There's a scene from '80s sitcom "
Bosom Buddies" (starring a young Tom Hanks) where boss, Ruth, looks agog at Henry the copy-writer, who's innocently confessed to editing one of her reports before sending it upstairs. She rallies heroically and declares, "Well of course! A diamond's only a diamond when you cut it."
Stephanie McWhinnie and Mark Cooper must be proud of their team, having fashioned the concerts into two gleaming gems to add to the BBC's crown. The visual rhythms, created by the pacing and angles of the cuts, perfectly complement the feel of the music - successfully capturing the essence of what happened on stage and around it.
They made it look easy.
Although two hours of the Big Three Palladium Orchestra's (B3PO) performance was shot, only a small number of songs were played on account of their extended instrumental solos - the combination of long songs and a low degree of freedom makes things tricky. Thankfully transitions between songs were dilated, which accommodates edit points; songs were performed as discrete units; and there was plenty of B-roll like establishing shots and pre-concert interviews with the artists.
La Excelencia would have presented the converse challenge: plenty of material, but less freedom for edit points. The results however were just as seamless, and complications of continuity were avoided by keeping to set order.
In both instances the broadcast audio was head-and-shoulders above that
in situ; the mixing engineers had brought their A-game to the studio. But even the best exercise of their craft couldn't compensate for lack of audio data entering the desk. It's a shame that the same kind of microphones used on the trumpets (
Sennheiser MD 421) weren't been deployed up-close on the
timbales and
bongó bell; it would have made for a world of difference in capturing the bounce, verve and drive of both performances.
These minor points aside, I'm thankful to the BBC for its generosity.
Mamboniks and Salseros, thanks to the Beeb
The Latin Music USA campaign has provided a rare chance to assess the whole process of live music production from the marketing tie-ins, advertising and promotion; the two performances qualitatively by juxtaposition; the actual performance experience with its post-concert production for television; through to critical media response.
I looked to the broadsheets for the latter:
All three articles were titled as regarding with the Big 3 Palladium Orchestra and not of the Latin Music USA concerts.
La Excelencia's presence there as support act was assumed, which told me two things:
- that the reviewers had been exposed to the same promotional material that I had had in the run-up; and
- that scant research had been done on the opening band itself, otherwise they might have come to the Barbican unprejudiced for an equal double-billing and their prose would have reflected accordingly.
The FT's reviewer seemed the best informed, with the insightful comment about the big-band duels at the Palladium (it was an evolution from the "War! War! War!" campaign between bandleaders Coen and Socarrás). The B3PO's inconsistency of performance was tactfully hinted at, through saying that the televised form might prove better for the editing. But those were small morsels of substance in articles largely bereft of qualitative assessment and contextual comprehension.
What was curious from all three was the inconsistent mention of front-line guests Jimmy Bosch and Gabriel Fonseca who are both Latin stars of international stature, contrasted with their unanimous gushings of tenor saxophonist Peter Wareham. Perhaps their attention wouldn't have seemed so partisan if they had also unanimously credited the unsung hero Guillermo Edghill, whose bass solidly anchored the groove when the
metalles suffered a Dizzy Gillespie-esque "where's the one?" moment as demonstrated in '
Avisale A Mi Contrario'.
The journalists used personal shortcomings of stamina as a device for expressing their opinion that the concerts went on too long. There were signs displayed prominently at the entrances to the auditorium stating that the sessions were being filmed - anyone beyond novice level would expect proceedings to be conducted at deliberate tempo. But the Guardian's reviewer went so far as to imply that the B3PO were unable to play '
Babarabatibiri' because
La Excelencia over-ran their set!
Let's be clear about this. The focus of a band is to engage, perform and entertain. Schedule-running is in the hands of the House Manager.
Whatismore, Mario Grillo opted to play the instrumental 'Sunny Ray' over another number, sending his singers off stage; and that other number was not '
Babarabatibiri' - there was nothing to indicate to the ordinary public that it was ever on the set list.
If there was a case to be made for informed disgruntlement, it should have been that Larry Harlow is not one of the Big Three by the Palladium definition, and that his set should have been been taken up with Tito Puente's songs - the only one was
'Oye Como Va' as the finale. But unless one is spoilt or has paid a private commission, one can't expect an artist to play one's personal favourite piece; it would be unreasonable to berate
El Judio Maravilloso or
La Excelencia for the lack of '
Ran Kan Kan', '
Babarabatibiri' or '
Caminando'.
I found Larry Harlow's set to be the most invigorating of the three - a delicious irony.
Had they been better prepared, the reviewers would've had more than just one "throw-away" line to say about
La Excelencia. They could have picked up on any one of a number of things that night, for example:
- Salsa Dura's declaration of musical intent, or its truthful phrasing to the earliest forms of salsa;
- Boogalú Pa' Colombia's rather clever circular reference - a pre-salsa genre originating from New York City (NYC), played in Colombian-style as homage complete with modern inspiraciónes, by a NYC band;
- La Lucha's guileful incorporation of boricua riffs and rhythms, the singing trombone and brass build-up a la La Perfecta, the fundamental difference in emphasis away from harmonies (as favoured in jazz) to that of rhythm and attack (in salsa);
- the qualitative contrast in approach to brass performance between La Excelencia's 'La Lucha' and B3PO's 'Avisale A Mi Contrario';
- El Salsa Y El Guaguancó's Cuban contra-clave pattern or the use of trumpet as modern diana before the traditional vocal one;
- El Loco's management of power and drive by counter-weighting shifts in vocal power and attack through different applications of the metal shells - a very Puerto Rican salsa device;
- American Sueño's metamorphosis from a campesino genre of Guantanamó into a truly urban statement complete with salsa metaphors, or as a maturing thematic development from La Lucha, or the use of triplets interpreted on Willie's piano as modern dialogue to those played in traditional fashion on maracas and timbales;
- Añá Pa' Mi Tambor's opening evocation in folkloric 6/8 time with the beseeching of permission from the masters and the ceremonial washing of hands before drumming - a barracks practice of sugar slaves, or Charlie Limonet's rare ability on the bongó bell including a crazy 16th-note solo;
- Ahora Que Te Tengo Aquí as the night's best vocal showcase with Ismael Miranda's tonality and Cheo Feliciano's phrasing, reminiscent of Tite Curet's 'Anacaona';
- Unidad's theme of unity as expressed through dance (pa' los rumberos) - a deep-seated Latin American symbol of cultural identity and resistance.
Sadly, what the reader got was, "the set was short on subtlety or nuance".
Oh dear.
Although I might agree with the three-and-a-half out of five star rating given for B3PO's performance, I do so for different reasons. On the quality of the reviews, I'd give the broadsheets a one-and-a-half out of five. I'm disappointed with their lack of honesty.
There is one more incident that should not go unanswered.
During an interlude on B3PO's set, trombonist Jimmy Bosch felt the need to say that that he dressed smartly (he and his band-mates were similarly garbed in sharp grey suits) out of respect for the music. The comment struck me as out-of-place, and I can sensibly locate it only as a reference to the casually attired musicians who played before him. While I respect Mr. Bosch's artistry on the trombone, I'm more than a little dismayed to discover a person without the grace to remain above needle onstage.
'Deja De Criticar.'
Collectively, the B3PO were in the embarrassing position of being out-played by their 'support' act. And whether the House Manager had allowed the set to over-run or not, I would expect an ensemble as highly billed as the B3PO were, to be able to take anything that minor in its stride.
La Excelencia displayed their respect for Latin music by the way they played it.
Ovation: La Excelencia and the Barbican after the rumba
Polling the people I know: musicans, dancers, laypersons,
mamboniks and
salseros alike; they were unanimous in their preference for the performance of the opening band, live and broadcasted.
If I were in
La Excelencia's position, I would take
Steve Rapson's advice from his book "The Art of the Soloperformer" (see later
blog post) and produce a media press pack for distribution, in acknowledgement that today's reviewers are expected to report like subject matter experts over an impossible breadth, and that the most professional of them would welcome any support and assistance from the artists they review, that the both of them can be portrayed in the best possible light.
Loo Yen Yeo
