‘Mariachi’ Breaks Cantina Mold

As the “Mariachi Spectacular” wound to a close Sunday at the Cerritos Center, composer and bandleader Jose Hernandez told the audience: “We want to prove that mariachi music is much more than four fat Mexicans playing at a cantina. We want to be respected as Mexican musicians.”

Hernandez shouldn’t lose any sleep over it. The three mariachi ensembles accompanied by the superb Tonantzin Dance Company demonstrated how dazzling traditional Mexican music can sound when it is performed with synchronicity and technical dexterity.

The slightly overlong show began on a high note with all three mariachi groups performing in unison. And even the most jaded concert-goer would have been awed by the 41 musicians and singers performing a mariachi version of Beethoven’s “Ode to Joy.”

This was quickly followed by “Ave Maria” and the traditional “Posadas,” a lovely representation of Mary and Joseph’s pilgrimage looking for a sheltered place to welcome baby Jesus to the world.

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By the time the classic “El Jarabe Tapatio” was performed, it became apparent that the sound mix was short of bass tones. The problem continued throughout the night, making the overall sound a little too strident.

This was easy to forget, however, when the Mariachi Tlaquepaque took the stage by storm with a thunderous program that included nods to “La Cucaracha,” “Guantanamera,” and even a rap interlude of dubious taste with the impromptu appearance of an emcee dubbed “El Mariachi Loco.”

Tlaquepaque is at its best when revisiting classic material, such as the traditional son “El Cascabel,” which included spirited solos of guitarron and vihuela.

Next up was the all female ensemble Reyna de Los Angeles, which sounded relatively tame sandwiched between Tlaquepaque and the powerhouse Sol de Mexico.

It wasn’t quite fair, because Reyna has what it takes to stand alongside the greats. Members Laura Roque and Cindy Reifler have a gift for communicating with an audience, and when the ladies found the right material, as in the case of Juan Gabriel’s pop masterpiece “Amor Eterno,” the results were splendid.

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Dressed in bright red costumes with golden ruffles, the men of Hernandez’s Mariachi Sol de Mexico offered glorious renditions of “Cielito Lindo” and ‘Guadalajara,” responding to the challenges like a well-oiled machine.

During a tribute to trumpet player Rafael Mendez, Hernandez (who plays the instrument himself) used three trumpets for an epic, stereo effect. And a series of medleys dedicated to famous composers and performers of pop music showcased the ensemble’s ability to tackle any material under the sun and give it a distinct sound.

A tribute to Mexican romantic singer Jose Jose included hits such as “La Nave del Olvido” and “El Triste,” whereas a medley of Agustin Lara compositions revisited classics such as “Granada,” “Solamente Una Vez” and the sensuous “Noche de Ronda.”

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Ironically, the night’s soaring moment found Sol de Mexico as far away from Mexican rancheras as possible. Hernandez’s tribute to Glenn Miller gave his group a chance to stretch its abilities to maximum potential. The musicians responded to the challenge with elated smiles and a lot of swing.

It was one of those magical moments when music is all about having fun, and the audience rewarded the effort with a standing ovation.