Buena Vista Exile Club

In Benito Zambrano’s film Habana Blues, a US record label’s offer fires up Ruy and Tito, two Cuban musicians scratching a living on the streets of Havana. But the tempting label deal comes with some conditions: they would have to quit the island and future song lyrics must be critical of the Cuban government. The narrative follows the friends as they ponder their dilemma, torn between ambition and autonomy. The movie inspired intense debate. Ever since Celia Cruz sang ‘Cuando salí de Cuba dejé mi vida’ (When I left Cuba I left my life) many musicians have abandoned the island humming their own personal, bittersweet Havana blues. But the profile of the Cuban musicians in exile today has changed a lot since Celia’s times – that political exodus has evolved into a sonic movement with economic and creative motives. Cuba is on the move, creating as it goes. 

Many of Cuba’s most interesting contemporary artists – with notable exceptions such as Yusa and X Alfonso – are found elsewhere. In Toronto, Telmary develops her guajiro-rap swing. The band Ska Cubano embrace Jamaican sounds in London. Cubiche create their alternative/global sound in Miami. Kumar mixes Caribbean and Mediterranean currents in Barcelona. Habana Abierta make Latin rock in Madrid. Eddy K works on his reggaeton in California. There is a whole new generation of Cuban sounds which has defined itself off the island.

Habana Abierta are emblematic of this ‘Buena Vista Exile Club’. The band’s musicians developed their sound during the ‘periodo especial’ in Havana – a time of severe economic hardship following the collapse of former trade partner the USSR. “Thirteen years ago in Cuba, there were power cuts all the time, and we needed electricity to plug in the guitar. All your energy went on trying to solve problems like that”, explains singer Vanito Brown.The group moved to Madrid in 1996. After tough beginnings, they began to make their mark. “Breaking into the market is difficult, but being over here has actually made us more famous in our own country” says guitarist Luis Barbería. Their three albums, Habana Abierta, 24 Horas and Boomerang, represent a genuine creative tornado and their first concert back in Cuba in 2004 was a tremendous success. “Although” Vanito adds, “you can’t find our albums officially on sale in Cuba…” The members of Habana Abierta, who are currently recording their next album, embody a generation with its feet outside and hearts inside the island.

The Spanish connection

Madrid and Barcelona have become favourite destinations for Cuban musicians. Nilo MC, a pioneer of rap on the island, was one of the first to land in Madrid. The 1990s also saw the arrival of the Nueva Trova new generation: Yhosvany Palma, Carlos Lage and Karel García. Nilo MC, having DJed regularly in Club Clandestino released Guajiro del asfalto (2002), a key reference in the Cuban new wave. By this time he says “music made outside Cuba began to be mythologized there.” Karel García, much championed by Silvio Rodríguez, arrived in Barcelona in June 1998. “I only came over here to record my first album. But I didn’t go back to Cuba for three years” Karel explains to Mondomix. Omar Sosa, one of the most acclaimed Latin Jazz pianists, left the island aged 17 “to connect with other musicians from other parts of the world”. He started out in Ecuador and then moved to Barcelona, going on to build a brilliant career. On albums such as Sentir (2002) and Mulatos (2004) he weaves Cuban roots into jazz and North African music. Now based in California, Omar Sosa says that living abroad “gives me a broader and clearer perspective on contemporary society”. Vanito Brown sees Spain as a kind of musical Babylon: “you can find all kinds of musical influences here, right on your doorstep”. Rising hip hop star Kumar agrees, “Barcelona is great for making music – it’s multi-cultural and you have fantastic access to technical resources and musical information”. His 2009 Película de barrio (released on Ojos de Brujo’s own label and with their participation) is a very global mix – his flow is straight out of marginal Havana (he comes from Mantilla) with Brazilian piano and flamenco-rap. 100% Cuban hip-hop, made in the Mediterranean. I asked him where you can hear the best new Cuban music – on or off the island? Kumar is in no doubt: “Here. It’s much better, and in Cuba the music fans love what we’re doing”.

Kumar - Medio Siglo Después

Cultural diversity, innovation, roots, globalization

The London band Ska Cubano are also part of the Cuban new wave, mixing calypso and reggae with Cuban sounds. Their eponymous debut album was recorded in the south-eastern city of Santiago De Cuba, which had close ties with Jamaican music in pre-revolutionary times. It was released in 2002 and they have toured heavily ever since, playing Latin swing, ska, calypso and a twist of rock. “Living here means we play with musicians who are Indian, Japanese, Arab and Caribbean and we dip into British music styles too” says bassist Reynaldo Crespo. That’s why Ay Caramba (2005) tastes of Cuba, but also has that worldwide London sound.

Decentralization

If historically Cuban artists emigrated in huge numbers to New York, these days their movements are multi-directional. And they are not all necessarily critical of the Revolution. In London, rapper Papo Record praises the Cuban administration with lyrics such as “revolución es eso, una constante unión que simboliza progreso” (that’s our revolution, progress through union). Politically most of these artists do not express strong attitudes one way or the other. Cubaneo, in Barcelona, seeks out connections between Catalunya and Cuba, without any ideological spin. Orishas, pioneers of the new wave of exiles speak about Cuba without raising political questions. Based in three different cities (Roldán lives in París, Ruzzo in Milán and Yotuel in Madrid) they are a perfect reflection of the Cuban sonic diaspora.

Orishas - ¿Qué pasa?

The US continues to be an important epicentre for musicians from the ‘pearl of the Caribbean’. There’s no doubt about Cuba’s presence in the US - the legendary New York fusion group Yerbabuena (Cuban-Venezuelan), Yunior Terry Cabrera (bassist with Lila Downs), timba star Isaac Delgado, Alfredo Rodriguez (pianist with Quincy Jones). And they are spread all across the country. The coolest reggaeton of the moment comes from Eddy K in California. One of the best Cuban-American outfits of the 21st century Cubiche is based in Miami. Bandleader Descemer Bueno asserts “we are the sound of the new generation of Cuban music inside and outside the country – what we call La Moda (hip) - alternative music”.

After years living far away, some return to the island. Like Raúl Paz, who after a fruitful stay in Paris which resulted in the release of five studio albums, decided to go back to Cuba. When a vital chapter comes to a close, Paz explains, “it’s natural to go back”. One day, maybe someone will make a film about the challenges for Cuban artists who want to return to the island. The problem facing young musicians in Cuba, according to Zack Winfield, the producer of the London project Revolution presents revolution, is that “there are too many musicians condemned to play the hits of their grandparents”. Right now in Cuba it’s the late Compay Segundo who has the biggest hits. Meanwhile all around the world, the ‘Buena Vista Exile Club’ plays on.

Bernardo Gutierrez

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