{"id":8682,"date":"2021-09-13T00:00:09","date_gmt":"2021-09-13T04:00:09","guid":{"rendered":"https:\/\/magazineampm.com\/?p=8682"},"modified":"2021-09-06T10:31:23","modified_gmt":"2021-09-06T14:31:23","slug":"electric-jazz-el-puente-subterraneo-etian-brebaje-man","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/electric-jazz-el-puente-subterraneo-etian-brebaje-man\/","title":{"rendered":"Electric jazz-The underground bridge \/ Eti\u00e1n Brebaje Man"},"content":{"rendered":"

Veteran rapper Eti\u00e1n Arnau Lizaire (Brebaje Man) has once again playfully pushed the boundaries of his music. With the double album <\/span>Electric jazz-The underground bridge <\/span><\/i>(Cubadisco Award 2021<\/a> in the Hip hop category and released by <\/span>Brew Man Records<\/span>), the former member of Explosi\u00f3n Suprema, one of the flagship groups of Cuban rap, wins again the bet \u2014which at the beginning of his artistic career he made with a troubadour in the city of Alamar\u2014 to be able to reinvent himself over and over again.\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

Although we must be fair to memory and point out that this work joins the list of previous works when it comes to using elements of so-called jazz-rap, <\/span>street<\/span><\/i>-jazz or hip-bop (I'm thinking, for example, of <\/span>Kalmunity<\/span><\/i> and <\/span>Tomorrow's Revenge<\/span><\/i>, of Obsession, or <\/span>Llena de amor el mambo<\/span><\/i> and <\/span>Solar<\/span><\/i>, from Ogguere), one of the profits of <\/span>Electric jazz-The underground bridge<\/span><\/i> is not to be <\/span>jazzy<\/span><\/i>, as it is called pejoratively to records with a jazz decoration, but without "substance" in the background. Through 17 pieces, an unprejudiced Eti\u00e1n delivers music with a global essence, where genres and styles such as rumba, R&B, blues and even classical music intermingle with jazz in an intimate, sensual tone. a kind of spirit <\/span>groove<\/span><\/i> where you can find not only the danceable for the body to have fun, but also a philosophical dimension. It is worth noting that this album emerges in the midst of a pandemic that has disrupted everything at a structural level, and (work by future specialists through) one day we will know in depth how it has impacted artistic consciousness in an evolutionary way, beyond hatreds and mental sterilities.\u00a0<\/span><\/p>\n

Of the themes included in the phonogram, <\/span>the bionic cockroach<\/span><\/i> it becomes an apology for these animals so feared and crushed in everyday life, therefore, a call to respect any form of life on the planet, and our responsible action on it. A dear friend told me some time ago an interesting anecdote about the poet Fayad Jam\u00eds, when in his house he had saved from drowning <\/span>\u2014<\/span>through a leaf that he used<\/span>\u2014<\/span> to one of these insects. Perhaps fate weaves strange threads between these two word artists, with different trades and times, in the name of sensitivity. highly recommended <\/span>when one has <\/span><\/i>and <\/span>rain, sing, stone<\/span><\/i>. In the first, a duet with Papo, the Hegelian condition of the human being is addressed, very present in texts by Cuban masters of ceremonies. While I was listening to her, I was evoking a scene from the documentary <\/span>Scratch<\/span><\/i>, in which DJ Shadows, one of the most prestigious artists of the <\/span>turntable<\/span><\/i> world, reflects in a warehouse filled almost to the ceiling with vinyl records with extraordinary humility\/reverence of the same before so much preceding art, as opposed to a materialistic and egotistical position. In the second, a collaboration with Pana, from the group Pasi\u00f3n Oscura, the erotic dimension of flirtation in couples, so typical of \u201cpills\u201d or mo\u00f1era ballads, is wielded. In this sense, the inclusion of styles such as R&B and <\/span>neosoul <\/span><\/i>in Cuba, which have exponents such as Sigrid, Danay Su\u00e1rez, Alejandro Ben\u00edtez, MRC, Reynaldo Soul Gonz\u00e1lez, Kayron Evans, Hanoi Neyra, among others. Listening to Eti\u00e1n's daughter (five years old) on the record is extremely tender and thoughtful at the same time. Having as background <\/span>beats <\/span><\/i>tranquilizers of<\/span> lofi<\/span><\/i> hip hop (an ironic and narrative nod to musical production) and a critical discourse through the use of a child's voice, a message that alerts about our political capacity to absorb uncertainty and return it in generational terms is presumed. I confess that after listening to it over and over again I automatically thought of a song that started with <\/span>Yes this is my mom<\/span><\/i>, from Obsession, and will end up sampled with <\/span>My daughter with 5 years (freestyle)<\/span><\/i>of Etian. A kind of return to the hiphop seed?<\/span><\/p>\n