Roberto Fonseca and a concert for radioactive trio
The pianist is fenced. It is surrounded by the usual accomplices: the piano, keyboards, synthesizers, and endless cables. Standing with his hands inside the brick tracksuit, the pianist has not yet played a single note. Don't clap: look. He doesn't smile: look. Mind you, move your head to the rhythm of the music and, at the same time, nod. Something is good for those who accompany it. In front, the battery sounds. He does it hugely. The bass, in the center, marks the tempo of what is just beginning. The pianist, while, just look. Then he sits in the seat and starts playing the first note. And the first note is no longer a note but a spring that activates a whole mechanism capable of storing energy and returning it in the form of music, a kind of radioactive substance that runs from your fingers to the piano, and vice versa. Pollution, then, is inevitable.
It is Saturday, October 5, it is Roberto Fonseca's concert, and the Cuban Art Factory has another rhythm. A crazy rhythm. Someone on my right says something like: "It seems that Cimafunk is going to play here ." It refers, no doubt, to the mass that has suddenly become space. There are, let's say, too many people.
Even so, Roberto Fonseca continues to make sound from those black and white keys that, in turn, strike the steel strings with felt-lined hammers that are, in the end, those that translate everything he wants to tell us. But the pianist gets up again. Search your site in another area of the stage. It is hyperactive. For some strange reason, he cannot remain in the same place for a long time and starts playing the keytar while interacting with the public and asks him to follow with him that melody he gives him today. To put it in some way, that melody doesn't sound like anything. Lluviathe first song of the night is a new song. Very new, we could say, because it does not appear in the entire Fonseca discography, not even in its most recent phonogram YesunYesun , that on October 18 it will be released under the French label Walgram on all digital platforms and that today, we know, has come to present. So this is a total premiere. The grateful, then, we follow the game. We accompany him in the choir. Fonseca has fun.
Already in Kachuchathe second song of the night and second of YesunRoberto ventures into the vocoder and sings. Sing and look straight ahead. Who follows the straight line that draws his gaze, then notices that Fonseca looks at Ruly Herrera in the drums. Piano and drums communicate and what is heard is something tremendous. There is a time when Fonseca and Ruly just touch and look at each other and laugh - Yandy Martínez, meanwhile, continues from the bass, unaffected, on his own. There is a moment, or several when it seems that there is only that pair on stage. A winning pair, no doubt. People, meanwhile, go crazy.
Later, after listening Abakua - anhother track orphan disc track - Yandy's turn comes. In the center of the stage the double bass rises, the musician seems to embrace it and, although the dimensions of that instrument surpass him, the double bass player dominates it. His thin hands, his long and hooked fingers lightly caress those four strings, while the bow rubs them as if making that sound of grave tessellation was the simplest thing in the world. Without warning people to start singing that verse of Bésame, bésame mucho/ como si fuera esta noche la última vezThe song, written in 1940 by Mexican composer Consuelito Velázquez and that has gone around the world in countless versions - even one in English by The Beatles - then returns in the form of jazz.
It's midnight and Fonseca continues, from the piano, making faces and gestures, it seems that he is enjoying the matter. The pianist plays Congo Arabe, a song belonging to his album Zamazu (2007), and then says he has special guests. People know, or imagine, who it is. A Roberto Fonseca concert - even when it is a trio concert - cannot happen without involving much of crew of Temperamento's crew. So the trumpeter Roberto García and the saxophonist Javier Zalba take the stage. They do it to interpret what is, perhaps, one of the best tracks by Yesun. Because Vivo is that, an extremely dynamic, extremely energizing theme.
But what people don't imagine is what will happen next. It has no how. Fonseca advances something, but people don't imagine. Fonseca says, again, that she has a guest, she says she is very pleased that she is here tonight. But when he says the name of Danay Suárez, very few go crazy. However, the Cuban rapper stands in front of everyone and begins to do what she knows best. Cadenas is the penultimate theme of the night and the third of the new album, where Danay - who doesn't breathe, who closes his eyes, who wears blue - says things like this:
"If the man knew where his fault began, the measure of his debt and that life is a door, he was not a collector of closing keys. The true war would fight in the spirit. If man knew where his grace is because he who is wise is not wasting his time accumulating treasures that the wind will take away, putting hope on a baseless wall. "
At the close, Danay Suárez, rapper, black, Cuban, with songs like Yo aprendí, Individual and Esta guerra tan violentasays she is very excited; He also says that one day he would like to sing in this place for all of us. And all of us, or at least I who have never seen Danay Suárez in concert, think that, indeed, we would also like to.
But let's go back to Fonseca and this concert for radioactive trio, which is almost coming to an end: the pianist asks if people are tired, someone from the bottom asks Aggua, the single whose video on YouTube already exceeds eighty-five thousand views; He, meanwhile, prefer to close with Mambo pa la niña.
It may be obvious, but at that moment I wonder what Fonseca has with the mambo and what the mambo has with him. Perhaps that relationship feeds on the Afro-Cuban origin of the genre; the truth is that on this occasion electronic sonorities take over the traditional ones and together they revive a mixture full of colors that, although difficult to believe, bursts in ship 4 that night. The dance, the enjoyment, the good vibes on stage are guaranteed.
Periodista antes. Editora ahora. Como a Tom Waits, le gustan las hermosas melodías que cuentan cosas terribles.