{"id":3003,"date":"2019-05-29T00:00:43","date_gmt":"2019-05-29T04:00:43","guid":{"rendered":"https:\/\/magazineampm.com\/?p=3003"},"modified":"2019-05-29T12:42:01","modified_gmt":"2019-05-29T16:42:01","slug":"la-egrem-dio-la-orden-a-romper-el-coco-resena-alexander-abreu-alain-perez-mayito-rivera","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/la-egrem-dio-la-orden-a-romper-el-coco-resena-alexander-abreu-alain-perez-mayito-rivera\/","title":{"rendered":"The Egrem gave the order: To break the coconut"},"content":{"rendered":"<p>&quot;It&#039;s a story that Arsenio Rodr\u00edguez died poor and forgotten,&quot; Mario Bauz\u00e1 told Leonardo Padura at a New York bar. The two Cubans tried to find essences of the Island and <em>The Wonderful Blind<\/em> it is. <!--more-->The kick of a beast (presumably a mule) left him blind in childhood, in the fifties he went to the United States behind a cure he did not find and said: &quot;reality is born and dying.&quot; But he had already created the sets or, at least, Arsenio Rodr\u00edguez had felt crystallize that sound, then they would come: The Casino Set, Roberto Faz, La Sonora Matancera, Los Latinos, Rumbavana or Son 14. All that fits (is) on a disc that Alden Gonz\u00e1lez devised. His new proposal for the Egrem together with Alain P\u00e9rez, Alexander Abreu, Mayito Rivera and Geovanis Alc\u00e1ntara: <i>to break the coconut<\/i>.<\/p>\n<p>Alden Gonz\u00e1lez is recognized for his work with El Septeto Santiaguero for almost 10 years. Right in this 2019 he left the group to begin to dedicate himself to what he wanted: to produce. Now he is presented as a producer in collaboration with the experienced arranger and also producer Geovanis Alc\u00e1ntara in a tribute to the sets that goes from the 50s to the 80s, so there is much to propose in 10 songs.<\/p>\n<p><i>to break the coconut<\/i> opens with the namesake of Otilio Portales defended, with an old voice, by Alain P\u00e9rez and closes with a trio of the protagonists. Alexander Abreu, Mayito Rivera and Alain Perez share: <em>Agua que cae del cielo<\/em>, <em>The morning is<\/em>, <em>The trail is burned<\/em> and <em>A Bayamo en coche<\/em>. In the midst of everything, a selection of <em>hits<\/em> almost insurmountable.<\/p>\n<p>Each song on the album is dedicated to a set. The producers made it explicit, not only in the album cover, but in each of the themes: Roberto Faz, and Conjunto Casino, Pacho Alonso and Los Bocucos, Arsenio Rodr\u00edguez, La Sonora Matancera, El ni\u00f1o Rivera, El Conjunto Matamoros , Chapot\u00edn, the tresero Luis Lija Ortiz and Panchito Riset, Rumbavana and Son 14 with, of course, his two fundamental figures: Adalberto Alvarez and Tibur\u00f3n Morales.<\/p>\n<p>The phonogram arrives after an intelligent inquiry. More than 20 years have passed since the Buena Vista Social Club and the Afrocuban All Stars. The producers have known to anthologize without repeating, although nobody can ignore the sonorities of Oscar de Le\u00f3n or Laito Sureda, a protagonist of this sound that found resurrection in the nineties. <span id=\"cch_f38208d9016968a\" class=\"_mh6 _wsc\"><span class=\"_3oh- _58nk\">Of course, it is a danceable album, so the bolero hardly enters the stage with <em>I hate you and I love you<\/em>, the <em>track<\/em> number seven.<\/span><\/span><\/p>\n<p><iframe style=\"width: 100%; max-width: 660px; overflow: hidden; background: transparent;\" src=\"https:\/\/embed.music.apple.com\/us\/album\/a-romper-el-coco\/1463463802\" height=\"450\" frameborder=\"0\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\"><\/iframe><\/p>\n<p>Every <em>groove <\/em>on this plate counts. To make an anthology is to be cornered by forgetfulness, but in this case they are great topics well interpreted and arranged. If some objection I made in a moment was the brevity, but in the phonogram it reads &quot;Volume one&quot;, which presupposes sequel.<\/p>\n<p>It exists in <i>to break the coconut<\/i> respect to the original arrangements and the novelty of this time appears. It is as if they had traveled to the times of each theme with technology and musicians. Gonz\u00e1lez and Alc\u00e1ntara not only cited Alain P\u00e9rez, Mayito Rivera and Alexander Abreu, but also figures of the caliber of Charlie Aponte, Edwin Bonilla, Bobby Allende and groups like La Conga de Los Hoyos.<\/p>\n<p>Although the album, as it usually happens these days, was recorded in several studios, most of the recordings fall to M\u00e1ximo Espinosa, Edgar Leyva and Iv\u00e1n Salas of the Siboney studios in Santiago de Cuba. In the mix they repeat Salas and Espinosa but the producers Geovanis Alc\u00e1ntara and Alden Gonz\u00e1lez are added. The mastering was done at Power Light Studios, Miami, by Ronnie Torres.<\/p>\n<p>This must be a key disc, not only for the Egrem, but for the entire Cuban music industry. <i>to break the coconut<\/i> sum in its core tradition, current and a sound, as far as I can hear, impeccable. But I insist it is not an anthology to keep future generations. This is a record that could be played anywhere, under any skin, at any time. I was in the Siboney studios to listen to the first chords and I already suspected it, the pair Gonz\u00e1lez-Alc\u00e1ntara understands, and decides with certainty which instrument, voice or microphone goes better with the son, the conga or the chachach\u00e1. The ensembles have here a tribute that reincorporates them to the 21st century, a succession of successes where the producers chose well musicians, studios and singers. So obey the orders of the first subject defended masterfully by Alain P\u00e9rez. Break the coconut, it&#039;s beautiful music what it will have.<\/p>\n<div class=\"su-note\"  style=\"border-color:#e5e54c;border-radius:3px;-moz-border-radius:3px;-webkit-border-radius:3px;\"><div class=\"su-note-inner su-u-clearfix su-u-trim\" style=\"background-color:#FFFF66;border-color:#ffffff;color:#333333;border-radius:3px;-moz-border-radius:3px;-webkit-border-radius:3px;\">\n<p>Disc themes To break the coconut<\/p>\n<p>1- <i>to break the coconut<\/i> (Otilio Portal) (Tribute to Conjunto Casino and Roberto Faz)<\/p>\n<p>2- <i>How rich is this<\/i> (Enrique Bonne) (Tribute to Conjunto Los Bocucos and Pacho Alonso)<\/p>\n<p>3- <i>Potpourri by Arsenio Rodr\u00edguez<\/i> (<i>Change the step, Mami I liked it, Sandunguera, With a love another love is erased<\/i>) (Arsenio Rodr\u00edguez - Israel Rodr\u00edguez) (Tribute to Arsenio Rodr\u00edguez)<\/p>\n<p>4- <i>Ave Mar\u00eda Lola<\/i> (Sergio Gonz\u00e1lez) (Tribute to the Sonora Conjunto Matancera)<\/p>\n<p>5- <i>The Jamaican <\/i>(Andr\u00e9s Hechavarr\u00eda) (Tributo al Ni\u00f1o Rivera)<\/p>\n<p>6- <i>I take it<\/i> (Rafael Cueto) (Tribute to Conjunto Matamoros, Beny Mor\u00e9 and Johnny Pacheco)<\/p>\n<p>7- <i>I hate you and I love you<\/i> (Enrique Alessio-Reinaldo Yiso) (Tribute to the Ensemble of Luis &quot;Lija&quot; Ortiz and Panchito Riset)<\/p>\n<p>8- <i>A bit<\/i> (Sabino Pe\u00f1alver) (Tribute to Conjunto Chappott\u00edn, Lil\u00ed Mart\u00ednez and Miguelito Cun\u00ed)<\/p>\n<p>9- <i>Black Society<\/i> (Arturo L\u00f3pez) (Tribute to Conjunto Rumbavana and Jose\u00edto Gonz\u00e1lez)<\/p>\n<p>10- <i>Potpourri of Son 14<\/i> (<i>Water falling from the sky, The morning is, The trail is burning, To Bayamo by car<\/i>) (Adalberto Alvarez) (Tribute to Conjunto Son 14, Adalberto \u00c1lvarez and Tibur\u00f3n Morales)<\/p>\n<p>Arrangements:<\/p>\n<p>Geovanis Alc\u00e1ntara, Roberto Linares &quot;El Se\u00f1a&quot; (2, 4 and 8)<\/p>\n<p>Andrecito Hernandez (5)<\/p>\n<p>Musicians<\/p>\n<p>Alexander Abreu: leading voice in 2, 5, 9 and 10, trumpet solo in 4 and 9<\/p>\n<p>Alain P\u00e9rez: leading voice in 1, 4, 7 and 10<\/p>\n<p>Mayito Rivera: leading voice in 3, 6, 8 and 10<\/p>\n<p>Charlie Aponte: leading voice in 3<\/p>\n<p>Edwin Bonilla: Bongo and bell in 1 and 3<\/p>\n<p>Bobby Allende: Congas in 9<\/p>\n<p>Angel Salazar: second voice in 3, 8 and 9<\/p>\n<p>Angel &quot;El Puro&quot; Valerino: second voice in 5, choirs<\/p>\n<p>Tony Rod\u00f3n: choirs<\/p>\n<p>Maikel Salazar: choirs<\/p>\n<p>Alejandro Morcate: choirs<\/p>\n<p>Geovanis Alc\u00e1ntara: piano (only 8)<\/p>\n<p>Carlos Javier Alc\u00e1ntara: piano (only in 5)<\/p>\n<p>Jos\u00e9 \u00c1ngel Mart\u00ednez: low<\/p>\n<p>Yunior &quot;Cotico&quot; Hechavarr\u00eda: three (alone in 3 and 6)<\/p>\n<p>Sergio Cardona: three<\/p>\n<p>Aliannis Mora: three<\/p>\n<p>Robin Matos: guitar<\/p>\n<p>Yordan Hechavarr\u00eda: guitar<\/p>\n<p>Richard Rabelo: congas<\/p>\n<p>Emilio Rodr\u00edguez: bongo and bell<\/p>\n<p>Wilber Cos: bongo<\/p>\n<p>Alfredo Fuentes: bell<\/p>\n<p>Degniel &quot;Chacho&quot; Sevila: timbal<\/p>\n<p>Alejandro Garrido: maracas<\/p>\n<p>Ismael Borges: g\u00fciro y claves<\/p>\n<p>Angel Guti\u00e9rrez: keys<\/p>\n<p>Angel &quot;Caballito&quot; Beltr\u00e1n Jr: trumpet<\/p>\n<p>Raony S\u00e1nchez: trumpet (solos in 3, 5 and 6)<\/p>\n<p>Benilde Guzm\u00e1n: trumpet<\/p>\n<p>Osmandy Phillips: trumpet<\/p>\n<p>Fernando God\u00ednez: trumpet<\/p>\n<p>Angel &quot;Caballito&quot; Beltr\u00e1n Sr: trumpet in 2<\/p>\n<p>Frankis Lagno: trombone<\/p>\n<p>Idelisa Ortiz: clarinet<\/p>\n<p>Dayana Villavicencio: clarinet<\/p>\n<p>Special participation of La Conga de Los Hoyos in 9, directed by L\u00e1zaro Banderas (fifth in 9)<\/p>\n<p>Design: Amels Rodr\u00edguez &amp; Alberto Lescay<\/p>\n<p>Photos: Reinier Char\u00f3n<\/p>\n<p>Creative direction: Alden Gonz\u00e1lez<\/p>\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>&quot;It is a story that Arsenio Rodr\u00edguez died poor and forgotten,&quot; Mario Bauz\u00e1 told Leonardo Padura in a New York bar. The two Cubans tried to find essences of the Island and El Ciego Maravilloso is.<\/p>","protected":false},"author":167,"featured_media":3006,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[25],"tags":[1089,13,1093,1090,1092,545,1094,1091,15],"coauthors":[256],"class_list":["post-3003","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-resenas","tag-a-romper-el-coco","tag-alain-perez","tag-alden-gonzalez","tag-alexander-abreu","tag-conjuntos","tag-egrem","tag-geovanis-alcantara","tag-mayito-rivera","tag-son"],"acf":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2019\/05\/Alexander-Abreu-Alain-P%C3%A9rez-Mayito-Rivera.jpg?fit=1600%2C1081&ssl=1","_links":{"self":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/3003","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/users\/167"}],"replies":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/comments?post=3003"}],"version-history":[{"count":0,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/3003\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media\/3006"}],"wp:attachment":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media?parent=3003"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/categories?post=3003"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/tags?post=3003"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/coauthors?post=3003"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}