Customer Reviews

Muy Divertido! (Very Entertaining)

5 star:		(8)
4 star:		(4)
3 star:		(2)
2 star:		(0)
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Marc Ribot has played guitar for the Lounge Lizards, the Jazz Passengers, Elvis Costello, Tom Waits, and in many of John Zorn's bands. He is a world-renowned guitarist and sideman. But his solo albums have often been uneven. His greatest commercial and artistic triumph was undoubtedly the "Los Cubanos..." album released a couple of years ago. His second outing with the "Prosthetic Cuban" ensemble is every bit engaging and fun as their debut. While Ribot's guitar playing dominated their first album, this album sees the whole band stretching out, being allowed to shine. Don't get me wrong: Ribot's fiery and unique playing snakes its way through every song, but the band also gets their fair share of the spotlight. Anyone who likes great guitar playing, Latin rhythms, and blistering group interplay will LOVE this album.

MUY DIVERTIDO!, the second album released by Marc Ribot y Los Cubanos Postizos is a pleasant surprise. Sounding a bit closer to Cuban 'son'* than the previous recording it retains, however, Ribot's own identity as an exceptional and versatile guitarist who can play literally anything - from rock'n'roll to improv avant-garde... to Cuban sounds. For all those purists who might claim this is not real Cuban music, I would say that authenticity is not an issue here... at least from such a perspective. From the very first moment these musicians made their intentions clear when they presented themselves as fake Cubans (Los Cubanos Postizos), a group apparently formed on the joy and pleasure of making music together, with no further (cryptic) implications. Anyway, should not music be precisely this? Who can claim they are not being authentic? Actually they are, in their own way! Taking as point of departure the music of the late Arsenio Rodriguez, Marc Ribot gives his enunciation of a Cuban-influenced style (pervaded by his skills as a guitarist) to which his own background as an unusually versatile musician cannot be alien. The result is a satisfying CD, in which particular care has been taken in terms of ensemble performance, music colour and vocals. Compared to the previous album new instrumental timbres come across (also in the guitar part) adding vibrancy to the music. One of the best innovations here is the shift in Marc Ribot's vocal delivery. His vocal contribution to the first Postizos' album was not really inspired, it was mannered and cheesy, creating a certain embarrassment to the listener. Here he seems more natural. Although he is not an innate singer, his vocal utterance is tolerable. In fact, his spoken voice is quite pleasant in 'Las Lomas de New Jersey', while backing-up Frankie Vasquez's fine leading vocals. Moreover, Marc's contribution as a composer/songwriter also deserves to be mentioned, as he seems to do the job quite well in three tracks (interestingly, Shrek came into my mind in 'Baile, baile, baile' due to the steady drum beat and the distorted guitar sound). To mention Marc's guitar playing seems pointless: just listen... and allow yourself to be amazed. In conclusion, this is very enjoyable (and legitimate) music: listen to it in the sunshine and you'll feel like dancing; listen to it on a dull, rainy day and it will still cheer you up. However, this is not my favourite angle of Marc Ribot. I prefer when he is more daring, more on the cutting-edge, more radical. In fact, he has proved that he can accept any challenge (listen to John Zorn's 'The Book of Heads' and you will understand what I mean). Ribot's flexibility as a performer is eventually his most extraordinary quality. Perhaps my best-loved moments are when his unique guitar sound suddenly cuts across someone else's music (like in David Sylvian's 'I Surrender', or Tom Waits' 'House Where Nobody Lives') adding that little bit of magic that makes his contribution always so special. Anyway, these adventures in 'Cuban' music certainly allow a communication with wider audiences, and this is also acceptable. One less satisfactory aspect in MUY DIVERTIDO! is the cover photo. Mr Ribot's facial expression puts you off a little bit and does not seem to suggest that this is really entertaining music. However, the barbershop photo inside is quite amusing.

*'son' emerged in Cuba in the early twentieth century, as a mix of Afro-cuban and Spanish-inspired elements. Initially having structural similarities to rumba, it would later include jazz-influenced harmonies and a more percussive and rhythmical sound. Arsenio Rodriguez modernized the traditional 'son', opening the way to salsa.

I came across this CD while browsing through my local music store - and was blown away by it. The songwriting is great - the guitar playing excellent. How can you not love lyrics like "I miss the hills of New Jersey - their fragrance when the wind blows - I know there are trains and buses but somehow I never find the way ...." Also, check out "La Obsesion" - I've never heard anything even remotely like it.

The CD is at one time a celebration of latin music and a clever satire of it. I am back to buy more of Marc Ribot's stuff and I'm sure you will be too. By the way - I have to disagree with one other reviewer - I love the cover art too.

Louis Filliger

Imagine all the spice, fire and exoticism of Carlos Santana placed in an arty, garage-y setting. And, there you go - you 'd have Monsieur Ribot and his prosthetic Cubans, in all their glory and splendor. One smokin' tune after another. Ribot is my favorite quitarist, in any genre, working today. He makes everyone else plying six strings seem pale, pasty and totally hackneyed. And, I think this is even better than the group's debut: less smarmy ballads, more down and dirty rockers. Particularly dee-liteful is the opener, 'Dame Un Cachito Pa-heuele', featuring organ by Steve Nieve, of Costello fame.

If you dig the Latin thing at all, and wanna hear something especially fresh and rockin', this could be the ticket. Cuz this Ribot cat is one crazy, talented magnificent bastid! In other words, Very Entertaining!

For the uninitiated, Marc Ribot's Los Cubanos Postizos (the prosthetic Cubans) ensemble is a group dedicated to playing modern interpretations of the son montuno and it's afro-cuban musical cousins. Originally an informal jam band dedicated to bringing attention to the music of the unsung creator of the son monuto - Arsenio Rodriguez, Marc Ribot's little ensemble quickly drew enthusiastic crowds in their East Village scene. Next thing you know, a major label contract and critically acclaimed debut album. Here then is their follow up effort. And I am pleased to announce that it may even be better than the first album. The energy level seems a bit higher, and Marc's guitar tone and attack are a bit more on the edgy side, much more like the live gigs. How best to describe what the band does? Imagine this : A group of ex- Lounge Lizard and Jazz Passenger alumni that have gigged with everyone from John Zorn to Tom Waits playing rootsy afro-cuban grooves. Highly infectious, adventurous and just plain fun, while never getting too serious. For proof of that just listen to "Las Lomas De New Jersey", a hilarious ode to NJ that never comes off as too corny. On the opposite end try "Baile Baile Baile" with it's thunderous power chord interjections grafted onto a traditional son montuno. For those looking for a good enjoyable modern jazz recording that has rootsy latin elements and the emotional immediacy of rock music, but with the structural complexity of jazz, one needs look no further. The album title says it all.

Ribot sounds better than others because he has a robust, full-bodied tone to his guitar playing, unlike the thin, icy tone of the typical jazz guitar player, say Kenny Burrell or Peter Bernstein. This album is lively, full of great guitar chops. The many vocals are tasteful. Also check out Ribot on Ellery Eskelin's "The Sun Died" which is a boisterous Gene Ammons tribute.

The Postizos are among my favorite of Ribot's projects and their first album was among my favorites of recent years. This new offering is even better in my opinion as Ribot plays much harder on it and spends less time exploring and paying homage to the groove than appropriating it. This album is a MUST own! Ribot is the only game in town when it comes to modern guitar players. No one else even comes close.

I was expecting something different. I felt wanting for a little more "meat"--it was just too cool for my blood. Ribot seemed better suited to contemporary jazz guitar fans looking for something different, as opposed to salsa lovers looking for something more contemporary. "Lomos de New Jersey," with spoken English translation over the music and lyrics bugged the hell out of me.

But I kept listening. And the hell started haunting me! Something about Ribot's raw guitar contrasted with the smooth Spanish crooning got under my skin. This isn't salsa. It's jagged punky NY meeting a sensuous Latin rhythm, a cool hipster groove to make you dance and laugh and sometimes inspire air-guitar windmills for serious traditionalists to joust. Enjoy.

This CD slams - someome tell Ribot to come out to the Knitting Factory Hollywood (California) for some gigs!

These 'Cubanos' might be 'Postizos', but the music is heartfelt and that's the most important thing. I can't get enough of "El Divorcio" and "Carmela Dame La Llave".

I was pleased to see the touring band on this new release: it's a more organic, looser sound overall. The percussion parts are seamless, with a great New York vibe, and Ribot's playing is exhilarating without ever being showy. A fantastic set, and highly recommended (as is this band live!).