live @ Warner Theatre 9.12.2000
World music enthusiasts may now be growing somewhat weary of hearing the name Buena Vista Social Club, with a new release from participants in the highly successful gathering of all-star Cuban musicians seemingly appearing every month. Who could be weary, though, when in the effulgent presence of the BV’s elder statesmen and patriarch of Cuban “son” music, Francisco Repilado, better known by his nickname, Compay Segundo?
At the Warner Theatre Tuesday night, the 92 (or 93, depending on who you believe) year-old exuded heaps of charm and grace to go along with an elegant program of musical styles that touched on son and bolero, and even encompassed merengue and cha-cha. Compay was backed by the latest version of his band Sus Muchachos (His Boys), a moniker he has used on and off since 1950. Easing into the show with support from upright bass, acoustic guitar and a pair of percussionists, Compay remained standing--- often sashaying in a little circle--- throughout the 90 minute set and demonstrated his legendary guitar prowess on the “aromonico”, a seven-string guitar of his own invention that is somewhere between a six-string acoustic and its Cuban counterpart, the “tres”. His runs on the instrument were more concerned with melodic precision than flash and when a trio of clarinets joined the ensemble, Compay’s steely licks on the aromonico resembled a spacey banjo. In fact, all evening it was easy to hear what genre blenders (or blanders) like Bela Fleck owe to the Cuban son.
The concert wouldn’t have been complete without a version of “Chan Chan”, Compay’s highly popular Buena Vista composition, and the rapturous approval the set-closing number received led to a two-song encore so energetic it was easy to believe that Compay might still be performing when he’s 122. For which world-music enthusiasts should be thankful, not weary.
Washington Post, September 2000
