In a career that is approaching a decade, Malpais has become one of the most popular bands in Costa Rica. Their appeal, like the band, kept growing. And I think this is one thing that adds to their popularity: they continually expand the realm of their influences. Malpais has gained the affection of their continually growing audience because they never forgot their roots. Their songs are snapshots, histories, reflections and all human and tangible. The new album “Hay Niños Aqui” keeps them on both roads of staying grounded, while spreading out.
Musicians throughout the world have a good reputation for giving back to the community, especially to the next generation, the children, and Central America is no exception. Costa Rica’s three-time Grammy Award winners Editus are a good example. They have recorded twelve albums in their seventeen years together as a group and in an effort to give back to the community, they founded their Acadamie de las Artes in San Jose, Costa Rica in November 2004. It is a modern conservatory that integrates diverse elements of artistic development, not only for music but for dance, literature, theater, painting and photography as well. The music classes they offer are incredibly staffed and diverse, with three drum and percussion instructors, six teachers specializing in voice, lyrics and songwriting, four electric guitarists, six acoustic guitar instructors, two violinists, a cellist, five pianists, one saxophone teacher and a bass guitar instructor. Not surprisingly, some of the current teachers are former students, a sure sign of the Acadamie’s success. The academy also offers a sound lab to teach engineering, mixing, mastering, even DJ sampling. And there is a chorale group who performs a minimum of twice a year with selections as varied as Gospel and spiritual, Rock and Pop, Costa Rican and Latin American songs, in an effort to create a completely diverse chorus.
Make no mistake about it, Maicol Leroy has been Ticoized. Don’t get me wrong, I mean this as a compliment and I know he would be the first one to consider it as such. Hey, the guy has even Latinized his name… Sr. Leroy has been coming to Guanacaste for nearly a quarter of a century and living here for almost two decades. He has been playing guitar and harp since well before puberty. Take these two components, mix in a little stage experience, an early exposure to the blues and great songwriting ability and voila: you’ve got the new self-produced album “San Juanillo” by Maicol Leroy.
To become a commercial success, a musician needs to have talent. But in the formula for success, a little luck and timing have to be factored into the equation. Still, there have been many very talented troubadours who have been in the right place at the right time and did not catch the train to fame. Usually, it’s because they overslept or “spaced out” and forgot all about it. And herein lays the key to fame and fortune: good management. Of all the musicians I have met, the successful ones have a dependable manager, usually a spouse or family member, taking them by the hand to catch the plane to Boston for a gig or to the dining table because it is time for lunch. Musicians live in a different dimension than the rest of us and that is one of the reasons we love them: they have a unique perspective and are able to articulate it, through poignant lyrics, blazing guitar riffs and amazing drum flurries that touch our souls.
Manuel Obregon is an incredible pianist and an incorrigible musicologist who has definitely found his calling in life and is now reveling in it. Even before he helped form the Central American music label Papaya Music, he showed signs of his calling when he became enamored by the music of Paraguayan guitarist Augustin Barrios Mangore’ and transcribed and interpreted the compositions to piano. Along with being a member of Malpais, arguably the most popular band in Costa Rica, playing original tunes in a new style I have dubbed “modern folkloric”, Obregon also commandeers the Orquesta de Papaya, a culmination of musicians and musical styles from all of Central America. His last recorded project, “Piano Malango” was a unique presentation of instrumental interpretations, meandering down the river of historic and famous Costa Rican, Nicaraguan and Panamanian songs.
When it comes to parties, no one does it better than people of the Latin culture. Spirits are high and conversations are animated, but best of all, the food is always delectable and the music upbeat and very danceable. None of these factors has was lost on Putumayo Music when they released their new album, appropriately titled “Latin Party”, a compilation of twelve modern, up-tempo songs from a varied reach of Latin regions and influences. Latin people are very proud of their heritage and I think this CD demonstrates how new musicians pay homage to their musical Latino roots, while putting their own spin on it.
It’s a funny thing about music: it does not recognize the imaginary boundaries men have drawn on maps or in the ground. Put simply: music transcends borders. It travels into the ear of its listeners then, hopefully, into their hearts as well, no matter where they live. And music does not need a passport to accomplish this. That is part of the appeal of World Music for aficionados from anywhere on the globe. We have had a plethora of Euro café discs, Middle Eastern lounge CDs and Indonesian trip-hop fusion albums while, regretfully, Central American music has been nearly unheard during this wave of international awareness. Until now. A joint venture by the four most popular and progressive recording labels in this part of the world has begun to fill that void with the release of La Caja de Musica Centroamericana, the Central American Music Box.
This compilation of sixteen songs showcases musical styles that ignore the borders of places we call Nicaragua, Belize, Honduras, Guatemala and Costa Rica. The Garifuna music represented here from Ivan Duran’s Stonetree label from Belize is a good example. The Garifuna culture was spawned nearly four centuries ago when survivors from two sinking slave ships began cohabitating with the indigenous Carib tribes, including the Arawaks on the islands of Saint Vincent (in the Lesser Antilles), Dominica and Santa Lucia, as well as with other escaped African slaves. Later, under British domain, they were relocated to the Honduran island of Roatan and from there they migrated to the surrounding countries in Central America. The resulting music is unique, mesmerizing, and anything but Latin.
The origin of reggae in Costa Rica dates back to the 1920s, when Jamaican leader Marcus Garvey evoked his ideas and beliefs throughout the Caribbean province of Limon. Born in St. Anne’s Bay, Jamaica, the future birthplace of Bob Marley, Garvey is considered the prophet of Rastafarianism. So, it is easy to see how reggae music is considered a kind of Costa Rican folk music.
Remaining consistent in its mission statement, Papaya Music recently unveiled its newest release, Costa Rica Reggae Nights. The CD embraces a variety of Costa Rican reggae bands and styles. Included on this disc are eleven bands, demonstrating the versatility during a span of the past two decades of reggae in this country. All the recordings were previously unreleased and the compilation offers songs in Spanish, English, and Limon Creole.
The essence of Calypso is in its rhythm and its humor, not necessarily in that order. The seed of this musical style sprouted around Barbados, Trinidad and Ciudad Colon, Panama. It spread, literally by word of mouth, to other Caribbean ports, including Kingston, Jamaica, where it spawned the nucleus of reggae music.
Walter Ferguson is probably the last Calypsonian to learn his craft in this traditional, organic manner. Born in Guabito, Panama in 1919, he moved to Cahuita, Costa Rica at an early age with his father, Melsh, who was a cook for the Banana Company there. For years, Ferguson, or “Gavitt” as he is affectionately referred to by his wife and family, plied his trade with an old Martin guitar, creating songs and exchanging them with other wandering Calypso minstrels up and down the Caribbean coast of Central America. Walter even recorded a vinyl album of original songs in the early 1970s, which quickly slipped into obscurity along with its composer.
Religious hymns and spiritual music have played a role in Costa Rican culture for more than two centuries. Traditionally, however, the practice of organized groups celebrating and singing these songs has been confined to within their respective church walls, primarily in Limon and San Jose. Enter music historian Manuel Obregon, who is also the president and founder of Papaya Music, Costa Rica’s premier music label. Obregon felt this musical legacy deserved to be shared with the general public. So he enlisted more than thirty participants from a variety of denominations to perform live for two nights for an audience at National Theater in San Jose, which is truly how gospel music should be heard; live rather than canned studio work. Appropriately, a recording of this event, “Wade in the Water” has recently been released.
By Jim Parisi
by Jim Parisi