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Reviews No Comments / Adonis and Osain del Monte

No Comments / Adonis and Osain del Monte

Those who are used to listening to a good rumba are forced to return to that movement of the feet marking the key, to that rhythmic swaying of the shoulders, but above all, to the energy that stirs within the body. spoiler alert: that vibration that the scholar tries to contain in an attentive listening position can last for days when it comes to the new album by Adonis and Osain del Monte.

Licensed by the Egrem label and recently released in March of this year, No comment speaks for itself. When it comes to rumba, when you carry feeling, there are plenty of explanations. Difficult task then, that of translating into words the musical richness that could only be compared with the deep mount of the orisha that names them. Without the need for an introduction, this review is nothing more than an invitation to meet a pure and up-to-date rumbera download.

To begin with, the earth shook when Osain's drums accompanied Alexander Abreu. In the midst of a war for greater racial justice, an issue like Race, ferocious timba that emerged in emancipatory response. 

Result of the happy alliance, this phonogram has the role of Alexander Abreu as music producer together with Adonis Panter in the direction and musical arrangements. The artistic cast is enriched by the presence of Alain Pérez, Emilio Frías (El Niño), Rodney Barreto and Eduardo Sandoval. This team, united in musical thought to Adonis himself, finds its maximum expression in the final arrangement of No comment.

Composed of ten themes and a bonus track, from the first listen, it strikes you with its technical maturity while various genres of Cuban popular music are set to accompany the rumba —when the opposite usually happens—. In this way, the message can embrace an audience that is not clearly rumbero, and also carry that saying-feeling of resistance towards an alter (“the commentators who talk and talk”) that have marked, marginalized or delegitimized the popular essence of the Cuban rumba Although Osain del Monte's own style remains, an ascending continuation is perceived with a high degree of elaboration with respect to his first album, pal mount (Egrem, 2015). The coherence in the dramaturgical line is conceived in parallel in both productions, by organizing the themes in such a way that there is a great variety of nuances. No Comments / Adonis and Osain del Monte

The challenge of finding something new to say reaches its peak in the version of a theme that has been recurrent in the rumba repertoire. In this case, Fool (Silvio Rodríguez) makes a folkloric tour with the introduction of batás with the touch of Oyá, followed by that of abakuá on the tumbadoras, to turn to guaguancó and finish in timba. Alexander's hand in hand with Adonis and all the semantic load of Silvio's text make the arrangement a forceful introduction, the door that opens and announces a universe as infinite as the accounts of the Yoruba idde. 

From this first moment, the concept that the group has been developing has been defended: the rumba is a multicolored spectacle refined in the exchange and fusion of elements of popular music and in the constant reworkings of the musical-expressive components of the Afro-Cuban heritage, decanted in the polyrhythm of the traditional yambú, columbia and guaguancó variants. With that said, we can move on to the topic. to the godfather, whose introduction is a recitation of the Palo Monte of the branch of Santo Cristo del Buen Viaje, accompanied by a recreation of the own touch of stick, which leads to the beats of the spiritual box and the rumba.

Hispanic sonority is at the center of the album with Hug. The Paco de Lucía school summed up in Alain Pérez's guitar and the flamenco box drum lead the song towards another cadence to refresh the rumba. While, No comment and The ebbo exploded they present other rhythmic combinations typical of timba and conga, which give it the character of a popular celebration in the typical midday of Callejón de Hamel.

Homenaje It is that song engendered in the very essence of life, just as the experienced rumbero expresses it in his natural wisdom. Los Muñequitos and Afrocuba de Matanzas, Clave and Guaguancó, Yoruba Andabo and Los Papines are five pillars that nourish the sound imagery of that rumbero. Thus, the choirs that have popularized these groups appear intertwined in a guaguancó theme that honors the genre. In the same variant, Potpourri groups very notorious themes within the rumba repertoire, some like Hey Paula popularized in the voice of Juan de Dios Ramos, and Deep Sorrows composed by Gonzalo Asencio.

Osain del Monte's creativity owes much to the vocal and compositional strategy of Rubén Bulnes. The legacy of Raíces Profundas y Clave y Guaguancó flows through its arteries, in the way of enunciating the song Juan de Dios and the organization of the creative process of Amado Dedeu. Four of the songs composed for the album are authored by Rubén: No comment, The international hug, Homenaje and To the Godfather. It is enough to mention the bullseye of the columbia in that constant flourish of song that is the “llorao”, to find a distinctive stamp in the timbre of her voice. Also the tessitura of David Abreu (Aspirina) and Maykel Falcón, together with Damaris Driggs and Jorge Enrique Salazar in the choirs, make up the accordion that extends with excellent balance, use of harmony and tuning. 

For Adonis Panter, the tumbadora is born from a tree and the leather comes from the animal. Leather, tree and human body merge in the force that comes from the Afro-Cuban worldview and derives in the rumba. Thus, when Adonis plays, he begins to fantasize about the beats that connect him to the secrets of his ancestors, in a way of recreating family tradition and folklore. Homenaje and Columbia they are a sign that in the hands of the percussionist, the fifth is a solo instrument with the ability to accompany and lead at the same time. The “closed timba” of the instrumental ensemble is completed by Bárbaro Crespo (Machito), Ramón Tamayo, Luis Raides Díaz (El Croque) and Israel Borrero (Tito). 

For the residents of El Juanelo and other Havana neighborhoods, for Natividad Calderón and the boys from Echu Alabboni, the Columbians of the diaspora and godfather Ahmed, the institutions of the rumba, the scholar who, as a faithful dancer, lets his body be carried away with this new key, and above all, for the good "commentators", those who follow the moderation and cadence of the genre: here are again Adonis and Osain del Monte. No comment it brings the thickness and ancestrality of the Afro-Cuban mountain, it brings the clean and vigorous rumba like yaya stick, opening the way to the running of the bulls these days, because it is the winning stick.

Ashe Osain, moguaye!

Listen No comment here.

Roxana Coz Clavier musicologist with the spoon and baroque clarino accompanist. Responsible for music lover child. He always loses his hearing aids. More posts

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