Future jazz
By Isaac Toporek March 7, 2008 San Miguel de Allende

Concert
Terragroove CD release
Sr. Mandril
Sat, Mar 15, 8pm
El Viejo Topo Café-Teatro
Stirling Dickinson 28
150 pesos

The first image that comes to my mind when I think of electronic music is of a lone musician—or a few of them—shut in a studio, mixing sounds, voices, noises, fragments of tunes, textures and melodies to create compositions that may result in an asceptic, dispassionate music, difficult to digest.

However, if I’m well equipped with a good theory on what the artists are looking for in their musical exploration, the music will enter through my brain, instead of through my heart. Electronic music seems to demand more to be understood than to be felt.

That was not the case when I started listening to the music of Sr. Mandril. By contrast with most cold techno music, I found a beautiful balance between the playful and complex electronic rhythms and the harmonies and improvisations played with acoustic and electric instruments. Guitars, bass, percussion, sax, trumpet and, above all, two female voices and ethnic sounds fly over the textures and colors created by the band.

Created in 2002, Sr. Mandril is a band headed by a duo of Mexican musicians, Ramsés Ramírez (bass, synthetizer, sequencing and sampling) and Germán González (electric and acoustic guitars, GR-30, synthetizer and piano), who combine rhythms from bossa nova, jazz, funk and other acoustic styles with trends related to electronic downtempo, house and ambient. They call it Future Jazz and, as happens with any original style, theirs is always hard to define. The music Sr. Mandril creates is innovative, fresh and breaks the frontier of what we know as electronic. Sr. Mandril was well received and acclaimed at the Montreal Jazz Festival 2006 (“This is the sound of Mexico right now…”) and in the Small World Music Festival in Toronto 2007.

“Mexico City’s Sr. Mandril lives up to its district’s new global reputation on this experimental effort. Fronted by Germán González and Ramsés Ramírez, this group's future-jazz sound bridges programmed and live instrumentation for a freeform output that never quite follows one steady sonic path. It’s no wonder Sr. Mandril was such a huge hit at Montreal’s Jazz Fest in 2006—these guys thrive on improvisation. On any given track, one can expect to hear a new amalgam: “El Otro Joe,” for one, features elements of soulful house, Latin rock and jazz. Because of Sr. Mandril’s jam-band style, though, these tunes may be better enjoyed when played on the stage.” —Max Herman, www.xlr8r.com. 

Cuban Culture Festival in memory of Benny Moré
By Gabriela Blanco

The Fifth Annual Festival of Cuban Culture will take place in San Miguel March 8 to 16. This year, it is dedicated to Benny Moré, 45 years after his death, who is considered by many to be one of the most important Cuban singers. Apart from having the voice of a tenor, he was a master in all musical genres but specialized in boleros, mambo and son montuno. The festival is being performed based on the sisterhood agreement between Havana and San Miguel. This event was made possible through the coordination of San Miguel S*B Productions, various businessmen in the town and the municipal government.

This year, the festival is opening with Orlando Valle “Maraca,” a young renowned Cuban flute player who was nominated for a Grammy. During the festival, “Maraca” will receive the “Optimus” award granted by the festival, which honors perfection in the arts. He also will perform a tribute concert to Benny Moré at 6:30pm in the Jardín, on Saturday March 8. The festival will close to the rhythms of chachachá, mambo, son and more “candela” with the Conjunto Sabrosón de Cuba.

The sample literary, musical and craft exhibition spaces will remain installed at the Jardín Principal from March 8–16 and will offer more than 5,000 titles from Cuban writers and authors.

All activities are free, for more information visit the website: www.cubaensanmiguel.com  and or call: (415) 152-0900, (415) 152-7041, (415) 155-9336

All events at Bellas Artes and Teatro Ángela Peralta are free, but you must call to make a reservation. All events at the Jardín Principal are free and open to the public.



March 8–17
Jardín Principal, 9am–9pm
Literary, Craft and Commercial Show (Cuba)

Saturday March 8, 11am
Centro Cultural Ignacio Ramírez (Bellas Artes)
Inauguration, Conference and Cocktail (by invitation)
Theme: “Benny Moré, Lazo Emocional entre México y Cuba”

Jardín Principal, 6:30pm
Inauguration Concert
Orlando “Maraca” Valle

Sunday March 9, 5pm
Jardín Principal
Concert : “Su Majestad el Danzón” and Public Dance (México)
Tony Sánchez Danzonera Orquestra: “Danzón Dedicated to Benny Moré”

Monday March 10, 7pm
Jardín Principal
Dance exhibition “San Miguel, Salsa & Sabor” (Mex/US)
“Héchale Salsita”

Tuesday March 11, 6pm
Jardín Principal
“Danzón: A Gift for Cuba, Mexican Proud”
Mercerina group

Teatro Ángela Peralta 7:30pm
Video clip: “Se Te Acabó la Rumba”
Orlando “Maraca” Valle (Cuba)
Movie:”El Benny” (Cuba)

Wednesday, March 12
Jardín Principal, 6pm
“Gracias a la Vida” (México)
Yoremem Jocobi

Teatro Ángela Peralta, 7:30pm
Video: “Soy Yo,” Orlando “Maraca” Valle (Cuba)
Movies: Film About Benny Moré
“Hoy Como Ayer”

Friday, March 14
Jardín Principal, 6pm
Music Presentation “Ahora tú Verás”
Son del Son

Saturday, March 16
Centro Cultural Ignacio Ramírez, 12noon
Jardín Principal, 8pm, Cocktail
Concert and closing dance
Nurys Santiestebán and Sabrosón Group (Cuba)

Sunday, March 17
Jardín Principal, 9pm
Art, Literary and Craft Show closing (Cuba)

Information and entries call: 152-7041 & (415) 155-9336

**Limited cupo limitado, solicite para cada día los boletos gratuitos en la muestra literaria, artesanal y comercial.

Music to My Ears
By John Bills

Tango Argentina and more

Love, hate, passion, violence, jealousy, anger, resentment, misery…. Sex! The next new prime-time soap opera? No, it’s tango, the Argentine-born dance craze that swept the world. Born in the under-class neighborhoods of Buenos Aires at the turn of the last century, tango quickly spread to Paris, London, Berlin, even as far north as Finland, and then on to New York. Silent film star Rudolph Valentino made tango all the rage in America in the early 20s.

 In 1917, Argentine singer-composer Carlos Gardel created the tango-canción with his recording of Mi Noche Triste, selling 100,000 copies in Latin America and becoming an overnight sensation. Since then Tangos have been performed and recorded by such diverse artists Plácido Domingo and Yo-Yo Ma, spotlighted in feature films (Remember Al Pacino’s tango in Scent of a Woman?), spawned Broadway musicals , and have been created by composers around the world. Still immensely popular, a search of tango on Amazon.com yields over 5000 results currently available.

Last Friday the charismatic baritone Carlos Sánchez returned to Teatro Ángela Peralta with a quintet of talented dancers, Tango a Media Luz, and the musicians of Ensamble Mi Ciudad, for an evening devoted to the full range of the international art of Tango. What a pleasure to have this sensual music performed and danced with such purity; this was not the tango we see so much today on programs like Dancing With the Stars: the Bob Fosse-staccato Broadway-style tango that emphasizes movement over passion. Paola Maldonado and Karina Llanes were the quintessential tango women, black hair worn tight to the head, flashing dark eyes, revealing red dresses, stiletto heels, at turns flirtatious, animalistic, disdainful. The men, Gibrán Tallaváz, Gabriel Balsa, and Hector Rios, proved that it’s not body type that makes a tango dancer. Tall or short, tango is about attitude and seduction, requiring, intensity, musicality, close bodies (so close) moving in perfect precision. These dancers were ideal. Their dances were accompanied by uncredited recordings of what appeared to be the orquesta tipica tango sextet, two violins, piano, bass and two bandoneóns (a squeeze-box instrument, similar to a concertina).

Ensamble Mi Ciudad (Mila Martynova, piano, Patricia Avileés, bass, and Manuel Rodriguez, guitar) gave stylish renditions of several instrumental tangos, notably Celos (Jalosie-Tango Tsigane) by Danish composer Jacob Gade, internationally the most famous tango ever composed, a work so popular that in the 70s it was estimated to have been played once every minute on some radio station on the planet. One only wished that Mr. Rodriguez had filled out his dutiful rhythmic accompaniment with a bit more imagination.

In the end, the evening belonged to Mr. Sánchez, whose smooth baritone and heartfelt passion gave this music new life, with straight-forward yet intense performances of the Carlos Gardel favorites Por una cabeza and Volver. For the splendid Adios muchachos by Julio Cesar Vedan (source material for the American popular song, I Get Ideas), Mr. Sánchez strolled through the theater creating personal moments with one audience member after another. A quick glance around the auditorium revealed the effect this singer has on his San Miguel audience, which sat captivated by his considerable charm, and finally would not let him leave the stage without several encores.

Django, tango and baroque jazz
By Julian Arcos

Concert 
Tue, Mar 11, 8pm
Teatro Santa Ana
Relox 50A
100 pesos

How can you blend these different styles into one concept? They do have one thing in common—Paris.

First we have the Belgian Gypsy musician Django Reinhardt, born in 1910. One of the first prominent jazz musicians to be born in Europe and the most renowned jazz guitarist of all time, Reinhardt spent most of his early years in a gypsy caravan near Paris.

Tango, originally from Argentina, was created in the early twentieth century by European immigrants and first recorded in Paris because there were no recording studios in Argentina at the time. The Argentinean Carlos Gardel gave fame and universality to the tango. He had a young student named Astor Piazzolla who played the Bandoneon (kind of a small accordion that sounds like an organ). Piazzola was supposed to travel with Gardel on tour, but because of his youth his father refused to give him permission. This denial was a lucky twist for him, because Carlos Gardel and his band were killed in an accident. Astor Piazzolla spent his early years in New York, where he was exposed to the sounds of jazz and the music of J.S. Bach. Later when studying in Paris with Stravinsky’s disciple Nadia Boulanger, Piazzolla had the vision of blending tango, jazz and classical music.

The concert will feature virtuoso guitarist Julian Arcos, well known across town for his ability to blend jazz, Latin and international music, as well as for his smooth and comfortable yet emotional style.

At the piano is Daniel Curtidor, who shares with Julian a passion for good music and an open mind for new paths in classical and jazz music. Also performing is Carlos de Aguinaga, a precise percussionist and dynamic drummer, and Ruben García, a remarkable flutist.

Magical musical tour of Latin America
By Gabriela Servin

Concert 
Sergio Basurto
Mon, Mar 10, 7:30pm
Sala Quetzal
Relox 50A
150 pesos

Sergio’s great sensitivity to the interpretation of folklore rhythms will transport us on a magical tour around several Latin American countries. “Cascada” (waterfall) is a Paraguayan polka inspired by the sound of water falling from the multiple cascades in that region. The Venezuelan joropo “Concierto de la Llanura” is a spectacular piece that has been so representative of the country’s origin that it is considered by many to be the informal national anthem. Derived from the Spanish fandango brought to America during the colonial era, it has a joyous fiesta style. The enormous llanuras (plains) of the central part of Venezuela resemble the Argentinean pampa or the US Midwest plains.

We leave the plains and return to urban Havana, Cuba, where the habaneras “La Paloma” and “La Comparsa” remind us that Havana is a port and its songs are sung by sailors and fishermen. Their particular culture of nostalgia and distant loved ones, as well as the fascination with the sea, extends all around the coastal zones from the biggest island in the Caribbean. During the nineteenth century, the voices of the humble merchant marine workers, sailing their fragile boats on the perilous sea broadcast these songs of sad poetry all over Latin America and Spain.

The folklore harp will be accompanied by guitar and the original rhythms of Spanish flamenco.

Gypsy guitar concert
By Javier Estrada

Concert
Javivi Hernan
Mon, Mar 10, 7pm
Teatro Santa Ana 
Relox 50A
100 pesos

The roots of flamenco have evolved in southern Spain from many sources: Morocco, Egypt, India, Pakistan, Greece and other parts of the near and far east. How exactly they came together as flamenco is a subject of great debate and a very interesting story.

Gypsies from the south of Spain have created this music since their arrival in Spain in the fifteenth century. It is widely accepted that they came from Sind, a northern region of India (now Pakistan). They left in several waves because of invasion and wars with foreign conquerors. The tribes of Sind moved to Egypt until they were thrown out. They then left for Czechoslovakia, but they knew that they were not going to be welcomed anywhere because of their numbers so they decided to divide themselves in three groups that moved to different parts of Europe. The first document to register the arrival of gypsies to Spain is from 1447.

Those known as Gypsies called themselves Ruma-Calk (it means man from the plains) and spoke Calo (from the Indian dialect Maharata); they used to be nomads, craftsmen and shepherds.

The Moors had occupied Spain, particularly the south, for about 800 years. Science, economy and culture flourished in a rich mixture of cultures. During this time the predecessor of the flamenco guitar was introduced and developed. It is believed that the word “flamenco” is a mispronunciation of the Arabic words felag (peasant) and mengu (fugitive). It is known that flamenco began to be used as a synonym for “Andalusian gypsy” in the eighteenth century.

Looking back at “I Love Jazz”
By Dick Avery

If there was ever any doubt that San Miguel is a hotbed of jazz, this past weekend would have erased any skepticism!

The VI Festival de Jazz National, “I Love Jazz” weekend kicked off Wednesday with Ken Bichel and his “Concerto de Piano” (written about recently in Atención). It continued on Valentine’s Day at Teatro Ángela Peralta with “Downbeats Sexy Sax, Sexy Blues, and Romance.”
Friday evening at the Teatro saw the Natalie Braux Quartet hold forth with a set of Latin flavored, lyrical, swinging tunes that had the audience clapping! The highlight of the evening was a get-down, gut-bucket, extended blues number, “Blues for Alex,” which featured Vishnu Wood on bass. The set included all original compositions and arrangements by Braux, who doubled on clarinet and alto sax. Hailing from Guadalajara, she was additionally supported by local musician Ken Basman’s hot licks on guitar and Daddy Cool himself, Bobby Kapp, providing driving, tasteful rhythms on drums.

Get this: The Quartet had never played together as a unit before, and had one rehearsal before stepping onto the stage, but played like they had been together for ages! Shows what kind of talent we have here. 

The fun continued on Saturday night when The Cool Jazz Era hit the stage. This septet, led by festival director Salomon Maawad, came in blowing hard and never let up. The Era grooved the house with an intense set of funk/jazz/rock/Latin original compositions (and arrangements) by Maawad.

Local players such as Ken Basman (this guy is everywhere!) laid down funky guitar licks, Victor Monterubbio kept things happening with driving rhythms on the drums and Tyler Mitchell’s pulsing, melodic bass anchored the group. 

Maawad held forth on soprano and alto sax, supported by Mexico City-based Jako Gonzales also on alto, and a young, hugely talented Jerry Lopez who rocked the hall with a wailin,’ smokin’ tenor.

It goes to show ya’ San Miguel is a happening place with first rate musical talent all over town!

Dick Avery is a freelance writer and head sipper at VinoClubSMA. He can be reached at vinoclubsma@gmail.com  or check out his website www.vinoclubsma.com. 

Pre-Hispanic music at the Biblioteca
By Guillermo Méndez

Concert
Collar del Viento
Sat, Mar 15, 7pm
Teatro Santa Ana
50 pesos

Archaeological evidence suggests that the ancient Aztecs maintained a school of music at Tenochtitlan, their capital city. No doubt the young musicians in training studied the pre-Hispanic instruments that we find today in the museums of Mexico, instruments like the Teponaztli, a type of wood drum carved from a large tree trunk and the Quiquiztli (conch shell trumpet).

These instruments and many others will be played at a recital of pre-Hispanic music by a group called Collar del Viento (The Wind’s Necklace). The ensemble consists of four youngsters ranging in age from 11 to 18 years. They play pre-Hispanic music on replica instruments. Three members of the group have been playing together for over six years. The group is instructed by a professional Mexican musician from Pozos, Gonzalo Gómez.

Collar del Viento will perform in costume and face paint using the traditional ritualistic effects of incense, flowers and candles. After the performance the audience will have the opportunity to ask questions and examine the instruments.

Sunday matinee concerts continue
By Carly Cross

Love Songs
Xavier Hernández & Enrique Prado
Sun, Mar 16, 2:30pm
Teatro Santa Ana
Biblioteca Pública
Insurgentes 25
50 pesos

Tenor Xavier Hernández and pianists Liliana Gutiérrez and Enrique Prado will perform starting March 16 and continuing for four weeks. This series of concerts for tenor voice and piano has two distinct programs: “Love Songs” and “Latin Soul.” Maestro Hernández, who also plays the flute, and his wife, pianist Liliana Gutiérrez, are a remarkable pair of musicians who direct the Children Choir of San Miguel, the St. Paul’s Church Choir and the Voces Unidas Choir.

 These groups present several concerts throughout the year and their Christmas Concert is now a holiday tradition in San Miguel. Xavier and Liliana will perform together March 23 and April 6. Their repeated program will feature a Latin American theme, with Xavier also playing flute and guitar and with pieces by Astor Piazolla, Manuel Ponce, Maria Grever and Agustín Lara.

Maestro Prado is a well known pianist in this town who was trained in Texas and Cuba. Last year he started a successful series of dinner concerts called “Duets: A marriage of good food and fine music” where he is the pianist in residence. Enrique and Xavier will perform together the March 16 and 30. Their program of love songs will take you on a journey across cultures and through time with pieces by Schubert, Fauré, Weber and more.

These four concerts in March are a celebration of world music from various styles and origins, so don’t miss it! Tickets are available at Teatro Santa Ana.

Jeanette Macari: Siren and performer
By Janice Zimolzak

Performance
¡Viva el Tango!
Jeanette Macari
Wed, Mar 12, 8pm
El Viejo Topo Café-Teatro
Stirling Dickinson 28
175 pesos

The seductive energy of Jeanette Macari’s production “Viva el Tango!” is true confirmation of the highly acclaimed singer and actress’s versatility and mastery of cabaret genres. There was a time when she was required to bare her breasts and grow a fish tail, playing a mermaid who sang Mozart and danced mambo in the theater production of Atracciones Fénix, directed by the renowned diva, Jesusa Rodríguez.

Being dressed in those sequin beads—her biographers would say—marked the future of her talents in the world of performance art. Until that time her itinerary included the National Conservatory of Music in Mexico, a graduate from Guildhall School of Music and Drama in London and highly commended performances as Suzuki in Puccini’s Madame Butterfly, the grandmother in Manuel de Falla’s La Vida Breve, Count Orlovsky in Strauss’s Die Fledermaus, Anna in Kurt Weill’s The Seven Deadly Sins and the lead role in Bizet’s Carmen.

It was later on in her career, while writing and producing her own shows, that she began to explore the world of the cabaret. Developing a fusion of the spirit of music hall, the European cabaret of the thirties, traditional opera, the Broadway musical and the Mexican musical review, she was able to blend these genres and showcase the versatility of her own talents.

When this Arabian Mermaid was singing and wagging her tail, the term “performer” was just beginning to be used to define creatures who can survive in different environments; those that can transcend, without permission, from music to theater, from the great opera halls to cabarets. A true and remarkable performer, Macari is considered a groundbreaking artist for her original performance art creations and her emotional interpretations.

But to sing tango was the trajectory that was lacking in her career. Macari is presently performing in her own production of “Viva el Tango!” Presenting compositions by Cadícamo, Mores, Discépolo, Troilo and Piazzolla, the program draws us through the delirium and heart-rending that is Buenos Aires music, flirts with its rhythmic milonga, and, of course, with the satirical variant. Macari’s performance is accompanied by two tango powerhouses: Héctor “Bocha” Mazza on piano and Gabriel Fernández on the bandoneon (accordian).

Tickets for this and other performances are available at the theater daily 9am–8pm or call 154-8701 for reservations and more information.