|
Van
Van Vamos! - A Concert Review:
Los Van Van at Maritime Hall San Francisco, Sat. Jan. 18 by Chuy Varela
With cries of "Viva Cuba," thousands packed Maritime Hall in San Francisco over two nights to greet the Cuban supergroup Los Van Van and savor a rare taste of Caribbean musical nirvana. The appearance was a long-awaited victory over the U.S. State Department, which after many attempts finally approved the group's work visas for their debut American tour. It was also a cultural coup for New York City, Chicago, Los Angeles, and San Francisco, where they gave one of the hottest latin dance concerts ever. The evening unfolded with Los Compas, a local latin dance band who gave an enthusiastic performance of largely covers that ranged from sixties Salsa to a variety of Western Hemisphere rhythms like 'cumbia' and 'merengue.' Despite their raw but feisty sound, Los Compas served largely as a backdrop for those filtering in searching out friends, seats, or potential dance partners. Charged with anticipation, when the headlining fifteen piece ensemble hit with "Ya Empezo La Fiesta" (The Party Has Begun) the place erupted with a roar! From the outset, Los Van Van grooved with an intensity so breathtakingly nuanced and controlled that the hall was instantly electrified. The resonant piano of Cesar Pedroso led the uproar as they kicked in with a 'songo, ' a rhythm innovated by the band in the eighties that fused North American rock 'n' roll and Funk with the traditional Afro-Cuban 'Son.' Towering lead singer Pedro Calvo began pulling women up on stage, coaxing them to dance as the band rolled out their eighties World hit, "Sandunguera." Up front bassist and bandleader Juan Formell smiled as he thumped out a hypnotic pulse that ground the swirling polyrhythms. Originally based on a traditional 'charanga' orchestra , the group was formed 27 years ago and modernized in 1979 in Havana when he added trombones to give the ensemble an added punch. Talented components like pianist Cesar Pedroso ("Pupi") and percussionist Jose Luis Quintana ("Changuito"), brought in modern ideas that gave the group a distinct 'ponche' (rhythmic sense), where the accents don't fall on the first beat but roll into it, pulling you along. The long, complex compositions were carefully crafted originals that left musicians in the audience gasping, dancers delighted, and "grunge-kid" onlookers bopping. This was not a crowd searching for deep lyrical meaning, and most of the songs were party tunes aimed to please them. An exception was "Soy Todo," with its hook 'coro' "Ay Dios Amparame" (God Shelter Me), off Los Van Van's latest CD, which closed out the first set. The song affirmed what it means to be Afro Cuban, and to keep faith in the deities of 'Santeria.' As it progressed, the lyrics became a metaphorical prayer asking for protection from misfortune. Vocalist Mario Rivera ("Mayito") pleaded for good things and virtues in his improvised verses as the crowd responded enthusiastically - "Amparame" - waved their arms. "If I don't believe in you who can I believe in?" Rivera lamented in Spanish, over an impassioned hip hop beat. During the break, you couldn't help but notice the graying hair of half the band and the den of young lions replacing outgoing veterans. This was most obvious among the trio of singers. Anchored by Calvo, who was decked in a blue double breasted blazer with black slacks and his trademark white 'campesino' Panama hat, has been with the group 23 years and has a rasp to his voice. Yet his youthful counterparts sported street gear of jeans, flannel shirts, caps, and sneakers, and looked like they could have dropped in off of any street corner in urban American. Rivera and Roberto Hernandez are amazing singers with distinctive resonate voices, who are integrating rap into a nouveau 'son' mix. Los Van Van picked up where they left off for their closing set. "Muevete" brought a burst of acknowledgement, and as the crowd could no longer dance for their sheer number, they gravitated toward the front of the stage. Despite the density, there was very little pushing or shoving; people were polite. "De La Habana a Matanzas" was a stunning salute to the 'rumberos,' where young Samuel Formell (Juan's son) was set loose on the timbales before Julio Norona blasted off on congas. While solos are intregal to their music they're never loose or open ended fitting precisely into the arrangement. After three hours of a sensuous, profound performance (filled with the added multi-media flash of the Maritime Hall light show and its superb Meyer Sound system), LOs Van Van finally started to wind down. As they walked off stage the cry for "Otra!" filled the hall before the ensemble returned with "Disco Azucar" as a fifteen minute encore. A great stateside debut, Los Van Van's performance was a long-awaited serenade by a creative dynasty of the highest caliber. Still unfettered by commercialism, their sole intent was to spin the crowd into a communal dance. Rumors flew that they'll be back in the summer for the Bill Graham Presents event "New Orleans By The Bay" show. Much love should be showered on Bill Martinez of Accion Latina and Leo Tizol of Puerto Rico for their determination to make this tour happen. Music of this quality should not be restricted by borders, and when it comes to the political rivalry between this country and Cuba, I say let Jesse Helms and Fidel Castro duke it out and get it over with. There's dancing to be done! © 1997 by Chuy Varela
|