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Buena Vista Social Club is an album made by Juan de Marcos González and American guitarist Ry Cooder with traditional Cuban musicians. The album was produced Cooder who travelled to Cuba to record sessions with the musicians, many of whom were previously largely unknown outside Cuba. The musicians and the songs were also featured in a documentary film of the same name. The music featured on the album was inspired by the Buena Vista Social Club, a membership club that was at its height during the 1940s. Many of the musicians performing on the record were either former performers at the club or were prominent Cuban musicians during the era of the clubs existence. Other younger musicians on the record trace their musical roots back to pre-revolutionary Cuban music.
In 2003 the album was listed by Rolling Stone magazine as #260 in The 500 Greatest Albums of All Time.
Background to the recordingIn 1996, American guitarist Ry Cooder had been invited to Havana by British world music producer Nick Gold of World Circuit Records to record a session where two African High-life musicians from Mali were to collaborate with Cuban musicians.[1] On Cooder's arrival (via Mexico to avoid the ongoing U.S. trade and travel embargo against Cuba),[2] it transpired that the musicians from Africa had not received their visas and were unable to travel to Havana. Cooder and Gold changed their plans and decided to record an album of Cuban son music with local musicians.[1] Already on board the African collaboration project were Cuban musicians including bassist Orlando "Cachaito" López, guitarist Eliades Ochoa and musical director Juan de Marcos González, who had himself been organizing a similar project for the Afro-Cuban All Stars. A search for additional musicians led the team to singer Manuel "Puntillita" Licea, pianist Rubén González and octogenarian singer Compay Segundo, who all agreed to record for the project.[1]
The album was recorded in just six days and contained fourteen tracks; opening with Chan Chan written by Compay Segundo, a four chord son that was to become what Cooder described as "the Buena Vista's calling card";[4] and ending with a rendition of La Bayamesa, a traditional Cuban patriotic song (not to be confused with the Cuban national anthem of the same name).[5] The sessions also produced material for the subsequent release, Introducing... Rubén González, which showcased the work of the Cuban pianist.[2] SongsChan Chan"Chan Chan", the first song on the album, is a Cuban son composition by Compay Segundo, revolving around two central characters, 'Juanica' and 'Chan Chan'.[6] The song was one of Compay's last compositions and was written in 1987.[6] "Chan Chan" was recorded by Segundo himself various times as well as by many other Latin artists. El Cuarto de TulaEl Cuarto de Tula was composed by Luis Marquetti, cousin of Cuban singer songwriter Cheo Marquetti, in 1945. It is sung by Eliades Ochoa with Ibrahim Ferrer and Manuel "Puntillita" Licea joining Ochoa in an extended descarga (jam) section improvising lyrics. Barbarito Torres plays a frenetic laoud solo towards the end of the track. Timbales are played by the 13 year old Julienne Oviedo Sánchez.[7] Dos GardeniasDos Gardenias is a bolero sung by Ibrahim Ferrer. The song was written by Isolina Carillo in the 1930s and became a huge success in the 1940s. The song was chosen for the album after Cooder heard Ferrer and Rubén González improvising the melody before a recording session. Ferrer learnt the song whilst playing with Cuban bandleader Benny More.[8] Y Tú Qué Has Hecho?Y Tú Qué Has Hecho was written 1920’s by Eusebio Delfín and features his friend Compay Segundo on tres and vocals. Segundo was traditionally a "second voice" singer providing a baritone counterpoint harmony. On the Buena Vista Social Club recording of Y Tú Qué Has Hecho, he multitracks both voices. The song also features a duet between Segundo on tres and Ry Cooder on guitar.[9] Veinte AñosVeinte Años is a bolero written by Mar’a Teresa Vera and is sung on the Buena Vista album by the only female in the ensemble, Omara Portuondo with Segundo providing baritone.[10] El CarreteroEl Carretero is a guajira (country lament) sung by Eliades Ochoa with the full ensemble providing additional instruments and backing vocals. CandelaCandela is a popular son written by Faustino Oramas with lyrics rich with sexual innuendo. On the album it is sung by Ibrahim Ferrer who improvises vocal lines throughout the track, and the whole ensemble perform an extended descarga. Buena Vista Social ClubBuena Vista Social Club was written by bass player "Cachaíto"’s father, Orestes López.[1] The song spotlighted the piano work of Rubén González and it was recorded after Cooder heard González improvising around the tune's musical theme before a day's recording session. After playing the tune, González explained to Cooder the history of the social club and that the song was the club's "mascot tune".[1] When searching for a name for the overall project, manager Nick Gold chose the song's title. According to Cooder, "It should be the thing that sets it apart. It was a kind of club by then. Everybody was hanging out and we had rum and coffee around two in the afternoon. It felt like a club, so let’s call it that. That’s what gave it a handle."[1] Track listing
References
See also
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