The Buena Vista Social Club Tiny Desk concert beautifully captures the essence of the show and the music behind it.
The Buena Vista Social Club musical, now recognized with multiple Tony nominations, celebrates the legacy of Cuba's golden-age musicians who were nearly forgotten after the revolution. Originally a real-life ensemble formed in 1996 to revive pre-revolutionary Cuban music, it’s now also a stage production that swings between 1940s Havana and the famed recording sessions that reignited global interest in Cuban son.
The Tiny Desk concert scales down the Broadway spectacle without losing its magic. Featuring standout performances like:
- “El Cuarto de Tula” to kick things off,
- A harmonically rich "La Negra Tomasa" with young Compay Segundo, Ibrahim Ferrer, and Omara Portuondo,
- A solo take on "Lágrimas Negras" by Isa Antonetti (young Omara),
- And a powerful "Candela" performed by the older Ferrer (Mel Semé).
Playwright Marco Ramirez acts as the narrator, bridging generations and guiding viewers through a musical and historical journey.
- Time Travel Through Music: The narrative structure alternates between decades, nostalgia, and relevance.
- Character & Culture: The casting reflects not only vocal power but a deep respect for the personalities behind the original music.
- Tiny Desk Adaptation: Even in this intimate setting, the performances convey the warmth, rhythm, and resilience that define Cuban music.
- A Living Tribute: It’s not just a revival; it’s a celebration of cultural memory, with NYC musicians channeling the spirit of Habana.
https://www.youtube.com/watch?v=X1bx9_TL20A
The original Carnegie Hall performance is still the greatest.
https://www.youtube.com/watch?v=xDhAI0ktqUc&list=PLetv3SCC-r3bOrLYw8uQzwBMEzAkssIt_
🎶 The Original 1997 Buena Vista Social Club Album
This landmark album, produced by Ry Cooder and recorded in Havana, brought together legendary Cuban musicians, many of whom were in their 70s and 80s, for what was meant to be a one-time project. It unexpectedly became a global phenomenon, selling millions of copies and winning a Grammy.
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Compay Segundo (guitar, vocals): Known for his dry wit and mastery of the armónico, he became the group's elder statesman.
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Ibrahim Ferrer (vocals): A former bolero singer who had retired, Ferrer became the soulful voice of the revival.
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Omara Portuondo (vocals): The only woman in the ensemble, she brought emotional depth and elegance.
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Rubén González (piano): Virtuosic and playful, he added a jazzy finesse to the music.
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Son Cubano: The foundational rhythm, blending Spanish canción with Afro-Cuban percussion.
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Bolero, danzón, guajira: Romantic and danceable forms that showcase Cuba’s diverse musical DNA.
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Instruments: Tres, piano, trumpet, congas, maracas, double bass, and rich vocal harmonies.
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"Chan Chan" – The opening track and the most iconic. Its hypnotic groove is rooted in Cuban folklore.
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"Dos Gardenias" – A bolero with haunting beauty, sung by Ferrer.
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"El Cuarto de Tula" – A fiery, fast-paced son featuring call-and-response vocals.
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"Candela" – Full of energy and sensuality, it showcases Ferrer’s versatility.
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"Veinte Años" – A poignant duet between Omara Portuondo and Compay Segundo.
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"Lágrimas Negras" – A bolero-son standard blending sadness and sensuality.
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The project helped revive global interest in traditional Cuban music.
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Wim Wenders directed a documentary in 1999 that gave faces and stories to the voices.
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It opened doors for international tours and solo careers for the artists involved.
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The album has been preserved in the U.S. National Recording Registry for its cultural significance.