Rating:
Genre:
Latin
Release Date: 03/06/2001
Rhino's entrance into the market with this volume of traditional music of Cuba is among the strongest collections they've ever released in any genre. Given that every aspect of Cuban music was built upon the son, a beat played with two claves (sticks), this heavily syncopated rhythm -- 2/3 or 3/2 -- is continuous, the heartbeat of son. It creates the basis for the polyrhythms in other styles such as
salsa,
samba,
rumba, and
mambo. The late
Robert Palmer even claimed that son was the great granduncle of
rock & roll. As an introduction to a music that was created early in 20th century Cuba by soldiers,
Rhino has concentrated on presenting this music in its modern framework, though it is still traditionally played and arranged. They have assembled recordings by the greatest of the son bands such as
Sierra Maestra, which formed in 1960 after the passing of the great son innovator
Ignacio Piniero. Along with their neo-traditional approach are legends such as
Cachao,
Benny More,
Orquesta Aragon,
Celia Cruz, and
Rolo Martinez. While rhythm is the constant common bond all these songs have, their moods, presentations, and textures couldn't be more different. Son is the music of passion in all its forms, the song of the heart. Some feature strings in the forefront while others feature horns and still others feature rhythm instruments at the top of the mix, but one thing binds the
folksy,
rootsy son of
Nino Saquito and the thoroughly modern readings by
Orquesta Maravillas de Florida -- the song itself must come from the broken heart. Whether that heart is overcome with joy or grief, it must have been broken first or else the song would have no depth. And in 16 tracks,
Rhino's A&R department has compiled a selection of son that has few rivals for authenticity and none for its listenability -- there are no field recordings here. Easily,
El Son No Ha Muerto (The Son Has Not Died) would be a centerpiece for dance and conversation at any party, and goes a long way to showing to
gringos just how important the traditional musics of some countries are as they evolve; a lesson that the U.S., sadly, has yet to learn.
~Thom Jurek, All Music Guide
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