By Christopher Muther, Globe Correspondent.
The Boston Globe 1/4/2001
It was nearly five years ago that Ry Cooder traveled to Cuba to record a
group of long-forgotten Cuban musicians loosely collected under the name Buena
Vista Social Club, but the appeal of his effort is still going strong. There was
no sign that members of the club were overstaying their welcome at the Orpheum
Theatre Tuesday night. The superstar septuagenarians (and in some cases
octogenarians) played a spirited set of boleros and sons that turned back the
clock 50 years.
Both emotionally and musically, it was hard to resist the charm of the
performers. After watching these musicians and learning their histories in Wim
Wenders's 1999 documentary, it is easy to feel a kinship with them. When
81-year-old Ruben Gonzalez shuffled to the grand piano with the help of musical
director Jesus Aguaje Ramos, the crowd gave the pianist an ovation before a
single note was played.
Despite his slow walk to the piano, Gonzalez clearly hasn't lost his touch
at the instrument. He showed amazing agility on his solos during ''Isora'' and
''Mandinga.'' With help from bassist Orlando ''Cachaito'' Lopez, Gonzalez
re-created the best moments from his most recent solo outing, ''Canchullo.'' His
set was the most fluid of the three performers. When he played the Cuban staple
''El Bodeguero,'' it felt like a casual jam session among seasoned performers
thoroughly comfortable with one another.
Gonzalez was clearly the star, acting as his own rhythm section and playing
melody simultaneously, but fl utist Javier Zalba helped set a light jazz tone
with near-perfect solos on ''El Bodeguero'' and ''Guajira.''
Although she was given third billing on the marquee, Omara Portuondo easily
stole the show. Emerging after Gonzalez's set in a glittering purple pantsuit,
the 70-year-old former Tropicana dancer showed she hasn't forgotten any of her
steps as she kicked up her heels on the lively ''Donde Estabas Tu?''
Portuondo was looser and more willing to take risks with her vocals than she
was during her solo show in October in Boston. During ''The Man I Love,'' she
slipped into scat singing, and on ''La Sitiera,'' she experimented with her
phrasing before casually interweaving bits of ''Guantanamera'' into the song.
She was the consummate performer, vamping it up for the audience while she made
her way through ''Quizas, Quizas, Quizas.''
Although he is not one of the acknowledged Buena Vista celebrities, musical
director and trombonist Ramos was one of the night's sharpest performers.
Between his duties leading Portuondo and Gonzalez's bands, he amazed the
audience with incredible trombone solos. He easily demonstrated his technical
expertise of the instrument with a seemingly impossible solo on ''Mami Mi
Gusto,'' but it was his emotional rendering of ''Over the Rainbow'' that showed
he understands how to truly make the trombone sing. It's high time Ramos
released a solo album of his own.
Ibrahim Ferrer, who had retired from singing in the early 1990s before
returning to his craft, gave songs such as ''Como Fue'' and ''Marieta'' warmth
and polish. The accomplished bolero singer reached into the audience and shook
hands with the crowd like a true celebrity during ''Candela.'' Ferrer's set was
marred by one too many lengthy band solos and the presence of guitarist Manuel
Galban, who was attempting to fill the gap left by the absence of Cooder's slide
guitar; but Cooder's guitar always felt intrusive in Buena Vista music.
Any flaws were forgotten by the time Ferrer and Portuondo dueted on
''Silencio.'' The blending of their voices was heartwarming. When the pair began
dancing with each other during the middle of the song, it seemed they forgot
about the band and the audience. There is a true connection between these
performers that only enhances their music.
This story ran on page D03 of the Boston Globe on 1/4/2001.
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