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pedro luis ferrer rustico flac tqmp

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Uploaded On:: July 24, 2011, 4:09 p.m.
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Pedro Luis Ferrer - RÃºstico 2005 * * * * * * * * * * * * * * * * * * * A self-styled Cuban original has produced what has to be one of the most satisfying tropical albums of 2005. Also one of the best acoustic albums. Though he now lives in Spain (1), Pedro Luis Ferrer remains loyal to the folksy changui music of the mountains of eastern Cuba, near Guantanamo. Folksy, but no folklorist, Ferrer is a stylist in his own right, merging changui with son, trova, and coros de claves, as suits his fancy. He calls his unique blend changuisa, but all one really needs to know is that the sound is warm, bursting with vocal harmony, ever graced by Ferrer\'s sure footed tres and guitar melodies, and all in all, deeply soulful. The group has an unusual soundâ€”jangly strings, robust vocal harmonies, the spare pop of hand percussion and the mysterious, deep thunk of the marimbula, a giant, Caribbean lamellophone. The marimbula is but one of many overt African references in Ferrer\'s music, and he makes a point to let listeners know that Africa comes to Cuba not only via black slaves, but also Spaniards who came to the island fresh from their centuries-long encounter with Moors during the Andalusian period. The song \"Changui Para la Pena (Changui for Sadness),\" makes reference to the Moors in its lyrics, but also in its decidedly African tres arrangement, complete with striking flashes of a dark, Arabic scale. From the African clavÃ© feel of \"Conga Vegeteriana (The Vegetarian Congo)\" (2) to the sweet, hipwise propulsion of \"La Cumbanchera,\" the African ambiance is pervasive throughout these 13, short, gem-like pieces. Ferrer\'s clear booming voice rings out on its own here and there, but often, it\'s the accent atop a fulsome vocal chorus. His daughter, Lena Ferrer, sings throughout, including a number of leads, the best of which, \"Nana Para Un Suspiro (Lullabye for a Sigh),\" finds her father accompanying lovingly, and fabulously, on nylon-string guitar and bajo. Lyric translations and fine sleeve notes provide insight into Ferrer\'s playful sense of humor and rustic sophisticate mind. This is a side of Cuban music every bit as worthy of global success as the elders of Buena Vista and the lions of timba. But if that never comes, one has the feeling that Ferrer and his delightfully informal group won\'t let it spoil their party for a minute. -- Afropop Worldwide (1) He actually lives in Cuba. (2) The Afro-Cuban rhythm, not the country. * * * * * * * * * * * * * * * * * * * Pedro Luis Ferrer Reinvents Cuban Music: Revolutionary Songs On His Own Terms \"I will never accept anyone telling me how much of a revolutionary I am,\" proclaims Cuban musician Pedro Luis Ferrer, whose CD, RÃºstico, will be released in the USA on March 8, 2005 by Escondida. \"When people talk to me about the concept of Cuban-ness I say \'I want to be the Cuban that I want to be,\'\" Ferrer continues. \"I am my own version of what is Cuban. I am my own version of changÃ¼Ã, I am my own version of son. I am my own version of trova. I am even my own version of the Cuban revolution!\" This spirit of reinvention appears throughout Ferrer\'s latest work. He continually draws upon his country\'s rich musical traditions and transforms them to create new meaning. So transformed is his music on RÃºstico, that he invented a new wordâ€”changÃ¼isaâ€”to describe the style. Ferrer takes changuÃâ€”from the mountains of Guantanamo, in Cuba\'s Eastâ€”and mixes it with related genres that have not received much attention, such as trova espirituana (from Santi Spiritus) and coros de claves, two styles from Central Cuba where Ferrer was born. By transforming the word itself from masculine to feminine, Ferrer simultaneously creates a musical concept that is more receptive and which can integrate more diverse elements, and pokes fun at the macho way in which music from the Eastern part of Cuba is often played. \"In Western Cuba, they sometimes play in a mocking way,\" explains Ferrer. \"They play the sonâ€”from which salsa originatedâ€”with a special beat, with a \'female touch.\' I am trying to recreate that in my word. This new term I use frees me from any kind of conventions, in terms of the changÃ¼Ã per se, and allows me a lot of freedom in creating music.\" This freedom is further emphasized since Ferrer gave up on having a band, instead forming what he calls a bunga, an old word from the countryside that refers to a small, improvised music group. \"A bunga is simply people getting together in small groups playing for the sake of playing,\" Ferrer explains. \"It didn\'t have an established format. Anyone could bring any instrument: an accordion; a drum; you could have a bottle with a clink-clink sound! And that\'s how we play: we rotate instruments, bring in new elements if we want.\" These new elements range from almost-lost Cuban traditions, instruments from elsewhere, and techniques from modern songwriting conventions. \"I\'m trying to get away from a nationalistic concept of music,\" says Ferrer. \"That\'s why you hear different elements.\" On \"CÃ³mo VivirÃ© Mi Cholita,\" a song about the struggle of a man that lives in the Andes, Ferrer uses vocal harmonies with Andean musical traces. On this song and four others, his daughter Lena Ferrerâ€”whose voice is featured throughoutâ€”uses the Peruvian cajÃ³n, rather than the more-Cuban rumba box. \"The Peruvian box has a sympathetic sound with the guitar and better capacity for subtletiesâ€”it has a hole in the back giving it more tonality and a loose plank that creates a snare-like sound; whereas the Cuban version is closed and sturdy. That doesn\'t mean I won\'t use the rumba box one day.\" Percussionist Basilio PerodÃn uses the marimbula, a large thumb piano of African origins, which was the first Cuban bass used in 19th century son. Whereas the early Cuban marimbula was not tuned, here it is re-created so PerodÃnâ€”who simultaneously plays clave, cow bell, and bongosâ€”produces musical notes to sound like a regular upright bass. The group uses an African clave rather than the more typical son clave. Even with these references to African origins in Cuba, Ferrer has a unique take on the subject. \"Music critics often refer to the African elements that originate from slaves,\" says Ferrer. \"But the African element also arrived from Spain thanks to years of Moorish domination! There are elements from Moorish culture that still survive in Cuban music. In changÃ¼Ã, the tres guitar sings along with the singer, without the use of the concept of harmony.\" The music on RÃºstico creates dialogue. Sometimes it is a conversation between Cuban instruments and those from elsewhere. Sometimes it is a discourse between tradition and innovation. And on \"Fundamento,\" the lyrics argue with the music. The song uses the son tradition of commenting about everyday life. It tells about going to a vegetable market and finding that a papaya or a mango costs almost your entire monthly salary. The lyrics are a sharp critique of Cuban reality today. Ferrer ironically teams the words up with music in the spirit of Carlos Puebla, a central singer of The Revolution. \"The original songs were not meant to critique The Revolution,\" explains Ferrer. \"But in this song you have a social criticism and reflection.\" Irony and word play is a Cuban tradition that Ferrer embraces. \"Conga Vegetariana\" is dedicated to two Norwegian, vegetarian friends. Ferrer found irony in their advocacy of a meatless lifestyle in the context of Cubans who go weeks without eating meat because of scarcity. Once again, two worlds collide in Ferrer\'s dulcet yet profound music and lyrics. \"Traditionalists in Cuba might tell you my music is not as traditional as it might sound,\" says Ferrer. \"I use tradition, to reinvent it, to join pieces that were separated. To bring forward elements that were left behind. People use tradition as a means of communication. But after a while their traditions just get repeated and they get bored with it. By reinventing these traditions for an audience, the tradition becomes alive again.\" -- rockpaperscissors.biz * * * * * * * * * * * * * * * * * * * Underground Man: An Interview With Pedro Luis Ferrer http://motherjones.com/media/2005/06/underground-man-interview-pedro-luis-ferrer * * * * * * * * * * * * * * * * * * * Track List 01 - Fundamento 02 - Ay, mi vidita 03 - Como vivirÃ©, mi cholita 04 - Maridos majaderos 05 - Si alguna vez 06 - ChangÃ¼Ã para la pena 07 - La cumbanchera 08 - Mi camino 09 - Puchita PelitÃ³n 10 - Conga vegetariana 11 - Margarita 12 - El molino de Constantino 13 - Nana para un suspiro * * * * * * * * * * * * * * * * * * * Artwork, EAC log and CUE sheet included. Audio format: FLAC (Free Lossless Audio Codec) http://flac.sourceforge.net/index.html Pastafari http://thepiratebay.se/user/pastafari/

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