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| Track list: 1. Santo Domingo 2. Hanuman 3. Ixtapa 4. 11:11 5. Master Maqui 6. Diablo Rojo 7. Logos 8. Juan Loco 9. Tamacun Running time: 53 minutes Released: 2012 |
I could debate whether adding the "and C.U.B.A." to the title here, but I see no real reason to. This album is full of re-recordings of other Rodrigo y Gabriela tracks, some of which I have already listened to, others are still to come.
The first half are re-recordings from 11:11; the sound is immediately different though - more orchestration, and a really strong Latin feel... all of which is explicitly part of the brief here. My immediate impression is positive; I think i may enjoy this more than their rawer sound. It has the same pace, the same intricacy and virtuosity but more body, more soul and more joyousness.
With them coming from a metal background, there is perhaps an inclination to darker, harder sounds in their duo recordings, and by choosing to consciously play up the Latin influence this acts as a natural counter to this even before the deeper arrangement is added. I was not overly taken with Hanuman before, and I am still not bowled over by it here, thought I have to smile at the disco-esque sounds it carries here. So far the two tunes have been strongest when the ivories come through the avalanche of guitar to add contrast; it is an addition that really works for me - as does the brass - much more so than the electrification of the guitar.
OK, so Ixtapa maybe takes the Latinisation a bit far... it almost sounds like a stereotype, but pulls back from that edge at the last moment, whilst dipping its toe in the water constantly. Then it goes all weird - ditching the Cuban sound for one more at home in.. India? Something to do with the muting of the tones, I guess. I can really imagine that they spent the entire recording sessions for this album smiling though - playing around with their tunes and the backing of the C.U.B.A orchestra. The output so far makes me wonder what might arise if the pair went seriously into wider orchestration. Now that the unexpectedly Asian sounds have subsided the track is on firmer ground again.
As far as I can tell, from a single concerted listen 3 1/2 months ago, all the same intricacies are maintained, just with elaboration from the parts the orchestra gives them. Notably they do not choose to add constant percussion, still taking most of the rhythm and structure from the guitars. Or are my ears doubting me now? I was so sure a moment ago, but now... argh - I am not cut out for this critic lark, my ears are not good enough and my understanding of the theory of composition if bollocks all. I know what I like though, and I am much more fond of this rendition of 11:11 than the one on the album bearing that name - even if the airy wail of the electric guitar melody seems out of place when it bombs into the scene. The introduction of a call-response solo/choir to close out the track is a very interesting one - and proves just how much horse dung I can spout when I get on a roll. Without elaborating further, this whole paragraph never happened, right?
This project was always as much about what the works made me think and feel as it was about sharing them, and occasionally I have lost sight of that. This album, with its revelling in Cuban expression transports in a way that is quite marvellous. Personally I feel that is most effective the further they push the Latin theme over the core composition. The more of the orchestra are involved, the more engaging and uplifting the pieces become. Yet they cycle through different contributions in a way that fits with live performances really well. I have written before about hating the "everyone must solo" attitude in some jazz performances, but here it works to make you feel as though you're sat at a table surrounded by musicians who simply riff off each other to blanket you in warm sounds. Now where is my rum? Yeah, this is not music for a dark December night... or rather it is, perfectly shutting down thoughts of sub-zero temperatures and de-icing the car in the morning and replacing them with thoughts of drinking leisurely under terraces as the sun goes down, whilst looking out over the bay.
Holy smoke that playing just got so fast I cannot keep up - it feels like I am hearing everything on time-lag. Totally engrossing and overwhelming, it needs its own chaotic visual but my senses, so assaulted, cannot keep up and conjure one. I like that as the next tune, Logos, begins it is piano only, and the pace is glacial - cool. It is a nice breather before the guitars strike up. This was a piece I really enjoyed before and again here, calm amidst the energy of the rest of the disc. The guitar riffs are hypnotic, the recording warm, fuzzy, making me feel like I am trapped in a bubble - it is a wonderful track.
I feel like I get to be overwhelmingly positive about these guys, more-so than for people I listen to all the time. I am sure that in 10 years time if I were to read these posts back - or hell, if any odd folk stumbled across this electronic molehill - the impression that will come across of who my favourite artists were in 2014 will see me loving things that I would not now consciously call favourites, and being lukewarm about discs close to my heart. Still, artefacts of the format, and of the sheer amount of good stuff that I have piled up that I have not deigned to really explore. I could never consciously describe Rodrigo y Gabriela as a favourite artist of mine, but damn if they aren't wholly compelling and awesome. I suspect, though, were I to start listening regularly it would lose its lustre, become demystified, and perhaps slip back into a horrifically under-appreciated genre-bucket. With only occasional exposure I can continue to be surprised and delighted by the sheer magnetism of their performance.
The past hour has flown by - no sense of it taking time, no sense of effort, or of watching the clock, just sustained aural pleasantries, infectious rhythms and warm thoughts. Long may that continue as we head into the darkest most depressing time of the year - albeit one sprinkled with holiday cheer. Although I have other versions of all of these songs there is no question of any de-duplication, for that is not what it would be.
I am nearing the end of A now - just 12 to go and 4 of them are short. I have kept with this better than I expected to in truth and that encourages me to continue, like a virtuous circle. I may have no readers, and even those who know about this may not care, but I am finding pleasure in the process on nights like this, and that makes slogging through the less pleasant ones worth it. It will be interesting to see how the library ends up looking when I am done... but that is for the future. For now, it is goodnight.
The first half are re-recordings from 11:11; the sound is immediately different though - more orchestration, and a really strong Latin feel... all of which is explicitly part of the brief here. My immediate impression is positive; I think i may enjoy this more than their rawer sound. It has the same pace, the same intricacy and virtuosity but more body, more soul and more joyousness.
With them coming from a metal background, there is perhaps an inclination to darker, harder sounds in their duo recordings, and by choosing to consciously play up the Latin influence this acts as a natural counter to this even before the deeper arrangement is added. I was not overly taken with Hanuman before, and I am still not bowled over by it here, thought I have to smile at the disco-esque sounds it carries here. So far the two tunes have been strongest when the ivories come through the avalanche of guitar to add contrast; it is an addition that really works for me - as does the brass - much more so than the electrification of the guitar.
OK, so Ixtapa maybe takes the Latinisation a bit far... it almost sounds like a stereotype, but pulls back from that edge at the last moment, whilst dipping its toe in the water constantly. Then it goes all weird - ditching the Cuban sound for one more at home in.. India? Something to do with the muting of the tones, I guess. I can really imagine that they spent the entire recording sessions for this album smiling though - playing around with their tunes and the backing of the C.U.B.A orchestra. The output so far makes me wonder what might arise if the pair went seriously into wider orchestration. Now that the unexpectedly Asian sounds have subsided the track is on firmer ground again.
As far as I can tell, from a single concerted listen 3 1/2 months ago, all the same intricacies are maintained, just with elaboration from the parts the orchestra gives them. Notably they do not choose to add constant percussion, still taking most of the rhythm and structure from the guitars. Or are my ears doubting me now? I was so sure a moment ago, but now... argh - I am not cut out for this critic lark, my ears are not good enough and my understanding of the theory of composition if bollocks all. I know what I like though, and I am much more fond of this rendition of 11:11 than the one on the album bearing that name - even if the airy wail of the electric guitar melody seems out of place when it bombs into the scene. The introduction of a call-response solo/choir to close out the track is a very interesting one - and proves just how much horse dung I can spout when I get on a roll. Without elaborating further, this whole paragraph never happened, right?
This project was always as much about what the works made me think and feel as it was about sharing them, and occasionally I have lost sight of that. This album, with its revelling in Cuban expression transports in a way that is quite marvellous. Personally I feel that is most effective the further they push the Latin theme over the core composition. The more of the orchestra are involved, the more engaging and uplifting the pieces become. Yet they cycle through different contributions in a way that fits with live performances really well. I have written before about hating the "everyone must solo" attitude in some jazz performances, but here it works to make you feel as though you're sat at a table surrounded by musicians who simply riff off each other to blanket you in warm sounds. Now where is my rum? Yeah, this is not music for a dark December night... or rather it is, perfectly shutting down thoughts of sub-zero temperatures and de-icing the car in the morning and replacing them with thoughts of drinking leisurely under terraces as the sun goes down, whilst looking out over the bay.
Holy smoke that playing just got so fast I cannot keep up - it feels like I am hearing everything on time-lag. Totally engrossing and overwhelming, it needs its own chaotic visual but my senses, so assaulted, cannot keep up and conjure one. I like that as the next tune, Logos, begins it is piano only, and the pace is glacial - cool. It is a nice breather before the guitars strike up. This was a piece I really enjoyed before and again here, calm amidst the energy of the rest of the disc. The guitar riffs are hypnotic, the recording warm, fuzzy, making me feel like I am trapped in a bubble - it is a wonderful track.
I feel like I get to be overwhelmingly positive about these guys, more-so than for people I listen to all the time. I am sure that in 10 years time if I were to read these posts back - or hell, if any odd folk stumbled across this electronic molehill - the impression that will come across of who my favourite artists were in 2014 will see me loving things that I would not now consciously call favourites, and being lukewarm about discs close to my heart. Still, artefacts of the format, and of the sheer amount of good stuff that I have piled up that I have not deigned to really explore. I could never consciously describe Rodrigo y Gabriela as a favourite artist of mine, but damn if they aren't wholly compelling and awesome. I suspect, though, were I to start listening regularly it would lose its lustre, become demystified, and perhaps slip back into a horrifically under-appreciated genre-bucket. With only occasional exposure I can continue to be surprised and delighted by the sheer magnetism of their performance.
The past hour has flown by - no sense of it taking time, no sense of effort, or of watching the clock, just sustained aural pleasantries, infectious rhythms and warm thoughts. Long may that continue as we head into the darkest most depressing time of the year - albeit one sprinkled with holiday cheer. Although I have other versions of all of these songs there is no question of any de-duplication, for that is not what it would be.
I am nearing the end of A now - just 12 to go and 4 of them are short. I have kept with this better than I expected to in truth and that encourages me to continue, like a virtuous circle. I may have no readers, and even those who know about this may not care, but I am finding pleasure in the process on nights like this, and that makes slogging through the less pleasant ones worth it. It will be interesting to see how the library ends up looking when I am done... but that is for the future. For now, it is goodnight.
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