Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Most Popular

Reader's Picks

Top Recommendations

A short list of Broward/Palm Beach's most popular hot spots.
user content provided by: LikeMe.net & Broward-Palm Beach New Times

National Features >

  • Riverfront Times

    Where's the Beef?

    Allison Burgess stakes her reputation on mystery meat.

    By Aimee Levitt

  • City Pages

    Carp Killah

    Just in time for summer, it's again safe to fish with bows and arrows in Minnesota.

    By Bradley Campbell

  • Village Voice

    The Man in Our Mirror

    A black American's eulogy to Michael Jackson.

    By Greg Tate

  • Miami New Times

    Smoking Guns

    Miami's latest vice? Black-market cigarettes.

    By Tim Elfrink

Various artists

Si Para Usted: The Funky Beats of Revolutionary Cuba (Waxing Deep)

Share

  • rss

By Ernest Barteldes

Published on June 06, 2007 at 1:01pm

During the '70s, a slew of Cuban songwriters and musicians who had their ears tuned to illegal radio from the States started blending Afro-Cuban music with the sounds of American soul and funk. In this collection, compiled by music historian Dan Zacks, who found some of the source tapes in a warehouse in Havana, we hear what could arguably be called the roots of Cuban jazz fusion, where electric guitars and keyboards meet the rich, lively percussion that so characterizes the music of that country. Among the disc´s highlights are Mirtha y Raul´s ¨Casina y Epidecus,¨ which employs Middle Eastern instruments and an eerie movie-trailer-like narration, and Irakere´s ¨Bacalao con Pan,¨ an electric, guitar-based track with plenty of brass that brings the arrangements of the late Arif Mardin to mind (Irakere, by the way, featured now-legendary figures Paquito D´Rivera, Chucho Valdes, and Arturo Sandoval). Listen also to ¨Adeoey,¨ a tune that was clearly intended for the dance floor but that explores weird synth sounds and heavily distorted guitars.