Between güiro and drum. 'The Havana Suite', an album by Ahmed Dickinson's Mestizo Ensemble - review by Aimara Magana.

An enjoyable exploration of Cuban traditional and popular music. 

That is what 'The Havana Suite', one of the latest releases by the Cuban guitarrist Ahmed Dickinson offers. A journey through a day in Havana: warm, open, but also melancholic, and at times inviting the listener to dance. On this occasion, Ahmed Dickinson's Mestizo Ensemble – featuring Cuban percussionist Hammadi Rencurrell, presents us with a fresh and modern approach to Cuban popular music through the works of Eduardo Martín. 

 With this album, intended to reach a wider audience, we find ourselves challenged with a different idea. The presence of percussion instruments has been a first for Dickinson, and the way it has been accomplished shows how much thought went behind Rencurrell's approach to this music. But not because it recreates the more social side of Cuban culture, does it lack the refinement and good taste that characterizes Dickinson's performances.

From the beginning, the listener gets thrown into an delectable mix of virtuosism and traditional rhythms with Martín's tribute to Ñico Rojas. It would have been impossible to choose a more befitting performer for these pieces than Dickinson, justly considered Rojas' heir.

'Calendario' takes the listener off the streets of central Havana, leaving the hum behind, and treating us to a space for reflection. Successfully accomplished by Dickinson, it is possible to just sit back, and enjoy the pleasant experience. It is very difficult not to imagine that one is sitting in a terrace overlooking the Malecon, and beyond the calm and warm waters of the Caribbean Sea. Listening to these pieces, we can truly appreciate Dickinson's innnate gift of creating powerful musical experiences through his impecable technique.

However, it will not be long before we are shown the contrasting styles of Martín's music, with one of the most interesting pieces of the album: 'De la Rumba Son'. This is perhaps the most challenging piece of the album in terms of technique. Its rhythmic richness is of such exuberance, that it is easy to get lost in its complexity. Here, Dickinson and Rencurrell gift us with the perfect combination, skilfully capturing the essence of Cuban music.

The final quarter of an hour, or so, introduces the violinist Emma Blanco. The listener is powerfully lead through the evocative 'Suite Habana', to finish with a rumba straight from the solares (slums) of Havana: 'Hasta Alicia Baila'. This piece features special guest Gerardo de Armas, percussionist and former singer of 'Yoruba Andabo', one of the most important Cuban ensembles that specializes in Cuban rumba. De Armas alongside Rencurrel create the perfect combination, bringing out the flavour and soul of this rumba, resulting in an authentic and powerful guaguancó.

'The Havana Suite' is an honest offering of authentic Cuban music. Performed  by Cubans, it certainly makes for a captivating proposition for the modern public.


© Aimara Magana 2012