~ Marc Ribot
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~ Alex Bradford & The Abyssinian Baptist Gospel Choir
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~ The Lounge Lizards
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~ Marc Ribot
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~ John Mayall's Bluesbreakers
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Track Listings
| 1. Aurora En Pekin |
| 2. Aqui Como Alla |
| 3. Como Se Goza En El Barrio |
| 4. Postizo |
| 5. No Me Llores Mas |
| 6. Los Teenagers Bailan Changui |
| 7. Fiesta En El Solar |
| 8. La Vida Es Un Sueno |
| 9. Esclavo Triste |
| 10. Choserito Plena |
Product Description
Amazon.co.uk Review
Whether playing noir-like pop with the Lounge Lizards or downtown avant garde with John Zorn, guitarist Marc Ribot has always been drawn to the musical margins--a place where jazz is just one of many colours. He emerged in the 1970s, and seems to bring that era's punkish attitude to bear on all he plays. In this 1998 masterpiece, he offers gloriously dishevelled readings of the music of the veteran Cuban composer Arsenio Rodriguez and others. Despite the "prosthetic" of the band name he creates a very convincing period sound. His guitar has the scratchy, distorted tone so typical of the overloaded amplifiers of the 1950s and the arrangements enhance the raw, edgy atmosphere. The set is full of evocations of old Havana which either drowse in a heat haze or dance like the carnival, but Ribot adds his own touches, including rough-hewn jazz lines and carefully judged rock & roll feedback. --Mark Gilbert
CD Description
Guitarist Marc Ribot is well-known and respected for his session work with the likes of Tom Waits and Elvis Costello, as well as his association with John Zorn and other downtown New York experimental musicians. Like several others in thatscene, Ribot has formed a group to create an outlet for an interest in ethnic music, in this case, the music of the late Cuban composer, instrumentalist, and bandleader Arsenio Rodriguez, who wrote most of the tunes on this CD. The result is a well-crafted album that should bring Cuban music to a whole new audience.
The album's overall feel is understated--on many cuts it's just Ribot, a bassist, a drummer, and apercussionist. Ribot's guitar solos are always highly articulate and he has a great command over a variety of tones. A few cuts also feature organ (either frequent Zorn collaborator Anthony Coleman or John Medeski), and Ribot even takes a couple of spoken vocals on "No Me Llores Mas" and "La Vida Es Un Sueno". The production is spare and uncluttered, givingit a live band sound. Anyone who enjoyed the Latin Playboys' album or Ry Cooder's Buena Vista Social Club is sure to respond to Ribot and company's quirky take on Cuban music.
Whether playing noir-like pop with the Lounge Lizards or downtown avant garde with John Zorn, guitarist Marc Ribot has always been drawn to the musical margins--a place where jazz is just one of many colours. He emerged in the 1970s, and seems to bring that era's punkish attitude to bear on all he plays. In this 1998 masterpiece, he offers gloriously dishevelled readings of the music of the veteran Cuban composer Arsenio Rodriguez and others. Despite the "prosthetic" of the band name he creates a very convincing period sound. His guitar has the scratchy, distorted tone so typical of the overloaded amplifiers of the 1950s and the arrangements enhance the raw, edgy atmosphere. The set is full of evocations of old Havana which either drowse in a heat haze or dance like the carnival, but Ribot adds his own touches, including rough-hewn jazz lines and carefully judged rock & roll feedback. --Mark Gilbert
CD Description
Guitarist Marc Ribot is well-known and respected for his session work with the likes of Tom Waits and Elvis Costello, as well as his association with John Zorn and other downtown New York experimental musicians. Like several others in thatscene, Ribot has formed a group to create an outlet for an interest in ethnic music, in this case, the music of the late Cuban composer, instrumentalist, and bandleader Arsenio Rodriguez, who wrote most of the tunes on this CD. The result is a well-crafted album that should bring Cuban music to a whole new audience.
The album's overall feel is understated--on many cuts it's just Ribot, a bassist, a drummer, and apercussionist. Ribot's guitar solos are always highly articulate and he has a great command over a variety of tones. A few cuts also feature organ (either frequent Zorn collaborator Anthony Coleman or John Medeski), and Ribot even takes a couple of spoken vocals on "No Me Llores Mas" and "La Vida Es Un Sueno". The production is spare and uncluttered, givingit a live band sound. Anyone who enjoyed the Latin Playboys' album or Ry Cooder's Buena Vista Social Club is sure to respond to Ribot and company's quirky take on Cuban music.
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