Los Cubanos Postizos, an Intriguing Take on Classics

American guitarist Marc Ribot doesn’t quite sound like the Buena Vista Social Club. Neither does he bring to mind the rhythmic fireworks of Bamboleo or Los Van Van. As a matter of fact, Ribot doesn’t even sound like the musician who inspired him to form his new group, legendary Cuban bandleader Arsenio Rodriguez.

Still, Ribot--a member of the New York avant-garde scene who has collaborated with Tom Waits and Elvis Costello, among others-- has a keen understanding of Cuban music, and it is this instinctive bond with the island’s tradition that saves his brainchild Los Cubanos Postizos (The Fake Cubans) from falling into the novelty group category.

On Wednesday at the Conga Room, the five smiling musicians offered an intriguing sample of their revisionist musical stew, focusing on their recent album “Muy Divertido!” Ribot’s concept was to adapt Rodriguez compositions such as “El Divorcio” and “Jaguey” to a fluid quintet lineup that sounds like the most ferocious side of late-’60s Santana, peppered with the dark detours of an experimental saxophonist John Zorn and the bohemian attitude of a Jack Kerouac.

A hard-core salsero would probably be aghast at such daring manipulation of the classics. But Ribot’s irony never turns into mockery. In fact, he makes his guitar sound remarkably close to a tres, Rodriguez’s instrument of choice and and essential element in Cuba’s sonic palette.

There was something touching, even inspiring about seeing this avant-garde artist utilizing his knowledge to evoke the instantly recognizable flavor of a simple son. You can blame Ribot for sounding incongruous at times, but his devotion to la musica Cubana is beyond question.