The Cinema and Alejo Carpentier.

Honoring the Alejo Carpentier`s Centennial.

One of the universal movie milestones, the Russian Serguei Eisenstein, not only captivated Alejo Carpentier`s gaze with El acorazado Potemkin, he was also his friend.

That's why, when Carpentier came close to his body of work, he could do it from the affective intimacy and knowledge of a human being that equally dazzled him due to his ''power of psychologic inquiry''.

Both walked around Paris, few years before the Second World War:''I was with him many times sailing, aboard coal scows, along the underground channel joining the Sena with the Oureq River, narrated the Cuban writer.

Indeed, Carpentier's chronicles did not result from abstractions, they came from the live dialogue with culture, sometimes grabbed as a sensible and informed spectator, and in many occasions, as protagonist of the narrated events.

Tempered intellectual, man of his time, Alejo fed his creation on the direct contact with the entire world, arrogating the reality from the rich experience of those years in Paris during the war, which decisively influenced in his creativity, as a journey through time, sometimes shared with the genius of an Eisenstein.

They talked about their passions and fears along the Light City`s streets and avenues, he remembered the Russian`admiration for the James Joyce`s work, ''Ulises seemed to him a fundamental work'', he said.

Involved in testing and searching, both shared also the restlessness of the discovery of reality from other edges, enchanted by the artistic spirit.

Through their journey, they perceived alike ''places where the contrast between shadows and lights could respond to their intense worries''.

While exploring a cinematographic, reformist and substancial language, Eisenstein would find, in Carpentier`s opinion, the Japanese Kabuki Theater, needing another reality to take him through the road of essences, precisely to reality.

He was Russian, a man like Goethe, according to Alejo, devourer of the universal culture, eager to read everything, to live everything: ''a man taking the art very seriously''.

By Mercedes Santos Moray. Published on Trabajadores Newspaper and Cubaliteraria Newsletter.

Irakere 30 years

To say Irakere means, since long time ago, a peerless melding of sounds, backed in a special way by rhythm but not exclusively tight to this key factor. This super band, boasting now more than three decades of existence, entwines all possible elements of excellence findable in a high-profile musical line-up, running from a very personal tone to a very singular, harmonious, highly-creative and non-repetitive arrangement in its diverse sections.

Despite Irakere has simultaneously approached different musical styles, including even a collaborative spot with National Symphonic Orchestra, its members` charisma and proved skills to make Jazz gave to this genre ID card in our country since that founding 1973.

The adding of Afrocuban music’s elements and instruments and its trend to improvisation within the parameters of our music, have been harmoniously conciliated with popular danceable streams. It eased the appearance of electroacoustic sonorities and new harmonic styles.

It is considered, since the 80`s as one of the most important Latin American groups of popular music. And although in these latest years Chucho Valdés` work have been focused on quartet and piano, Irakere is still his most complete instrument and lab and it is proved in Irakere 30 años.

Irakere has honored its name`s origin: the strongest of the Yoruba drums and as sacred trunk from the Cuban music, its sound will last forever.

Taken from Irakere 30 años CD via EGREM Label, by José Reyes Fortún. Cubadisco 2004 Newspaper.

Siempre será el amor

It is not hard to find vocal duets on the vast Cuban musical tradition. Producciones Abdala`s Unicornio Label has joined the record list of this old musical experience with Evocación Duet`s Siempre será el amor, boasting the voices of Mayelín Pérez and Vionaika Martínez, defending the most faithful Trova custom.

Having the musical accompaniment of Trovarroco Trio, they feature very respectful but closer-to-our-times arrangements. The Miguel Campanioni`s La lira rota; a bolero-inflected Carlos Puebla`s Mis líricos antojos; Yo domino y Venga guano by duet Compay Segundo-Lorenzo Hierrezuelo; Luz que no alumbra by Miguel Matamoros; La rumba by Rafael Cueto; Te apartas de mí, also by Compay; Mensaje a mi amor by Daniel Castillo and El Colibrí (anonymous)

Lázaro García`s Siempre será el amor gives title to this set, Lázaro, is at the same time producer of this musical phonogram and songwriter of another cut, Si de tanto soñarte. This well-packed album is completed with Este son para tí by Pepe Ordaz and the Pablo Milanés` Ya se vá conforming a set of undeniable quality and proving that the Cuban traditional music`s natural gift is not far from young people.

Taken from ‘’Nota a Nota by Marta Maria Ramírez, published on Juventud Rebelde Newspaper.