It’s not just veterans and pensioners like the Buena Vista Social Club and Los Jubilados who are making excellent Cuban music these days, as these two recordings from Tumi Music attest.
Cándido Fabré is widely recognized from Latin America to Europe as a skilled vocal improviser in the tradition of Benny More, one of the pioneers of son. On La Habana Quiere Guarachar Contigo he provides a double handful of examples for his fame. Fabré’s rough-hewn baritone is as distinctive a voice as exists in Cuban music, and a departure from the more common tenor heard in lead vocalists on the island.
Behind him is an energetic charanga-style big band, playing a blend of son and salsa. The ensemble includes two violins and a flute which often team up on the melody, giving the impression of a much larger band. All the accompaniment, including the backing vocals, is very precise and crisp, and the effect is heightened by sharp, clear production.
A few guest musicians, including the bass singer Frank Solis, add variety to the music, which tends to settle into a single tempo that despite its energy can be monotonous after several tracks. There is very little in the way of instrumental soloing on any of the songs; the band pretty much exists to spotlight Fabrés singing, with the exception of a delightful but short instrumental final track.
(Tumi, 2000)
Fruta Bomba on the other hand is a much more varied collection. This young outfit whose name translates loosely as “young rebels of son,” plays strictly within the traditional son form, but stretches it to include diverse elements. The classic seven-member ensemble comprises only the traditional acoustic son instruments: guitar, tres, double bass, trumpet and percussion. Lead singer “Nene” Martinez has a supple tenor voice, and he’s assisted by two harmonizers, both of whom sing lead on at least one track.
Jóvenes Clasicos obviously have a grand time making their music, which includes a lot of bantering interplay, laughter and lyrical jokes. Musically though, they’re just as tight as any driving salsa band in the business, only with a lot more range. Styles on Fruta Bomba (which means pretty much what it sounds like in English, “fruit bomb” or “explosion”) include the ballads “Para siempre tenerte” and “La flor y la hoja seca,” salsas like “Esa mujer,” funk rhythms and rap-influenced improvisation on “Rezo,” and reggae beats on the title track and “Tranquilo corazon.”
As with La Habana, production on Fruta Bomba is excellent, with a big, clear, immediate sound. Liner notes and artwork on both discs is likewise professional and thorough. This is fun, sexy music, full of bursts of tropical flavor.
(Tumi, 1999)
