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The sonorities with which Pancho Amat has been working for 50 years of sustained work, will be recorded in a new record production titled Memorias, the 2010 National Music Award winner told ACN exclusively.
There will be 10 songs, half of them in instrumental format, and where the tres, the charango, the cuatro, the bandola and the cavaquinho, all played by him, will play the role of soloist in correspondence with the styles explored in the phonogram.
The sound that Pancho cultivated while he was part of Manguaré since the early 70's of the last century, will be in Memorias: music from the high plateau of the Andes, the plains of Venezuela, Brazil, as well as the nengón guantanamero and a salon contradanza.
The sung compositions, another five, also allude to the Latin American environment, because "I wanted to add the latest that has been done with the Cabildo del Son. That's why I have a song with Puerto Rican airs called "Que canten los que comieron", with décimas that are a bit joking and a bit serious".
On the other hand, La Fiesta de San Benito-A bailar nengón, fuses the traditional variant of son, with references to the Bolivian rhythm with carnival touches; without forgetting the rich changüí Camina pa' que te conozcan, another of the tracks that is nourished by the picaresque of our idiosyncrasy.
Te esperaré deserves a special mention, already known by the public for months and that, co-authored with the poet Héctor Gutiérrez and with the special participation of the popular singer María Victoria Rodríguez, has become another of the hymns of these times.
Te esperaré is our tribute to the doctors, especially those of the Henry Reeve Brigade. It was emotional and I didn't want to overlook it, since I recorded it on April 22, 2020, in the middle of the pandemic, when I was turning 70 years old. I think it was the best birthday present," he said.
The production is completed with Un son para mi Habana, premiered on the occasion of the 500th anniversary of the capital, and performed at the main event that took place on the Capitol steps.
Pancho Amat y el Cabildo del Son also joined the online concert initiative Estamos Contigo, and after broadcasting the first part last week, the second part will be released soon, with the initiative of the Cuban Institute of Music of the Ministry of Culture, and recorded by La Rueda Films.
In addition, the recently concluded International Jazz Plaza Festival also featured the talent of this transcendental instrumentalist. For the occasion, a concert recorded at the Covarrubias Hall of the National Theater two years ago was presented, with Spanish bassist Javier Colina as guest.
Special interest has been aroused in these times of isolation by the different social networks, which have served Amat to teach classes and he has used them in a collaboration with Eduardo Carrasco, his friend and former quena teacher, from the veteran Chilean group Quilapayún.
With deep emotion he also revealed that he was able to make contact with a young American alumnus whom he taught to play the tres 22 years ago during a tour of Los Angeles.
His wife called me because he was turning 40, and I wanted to offer him a musical dialogue as a gift so many years later. And we did it, tres in hand, he added.
In terms of composition, the virtuoso tres player has made good use of his time. He said that at the request of our embassy in Japan and the musicians of the diaspora living in the Japanese country, he created and sent a song, whose funds contributed to combat the epidemic of the new coronavirus in Cuba.
Finally, the album Memorias, which Pancho Amat and the Cabildo will begin recording at Pepe Ordaz's Guaicán studio, will feature celebrated guest musicians such as bassist Gastón Joya, Orlando Valle "Maraca" with his flute, pianist Emilio Morales, clarinetist Javier Salva and Van Van violinist Irving Frontela, among others.
(Taken from 5 de Septiembre)