 
BUENA VISTA SOCIAL CLUB (TM) PRESENTS I am not opposed to Buena Vista Social Club. I have a few gripes, it's true. One is that little Trade Mark insignia in the name which shows the serious marketing intent behind their every note. But Nick Gold is entitled to his millions, as long as he keeps putting out records. On reflection it's the public I object to, which is a hopeless situation. The original Buena Vista was a bunch of old timers (really old timers) with Ry Cooder cruising through some standards of the Cuban repertoire which had been done far better by many other groups. The toothless blinkered public thought it was the greatest thing since cream cheese, eating up all the subsequent releases without even looking at the adjacent bins to check out Abelardo Barroso or Yuri Buenaventura. The juggernaut ploughed onwards as some of the original members inevitably croaked and like the far superior Vieja Trova Santiguera, some younger members were introduced. Now it's time for a spotlight on Manuel "El Guajiro" Mirabal, octogenarian trumpeter and a fine band paying tribute to the greatest of them all: Arsenio Rodriguez. From the cartoon cover, which is a knock-off of Arsenio's SABROSO Y CALIENTE cover, to the repertoire which includes "Chicharronero," "Dombe Dombe," "El Reloj de pastora," and other Arsenio hits, it's a class act. The rhythm section of Cachaito Lopez on bass and Miguel "Anga" Diaz on congas is becoming as legendary as Arsenio's own back-line. Papi Oviedo on tres was an obvious choice, he is one of the great exponents of the instrument and a true link to the sound of the son montuno which Arsenio pioneered. "Guajiro" (Countryboy) Mirabal brings back his cohorts from the Orchestra Rumbavana days: Luis Alemany and Alejandro Pichardo on second and third trumpets. This trio played together for 30 years in the pit of Havana's Tropicana nightclub. The rest of the band replicate the line-up of Arsenio's conjunto from the 40s, including a bright young spark on piano: Roberto Fonseca. Some of Mirabal's quotes date him: "Holiday for strings" pops up in "Mi corazon no tiene quien lo llore" and "Windmills of your mind" (sic!) in "Dueda" which he quotes then tries to cover up! It would be impossible to top Arsenio's 1940s band, with Lili Martinez on piano and Felix Chappotin on trumpet, but this is a wonderful homage and clearly recorded. There is one link to Arsenio and that is the appearance of the great Ruben Gonzalez (who was Arsenio's pianist in the late 30s) on piano on the last cut. -- Doctor Rhythm
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