Super Sonido

Sorry for the lack of posts on this site lately. When the IRS takes money out of your bank account, any inspiration you once had for music slowly gets diminished.

But thank god for the Cuban group El Trío Servando Díaz to light a fire under my ass, otherwise you people would be waiting for another two months. Check out my other posts on Arsenio Rodríguez and trio music – those posts somewhat cover what’s happening musically. I heard this song on a cd a while back and since then it’s been difficult finding music from Trío Servando Díaz – most records were made prior to the 50’s on 78 rpm format. But I recently grabbed this old school Cuban son/trio compilation album on the Peerless label via Panart. The whole album is great, but El Viejito Cañandonga was the real stand out.

Cañandonga is a fruit found in Central America and the Antilles. I think it’s called carao in Nicaragua, kind of a pod fruit similar to tamarind. The more I listen to the drunk old man complaining on the track, I think that cañandonga may have been also an alcoholic beverage in Cuba at one time and made famous by sending a known actor allegedly to alcoholism, but not sure about it. There are treatment for chronic alcohol abuse in Austin as well as in Cuba I’m sure. Thanks everyone asking/emailing me where the hell I was. I’ve been a hermit lately so sorry if I seemed flakey. Totally sorry. Anyway enjoy!

– Sonido Franko

1. El Trío Servando Díaz: El Viejito Cañandonga

Jean Gesner Henry, dubbed Coupé Cloué during his early years of playing professional soccer in Port-au-Prince, was one of the most influential performers and composers of Haitian music in the latter half of the twentieth century. While the vast majority of his recordings were issued under the Coupé Cloué moniker, his earlier recordings as the singer and leader of Trio Select mark a crucial moment in the evolution of Hatian popular music. Trio Select was formed on September 6, 1957, according to the back of the album. The group featured Gesner Henry and Raphael Benito on vocals, Georges Celestin on lead guitar, Andres Serant on second guitar, Colbert Desir on percussion, and Prospect on bass. Gesner Henry was known for his humorous use of double entendres and colloquial slang, endearing him to his public and earning him the nickname, “La Coqueluche D’Haiti” or “The Whooping Cough of Haiti.” At least that’s what it says in the album notes, but I can’t help but think that something is lost in translation.

Of the Trio Select albums, Plein Caille released in 1971 on the burgeoning Brooklyn based Marc Records, is perhaps the most thoroughly satisfying and rewarding. Although the larger ensemble sound of the Konpa Direk of Nemours Jean Baptiste and the Cadence Rampa of Webert Sicot had opened the flood gates in the early 1960’s and on into the 70’s for a slew of Haitian bands performing in that style, Gesner Henry’s Trio Select is firmly rooted in the subdued Cuban Son and Bolero influenced Twoubadou style. The vocal harmonies are sublime giving the slower pieces a beautiful melancholy quality. The guitar work is stellar as well, with substantial soloing. I wish I was able to understand the lyrics.

– Marcos Juarez

Marcos has written a few posts for super-sonido in the past, but for the last year I’ve been bothering him to be a more active participant for this site – which he has gladly agreed to do and which I am totally greatful for. So for future visitiors of this audio blog, please be aware that this is as much as Marcos’ as it is mine. If you have any direct questions for Mr. Juarez you can add him on facebook or you can listen to his radio show every Thursday 3 to 6 p.m. on KALX radio. Amazing music from Haiti, I am completely floored. Please enjoy!!!

– Sonido Franko

1. Trio Select: Juge, Juge’m Bien

2. Trio Select: Plein Caille

3. Trio Select: Marteau

4. Trio Select: Qui Li Bois

Known as the father of the modern Afro-Cuban sound, the blind musician and bandleader Arsenio Rodríguez would further develop and modernize the sound of Son, the predominate musical force in Cuba. Up until the 50’s, son centered around the tres (a triple set stringed guitar), bass and clave. By adding more melodic elements to his arrangements like a horn section, piano, and congas – Aresenio Rodríguez garnered instant fame in Cuba, earning him the nickname El Ciego Maravilloso (the marvellous blind man).

Born in Güira de Macurijes, as a young child, Rodríguez was blinded when a horse kicked him in the head. It is said that his musical roots come from the Congolese rituals of his family, instilled in him by his grandfather, who was apparently a slave. There probably hasn’t been a bigger influence in Cuban music than Arsenio Rodríguez. His sound can be heard in the rustic streets to the large Salsa brass arrangements to this day. Even listening to the first 5 seconds of Cambia El Paso (change that step), you instantly recognize the sound of son, something which has almost become a national symbol for Cuba.

On a side note, Andy Harlow does a really good version of Cambia El Paso and his brother Larry does a whole tribute album to Rodríguez. Also, I think it would be cool if someone knew what the word bochinche means. I think it’s Cuban slang for “gossip” – anyway peep the Cubans yelling at each other at 1:35 minutes into the song. The Tropical/Secco label was like the Putamayo world music label of it’s day. The actual album is probably from the 60’s, but this is a collection of Arsenio’s 78’s of the 50’s. Enjoy!

1. Arsenio Rodriguez: Cambia El Paso

2. Arsenio Rodriguez: Se Formo El Bochinche

If anyone has noticed, I’ve been posting some really obscure records lately. I’ve been straightening out my record collection and I keep pulling albums I hardly ever play or listen to which is most likely the reason why.  Take the two instructional records Understanding Latin Rhythms for example. Not the best album for the clubs and not the best thing to listen to in it’s entirety on a Sunday morning. Unless I am trying to learn how to use a cow bell, but sadly I am not.

The only worth while track on the first volume is the heavy monster Masacote, a name taken from a style of Cuban percussion jam music. Puerto Rican José Mangual (bongo) and Cuban Carlos “Patato” Valdez (conga) really drop that heavy Nuyorican sound with this song. These two musicians have played with just about everyone, from jazz, latin jazz, to salsa. They just don’t happen to play on the second volume though, which is way more instructional than the first.

Both these albums came with instructional booklets, I posted some images up for you people. Instructional basics and an album to play along with. They didn’t have youtube in 1974. Really nice minimal stuff here nonetheless. A few essential records if you’re a beat maker aswell. Enjoy!      

1. Understanding Latin Rhythms Vol. 1: Masacote

2. Understanding Latin Rhythms Vol 2: Mambo & 6/8 Rhythms

If I keep finding 45’s like this, I’m gonna have to visit the Dominican Republic someday. In fact, I think I’m going to throw my passport away and just move there. Forever.

When I hear music from people like Tatico Henriquez, it would make me consider doing something rash as this. The kinetic style of the music taps into something I suppose. Anyway, Tatico was known as one of the best accordionists of the merengue tipico. His career began in the 1960s and the early 1970s. He was known for his skill on the accordion and the addition of new instruments to a standard merengue tipico band. Unfortunately his life and career ended in a drunk driving accident in Santo Domingo. Still a huge influence in the merengue scene to this day. Enjoy!

1. Tatico Henriquez y Sus Muchachos: Cabo De Vela

2. Tatico Henriquez y Sus Muchachos: Mano Poderosa

1. Grupo Gamma: Tu lu lu lu

I had the opportunity to live and work in  Nicaragua from 1993 to 1994. I lived between my uncles house/my mother’s birthplace in Ciudad Dario and Granada . So whether I was in a bus, a bar, at a party, or in a market I probably heard this song on a daily basis.

The genre of music is actually called Palo De Mayo (The May Pole) which is a month long May Day festival on the Carribean Coast of Central America. It originated in Bluefields Nicaragua in the 17th century and the celebration includes a maypole, which is a tall wooden pole, which is decorated with several long colored ribbons suspended from the top.

The festival, the music, and the culture of the Atlantic coast of Nicaragua is in itself a potent cross-fertilization of African, Creole, Garifuna, Jamaican/Caribbean, Indigenous, and Latin cultures. The song really sounds like a mixture of traditional African rhythms, soca, paranda and Calypso style music. From what I understand, Grupo Gamma probably made a living playing parties and going door to door playing their music in the month of May. The song Tu lu lu lu pasa  (to pass) basically is naming off the people coming,  going, passing  (be it in life, death, or dance I suppose). There are various versions of the song, always naming someone different and I’ve heard a faster merengue version as well.