In Cuba's musical heart beats el son.
The Cuban son is, at it's most basic, is the sound of the island nation. But more than a sound or style, el son runs deep in Cuban music, and life. It is history and life.
"El son es sabor, cadencia y melodia que llega al coraz贸n", wrote in an email, Frank "El Matador" Oropesa, of Cuba's famed Septeto Nacional de Ignacio Pi帽eiro.
One of the most important interpretors of the Cuban son is the Septeto Nacional. It certainly is one of Cuba's most enduring cultural ambassdors. The group will perform Wednesday at UA Centennial Hall.
Ignacio Pi帽eiro created his septet in 1927. Building on the traditional music of eastern Cuba, which was primarily performed by trios with a guitar and light percussion, Pi帽eiro expanded the structure and sound by adding more instruments and, critically, a trumpet.
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"Con letras poeticas esto hizo que el son se enriqueciera y fuera mas bailable, desde ese momento el Septeto Nacional paso a ser el m谩s popular y niversal con temas que han hecho historia como "Echale salsita", "Suavecito", "Donde andabas anoche" y muchos mas", Oropesa wrote.
The song "Echale Salsita" is considered by some musicologists to be the first tune to include the word "salsa" which today is the musical umbrella term for various forms of Afro-Cuban music.
But the Septeto Nacional is not a contemporary, trendy salsa band but a dyed-in-the-wool Afro-Cuban son ensemble.
"El poeta del son fue el creador de generos como la guajira son, el guaguanco y otros generos Compuso mas de 400 temas", agreg贸.
The Cuban septet is now in its fourth generation. It's seven members range in ages from 44 to 70. On stage the group will add a dancer and singer.
While U.S. trade and immigration laws make it difficult for Cuba-based musicians and artists to travel to the United States, the septet has performed in this country in 2009 and 2010.
The evolution of the son also parallels the emergence of Cuba's significant African heritage.
Prior to the emergence of the son, white Cuban musicians, performing French influenced "danz贸n" and using Spanish instrumentis, dominated Cuban popular music.
But in the early 1900s the son, incorportating Eastern Cuban rhythms, migrated to Havana and mingled with the rumba. The son bubbled upward from Cuba's hamlets and Havana's streets into the salons and night clubs.
The son had a national unifying effect and helped break down racial divide. As the son emerged, so did Cuban black musicians, providing them with jobs and more musical opportunities. The arrival of the son also coincided with the advent of radio which began to broadcast live music and records.
After Pi帽eiro established his septet with its integral son, the sound quickly went global. In 1930, Don Azpiaz煤 and his Havana Casino Orchestra recorded "El Manicero," written by Cuban composer Moises Simon. The song rooted in the son, became an international best seller.
Latin musicians today, whether performing Latin jazz, salsa or big band numbers, consider the son the heart of their sound.
Contact Ernesto Portillo Jr at netopjr@azstarnet.com or at 520-573-4187.
