Lessons from Buena Vista Orchestra

Last night was one of the most amazing experiences I've enjoyed for a very long time. Eight months after buying the tickets, I witnessed the phenomenon that is the Buena Vista Orchestra (also known as Orquestra Buena Vista & Buena Vista Social Club).

Many of the original stars from that special night in Carnegie Hall in 1998 have since passed on, but what remains is still a testament to the skill, passion and fun of Cuban musicians, many of whom have been formative in the creation of what we now know as Latin music.

Reflecting on why they were so special, I came up with several things that set them apart from other concerts and bands I have seen (and enjoyed):

1. A sense of history - Many of these people have helped to create the music synonymous with Cuba, the platform on which today's musicians build. Age is no issue; it's a strength and a valuable commodity. Experience is something we often overlook as we clamber to be new and different; often too insecure to learn from those who've gone before.


2. A sense of value and heritage - These people are firmly connected to their music and cultural roots. It's not a problem; it's a bonus. They are not afraid of their culture, nor to share that culture and history with their audience, most of whom have little or no connection to it (apart from music). It's not about preaching; it's about showing and sharing; inviting others on board ... and judging by the response of the 2500 people at the concert, they were successful.


3. They connected with their audience - Many of us could learn a great deal from the members of Buena Vista Orchestra. They brought something that can be difficult to connect with if you're not a part of that culture ... and enabled us to connect with it. Even musicians often fail to connect with the complex rhythms, how the pieces fit together, how the melodies interweave. Others can't handle the fluidity and movement in the music, music that doesn't sit comfortably with a click track yet is devilishly tight. Yet, this wasn't a problem for the audience as these masters of their art communicated with people's hearts and souls, calling them on board to experience something new, even if they didn't understand it. They felt it, were drawn in by it and stoked the fire for more ... which they got!


4. They promoted each other - The musicians were clearly 'old school' in their playing, but that is what made it so great. There were no stars on stage; they were all stars and they created a platform for their colleagues to shine. Their playing was an expression of themselves but was for each other and the audience, not self-indulgent and about themselves ... a lesson many of us could learn.


5. They exuded joy - Music wasn't just something technical to be played; it wasn't just an exercise in playing the correct notes; being safe or cerebral. The music they played was part of them; it was their soul; their passion; something to express who they are; from their hearts. It was something to enjoy and that enjoyment spurred each other on and fired the audience. Their enthusiasm and passion was infectious, drawing others in.


6. They were themselves - As we passed the stage door after the gig (and there was no-one else around ... how rare is that?) the band emerged and were no different to how they were on stage; smiling, laughing and very willing to give time for a brief chat and sign tickets.

It took me a long time to fall asleep last night. I was full of the gig and my mind raced over and over through the tunes and why I'd enjoyed the evening so much.

Now all I need to do is apply some of what I've learnt and hopefully those I meet will benefit.

Thank you Orquestra Buena Vista. Long may you continue to inspire those who have the privilege and pleasure of witnessing your concerts (and your music).

Buena Vista Social Club (Orquestra Buena Vista)

I first came across the Buena Vista Orchestra when I saw an advert on Amazon for an album called Buena Vista Social Club at Carnegie Hall. And there started a musical journey which has introduced me to some truly great musicians, many of whom were living in obscurity (even within their own country) following the Castro revolution.

These musicians were not only great players, they were legends; instrumental in creating the musical fabric of Cuba and wider Latin music. The album was recorded in 1998 and by the time it was released in 2008, many of the stars who made it had died, but not before their dreams had been exceeded with many enjoying international fame, travelling and celebrity status; a fitting epitaph to those concerned. Their popularity continues and some of the remaining members still tour today in Orquestra Buena Vista ... which brings me to the title: I will see them live for the first time in 15 days.

I had the privilege of seeing Eliades Ochoa, custodian of the Buena Vista Social Club anthem, Chan Chan play live at the Liverpool Philharmonic Hall earlier this year. No drummer, just a congero who also happened to play cowbells and bongos at the same time with impeccable taste and skill. Add a pianist, a guiro player, a tres/guitarist, bass player and two trumpeters and you have a blistering set-up that had even the super-conservative Brits on their feet.

Their CDs are rarely off my hi-fi or iPod. If want something to broaden your musical experience, challenge your sense of time and move you forward then I recommend that you check out Buena Vista Social Club.

Here are a few albums and DVDs that will introduce you to their music ... and introduce them to your heart!

Buena Vista Social Club CDs

Buena Vista Social Club

Buena Vista Social Club at Carnegie Hall


Buena Vista Social Club DVDs

Buena Vista Social Club [1999] [DVD]

Buena Vista Social Club [DVD] [1999]

What I Can Play or What I bring?

I have recently been enjoying Cuban music, in particular that of the Buena Vista Social Club and its members.

For those of you who are not familiar with this group of musicians, the story is a modern-day fairytale ...

Cuban music has for decades been the envy and shining star of the World (especially Latin) music scene. Many of the stars who put it on the map had retired or had to find an alternative living to make ends meet: selling lottery tickets or shining shoes in the street, or selling tobacco.

In 1996 Juan de Marcos González, a young Cuban bandleader and arranger was fascinated with the old stars of Cuban music traditions such as Son, Guajira, Son Montuno, Rumba and Bolero. He set out to see how many of them were still living (many had been stars in the 1940’s, 1950’ and 1960’s). To his amazement he was able to contact a large number of these national treasures of Cuba’s musical heritage; the list was impressive:

• Don Rubén González - legendary pianist and pioneer of the mambo
• Orlando ‘Cachaito’ López - third generation bassist
• Ibrahim Ferrer, Piya Leyva, Raúl Planas, Manuel ‘Puntillita’ Licea and Omara Portuondo - legendary singers
• Compay Segundo and Eliades Ochoa - tres player and guitarists
• Amadito Valdéz – percussionist
• Barbarito Torres - Laoud player extraordinaire
• Manuel ‘Guajiro’ Mirabal - Cuban legend, trumpet
• ... plus more

In order to understand the stature of this group, each one of these names was at the very top of their profession, many having had a significant impact on the history and direction of Cuban music. Each one of these musicians (plus other top calibre musicians) performed together, in the same room at the same time to record the largest selling Latin album ever (over 8 million copies sold). Everyone enjoyed working and performing on the album and no-one was interested in where their name went on the list of credits. Music was being made for the love of the music and no thought was given to any potential financial gain (though this was eventually considerable).

Live performances in Amsterdam followed release of the CD, and the jewel in the crown was when this group of Cuban musicians were able to play a sell-out concert at Carnegie Hall, New York in 1998, captured on film and CD. When you read the album notes and DVD booklet or watch the performances, the joy and emotion of making music together is clear.

This fairytale ending to the story was that these humble people found a new lease of life as they achieved global recognition and ‘stardom’ when many of us would think of taking it easy: most were in their 70’s or 80’s (Compay Segundo was in his 90’s).

By 2005 many of these great characters had passed on and only recently (Feb 2009) the great Cachaito also died ... but their legacy continues.

Why have I taken the time to mention all of these people?

Well, imagine a group of top name Rock n’Roll stars gathering to record an album. Now think about the ego problems; who’d play with whom; who wouldn’t play with whom; who would want their name at the top of the list?

For me, the great power and impact of these recordings is the enjoyment, passion and love of the musicians for their music that shines through so clearly. Everyone is in it for everyone else, making the whole band look great. It’s even recalled that at one stage, Ibrahim Ferrer had a bad throat and was struggling to sing and suggested that perhaps someone else should finish the album! That’s a bit like Eric Clapton suggesting someone else should finish off his guitar solo. This level of humility is rarely seem today in a world of get what we can, when we can, however we can.

This excursion into Cuban music has taught me a lot more than just the notes and beats. Engaging with characters of history (and today) who are prepared to make everyone else look good by playing their part has re-challenged me to ask myself, “Is that the sort of character I am? Do people want me in the band for who I am as well as what I can bring.” I read many stories today where the key to a ‘successful’ career in music isn’t so much what you can play, but what you a as a person bring to that particular situation. I also read that our musical output reflects our personality. All I can say is that I hope some of my performances haven’t really let people know what I was feeling on the night!!

I know that rediscovering my love of Latin music through encountering these characters has re-challenged me to be a musician that people want to play with, rather than a musician whose talents are admired. It has also reminded me that I cannot try to project and hide behind a different ‘musical persona’. Music is too transparent for that. I guess my priority is to ensure that my day-to-day life is such that I’m happy for people to see the real me when I play as a musician.

Or perhaps when I get my priorities in life right, my music will take care of itself.