The full title of this new release is Chávez Ravine . . . a record by Ry Cooder. It is the first record by Ry Cooder to be released in many years. Okay, Mambo Sinuendo was a duet album with Cuban guitarist Manuel Galban; The Buena Vista Social Club albums were produced and sweetened by Ry Cooder, but the stars were the old Havana musicians like Ruben Gonzalez, Compay Segundo and Ibrahim Ferrer. So apart from a selection of soundtrack albums, Cooder has not released an album of songs under his own name since 1987’s Get Rhythm! So this is a big day for all those fans out there who call themselves Rylanders! A new Ry Cooder album! And he SINGS again too!
This album has a long story behind its making. Even before he went to Cuba, Cooder was toying with this project. At first it was to have been accompanied by a book, maybe an animated film; Cooder had big plans. He spent over $300,000 of his own money on the project. It is extraordinary.
The story of Chávez Ravine, the place, is one of “eminent domain” (the right of the government to take private property for public use, with proper payment being made) and of “red-baiting” and “contracted hits” and lies, and cheating, and lots of other fine American stuff like baseball. PBS has been broadcasting a documentary on the topic, which features a soundtrack by Cooder. The story is more complicated than some reviews have been saying. There’s more to it than a neighborhood that was moved out to make room for Dodger Stadium. And Cooder has tried to pack the whole story into an 80-minute CD.
Inspired by a book of photographs, Cooder set out to tell history in song. Photographer Don Normark in 1949 took a walk in East L.A. and found three Mexican communities in the natural bowl that is Chávez Ravine. He collected his photos in a book entitled Chávez Ravine (published in 2003 by Chronicle Books) which shows the ramshackle yet joyful neighborhood, and the destruction of their way of life. When the book was used as the basis for the documentary, Normark contacted Cooder to provide the music. Cooder supplied new music, and then went on to create this CD, which may just be his masterpiece.
Accompanied by a 52-page booklet of photos, documents and drawings (and lyrics and commentary) the slipcase and beautifully designed package gives the impression of importance . . . but it’s the music that matters. The disc begins with delicate and subtle guitar, then a groove settles in and Cooder’s voice, quieter than usual, comes in: “Tell you ’bout a friend of mine that you don’t know/He lives up a road that’s lost in time . . . he’s a real gone cat . . . livin’ in a poor man’s Shangri-La . . .” This is the phrase Normark used to describe life in the Ravine, “a poor man’s Shangri-La.” Drummer Jim Keltner plays a major role on the album, showcasing his percussive mastery, and Cooder’s guitar has developed considerably into a rhythmic tool. He shows lessons learned from his work with Manuel Galban and adds his own years of experience to create a new sound.
“Onda Callejera” follows. It’s an original tune by David Hidalgo (of Los Lobos) and William Garcia, a.k.a. Little Willie G. (of Thee Midnighters fame), who is heard singing over the lazy, relaxed music laid down by Ry, Jim and Ry’s son Joachim, and bassist Mike Elizondo, Joe Rotondi on piano, Gil Bernal on tenor, Mike Bolger on trumpet, plus Hawaiian slack key guitarist Ledward Kaapana. “Onda Callejera” tells the story of a group of 300 sailors who made their way to Chávez Ravine one night in 1943 and beat up some local “zoot suiters.”
Cooder uses another new voice on “Don’t Call Me Red.” He takes on the persona of 90-year-old former public housing officer Frank Wilkinson, who tried to design low-rent housing for the ravine and ended up imprisoned (for refusing to testify before the House Un-American Activities Commission). His eventual victory? “I outlived those bastards after all!”
Lalo Guerrero joins the band to sing “Corrido de Boxeo” which also features Flaco Jimenez on accordian. The legendary Guerrero died after singing on this album, but not before he laid down three exquisite lead vocals. Ersi Arvizu sings lead (backed by Willie G., and Jacob Garcia) on “Muy Fifi.” This is the song where Ry brings out his electric slide guitar, too. Oooh! Shivers!
Joachim Cooder has played in several bands around L.A. with singers Juliette and Carla Commagera. The sisters make a couple of appearances on Chávez Ravine. “Chinito Chinito” is a highlight. This wonderful song tells the tale of a “pidgin-Spanish-speaking Chinese laundryman who rattles his change-box as he walks along while being heckled by two loud-mouthed Chicanas.” Where else are you going to find a song like that? Little Willie G. makes another appearance singing Leiber and Stoller’s “3 Cool Cats” in a rendition I’m sure they never envisioned.
After plans for public housing were put aside, the city government decided that the ravine would be a perfect site for a baseball park. They persuaded the Brooklyn Dodgers to trade coasts by offering this land for Dodger Stadium, before it was even voted on by City Council! The people were already being forced out of their homes. They came to refer to the space where they used to live by its position in the stadium; thus we get the song “3rd Base, Dodger Stadium.” Bla Pahinui (who sang a similar song about loss of homeland in Hawaii on the classic “Waimanalo Blues”) takes the lead on “3rd Base”; it’s moving, almost heartbreaking.
Years in the making, with old songs drawn from the archives, and new songs by Cooder and company, Chávez Ravine is one of the most important releases of the year both musically and historically. The sound is rich and deep with lots of guitars, Keltner’s amazing drums, and the participation of the older Mexican and American musicians in one magical blend.
(Perro Verde/Nonesuch, 2005)
