I came to love / Boris Larramendi
The rock of 13 and 8 is a place shrouded in legend, machinery of musical myths. Habana Abierta emerged from this location in the capital in 1996. That same year the group landed in Madrid with the aim of promoting their album hidden havana (BMG Music Spain / Ariola, 1995) and, since then, successes have not stopped happening. With the passage of time, its members, soloists with a gregarious hobby, chose to develop their careers individually, agreeing on concerts regularly. Vanito Brown, Luis Barbería, Andy Villalón, Kelvis Ochoa and Boris Larramendi are some of the most recurrent in the reunion. But today I come to talk to you, precisely, about Boris, who is still celebrating the ecstasy resulting from his latest record release.
I came to love (Borisongs LLC/ ASCAP, 2021) becomes dynamic, voracious phonogram, with incisive and determining lyrics. Based on the anti-establishment tradition of his work with Habana Abierta (Asere, what will fly?, perhaps the most popular), Boris turns to music to release the anguish of the emigrant, "guilty" of not suffering the misfortune of his countrymen, repeated in the memory of those left behind. stick to this profile Reality —theme that reveals the rock imprint of its author, amplifying the electric experience in Heriberto Rey and his guitar solo—, the animal arrived and there in Cuba (piece-epilogue that condenses all the denouncing effort shown in the album).
Even so, there is room for affection and closeness in these ten songs, there is still time to love. I will always be opens the CD, flourishes carnal. This guajira (repeated genre in Guajira of the pelican, a theme that favors a virtuoso performance of the kalimba and the marímbula) is a paragon of optimism, an offer of refuge. Ivette Falcón stands out on the cello, caressing her strings, while Pável Urquiza, veteran collaborator, plucks the ukulele with ease, a Polynesian gift.
I touch you, for its part, has its main thematic seduction in the emanations of nostalgia. In the instrumental section, Michael Fernández makes the bass his own and Segundo Mijares, with the saxophone as his standard, takes us back to the rhythmic fascination of jazz. The penultimate track on the plate, named the next party, flirts with our homesickness and gives voice to two regulars from Habana Abierta. Kelvis Ochoa combines vocal verve with the aforementioned Pável Urquiza in an invitation to coincide, a meeting proposal, a reason “to fly above the sparrow”.
As an enhancer for this instrumental skill, Boris requested the technical sponsorship of Oscar Autie, a regular at the Grammy gala. I came to love It was mixed at the Californian El Cerrito Studio, which has featured artists such as Jackson Browne, Diego El Cigala, Fito Páez, Issac Delgado, Carlos Varela and Silvio Rodríguez, among many others. Thus, Boris Larramendi polishes rough edges and spruces up the invoice of his phonogram, signed under the seal of such a prestigious house.
The genres on this CD are overwritten and interwoven. The mixture germinates multiple, in a heterogeneous fusion of rhythms that seem (at first sight) irreconcilable. The quality and variety of the guests (in communion with the universal desires of Boris) favor the neighborhood between “disparate” genres and dispersed in the spectrum of popular music. Rock, funk and jazz intersect with a bit of flamenco and bossa nova. Likewise, the artist resorts to changüí, timba and guajira, always seasoned with some sonero rhythm, a house brand, a personal signature.
The public, who appreciates the productions of plural composition, will be pleased while consuming this latest album by Boris Larramendi. The generic variety stimulates the senses and invites us to prick up our ears, behind some convenient classification. The desire to denounce that distills the album, so grateful for the Cuban who transits (suffocated) under the political sun of the Island, knows how to take turns singing love and partying. In short, there is not enough reason, on this plate, not to be loved by Boris.