Rhythms of Havana: The Enduring Influence of Sexteto Habanero

 Tichea Ferguson

Central Artist: Sexteto/Septeto Habanero

    With this final music playlist, we will center our focus on enthralling sounds of the Spanish-speaking Caribbean, more specifically this playlist will feature the band Sexteto Habanero (later Septeto Habanero). Their band's name means "Havana Sextet/Septet". Personally, I am very excited about this playlist because the Spanish music and culture is a big part of programme of study. Therefore, I have studied the genre of Cuban son a bit prior to this class, but I am grateful that this playlist allows me to learn about it in more depth. Originally founded in 1920 Havana, this sextet blazed a trail by becoming one of the first group of people to popularize the Cuban son music genre, a vivid Afro-Spanish fusion of musical styles. There are two style tiers in Son. A range of percussionists freestyle over a rumba rhythm, which falls under the first level (of African origin). The second level, which originates in Spain, is supplied by a tres string guitar trio and an improvised bass. Above is the first known photo of the Sexteto Habanero band in 1920. From left to right, back: Guillermo Castillo (guitar and director), Carlos Godínez (tres) and Gerardo Martínez (lead vocals and claves); front: Antonio Bacallao (botija), Óscar Sotolongo (square bongó) and Felipe Neri Cabrera (maracas). Even though now the original band members have passed away already, the newer generation continues to carry on the legendary name of this groundbreaking band.

    First, we will listen to the song ¿Cómo está Miguel? by Sexteto Habanero. This song's title means "How is Miguel?". To the left is the original recording of the song in the 1920s with the first set of band members. The audio quality is a bit poor however, the song can still be heard  and one can appreciate the melodic sounds of the birth of Cuban Son. To the right is the updated rendition of the same song recorded and released in 2019, and obviously the audio quality is better so the lyrics are more clear. "Cómo está Miguel" has lyrics that are lighthearted and conversational, with the vocalist asking about Miguel's well-being and having a rhythmic discussion with the other members of the group. This poetic style, which lends the music a sense of companionship and group happiness, is characteristic of Cuban son. The song's typically cheerful speed encourages listeners to groove to its catchy rhythms and enjoy. Listen to any one, but I would recommend that you listen to both for comparison.

  

    Next, we have the song entitled Papá Montero (Father Montero) that was released in 1998 on the Orgullo de los soneros album. The lead vocalist of "Papá Montero" sings in the call-and-response technique typical of son, in which other instruments or the choir answer in a rhythmic conversation after the lead singer finishes a phrase. Like in the case of "Papá Montero," the lyrics frequently tell a tale or make a point. They could also touch on topics like comedy, love, or everyday life. The performance of "Papá Montero" by Sexteto Habanero perfectly embodies the community spirit and cultural vitality of Cuban music. The song highlights the band's deft handling of traditional son components and offers a glimpse into the rich musical legacy of Cuba. It also contributes to the continuous development of Latin American music.

    The song called Tres lindas cubanas is the next song we will listen to in this playlist. The song's name means "Three beautiful Cubans (women)". Once again, the main vocalist of "Tres Lindas Cubanas" sings lines, while the chorus or other instruments react, call-and-response. The song showcases a classic Cuban son ensemble, which usually consists of the guitar, bongos, maracas, claves, and tres, a type of string instrument from Cuba. The son genre is defined by the vibrant and dynamic setting this group produces. The song "Tres Lindas Cubanas" seems to be a celebration of the beauty and charm of three Cuban ladies; it also reflects a prevalent subject in Cuban son music, which frequently romanticizes or playfully depicts elements of everyday life. To the right is the updated recording of the song where the audio quality is better, however, I do encourage you to listen to the original band playing the song as well. 

                                                                     

    [En] Guantánamo, in the Taino language, means "land between the rivers". The lyrics celebrate or humorously portray aspects of everyday life, and in this case, the title "En Guantánamo" suggests a reference to the region in Cuba. Some of the instruments utilized in this performance include the trumpet, bongos, clave, maracas, cello, tres, guiro, and guitar. Almost all of the musicians are singing the lyrics and melody of the song. I truly admire the way the band arranges the way in which all seven (7) of the talented musicians will play the song. They even play the song so effortlessly, it's as if playing Cuban son is second nature to them, not to mention the beauty of the musical flow. This is definitely one of my favorite songs performed by this band.

    This next song goes by the name of Tincuntán. The title of this song sounds onomatopoeic to the sound of either the beating of bongos or the ringing of bells. As most of their songs begin, the trumpet sets the tone and tempo for the rest of the song beautifully. The same instruments that are typically used in Cuban son are used in this song (tres, guitar, bongos, maracas, trumpet, etc.) The "tin tin tin cun tan" in the chorus of the song is extremely catchy and would have anyone dancing to the beat.

    Cuando me toca a mí means "when it's my turn/when my turn comes". The song features a traditional Cuban son ensemble, employing instruments such as the guitar, tres (a Cuban string instrument), maracas, bongos, and claves. This ensemble creates a spirited and lively foundation that characterizes the son genre. The song's generally slow tempo entices listeners to sway along with the soothing sounds of the song. The Afro-Cuban origins of the genre are highlighted by the syncopated rhythms and lyrical interaction, and the contagious "oh mama" of the song adds to its enduring appeal.

Bibliography

Béhague, Gerard, and Robin Moore. “Cuba, Republic Of.” Oxford University Press eBooks, 2001, https://doi.org/10.1093/gmo/9781561592630.article.06926.

Wikipedia contributors. “Sexteto Habanero.” Wikipedia, 3 Nov. 2023, en.wikipedia.org/wiki/Sexteto_Habanero.