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Son – a generic term covering numerous earlier musical styles that had varying histories – guajira, guaracha, changüi, sucu-sucu, etc. In the second half of the nineteenth century these coalesced under the heading of son, which had its heyday in the 1920s with the advent of recording and radio and is the DNA of twentieth century Cuban music and salsa, which was revived in the 1970s by Sierra... Learn More »Son – a generic term covering numerous earlier musical styles that had varying histories – guajira, guaracha, changüi, sucu-sucu, etc. In the second half of the nineteenth century these coalesced under the heading of son, which had its heyday in the 1920s with the advent of recording and radio and is the DNA of twentieth century Cuban music and salsa, which was revived in the 1970s by Sierra Maestra.
On this album, Sierra Maestra present a selection of classics from the Cuban son repertoire. Just looking at some of the names of the writers and composers involved gives an idea of the treats in store. Ignacio Piñeiro, Ñico Saquito, Beny Moré, Manuel Corona, Bola de Nieve and Arsenio Rodríguez are all glorious names from the 1920s to 1960.
The group has picked out songs in the different styles that have marked the highest achievements in their music. To do this they have used different musical formats, which range from the trio (traditional Trova), septet, Sierra Maestra's regular nine-piece, conjunto, up to the larger Cuban jazz band of the 1950s.
The album serves to illustrate the supremacy and modernity of Cuban music both nationally and internationally, as well as supporting the dictum that ‘Son is the soul of our nation.’
The Recording
It is appropriate that Sierra Maestra recorded this tribute to son in an old studio in Havana. Their last four albums were all recorded in Europe, but it was back home for this review of the glorious history of son, the style they play and have done so much to revive in Cuba.
The studio is one of the state radio and television buildings, where every afternoon they record the round-table political radio show that goes out nationally, featuring journalists, academics and lots of government spokespeople, and with Fidel Castro himself sometimes dropping in. On these occasions this would mean closing off the side entrance for his arrival, and our having to use the front entrance on La Rampa.
Sierra Maestra are, and feel, at home. Most live within walking distance of the studio, except Maceo, who now lives out by the airport and cycles or hitches the fifteen kilometres, and Luis, who drives in from Alamar. Due to the studio’s daytime use, they’re working the 5pm to 1am shift each day. Supper arrives in cardboard popcorn buckets with the woman who’s cooked the pork, onions and rice – the same each day, washed down with fizzy drinks, water and black coffee, with an occasional rum to clear the throat (though very few of Sierra Maestra now drink). Only a few now smoke – how times have changed! This very same recording week, it’s announced that Cuba is enforcing the no-smoking-in-public law that is so creepingly popular in Europe. In one of the world capitals of tobacco, it’ll be interesting to see how it will work.
Being at home also creates a relaxed and easy atmosphere. The two studio engineers add to this. Both Gogó and Misha are not just totally into the music, but understand it and know exactly what needs to happen. Gogó regales me with his tales going back fifty years in the Havana studio scene, right back to the Beny Moré heyday. He’s known them all. Both he and Misha are – like most Cubans in musical circles, at least – also wise-cracking pranksters, and the whole atmosphere is clearly conducive to the job in hand.
I think you can hear the results on this album. Relaxed, with the tempos just perfect. Sierra Maestra are here making very much a Sierra Maestra record, which means that the whole production was done by them on their terms, the way they like it. If you don't like this record, then son, a style so fundamental to the whole of twentieth-century Cuban music, is not for you. It’s classically done.
David Flower
1 El Son No Puede Fallar 2:47
(Eduardo Himely, arr Eduardo Himely)
Guaracha
Mucho tiempo ha transcurrido
Y aquí estamos los soneros
Pero no hubiera ocurrido
Si no estaban los primeros
Piñeiro, Cuni y Arsenio
Chapottin, Maria Teresa
Sindo Garay, Matamoros
Y la Trova Santiaguera
El Beny es punto y a parte
Saquito y Roberto Faz
La Sonora Matancera
Pacho Alonso y diré más
Sentando a Lilí en el piano
El son: No pudo fallar
Chorus
No pudo fallar, no pudo fallar
Con ese piquete asere
El son no puede fallar
Santa Isabel de las Lajas
Lo vio nacer lo vio crecer
y fue puntero mayor
el gran señor Beny More
Chorus
Maria Cristina me puede gobernar
Y yo le sigo le sigo la corriente
Porque no quiero que diga la gente
Que Maria Cristina me quiere gobernar
Chorus
Manuel Corona , Cuní, Mañungo, Lázaro Herrera
Compay Segundo, Laito, Embale… Ah y los Compadres!
Chorus
Improvisations
Chorus 2: Este son es pa’ los grandes asere
‘So much time has passed. And here we are, the soneros, but it wouldn't have happened without the pioneers.’
A roll call of some of the great writers and performers of son.
‘Son cannot fail.’
2 Al Vaivén De Mi Carreta 3:32
(Ñico Saquito, arr Eduardo Himely)
Guajira-Son
Erdwin Vichot (Frente Campesino): laud
EH! Se acerca la madrugada
Los gallos están cantando (twice)
Guajiro están anunciando
Que comienza la jornada, bien
EH! Trabajo de Enero a Enero
Y también de sol a sol (twice)
Y que poquito dinero
Me pagan por mi sudor
EH! Del vaivén de mi carreta
Nació esta lamentación
(Bis)
Caramba oigan mi cuarteta
No tenemos protección tu ves
Chorus
¿Cuando llegaré?
¿Cuando llegaré al bohío?
Triste vida es la del carretero
Que anda por esos cañaverales
Siempre lucha el pobre resignado
Por romper los rudos pantanales
Sabiendo que su vida es un destierro
Se alegra con sus cantares
Chorus
‘All day long, all year round, I work for so little money. This lament comes from the rocking of my ox-cart. When will I ever get home to my shack?’
The sugar-cane cutter's lament on the miseries of his working life. This standard by trovador Ñico Saquito, from Santiago de Cuba, was initially banned from the radio on its 1936 release for its social criticism.
3 Santa Isabel De Las Lajas 3:19
(Beny Moré, adapted by Eduardo Himely, brass arr Yelfris C. Valdés)
Son Montuno
Antonio Sesma: trombone
Raúl Nacianceno: saxophone
Ludwing E. Nuñez Pastoriza (Bamboleo): timbal
Luís R. Barzaga (Jr): piano
Chorus:
Santa Isabel de las Lajas,querida
Santa Isabel
Lajas mi rincón querido
Pueblo donde yo nací
(twice)
Lajas tengo para ti
Este mi cantar sentido
Siempre fuiste distinguido
Por tus actos tan sinceros
Tus hijos son caballeros
Y tus mujeres altivas
Por eso grito que viva
Mi Lajas con sus Lajeros
Chorus
Mi cantar quiero que sea
perfumado porque lleva
(twice)
Saludo para La Cueva
Guayabal y la Guinea
Pueblo Nuevo se recrea
Viendo que yo soy sincero
que abro mi pecho entero
igual que mi corazón
al gritar con emoción
orgulloso soy Lajero. Tu ves!
Chorus
Ay! Mira nena, pero yo te llevo en mi vida
Chorus
Que yo no te olvido, mi pueblo
Porque tu eres mi vida
Chorus
Santa Isabel yo te llevo entera en mi vida
Chorus/improvisations
The son montuno was a style developed by Arsenio Rodríguez around 1946. The repeated section, the montuno, was given extra horns and rhythm to add excitement and tension for dancers. Rodríguez would shout ‘diablo’ at this point, as in ‘devil’.
Original singer of this song Beny Moré – the ‘Barbarian of Rhythm’ – was massive in the 1950s, and probably the single most popular Cuban performer of all time. He dedicated this song to his countrymen.
4 Ausencia/Aurora/Se Fue/La Mora 4:17
(Ausencia: Jaime Prats/Aurora: Manuel Corona/Se Fue: Ernesto Lecuona/La Mora: Eliseo Grenet, arr Emilio Ramos)
Song selection by Eduardo Himely
Ausencia quiere, decir olvido
Decir tinieblas, decir jamás
Las aves pueden, volver al nido
Pero las almas que se han querido
Cuando se alejan, no vuelven más
¿No te lo dice ,la luz que expira?
Sombra es la ausencia, desolación
Si tantos sueños fueron, mentiras
¿Por qué te quejas cuando suspira
Tan hondamente mi corazón?
Ay! Aurora me has echado al abandono
Yo que tanto y que tanto te he querido
Con tu negra traición, me has engañado
Y en el fondo del alma me has herido
Has tratado de engañar el alma mía
¡Castígala Gran Dios!
Con mano fiera
Que sufra mucho, pero que no muera
Ay! Aurora yo te quiero todavía (twice)
Se fue, para no volver
Se fue, sin decirme adiós
Muy lejos de mi se fue
Matando mi ensueño de amor
Allá en La Siria
Hay una Mora
Que tiene los ojos más lindos
Que un lucero encantador
Ay! Mora
Acábame de querer
No me martirices más
Que mi corazón está
Que te devora
Por quererte tanto Mora (twice)
Chorus:
Cuando volverá
La noche buena
El buen vinito
La lechuguita
Ay! Mira niña
A selection of trova standards by some of the great writers. The Trova tradition (as in European troubadour) developed in Santiago de Cuba at the beginning of the twentieth century and were, essentially, simply arranged boleros (romantic ballads).
Jaime Prats was chiefly a bandleader and ‘Ausencia’ one of his few songs, written around 1918 and a great favourite in that romantic era. Manuel Corona, by contrast, was a highly prolific writer of boleros and a bohemian, and died in abject poverty. In Latin America, Ernesto Lecuona remains probably the most famous composer of all time. He certainly composed many of Cuba's best-loved anthems. Eliseo Grenet was an all-round musician, who wrote a good few standards and also popularized the sucu-sucu – see Sierra Maestra’s version of his ‘Felipe Blanco’ on their album Tibiri Tabara.
5 Bruca Maniguá 4:34
(Arsenio Rodríguez, arr Sierra Maestra)
Son Afro
Yo son Carabalí
Negro de nación
Sin la libertad
No puedo vivir
Mondele acabá
Con mi corazón
Tanto maltratá
Tanto taguiré
Mondele comba fiodé
Siempre está engaruchá
Que esta por mucho que don diga
Siempre ta’ engarua’chá
Mondele acabá
Con mi corazón
Tanto maltratá
Tanto taguiré
Chorus 1:
Yenyere bruca maniguá AE!
Improvisations/Chorus 1
1. Esa negra que me engaña es bruca maniguá AE!
2. Yo no creo en negra santa bruca maniguá AE!
3. Sin los fulas tu no escapas, bruca maniguá AE!
4. Lo cochino a 25 bruca maniguá
Chorus 2: Sierra Maestra con Arsenio y Barroso
Improvisations/Chorus 2
Ay Sierra Maestra con Arsenio y Barroso
Para mi a sido un honor
Cantar esta melodía
Pues tuve la garantía
De acercarme a lo mejor
Arsenio y Barroso son
Dos pilares de esta tierra
Por eso Sierra Maestra
Con gusto y con armonía
Su tributo les envía
Con elegancia y honor
Written in 1937, this was the first tune by key figure Arsenio Rodríguez ever to be recorded, and a landmark in son for its ‘black pride’ attitude and lyrics, and the increased importance he gave the clave. It’s written in half Spanish, half African dialects.
‘I am Carabalí, a black man from a nation. Without freedom I cannot live. The white man has hammered my heart and his ill treatment finished off my body.’
6 A La Loma De Belén 3:21
(Geraldo Martínez, arr Eduardo Himely/Alejandro Suárez)
Traditional Son
Francisco Bacallao (Típico de Sones): botija
A la loma de Belén, de Belén nos vamos (twice)
AE, EA
AE Componedores
AE Remachadores
Y yo voy a la loma
Buscándote
Chorus
Yenyere, Colombiano, Yenyere
Improvisations
¡Colombiano!
¡Masitas de puerco!
¡Colombiano!
Que vamos a Cumbanchar
Que vamos a guarachar
Con música de ayer
¡Colombiano!
‘To the hill of Belen we'll go, to the mountains I will go looking for you, to dance guaracha.’
7 Pa’ Quien Un Pollito (versión libre) 3:20
(trad, arr Eduardo Himely, brass arr Yelfris C. Valdés)
Son Montuno
Antonio Sesma: trombone
Ludwing E. Nuñez Pastoriza (Bamboleo): timbal
Luís R. Barzaga (Jr): piano
Tengo que darle un pollito a Elegua
Tengo que darle un carnero a Changó
Y cuatro gallinas prietas
A mi madre Yemaya
Me lo han dicho los santeros
Que son bravos de verdad
Que cuando me haga ese ebbo
Ya me voy a enderezar Ay Dios!
Pa’ quien un pollito
Chorus: Pa’ Elegua
Pa’ quien un carnero
Chorus: Pa’ Changó
(twice)
Cuatro cocos y una vela
Pa’ mi Elegua de verdad
Y la próxima limpieza
Que la voten pa’ la mar
Pa’ quien un pollito
Chorus: Pa Elegua
Pa’ quien un carnero
Chorus: Pa’ Changó
(twice)
Improvisations
Oye los lunes mi hermano
Chorus: Pa’ Elegua
Me voy a casa el madrina
Chorus: Pa’ Changó
Pa’ que me diga si ocana
Chorus: Pa’ Elegua
O que me diga e yeife
Chorus: Pa’ Changó
Y es que el problema que tengo
Chorus: Pa’ Elegua
No se resuelve con nada
Chorus: Pa’ Changó
Ni flores blancas, ni muertos,
Chorus: Pa’ Elegua
Ni cascarilla mi hermana
Chorus: Pa’ Changó
Por eso prendo una vela
Chorus: Pa’ Elegua
Por eso doy un tambó
Chorus: Pa’ Changó
Tocale el piano Luisito
Traigo Rompe Saraguey
Chorus: Pa’ Elegua
Pa’ quien le duela el bolsillo
Chorus: Pa’ Changó
La fiesta nunca le falta
Chorus: Pa’ Elegua
El platanito maduro
Chorus: Pa’ Changó
El pito y una matraca
Chorus: Pa’ Elegua
La jicotea no falta
Chorus: Pa’ Changó
Pa’ quien un pollito
Chorus: Pa’ Elegua
Pa’ quien un carnero
Chorus: Pa’ Changó
(twice)
Elegua, Changó and Yemaya are Gods of santería, the Afro-Cuban syncretic religion. Offerings to these are made:
‘to one a chicken, to the other a lamb, the other some dark hens. Coconuts, a candle, etc. etc. They'll straighten me out’.
8 El Paso Franco-Bardo 3:52
(Ignacio Piñeiro, arr Eduardo Himely)
Guaguancó
Amado Dedeu (Grupo Clave y Guaguancó): congas
Amado de Jesús Dedeu (Jr) (Grupo Clave y Guaguancó): conga 3/2
Caridad E. Paisan (Grupo Clave y Guaguancó): vocal
El paso Franco
Te está cantando, amigo
No le tires a mi guaguancó
(twice)
Señores
Ay! Todos quieren saber como vivo yo
Como vivo yo cosa buena, como gozo yo
Chorus
Todos quieren saber como vivo yo
Ay ¡ La pastora de los Sitios, sobrellevame
Chorus
Guia: Como vivo yo cosa buena, como vivo, como vivo yo
Chorus
Párate y oye cantor
Lo que he sufrido
Tan solo por quererte un solo día
Pensar que me desprecias divertido
Me da mucho dolor fuerte agonía
Pues ya no queda un lugar del alma mía
Que no sufra la pena del martirio
¡No te detengas para contarme penas!
¡Sigue sin molestar mi fe perdida!
Bardo que te mueva mi dolor
Pero Bardo, di si tienes corazón
Bardo porque no sientes amor
No te quiero ni aun estando arrepentida
Ya que por ti mi mente no reposa
Solito, con mi vieja en una choza
Quiero pasar, el resto de mis días
Todos quieren saber como vivo yo
Como vivo yo, Madre Santa
Como vivo yo
Chorus
Improvisations
Ay! Mira como averiguan
Como me siguen, por Dios!
Chorus
Que si presumo de un coche
Y buena mulata. Por Dios!
Here Sierra Maestra combine a pair of guaguancó by Ignacio Piñeiro, the father of modern son, in their own unique and characteristic arrangement. The two songs are slightly different styles within guaguancó, which is the best known of the couple dances that form rumba, the percussion-based traditions going straight back to African origins.
‘Everyone wants to know how I live like I do, how I have such a good time.’
9 No Hay Como Mi Son (Mi Son, Mi Son, Mi Son) 2:59
(Luís Martínez Griñán (Lili Martínez), arr Eduardo Himely, brass arr Yelfris C. Valdés)
Son
Se pasan la vida hablando
Del nuevo ritmo mi hermano
Si el Batanga, el Cha Cha Cha y el mambo
Nacieron del son Cubano
Tenemos que conservar, nuestro ritmo original
No se dejen engañar, porque
Para bailar no hay como mi son
Chorus
Mi son, mi son, mi son
Para bailar, Mi son, mi son, mi son
(repeated)
Para bailar no hay como mi son
El Cha Cha Cha señores, tiene celos de mi son
Tengo en mi casa una pareja de gata con ratón que bailan son
Vamos a bailar con el edén que tienen ‘Los Roncos’
Arsenio Rodríguez is such a figure in son that he gets two songs on this album. And, in a sense, a third, as ‘No Hay Como Mi Son’ was written by Lili Martínez, who followed Ruben González as pianist in Arsenio Rodríguez's conjunto and was reckoned by some to be son’s greatest pianist and arranger. It’s a hymn to son.
‘People are always arguing whether some rhythms – batanga, cha-cha-cha and mambo – came from son. We should just keep on playing it. There's nothing to touch it. I even have a cat and mouse at home who dance son together…’
10 Si Me Pudieras Querer 3:13
(Ignacio Villa, arr Eduardo Himely/Emilio Ramos)
Bolero
Despertaste nueva vida en mi
Para ser faro de mi querer
Y hoy me tienes medio loco
Porque tan si quiera un poco
Has de lograr mi sentir
Hoy la vida me ha de sonreír
Tengo ya deseos de sentir
Los besitos de tu boca
Que mejor me harán vivir.
Si me pudieras querer, como te estoy queriendo yo
Si no me fuera traidora la luz de tu amor
Yo no sé si existiera por ti, todo mi querer
Yo no sé que sería la vida, sin ti
Pero, no puedo pensar
Que nunca me podrás amar
Porque la vida lo quiere y nada más
Deja que Dios
O que el destino quiera
Y entonces la vida, también lo querrá
Deja que Dios
A bolero by the one-off Bola de Nieve, a great showman in the 1930s heyday of the bolero. He had a unique style and became famous not just all over Cuba, but internationally as well. This song recalls the many, many interpreters who have also covered this song. The version sung by Roberto Faz, mighty sonero and magnificent bolero singer, was one of the first songs to inspire Sierra Maestra to establish their own group with its own style, where different traditional elements and a touch of jazz are all combined.
‘You awoke new life in me, to become the lighthouse of my desire.’
11 Suavecito 3:00
(Ignacio Piñeiro, arr Sierra Maestra)
Son
A ti te gusta mucho Carola
El son de altura, con sabrosura
Bailarlo a solas
Lo mismo a prisa que despacito
Cuando lo bailas, con tu chiquito
Contenta dices
Chorus
Suavecito, Suavecito
Improvisation 1: Una linda Sevillana, le dijo a su maridito (twice)
Me vuelvo loca chiquito, por la música Cubana
Chorus
Improvisation 2: El son es lo más sublime, para el alma divertir (twice)
Se debería de morir, quien por bueno no lo estime
Chorus
One of the most popular and important sons for the septet line-up, its rhythm and tempo are perfect for dancers of any era. It dates from 1929, when Ignacio Piñeiro Septeto Nacional scored their first sensational success in Europe. Piñeiro wrote a lot of rhythmic rumba into his son, as you can hear on ‘Suavecito’ – a hymn to the delights of son and dance, be it quick or slow!
12 Olvido 2:56
(Miguel Matamoros, arr Sierra Maestra)
Son
Aunque quiera olvidarte
ha de ser imposible
porque eternos recuerdos
tendrás siempre de mi
mis caricias serán
el fantasma terrible
de lo mucho que sufro
de lo mucho que sufro
alejado de ti
Por doquiera que mires
Verás lobregueces
Y si buscas otro amor
Hallaras soledad
Porque todo el que olvida
Recoge ‘esquiveses’
Donde quiera que siembra
Donde quiera que siembra
La flor de amistad
(repeat)
Chorus
Y si vas al Cobre
Quiero que me traigas
Una virgencita de La Caridad
Improvisations
Miguel Matamoros, as both writer and performer, was a crucial link between trova and son.
13 La Yuca De Casimiro (Dile A Catalina) 3:29
(Arsenio Rodríguez, arr Eduardo Himely/José A. Rodríguez)
Son
Chorus
Dile a Catalina que te compre un guayo que
La yuca se me está pasando…
Dile a Catalina, que venga acá
Dile que la vianda se me va a acabar
Chorus
La yuca la traigo buena, verdad
Dile a la vecina que si va a comprar
Chorus
Mira que el viandero, no vuelve más
Dile que por fin si me la va a comprar
Chorus
Que la vianda
Se me está pasando
Oye la malanga
Se me está pasando
Mira mamita
Se me está pasando
Mira la papa
Se me está pasando
Ay que la yuca
Se me está pasando
Yo toque con Chapotin
Y canté con Miguelito
(twice)
Recuerdo a Arsenio, a Lily
Cuando tocaban te la ponían bonito
Arsenio Rodríguez again. This song is almost like a pregón – a trade-related song (as in ‘Peanut Vendor’). Here numerous fruits and vegetables fulfil their customary role as metaphors.
14 El Son Es Para Siempre 2:45
(Carlos R. Más/Eduardo Himely, arr Eduardo Himely)
Son Montuno
Chorus
Este es el son de hoy
Este es el son de siempre
Tiene sol Siboney
Y vive en Cuba caliente
Cuando tu escuches un son
Que tenga un ritmo candente
Que haga vibrar corazones
Ese son es de mi gente… de Cuba
Chorus
Como dijimos al principio
Mucho tiempo ha transcurrido
Pero es que nadie a podido
Cortale alas, sacar de paso a mi son
Chorus
Y hay que contar con nosotros
Sierra Maestra,Turquino
Jóvenes Clásicos, Polo
Pancho Amat y Barbarito
Se mencionan otros nombres
Chorus
Y a toda la gente linda
Que esta tocando mi son (twice)
Lo invito a este homenaje
Que le estamos haciendo al son… a los grandes.
Chorus
Chorus 2: ¡Y vive en Cuba caliente!
The conclusion of the album: ‘Son Is Forever’. This time the names evoked are contemporaries of Sierra Maestra:
‘As we said at the beginning, so much time has passed, but still nothing can stop son or clip its wings. And to all those beautiful people who are playing my son, I invite them to join in this homage we are paying to son and to the greats of son from the past and present.’
Sierra Maestra are:
José Antonio Rodríguez: lead vocal, chorus
Luís Barzaga: lead vocal, chorus
Alberto V. Valdés: lead vocal, chorus, maracas
Emilio Ramos: tres, guitar
Eduardo ‘Ñiquito’ Rico: percussion
Carlos Puisseaux: güiro
Yelfris C. Valdés: trumpet
Eduardo Himely: bass, guitar
Alejandro Suárez: percussion
Guest appearances by:
Francisco Bacallao
Erdwin Vichot
Amado Dedeu
Amado de Jesús Dedeu (Jr)
Caridad E. Paisan
Antonio Sesma
Raúl Nacianceno
Ludwing E. Nuñez Pastoriza
Luís R. Barzaga (Jr)
Many thanks to:
Barbarito Torres for his collaboration on ‘Al Vaivén De Mi Carreta’
Carlos R. Más for his advice
Familia Mederos for his collaboration on ‘Pa’ Quien Un Pollito (versión libre)’
Joe Luis Vazquez for his collaboration on ‘El Son No Puede Fallar’
Dinorah Valdés for her valued opinions and assistance
Dedicated to the great masters of son (wherever they may be) and the soneros
Tracks 1 and 14 published by Riverboat UK Music (MCPS). All other tracks Copyright Control.
A World Music Network production
Musical director: Eduardo Himely
Recorded by Luís Guillermo Rodríguez Gogó and Mijaíl Arteaga (Misha)
Recording assistant: Luís G. Rodríguez (Jr)
Post-production by Mijaíl Arteaga, Eduardo Himely and Boris León
Mixed by Luis Guillermo Rodríguez Gogó, Eduardo Himely, Alejandro Suárez and Boris León
Recorded in 2005 at Migo Records studios, Havana, Cuba
Photography courtesy of Sierra Maestra
Design by Undertow www.undertow-design.co.uk, coordinated by Duncan Baker
Special thanks to Katsunori Tanaka of Office Sambina/Rice Records (Japan) for track suggestions and album concept
Thanks to Ned Sublette, Phil Stanton, Sandra Alayón-Stanton and all at World Music Network
Booking agent/contratación:
SASA MUSIC
David Flower
tel: + 44 (0)20 7359 9232
fax: + 44 (0)20 7359 9233
rab@sasa.demon.co.uk
www.sasamusic.com
Visit www.sierra-maestra.net to keep up to date with all Sierra Maestra news and tour dates
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