While I share all of the previous reviewer's enthusiasm for this CD (and then some), and while I concur with most of his comments, I feel compelled to offer a serious correction. The first number, "Todavia Me Queda Voz", is one of the very best vehicles yet for Ibrahim Ferrer's phenomenally smooth improvisational vocal style. And it has become one of my favorites. It appears also on the "Tierra Caliente" and "Santa Cecilia" CDs.
But the correct translation is "I Still Have Voice", not "I Still Have You". "Vos" is the pronoun which the previous reviewer erroneously had in mind when he translated the title. But "voz" means "voice".
The song begins "Todavia me queda voz, sentimiento y melodia para darle a la gente mia un sabroso guaguanco." Translating as "I still have voice, feeling and melody to give my people an enjoyable (delicious) "guaguanco". "Guaguanco" is a rhythm type, like rumba, mambo or chachacha. In fact, it is a variation of rumba.
However, I must agree that this excitingly electric "guaguanco" is, indeed, a love song (of sorts). It is if we keep in mind Ibrahim's love for singing, and the fact that he was polishing shoes for a living, rather than singing, when Juan de Marcos Gonzalez convinced him to come into Egrem Studios in Havana to record some vocals in 1997. Disillusioned, he practically had to be dragged!
What resulted from those sessions was the phenomenon we now know as "Buena Vista Social Club". Thanks to Juan De Marcos' tenatious insistence, Ibrahim is no longer polishing shoes. In fact, he is scheduled to perform (along with Ruben Gonzalez and Omara Portuondo) at the Hollywood Bowl on July 15, 2001.
What song could be more perfectly suited to Ibrahim? It comes across to me as his personal declaration of the ecstacy he must feel at having finally realized his life's dream and then some. For not only has he regained popularity in his native Cuba. He has been suddenly and unexpectedly catapulted (in his mid-seventies) to the level of international superstar. Pity for us to have been denied his talent for so many years. I spend every day trying to make up for it!
This is a compilation of tracks culled from various projects the Buena Vista Social Club members have done individually. The CD is almost as varied as the original BVSC release, with performances which add to our appreciation of the artists on that record. These recordings are no more than 12 years old, and the sonic quality is at time breathtaking.Ibrahim Ferrer opens the album with "Todavia me queda Voz" ("I still have you,") recorded in 1998, in which he uses his amazing vocal instrument in a midtempo lovesong.
Eliades Ochoa is represented with the wonderful "Al vaiven de mi Carreta" ("To the Swaying of my Cart,") in which he heroically gives voice to the life of a field worker, and on "El Cuarto de Tula" ("Tula's Bedroom,") a remake of the blistering version on the original BVSC CD. This time though, a more restrained rendering is offered, and with great success. This is a testament to both the quality of the song itself, as well as to the performers and arrangement.
Very few negatives here; another version of "Chan Chan" is always welcome, if only to appreciate the differences with the BV "original" of 1997. An even better version than what's on this CD is to be found on "Chanchaneando - Roots of Buena Vista" with Ochoa and Compay Segundo with lovely and surprising guitar and drum themes.
When I first saw this CD I automatically assumed this was just another way of cashing in on the Cuban music phenomenon; perhaps is still is, but there are quite a few gems in this compilation and they are every bit as good as what appeared on the original BVSC.
Although I buy CDs for the music (you can't listen to the cover) I have to say that the gaudy artwork on these "Roots of BV" CDs are pretty hideous. Once you get beyond that though, you'll find these CDs are for the most part a very welcome addition to any collection of Cuban music.
