{"id":4147,"date":"2019-10-14T05:00:05","date_gmt":"2019-10-14T09:00:05","guid":{"rendered":"https:\/\/magazineampm.com\/?p=4147"},"modified":"2019-10-14T09:27:36","modified_gmt":"2019-10-14T13:27:36","slug":"la-guaperia-segun-zenet-resena","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/la-guaperia-segun-zenet-resena\/","title":{"rendered":"La guaper\u00eda, according to Zenet"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">It isn't that they hadn't warned us. It was an afternoon in Barcelona that the poet Alexis D\u00edaz-Pimienta told us as if nothing had happened.: \u201cI have been enrolled in an album by Toni Zenet. An album of boleros and songs \u201d. Well how good. \"He has brought together a lot of Cuban musicians ...\" Congratulations, Alexis, give us that as soon as you can, give it. And a year went by at least until it arrived <\/span><i><span style=\"font-weight: 400;\">La guaper\u00eda<\/span><\/i><span style=\"font-weight: 400;\">.\u00a0<\/span><!--more--><\/p>\n<p><span style=\"font-weight: 400;\">From <\/span><i><span style=\"font-weight: 400;\">Los mares de Cina<\/span><\/i><span style=\"font-weight: 400;\"> We had been following it on YouTube, on Facebook videos, what was going on here or there. We had \"put a face\" - as they like to say on the peninsula - once it appeared unexpectedly about ten years ago in the midst of the overflowing of so much more or less bland pop, so much prefabricated usual tracing and so much amateur TV show that emulates with well-known songs of celebrities ... in English, in the case of Spain.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Zenet brought that first album tremendously well thought out, sharp, hopeful, well sung and played in 2008. Awarded as a \"revelation artist\" it was an announcement, really that voice of his scaled, sometimes sudden; the corrugated expression capable of carrying, however, tenderness. Then two or three more albums arrived, always with lyrics by one Javier Laguna. \u00bf Who is this Javier Laguna, author of such texts as good, (<\/span><i><span style=\"font-weight: 400;\">Estela<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Las causas perdidas<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Dream about you<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Amaneci\u00f3 sin querer<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Mil veces prefiero<\/span><\/i><span style=\"font-weight: 400;\">...) made in the image and likeness of this newcomer who was coming back from it is not known what? A great singer is not, but knows how to say his things. With that beautiful, as they say in Cuba.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">How funny, we said, when Zenet appeared a few years ago with <\/span><i><span style=\"font-weight: 400;\">Toda una vida<\/span><\/i><span style=\"font-weight: 400;\">by Farres , that labored tenors, baritones and mezzos in the 40s and wore riding clothes songbooks, cancioneras, bolero singers, singers guapachosos and rumberos in the 50s and 60s, of course, the last century to today. In Spain, Mach\u00edn popularized it, as much as Cuban repertoire. And how funny we found Zenet a few years ago in <\/span><i><span style=\"font-weight: 400;\">T\u00fa no, yo s\u00ed<\/span><\/i><span style=\"font-weight: 400;\">, by Matamoros, with Alain P\u00e9rez in the second voice ... A little \" tie up \", yes, ending in point the bolero-son's sentence end, avoiding that final rounding in the choirs that have the two or three old versions, Matamorinas , with its tempo thrown \"backwards\", but good. It was \"a grace.\"<\/span><\/p>\n<div class=\"video-container\"><iframe loading=\"lazy\" title=\"Making of La Guaper\u00eda\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/mypR_LtNw54?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><span style=\"font-weight: 400;\">A good day, not long ago, arrived <\/span><i><span style=\"font-weight: 400;\">La guaper\u00eda. <\/span><\/i><span style=\"font-weight: 400;\">What a repertoire responsible - we said, when focusing on the back cover of the CD -, what a guapo Zenet . Not in the meaning of the Andalusian word for beautiful and good looking - long ago extended by Spanish lands and by osmosis and trasunto, already here - but by courageous, courageous and hard-fought fight; brave in struggle with the adversary or enemy *, Cuban meaning that is also taken by bully or forgiving. Let's see what brings the little man .\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And that way Pimienta spoke in rhyme, just placing the disc before a timid Guaguanc\u00f3: \"Universal Guaper\u00eda \/ woven by the songs, \/ lyrical evocations,\/ musical spell.\" After that promising portico (and so close to its protagonist), began a <\/span><i><span style=\"font-weight: 400;\">Est\u00e1s equivocada <\/span><\/i><span style=\"font-weight: 400;\">of stigma<\/span> <span style=\"font-weight: 400;\">cabaretero , blizzard profusion, in which the fencer reproachful letter became so low in the table at breakfast time, even when done on a tutti of jazzband . We miss the Rolando Laserie vibrating with Duarte on the beat , and - if we go back to our Pleitocene - Ren\u00e9 Cabell , still on the beguine , but fed up challenging (in CMQ recording), like the version of Bobby Cap\u00f3, for the year 42, with budding mambo, for that <\/span><i><span style=\"font-weight: 400;\">Est\u00e1s equivocada<\/span><\/i><span style=\"font-weight: 400;\"> It is one of those predestines that conclude (and that concluded in its day, that is, already in the 50s) in the bolero-mambo hybrid, not to mention the great Miguelito Cun\u00ed with Arsenio Rodr\u00edguez of the year 44, they are male by. Thus we begin to miss, to feel absences in this <\/span><i><span style=\"font-weight: 400;\">guaper\u00eda<\/span><\/i><span style=\"font-weight: 400;\">, because not always (almost never) it is effective to extract a repertoire from its habitat to modernize it or \u201cupdate it\u201d. The \"plant\" of the handsome half-century ago is no longer reproducible <\/span><i><span style=\"font-weight: 400;\">Demasiado camino nos separa de antes<\/span><\/i><span style=\"font-weight: 400;\">, said Gabriela Mistral\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It is curious that in <\/span><i><span style=\"font-weight: 400;\">Es tan dif\u00edcil<\/span><\/i><span style=\"font-weight: 400;\">, by Jos\u00e9 Sabre Marroqu\u00edn and Ignacio Villa, Zenet depends almost entirely on the recording he had as a reference - the only one that we know of - Bola de Nieve in 1960. Difficult, of course, will prove to be detached from such a singular interpretation, <\/span><i><span style=\"font-weight: 400;\">cuasi parlando<\/span><\/i><span style=\"font-weight: 400;\">; hard to find<\/span> <span style=\"font-weight: 400;\">another way of \u201csaying\u201d these irregular verses about a melody that seems to be a long way off, when it shows slow crumbled waltz - from which Pepe Rivero on the piano takes full advantage of it - but it was not necessary to reproduce what Bola had already done almost sixty years ago. Imitating the inimitable yields little grain, the truth. Something similar happens with the version of <\/span><i><span style=\"font-weight: 400;\">Devu\u00e9lveme mis besos<\/span><\/i><span style=\"font-weight: 400;\">, which is a well-known song by the Mexican Mar\u00eda Grever, recorded by many performers, from Nicol\u00e1s Urcelay to Olga Guillot, not from the teacger Saber and Bola de Nieve (although he included it in his repertoire also recorded in 1960), a sad mistake in the credits<\/span><i><span style=\"font-weight: 400;\">. <\/span><\/i><span style=\"font-weight: 400;\">If we had not heard Bola in \"this beautiful page of the Grever\", as it was said at the time, the interpretation of Zenet would seem at least singular.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">On the other hand, the changes of lyrics that the singer allows in two well-known Cuban boleros are inexplicable. The first is <\/span><i><span style=\"font-weight: 400;\">Ansias locas<\/span><\/i><span style=\"font-weight: 400;\">, by Eusebio Delf\u00edn, in which the final line of the verses of Rogelio Sopo Barreto changes, \u2014Eusebio Delf\u00edn did not write any of the lyrics of his compositions\u2014 credit, which is also omitted in the booklet. Instead of \"When I drink my wine I do not ask if the glass \/ has quenched the thirst of another good drinker\", the Malaga interpreter had the illumination of replacing \"good drinker\" with \"bad drinker\", as if to underline the misogynistic rascal. In <\/span><i><span style=\"font-weight: 400;\">No te empe\u00f1es m\u00e1s<\/span><\/i><span style=\"font-weight: 400;\">, by Marta Vald\u00e9s, in addition to distorting the original melodic line, (which she does throughout the album several times) Zenet apparently experienced the thoughtless desire to amend the flat to the composer, by eliminating the adverb and adding a surplus \u201c by \u201d, also in the final line of the letter that says original and correctly:\u201c Today we can only say goodbye \u201d.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">When listening <\/span><i><span style=\"font-weight: 400;\">La palabra fin<\/span><\/i><span style=\"font-weight: 400;\">, with lyrics by Argentinian Chico Novarro and music by Spanish Mike Ribas (not Rivas, as the credits say) we return to Rolando Laserie, this time in the version that El guapachoso or El guapo de la canci\u00f3n put on his album Fania con Johnny Pacheco of 1982, in which he exclaimed his identifying phrase \u201cFrom a movie!\u201d That Zenet reproduces, was missing more. Along the way we find the versions of <\/span><i><span style=\"font-weight: 400;\">Im\u00e1genes<\/span><\/i><span style=\"font-weight: 400;\">, by Frank Dom\u00ednguez - especially unhappy - and <\/span><i><span style=\"font-weight: 400;\">Borrasca<\/span><\/i><span style=\"font-weight: 400;\">, by Fabregat and Molina, who sung Nelson Pinedo for years and years with a tragic tangled air and this time is little less than tasteless. Thus we arrive at <\/span><i><span style=\"font-weight: 400;\">Demasiado<\/span><\/i><span style=\"font-weight: 400;\">, bolero signed by Gradelio P\u00e9rez, Jos\u00e9 Taboada and Zenet himself, to be new \u2014 the only track on the album that is not a version \u2014 if he did not remember too much \u2014 not to say inconceivably \u2014 a song by Silvio Rodr\u00edguez, nothing less, with the same name in addition. The comparison does not favor the first one. Someone could do the charity to warn that to the authors.<\/span><\/p>\n<div class=\"video-container\"><iframe loading=\"lazy\" title=\"Too Much - Zenet (Audio)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/cUFGi8gOGD4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><span style=\"font-weight: 400;\">La inclusi\u00f3n de efectos de sonido entre n\u00famero y n\u00famero raya en lo que en La Habana llamamos \u201clo cheo\u201d: hay risas femeninas, rumor de mar, gaviotas, truenos, claxons de autos, conversaciones lejanas y otros ruidos ininteligibles\u2026 El poeta D\u00edaz-Pimienta cierra con tres d\u00e9cimas m\u00e1s a modo de serpentinas de carnaval sobre un disco con muy buenos m\u00fasicos, con lindo sonido, con escasas razones para enorgullecerse y no pocos descuidos. Al final extra\u00f1amos al Zenet que no intentaba\n479\/5000\nThe inclusion of sound effects between number and number stripes in what we call \"lo cheo\" in Havana: there are female laughs, sea buzz, seagulls, thunder, car horns, distant conversations and other unintelligible noises ... The poet Diaz- Pepper closes with three decima more like carnival streamers on a record with very good musicians, with nice sound, with few reasons to be proud and not a few carelessness. In the end we miss the Zenet who wasn't trying <\/span><i><span style=\"font-weight: 400;\">guapear<\/span><\/i><span style=\"font-weight: 400;\"> in the Cuban way. For what?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">* Rodriguez Herrera, Esteban: <\/span><i><span style=\"font-weight: 400;\">Major Lexicon of Cuba<\/span><\/i><span style=\"font-weight: 400;\">. Editorial Lex, Havana, 1961. Volume II, p. 61.\u00a0<\/span><\/p>","protected":false},"excerpt":{"rendered":"<p>No es que no nos hubieran advertido. Fue una tarde en Barcelona que el poeta Alexis D\u00edaz-Pimienta nos dijo, como si nada: \u201cme han enrolado en un disco de Toni Zenet. Un disco de boleros y canciones\u201d. Vaya, qu\u00e9 bien. \u201cHa juntado a un mont\u00f3n de m\u00fasicos cubanos&#8230;\u201d. Enhorabuena, Alexis, p\u00e1sanos eso en cuanto puedas, [&hellip;]<\/p>\n","protected":false},"author":268,"featured_media":4149,"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":[4724,1031,4725],"coauthors":[353],"class_list":["post-4147","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-resenas","tag-la-guaperia","tag-musica-tradicional-cubana","tag-zenet"],"acf":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/magazineampm.com\/wp-content\/uploads\/2019\/10\/La-Guaper%C3%ADa-vynil.jpg?fit=1366%2C1156&ssl=1","_links":{"self":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/4147","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\/268"}],"replies":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/comments?post=4147"}],"version-history":[{"count":0,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/posts\/4147\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media\/4149"}],"wp:attachment":[{"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/media?parent=4147"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/categories?post=4147"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/tags?post=4147"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/magazineampm.com\/en\/wp-json\/wp\/v2\/coauthors?post=4147"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}