The Cuba Story....
Rikki Thomas Martinez arrived in Havana on the 14th
March 2008 with the first load of filming and recording equipment. In the time
before the rest of Mas Y Mas arrived he managed to meet Jorge Proenza, a
well-respected Cuban cinematographer. Not wanting this adventure to disappear
into the mists of time and odd angled snap shots like previous Irish, Spanish
and Far Eastern jaunts had done, Rikki managed to interest Jorge in filming the
making of Más Y Más’s third album.
Rikki also made contact with percussionist and rumbero
Santiago Garzon Rill known in Havana as “Chaguito” former musical director of
‘Rumberos de Cuba’, ‘Clave Y Guaguanco’ and member of ‘El Grupo Compay
Segundo’. He would act as the arranger and suggested the musicians that would
be the most flexible and open to flesh out Rikki’s songs.
The 25th of March saw the arrival in Havana of
Más Y Más bassist Wayne D Evans and percussionist Richard Kensington. They
brought with them the rest of the recording equipment and were eventually
admitted to the country after a tense time convincing customs that they were
not reporters come to undermine Fidel.
On the roof of Jorge’s house Rikki, Richard, Wayne and
Chaguito played the first session. Jorge filmed. In the plaza de la revolucion
behind, Che’s giant face adorned a building and in the neighbours yard below
giant butterflies landed on the rusting outdoor gym equipment.
After negotiations with Frank ‘el Matador’ the bongocero
from the ‘Septeto Nacional de Ignacio Pinero’ on the veranda of the Hotel
Lincoln the musicians assembled to rehearse in the bands studio on Galliano two
blocks from the Malecon. For the
next 25 dusty days the egg boxes on the walls soaked up the sound of the
musicians rehearsals and recordings.
Más Y Más were joined by 84 year old Melciades
Fundora (founder member of
Orquesta Sublime est.1956) on wooden flute now sadly silent after his death
earlier this year.
Miguel Martinez Rojas, the trescero worked closely with
Rikki to understand the nature of his songs, which were unusual for Cubans. He
was really excited by the opportunity of forging a unique sound in the melt
down of comfort zones and would often stay in the studio with Rikki long after
the other musicians had left to get inside his songs.
Juan Carlos ‘Tito’ first trumpet with Pachito Alonso y sus
Kini kini emptied his lungs into his battered instrument and then refilled them
as often as possible with cigar smoke.
21 year old Sadé look-a-like Arelyis Catillo Bequer who
normally plays with ‘Coto y su eco del Caribe’ left her tenor horn at home and
came to Más Y Más for her trombone recording debut.
The raw sensual rumba vocal style of Odalys Flores
Armenteros from the Folkloric group ‘Ada Che’ was present at the studio from
the very first day.
A few days later arrived Adriana Lord Romero, lead singer in
Cuban acapela group ‘Catarsis’. Sometimes working far into the night Adriana
helped Rikki with arrangements for harmony and backing vocals.
Youngest member of the group Frank Garzon Rill, Chaguito’s
son, took time out from his usual duties leading batá drumming in ceremonies
for Santeria to come and play on the recording, despite being frequently
stopped by the police in the street for being a young black man walking with
foreigners.
Each day the bands arrival at the studio would coincide with
the end of the daily Septeto rehearsal. Members of the Septeto would hang back
to listen and offer suggestions to Más Y Más . After Chino, the resident studio
caretaker, loped in from his sofa in the back to pull the live wires of the air
con from the wall, recording could begin.
At points throughout the day the session would be
interrupted as various people arrived in the control room interested to see and
hear what was happening. These
included Italian singer and producer Venturi who was in Cuba recording work
commissioned by the Vatican and many Cuban musicians who would often end up
bringing a bottle, staying a while and turning the recording session into an
impromptu Changui or rumba jam session. The Cuban respect for music was shown
when Frank ‘El Matador’ managed to stop construction work on the building next
to the studio so that recording could continue.
A constant studio presence both challenging and energising
was Robertico, brother of ‘El Matador’, music journalist and administrator of
the Septeto Nacional. Robertico became the self-appointed outside ear for the
recording and would enthusiastically make recommendations and challenge
decisions about the direction the music was taking. He would talk passionately
at length with Rikki about his songs and the art of song writing generally and
the band would often be invited to his home for delicious flan and other Cuban
delicacies.
Despite a gruelling studio schedule Más Y Más still found
time to get out and play. The trio performed at ‘Fresa Y Chocolate’ a bohemian
Cuban bar frequented by young Cubans. Also, with the addition of Chaguito they
performed to an audience of artists and rumberos at the ‘Callejon de Hamel’ the
painted alleyway famous for its art and rumba performances.
After returning to the UK the recorded ingredients were
built on with extra vocal and guitar takes and mixed and mastered by Simon
Jackson.