A Musical Blending of Cuba and New Orleans

Cross-pollination between Caribbean and New Orleans cultures well predates jazz, so the teaming of this Havana group with ace N’awlins musicians (due in stores Tuesday) is a natural. Cubanismo!’s cha-cha, salsa and rumba rhythms mesh neatly with the latters’ roiling second-line beat, while the vibrant Cuban horn charts and piano make lively sparring partners for their more jagged New Orleans counterparts.

Even something as potentially hokey as the Cubanized version of Ernie K-Doe’s R&B; novelty classic “Mother In Law” is irresistible fun--with rich musical substance. And in “Shallow Water Suite,” featuring saxophonist Donald Harrison, the street-bravado chants of Mardi Gras Indians (African Americans dressed in elaborate costumes for heated song contests) are transformed into an excursion through a series of jazz and gospel styles descended from common African roots. Only the rap on “Rampart Street Rumba” sounds forced, even if rap is a current presence in both cultures.

The keystone may well be found in the 25-second “Monteorlines,” a verite-style snippet of carnival parade rhythms and chanting that could have easily been recorded on the streets of either Havana or New Orleans. Mardi Gras or Martes Graso--same thing.

** 1/2 Major Figgas, “Figgas 4 Life,” Ruffnation.

This Philadelphia-based hip-hop septet shows promise on its street-centered debut album (due in stores Tuesday). With tag-team rapping dominating most songs, fresh voices are regularly introduced, with the sharp Gillie Da Kid and the feisty Bianca the First Lady emerging as the crew’s most talented rappers. But when the production falters, the Figgas tend to head south too.

*

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.