Vives Takes Pride in Complexities

The strongest contender so far for Latin pop album of the year, along with the Afro-Cuban excursions of two veteran players who only get better with age, make up this month’s Latin Pulse, a look at the most noteworthy releases in the world of Latin music.

*** 1/2 Carlos Vives, “El Amor de Mi Tierra,” EMI Latin. Every year or so, an album comes out whose mission is to renew the listeners’ faith in the weary genre of Latin pop. In 1998 there was Ricky Martin’s “Vuelve,” which became a million seller and prepared the singer for the huge crossover that was to follow, without sacrificing an ounce of good taste and inspiration.

The new effort by Colombian singer Carlos Vives follows a similar path: Produced by the savvy Emilio Estefan Jr., it is a bubbly, joyful celebration of accessible pop at its very best. The record extends Colombia’s five-year reign as the most rewarding producer of Latin music, from rock en espan~ol to tropical and mainstream pop.

Vives gained worldwide fame in 1995 with “La Gota Fria,” a traditional vallenato song reworked as a folk-rock-pop fusion of sorts. “El Amor” continues this exploration, with traditional South American dances such as the porro, the cumbia and the papayera colliding with Anglo-friendly styles such as rock and reggae. Vives’ music might be based on the sound of the accordion, but at the same time it’s a radical departure from the accordion-heavy vallenato that has been associated with him.

Vives consistently matches the authenticity of the music with soulful lyrics, most of which speak with pride about the realities of his racially and culturally complex nation. “19 de Noviembre” is a festive tune celebrating the independence of Cartagena from the Spaniards, while in the title song romantic love becomes one with patriotic fervor: “Within a kiss/I offer you the moon/I caress you/Under the coolness of the sierra.”

What does “El Amor de Mi Tierra” sound like? Sweet and hot at the same time. Gleefully uncomplicated. Innocent while dangerously aware of the healing power of music. And, unlike most Latin pop out there these days, irrepressibly alive.

*** Frank Emilio, “Reflejos Ancestrales,” Metro Blue. The latest by this 78-year-old Cuban pianist closes with a mesmerizing track that resonates with the magic of an ancient ritual: In the 10-minute title song, the tremendously skillful musicians take turns showcasing their chops, without the intrusive bravado usually associated with virtuoso conversations of the kind.

Emilio opens the piece with a warm solo that brings to mind the elegant piano suites of Spanish composer Isaac Albeniz. This is followed by a three-part percussion solo for guiro, congas and timbales, with the quiet guiro forcing you to listen carefully for every rhythmic nuance, and the timbales giving way to the cowbells and an impromptu dance framed by a blistering return of the piano.

Although these procedures are common in any self-respecting Cuban descarga, the musicians here (most notably William Rubalcaba on bass and Changuito on timbales) make you feel as if you’re discovering a new world.

The record’s other tracks include a spirited revision of the standard “Bilongo” (a.k.a. “La Negra Tomasa”), as well as the smooth, charanga-flavored “Rumba Elegante.”

*** Manny Oquendo & Libre, “Ahora,” Milestone. Another Afro-Cuban veteran releasing some of the most memorable music of his career, the New York-born Oquendo (who is in his late 60s) is arguably the best timbalero alive. Unlike most percussionists, he forgoes speed in favor of feeling. His sparse solos, like the one in the closing descarga “Concierto de Oquendo,” have a raw, explosive feeling. And he possesses a rock-steady sense of timing for the basic cha cha cha and guaracha beats.

“Ahora” was recorded just before singer Herman Olivera left Libre for the Eddie Palmieri Orchestra, and he shines on the opening “Tu Me Perteneces,” a vintage Trina Marquez tune adapted to the group’s crunchy, four-trombone sound.

Although Oquendo is firmly planted in the past (he revisits Machito’s “Asia Minor” as well as the classic bolero “Sabor A Mi”), Libre’s arrangements, which leave space for all the instruments to breathe and express themselves freely, bring a refreshing, timeless quality to the material.

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Albums are rated on a scale of one star (poor), two stars (fair), three stars (good) and four stars (excellent).