim Ferrer appears courtesy of World Circuit Ltd [Spanish] Allá en el barrio de Pueblo Nuevo Hay una mora que le llaman La bullanguera Que no se sabe como vive Y no se sabe como come Y todo el mundo en Pueblo Nuevo Le dice Sabina Gómez Que por el día es cocinera Y por la noche Volandera Coro: Quémala, mi sambalé No la perdones, mi sambalé Yo tengo una mala maña Que a mi mismo me dá pena De acostarme yo en mi cama Maceo Y amanecer en cama ajena (Coros vs improvisaciones) Coro 2: Sanga se fue a pelear en Veleco [English] Down in Pueblo Nuevo district Lives a black woman they call the mischief-maker No one knows how she lives No one knows how she eats And everyone in the neighbourhood Calls her Sabina Gómez She works as a cook in the day And at night She’s off God knows where Chorus: Forget about her, my sambalé Don’t forgive her, my sambalé I have a terrible habit That brings shame upon my head I go to sleep in my own house Maceo And wake up in another’s bed (Chorus vs ad-libs) Chorus 2: Sanga went to look for trouble in Veleco 3 Junto A Un Cañaveral 4:37 (Rosando Ruiz, arr Eduardo Himely) lead vocal: Luis Barzaga guest vocal: Ibrahim Ferrer acoustic guitar: Eduardo Himely laúd: Erdwin Vichot Blanco Ibrahim Ferrer appears courtesy of World Circuit Ltd [Spanish] Junto a un cañaveral Una guajirita había Sollozando me decía ‘No me canso de llorar Que lindos son los palmares De mi Cuba bendecida’ El extranjero la admira Que bonitos sus paisajes Arrogantes sus palmares Y sus ríos caudalosos Aquí todo era reposo Y se alivian los pesares Coro: Ver yo quiero a mi Cuba feliz Los cubanos unidos estar Y por siempre la vida vivir Vivir la vida Por la deliciosa orilla Que el Cauto baña En su giro Va montado un guajiro sobre Su yegua rosilla Ver yo quiero a mi Cuba… Lindo canta el ruiseñor Allá en la verde sabana Y más bello el tricolor De mi bandera cubana Por eso digo mi hermano Vamos todos a gozar Que aquí sobramos cubanos Te lo voy a demostrar Vamos todos a bailar [English] Near a sugar-cane plantation There was a country girl, Sobbing she told me ‘I never tire of crying Over how beautiful is the countryside Of my blessed Cuba’ The foreigner admires her How beautiful is the country How proud stand the palm groves And by her overflowing rivers Here all is peace and quiet Easing all your sorrows Chorus: I want to see my Cuba happy And all Cubans to be together And forever live life Living life By the sweet banks That the River Cauto washes As it winds Rides a farmer on the back of His strawberry roan mare I want to see my Cuba happy How beautiful is the song of the nightingale Down on the green plain And how beautiful the three colours Of my Cuban flag That’s why I say to you my brother Let’s all enjoy it There are plenty of us Cubans I will show you Let’s go and dance 4 Rumbero Soy 6:15 (Rodolfo Cárdenas, arr Eduardo Himely/Oslén Ceballo Brian) lead vocals: Alberto Virgilio Valdés, Luis Barzaga acoustic guitar: Eduardo Himely electric guitars: Chris Birkett pans: Eduardo Himely introduction guitar effects: Marc Ribot Marc Ribot appears courtesy of Warner Atlantic [Spanish] Defenderé la identidad De mis hermanos Los rumberos Y si se rompen los cueros Con cuchara y con cajón Armaremos un rumbón Un buen rumbón Majadero Frente a muchos sinsabores La rumba se abrió camino Fue forjando su destino Venciendo a sus detractores Pena me dá aquellos casos Que no saben apreciar La belleza de la rumba Como ella no hay otra igual Habla Y si se rompen los… Rumbero soy hasta Que muera La identidad de la rumba La defiendo como quiera Coro: Rumbero soy hasta Que muera La identidad de la rumba La defiendo a mi manera Como si fuera mi escudo Cual si fuera mi bandera Tan fiero como gorila Tan fiero como pantera Coro 2: Changana mambro aconambro Mi changana vs improvisaciones [English] I will defend the identity Of my brothers The rumberos And even if the drum skins rip With a spoon and a cajon We’ll still party on And have wild fun In the face of so much sorrow The rumba made its way Set out to make its fortune Winning over those in doubt I feel pity for all those Who cannot comprehend The beauty of the rumba There’s nothing can compare Say Even if the drum skins rip A rumbero I shall be Until the day I die I will fight for the rumba’s soul At any cost or price Chorus: A rumbero I shall be Until the day I die I will fight for the rumba’s soul At any cost or price As if it were my shield As if it were my banner As strongly as a gorilla As fiercely as a panther Chorus 2: Changana mambro aconambro Mi changana* ad-libs (*Yoruba language) 5 Convergencia 3:17 (B. Julian Gutierrez, arr Eduardo Himely/José Antonio ‘Maceo’ Rodríguez) lead vocal: José Antonio ‘Maceo’ Rodríguez guest vocal: Omara Portuondo Omara Portuondo appears courtesy of World Circuit Ltd [Spanish] Aurora de rosas en amanecer Nota melosa que gimió el violín Novelezco insogne dovivio el amor Así eres tu mujer Principio y fín de la ilusión Asi vas tu en mi corazón Así eres tu de inspiración Madero de nave que naufragó Piedra rodando sobre si misma Alma doliente vagando a solas De playas, olas así soy yo La linea recta que convergió Porque la tuya final pidió [English] Soft scent of roses at dawn Sweet note the violin cries A gripping story that won’t let me sleep Brought on by love So are you woman The birth and death of the illusion And in this way you live in my heart And so are you my inspiration Like a plank drifting off a shipwreck A stone spinning on the spot A tormented soul roaming alone Like the sand and the sea, this is me My path ahead was stopped in its tracks Because you said it should be so 6 Semilla De Caña Brava 4:16 (José Antonio ‘Maceo’ Rodríguez, arr Eduardo Himely) lead vocals: José Antonio ‘Maceo’ Rodríguez, Luis Barzaga, Alberto Virgilio Valdés rock guitars: Chris Birkett clean guitar: Marc Ribot Marc Ribot appears courtesy of Warner Atlantic [Spanish] Coro: Me llaman ‘semilla de caña brava’ Dicen las gentes de la Habana Que soy semilla de caña brava Será porque les dá la gana O es que yo soy candela brava Coro: A mi me llaman semilla de caña brava A mi me pasa una cosa Que ellos nada más lo saben No hay cabeza que yo llame Que no me salga a buscar En mi corazón encierro Todo lo justo y lo bueno Y el que cuida perro ajeno Pierde el pan y pierde el perro (Coro) [English] Chorus: They call me ‘wild cane seed’ People from Havana say That I’m the wild cane seed Perhaps because they feel like it Or maybe I am just as wild as they come Chorus: They call me ‘wild cane seed’ If something happens to me That only they could know There’s no one who I might call on Who could face me and say no I keep within my heart All that’s good and just If you take care of someone else’s dog You’ll lose both dog and crust (Chorus) 7 Camina Como Chencha 3:51 (Ñiquito Saquito, arr Sierra Maestra) lead vocal: Luis Barzaga guest vocal: Omara Portuondo electric guitars: Chris Birkett acoustic guitar: Eduardo Himely Omara Portuondo appears courtesy of World Circuit Ltd [Spanish] Coro: Camina como Chencha la gamba Yo nací con mi pata gamba Igualito igualito que Chencha Y que tengo que ver yo con Chencha Si yo nací con mi pata gamba Vayanse pa’l diablo Partí’a de sinverguenzas Partí’a de canallas No me hagan hablar Por aquí me pasó el otro día Un perrito corriéndole a un gato Y ahora dicen los malos mulatos Que por aquí puede pasar un tranvía Trabajando yo allá en el Nacional Me han pasado por aquí un telón Y ahora todos quieren apostar Que por aquí puede pasar un camión (Improvisaciones) [English] Chorus: He walks like Chencha the knock-kneed I was born knock-kneed like Chencha Just exactly like Chencha But what have I got to do with Chencha Just because I was born with a gammy leg You can all go to hell You bunch of wasters Herd of swine Don’t get me started… Round here the other day Ran a little dog after a pussy And now those smutty mulattos are saying That there’s room for a tram to get through Working over at the National Cabaret There was room for a curtain to pass Now they all want to put on their bets That a lorry could get up through the lane (Ad-libs) 8 Llora Como Yo Lloré 3:59 (Santos Ramirez, arr Eduardo Himely) lead vocal: Luis Barzaga party and Cuban claps: Sierra Maestra, Hector Joseph Anderson Spanish claps: Chris Birkett acoustic guitar: Eduardo Himely acoustic guitar solo: Marc Ribot electric guitars: Chris Birkett Marc Ribot appears courtesy of Warner Atlantic [Spanish] Has de llorar tu tienes que llorar La conciencia no te deja tranquila Cuando te ponga’ a pensar Los juramentos quebrantados Tus palabras no cumplidas Tú ves tú tienes que llorar Pero tú ves tú tienes que llorar Coro: Llora como lloré Dejame decirte ahora Que ayer mucho que lloré Que lo que hicistes conmigo Yo nunca lo olvidaré Que más yo puedo decir Llora… cosa buena Yo lloré un día na’ma’… (Coros vs improvisaciones) [English] You’re gonna cry, you’ve got to cry Your conscience won’t let you rest When you sit and think of All those broken promises All those little lies You see you have to cry It’s you that has to cry now Chorus: Cry, cry the way I cried Let me tell you now How much I cried before Because of what you did and how I will never forget What more can I say Cry… there’s just one good thing I cried for just one day… (Chorus and ad-libs) 9 Macuterendey 4:48 (Remberto Becquer, arr Eduardo Himely) lead vocal: Alberto Virgilio Valdés party vocals: Hector Joseph Anderson, Mariela Kogan, Sierra Maestra keyboard effects: Chris Birkett acoustic guitar: Eduardo Himely [Spanish] Coro: Macuterendey Macú Macuterendey Este es un dicharacho De un pueblo donde yo fui Y lo cantaban a coro Para saludarme a mí ¡Oye! Me dijó un señor Que era el que mandaba allí Canta canta bien sabroso Que esta fiesta es para ti Una niña que bailaba Con un requete meneo Me decía mira viejo Como yo te saboreo Es un baile muy alegre Que ritmo que sabrosura Mira si puede aguantar El ritmo de mi cintura (Coro) La luna alumbra de noche Y el sol alumbra de día Gloria, Petra y Asunción Las tres fueron novias mías La lluvia agua bendita Macutere... Macuterendey! [English] Chorus: Macuterendey Macú Macuterendey Is a saying In a village where I went And they all sang to me As a welcome it was meant Hey! Said the big man The one who ran the place This party is for you Sing, put a smile on your face A girl who was dancing With a super sexy swing Said to me, hey good looking I like what you’ve got cooking Mine’s a cracking little dance What a rhythm, lots of taste See if you can keep up with What I’m doing with my waist (Chorus) As the moon lights the night So the sun lights the day Gloria, Petra and Asunción All three were my girls Holy water, holy rain! Macutere... Macuterendey! 10 Como Me Gusta María 4:10 (Emilio Ramos/Eduardo Himely, arr Eduardo Himely) lead vocals: José Antonio ‘Maceo’ Rodríguez, Luis Barzaga background vocals: Hector Joseph Anderson electric guitars: Chris Birkett [Spanish] Coro: ¡Oh! María yo te quiero ¡Oh! María yo te adoro Cuando conocí a María Fuimos novios por un mes Y al cabo de los tres meses Tuvo mi primer bebé Es un niño muy bonito De su padre copia fiel Si me voy para el trabajo Lo hago sin preocupación Porque dejo a mi María Trabajando con Ramón Una vez a Veradero Con María yo me fui Se encontró quinientos pesos Y más nunca yo la ví (Coro) Bueno Luis ¡es hora ya de decirle las cuatro verdades a María! Oye Maceo yo creo que tu estás en talla, te la dejo todita a ti ¡Falsa, falsa! Ya no te quiero, ya no te adoro Coro: María María no te quiero más Yo quiero vivir, quiero trabajar, dejame vivir ¡Ay! La vida… Libérame, esfúmate, no vuelvas más Y yo que te leia un poema por día Ay María… Coro: Ay mamá déjame tranquilo ! [English] Chorus: Oh Maria! How I love you Oh Maria! How I adore you We were together For one month And after just three months She delivered my first child It’s a very cute baby Just like his father When I go to work I do so without a care Because I leave my Maria In the safe hands of Ramón Once I went with Maria To Veradero She found 500 pesos And I’ve never seen her since (Chorus) Well Luis it’s high time you gave it to Maria straight Hey Maceo, I think you’re right, you can have her Liar, liar I don’t love you any more, I don’t adore you any more Chorus: Maria, Maria I don’t love you any more I want my life back, I want to work, let me live What a life! What a life… Set me free, get lost, don’t come back! And to think I used to read you a poem each day Ay Maria! Leave me alone! Chorus: Go home, girl! 11 Carnaval En Camagüey 4:30 (Miguel Roman, arr Eduardo Himely/Oslén Ceballo Brian) lead vocals: Luis Barzaga, Alberto Virgilio Valdés, José Antonio ‘Maceo’ Rodríguez crowd: Sierra Maestra, Hector Joseph Anderson, Mariela Kogan electric guitars: Chris Birkett keyboard effects: Chris Birkett [Spanish] Vengan todos a bailar El meneito cubano A la la… En el carnaval Camagüeyano Y el coro que dice así Coro: Carnaval en Camagüey Eh me voy a bailar Ay mira negra me voy a gozar Que rico en Camagüey me voy a bailar En la buena conga me voy a arrollar A Camagüey me voy a vacilar Somos los Comandos Coro: ¡Lo que sea! Estamos acabando Ina que Ina Coro: Y no hay na’ Ina mon (Improvisaciones vs coros) [English] Come on everybody Dance this Cuban hipsway A la la… At the carnival in Camagüey And the chorus goes like this Chorus: ‘Carnaval en Camagüey’ Hey I’m going to dance Hey look sweetheart, I’m going to have a good time How well I’m gonna dance in Camagüey Show the rest how to conga away In Camagüey I’m going to shine We are the Comandos* ‘Carnaval en Camagüey’. Let’s go We’re near the end, there’s nothing left (*special version of the comparsa danced in Camagüey, and those who dance it) 12 El Cumpleaños De Emilio 5:26 (Eduardo Himely, arr Eduardo Himely/Oslén Ceballo Brian) lead vocal: José Antonio ‘Maceo’ Rodríguez extra background vocals: Hector Joseph Anderson acoustic piano: Wilfredo Naranjo timbales: Pavel Rodríguez-Jimenez programmed percussion: Chris Birkett party noise: Sierra Maestra, Hector Joseph Anderson [Spanish] Se reunieron los rumberos Para juntos celebrar El cumpleaños de Emilio De una forma singular Llegaban de todas partes Buenavista y Atarés Cayo Hueso, La Victoria Jesús María y Belén Pasteles y bocaditos Helados rica ensalada Cervezas cake y refrescos Allí no faltaba nada Ñiquito sacó las congas Alejandro su bongó Himely afinó el bajo Carlos el güiro tocó José Antonio junto a Luis Entonaron la canción Oslén sacó la trompeta Ya la fiesta comenzó Y Virgilio que miraba De una esquina del salón dijo! ‘Y donde está la botella O esta fiesta se acabó Quien ha visto cumpleaños de rumberos Si no hay ron Coro: Y echenme a mi la culpa De los rumberos Echenme a mí la culpa, la culpita y la culpona’ Cada vez que aparece el comelón Se acaba la ensalada y el pan con jamón Salaman con Chevere Barrió con los pasteles Y se comió a su madre. ¡Esto es en juego! Domitila... dime a donde tu vas Con Emilio pa’allá Coro: De los rumberos (Improvisaciones) Coro: El niño está majadero (Improvisaciones) [English] Some rumberos met up To celebrate Emilio’s birthday In a very special way together They came from all corners Buenavista and Atarés Cayo Hueso and La Victoria Jesús María and Belén* Buns and sandwiches Ice cream and tasty salads Beer, cake and pop They had the lot Ñiquito got out the congas Alejandro his bongos Himely tuned up the bass Carlos played the güiro José Antonio sang the song Along with Luis Oslén got out his trumpet And the party began And Virgilio looking on From a corner of the room said: ‘And where’s the bottle Or this party’s not begun Whoever saw a rumberos party Without a shot of rum Chorus: And all the rumberos Put the blame on me Every bit of blame there is, they put that blame on me’ Every time the greedy one turns up He finishes off the salad and ham sandwiches Salaman and Chevere Scoffed all the cakes, and ate his mother. Hey, just joking! Domitila… tell me where you’re off to With Emilio there Chorus: Little Johnny wants to come out and play! (*districts of Havana) Sierra Maestra are: José Antonio ‘Maceo’ Rodríguez: lead vocal, guitar Luis Barzaga: lead vocal, clave Alberto Virgilio Valdés: lead vocal, maracas Emilio Ramos: tres Eduardo ‘Ñiquito’ Rico: percussion Carlos Puisseaux: güiro Oslén Ceballo Brian: trumpet Eduardo Himely: bass, acoustic guitar, percussion, musical director Alejandro Suárez: percussion, general director Guest appearances by: Omara Portuondo and Ibrahim Ferrer courtesy of World Circuit Ltd Marc Ribot courtesy of Warner Atlantic Chris Birkett Erdwin Vichot Blanco Hector Joseph Anderson Wilfredo Naranjo Pavel Rodríguez-Jimenez Saludos: En 25 años de trabajo son muchas las personas a las que SM quiere agradecer su colaboración. Lamentablemente no podemos mencionarlos a todos pero sepan los que no aparecen que también les estamos agradecidos. ¡Allá vamos! Belkis, Francis, Gloria, Cary y Vivian gracias por soportarnos tantos años! Grisel, Elisabeth y Yeldis gracias por lo que tendrán que soportar! David Flower, te agradecemos ser nuestro hermano por tanto tiempo! Chris, gracias por emplear tu tiempo y conocimientos con nosotros. A nuestros maestros que ya no están Rafael Ortiz, Lázaro Herrera, Alberto Vera, Odilio Urfé, Marcos González (padre), Enriqueta Almanza. ¡Que dios los tenga en la gloria! A Helène Bonnet la integrante número 10 de SM y a Desiree, muchas gracias. Gracias mil a los músicos invitados, Erdwin, Anderson, Pachi Jr, Sergio y Pavel. Punto y a parte para dar las gracias a Omara nuestra amiga desde el principio! Ibrahim Ferrer ¡Sigues siendo nuestro hermano! Gracias. World Circuit Records, y demás gracias, por colaborar para que nuestros invitados participaran. A los que fueron SM, El Fiñe, El Gordo Daniel, Carlos González y Romero, Marcos, Barbarito boca chula y Jesús Alemañy, sabemos que van a disfrutar este disco como si lo siguieran siendo. Muchos exitos. A nuestras madres (las que están y las que no están) que admitieron que sus hijos fueran músicos y no ingenieros. Nancy Robinson, Mena, Calderín, Reley, Rosillo, Juaniquiqui y demás colegas cubanos que han tenido que ver con nosotros en estos 25 años. Un abrazo. Gaby en New York. Aquí está ‘Convergencia’. Gracias. A World Music Network y especialmente a ti Phil y Sandra muchas gracias. To Robin Huber for the fantastic food – ¡tremendo el lobo! UN ABRAZO INMENSO A TODOS LOS FANS DE SIERRA MAESTRA EN TODOS LOS PUNTOS DEL PLANETA PARA USTEDES VA DEDICADO ESTE DISCO. Sierra Maestra 2002 (www.sierra-maestra.net) Chris Birkett would like to thank Philippe Saunier, Rob Huber, Nico Miranda, Laurent Beljambe, Jan Birkett, Phyllis Hewett, May Birkett, Mr Roussille, Mario Caldato Jr, Fontana, Fred and Mdm Petit 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.worldmusic.net to listen to sound samples of all World Music Network and Riverboat Records releases A World Music Network production Tracks 1, 2, 3, 4, 8, 9, 10 and 12 copyright control Tracks 5, 6, 7 and 11 published by Editora de Cuba/copyright control Produced by Chris Birkett Executive Producers: David Flower and Phil Stanton Recorded and mixed by Chris Birkett Musical direction and arrangements by Eduardo Himely A&R by Sandra Alayón-Stanton Mastered by Chris Birkett and Jim Birkett Recorded, mixed, and mastered at Château Richard, St Cibard, France Additional recording at EGREM Studios, Havana, Cuba Recording Engineers: Chris Birkett, Jim Birkett and Eduardo Pérez González Song translation by Maria ‘Gallina’ Rodríguez and David Flower Designed by Intro, coordinated by Duncan Baker]]>Son: Soul Of A Nationhttp://sierramaestra.afropopshop.org/#album_643702006-12-12T07:40:55ZMusic from 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]]>