SonAVoz es el primer ENSAMBLE VOCAL de música latina en la historia del prestigioso Berklee College Of Music, quienes al ritmo de la Salsa, Merengue y Latin Pop se disponen a compartir su pasión por la música latina con el resto del mundo. Influenciados por grupos como Vocal Sampling (Cuba), Clone (Ecuador), Siete Palos (Venezuela),
Cuba (Page 2 of 3)
The morning after their big concert and the Afro-Cuban celebration of Chango, the Berklee students enjoyed perhaps the highlight of their Cuban experience—a visit to the home of Chucho Valdés. Just back from a tour, Valdés treated the students to the story of how he first met Berklee founders Lawrence and Alma Berk at the Havana nightclub Tropicana and was offered a scholarship to the school (which he unfortunately wasn’t able to accept).
Finding out that Enrico de Trizio played piano, Valdés offered him the use of the piano in his studio. Enrico took him up on it, first playing an instrumental and then, with Julia Easterlin, “Silencio.” Then Enrico yielded the bench to Valdés, who played a song off his new CD, Chucho’s Steps. Discussing the structure of the song afterwards, Valdés even offered to email Enrico the changes.
Still running on the adrenaline from their concert at the Museo de Bellas Artes, Berklee’s Interarts Ensemble went directly to a bembé celebrating the Yoruba diety Chango at the home of the musical Arango family. The two percussionist brothers and vocalist sister perform with their band (Hermanos Arango) internationally, and Eugenio, who is known for his work with Irakere and Pablo Milanes, had just performed with the Berklee students at the museum. His brother Feliciano is a pioneer of the timba style of bass in Cuban dance music.
That night, the Arangos hosted batá drummers performing traditional rhythms to welcome the gods of the Yoruba religion, along with dancers who paid tribute to the Yoruba deities Oshun and Chango. Hansel Santos Gómez, the percussionist who accompanied the Berklee students in both their concerts that week, even stepped in for a song or two. He wasn’t the only one. The evening was completely interactive, with call-and-response singing as well as dancing that filled the Arangos’ entire backyard.
The big concert at the Museo de Bellas Artes felt a little like the ending of The Wizard of Oz. (“And you and you and you…and you were there!”) Familiar faces from the Instituto Superior de Arte, Laboratorio de Música Electroacústica, Ministry of Culture, and more had all shown up to support the students in their final presentation.
The concert pulled together not only music from different people and different backgrounds, but disciplines other than music, as well, with dance and visual art giving the performance even more depth. Offering multiple ways for the audience to access the performance seems especially important in electronic music, which has been strongly linked to interdisciplinary art in Cuba since Juan Blanco premiered Cuba’s first work in the genre “Musica para Danza.” The mixture certainly went over well with the audience at the Museo de Bellas Artes!
While in Cuba, the students in Berklee’s Interarts Ensemble worked on their compositions at the Laboratorio Nacional de Música Electroacústica, founded by Cuban electroacoustic pioneer Juan Blanco. Katie Bilinski described its role in relation to the Instituto Superior de Arte as like that of Mix One Studios to Berklee. This is where they spent most of their time, preparing the pieces that would be shown during their final concert at the Museo de Bellas Artes.