Musical History: Past and in the Making

A classy collection of romantic songs by Mexican crooner Marco Antonio Solis and two handsome boxed sets exploring the roots of traditional genres are the focus of this month’s Latin Pulse, a look at some noteworthy releases in the world of Latin music.

*** Marco Antonio Solis, “Trozos de Mi Alma,” Fonovisa. “There’s nothing more difficult / Than living without you,” Solis laments on the catchy chorus of “Si No Te Hubieras Ido,” the opening track of an album that manages to be elegant and sentimental at the same time.

It begins a cycle of 10 songs that share the same theme: the bitter reflections of a man who’s been abandoned by the woman he adores. In fact, the eloquently titled “Trozos de Mi Alma” (Pieces of My Soul) would have benefited from a suite-like format, with all the songs joined together, their melodies intertwined and repeated throughout the painful journey they recount.

As it stands, the record is a highly satisfying collection of Latin pop singles, marked by Solis’ superb production values and penchant for melody and mood. The singer’s sober vocal delivery might be the most valuable asset here, since it brings a needed restraint to the most nakedly passionate lyrics.

After successfully shaking off his past as a member of the superstar group Los Bukis, Solis has moved on to the next level: a symbolic enrollment in the select circle of great Latin balladeers such as Roberto Carlos and Jose Jose.

**** Sexteto y Septeto Habanero, “Complete Recordings 1925-31,” Tumbao. This lavish boxed set is a wonderful surprise for Latin music consumers who have come to expect terrible presentation and skimpy liner notes in most releases of the kind.

Here, the four discs covering the early output of the seminal Cuban outfit Sexteto Habanero are accompanied by a booklet in Spanish packed with information and vintage photos.

The evocative sounds of the 98 songs marked the birth of Cuban son, the musical idiom that through decades of mutation and evolution became the music known today as salsa.

What does “son” mean exactly? Compiler Senen Suarez explains that son is defined by its three main elements--saucy lyrics of love and street wisdom; complex, infectious rhythm structures created by instruments such as bongos, maracas and claves; and harmony that was achieved by the tres and the guitar--before the trumpet came in and the sextet became a swinging septet.

Fans of contemporary salsa, with its bursts of staccato horn riffs and mind-boggling polyrhythms, might be put off by the raw simplicity of these recordings. True, the son at this stage has more in common with the troubadours of the Nueva Cancion (New Song) than the contemporary antics of bands such as Los Van Van and NG La Banda. But once you go past the primitive quality of the recordings, the soulfulness of the Sexteto evokes the same reverence as the early output of Elvis Presley.

*** 1/2 Various artists, “Cien An~os de Vallenato,” BMG Latin. The Colombian music known as “vallenato” became a worldwide success in 1995 through Carlos Vives’ hit “La Gota Fria,” a perfect example of the fortuitous fusion that can result when a musician examines his musical roots with respect and a rock ‘n’ roll perspective.

Originating in Valledupar on the Atlantic coast of Colombia, the sweet vallenato style encompasses four rhythms: the son, the paseo, the merengue and the puya. The music is defined by the sound of the accordion (which on a puya is played at breakneck speed), the caja vallenata (a “vallenato box” or drum) and the guacharaca (scraper). It’s refreshingly simple, dancer-friendly music.

This unusual project examines the genre not through the perspective of historical recordings, but by new recordings by a band of top-notch players of the 100 most noteworthy vallenato songs.

Beginning with “El Amor Amor,” a tune more than 100 years old, the compilation doesn’t rely on the biggest hits, such as “La Casa en el Aire” and “La Gota Fria.” A conscious effort was made to salvage noteworthy songs from oblivion, such as the wonderful “Las Arrugas de Benavides” and the rhythmically spirited “Cuando El Tigre Esta en la Cueva.” That effort turns this remarkable boxed set into a package of great historical significance.

*** Quetzal, “Quetzal,” Son Del Barrio. Move over, Ozomatli. Here’s a Chicano group that tackles multiculturalism and Latino con funk genres with soulfulness and an unusual instrumental chemistry. The word “revolution” might be mentioned a little too often on the album, but aside from the forced beat poetry of “Crooked Cholo,” Quetzal proves it can handle both originals (the gutsy “Silence of the Moon”) and traditional songs (a genuinely poetic, moving version of the ranchera “Cruz de Olvido”) alike. Surprisingly mature for a debut album.

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Albums are rated on a scale of one star (poor), two stars (fair), three stars (good) and four stars (excellent). The albums are already released unless otherwise noted.