Se agregan más fotografías del show en New York y nuevas, tomadas por Fernando Samalea, del back y show de anoche en Atlanta. También algunas del show en Puerto Rico el día 3 de Agosto.
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El siguiente artículo fue publicado en el periódico New York Times el 07/08/2006:
Passion for Hybrids: Gustavo Cerati and Other Latin Performers at Central Park SummerStage
By NATE CHINEN
Organizers of the Latin Alternative Music Conference are committed to two strong ideas. First, they propose that contemporary Latin music can be as radiant, diverse and restless as the 21st-century cultural landscape it represents. Second, they maintain that the music can find popular support without compromising its integrity.
There was evidence to support both claims at Central Park SummerStage on Saturday afternoon, in a conference-closing roundup of three groups whose only common denominator, aside from the Spanish language, was a voracious approach to hybridization.
The main attraction was Gustavo Cerati, an Argentine whose career could serve as an embodiment of the conference’s ideals. More than 20 years ago Mr. Cerati leapt to superstardom at the helm of a band called Soda Stereo, which successfully appropriated the guitar rock of its Northern Hemisphere contemporaries.
After the group’s breakup in 1997 Mr. Cerati embarked on a chameleonic solo career, with detours into electronica, symphonic pop and Latin folk music; he can be heard singing a pair of duets with Shakira on her smash Spanish-language album “Fijación Oral, Vol. 1,” issued by Sony/Epic earlier this year.
Mr. Cerati has his own superb recent album on Sony: “Ahi Vamos,” which sold more than 50,000 copies within 24 hours of release. As some Soda Stereo fans have noticed, the album marks a return to that band’s sound, with big choruses and well-placed distortion. The image on the cover is unequivocal: Mr. Cerati, in silhouette, hoists aloft an electric guitar, which seems to shoot out an alternating pattern of black and white rays.
The same design pointedly served as a visual backdrop at SummerStage. Mr. Cerati had come with a five-piece band that included the sharp rhythm guitarist Richard Coleman and the propulsive drummer Fernando Samalea, but his charismatic singing and guitar playing invariably held the center of attention; there was never any competition.
Except perhaps from the songs. Mr. Cerati has a gift for sturdy hooks and gratifyingly layered forms; his best music has the muscle, but not the bluster, of arena rock. He opened with the same one-two punch as on the album: “Al Fin Sucede,” a swaggering shuffle, and “La Excepción,” a driving anthem. The syncopated riff in “Bomba de Tiempo” was brash but meticulous, like something by Franz Ferdinand. And the verse section of “Caravana” evoked the Police, an early influence on Soda Stereo.
Mr. Cerati has claimed no interest in reviving Soda Stereo, and “Ahi Vamos” suggests that he doesn’t need to. Still, halfway through the concert he switched to an acoustic guitar to play one of their best-loved ballads, “Te Para Tres.” It might have been the quietest moment in the set, were it not for the crowd sing-a-long it provoked.
Calle 13, the Puerto Rican reggaetón group that had performed just before Mr. Cerati, elicited audience participation as well, more brazenly. Barely five minutes after taking the stage, the rapper René Pérez Joglar, known as Residente, had brought several female fans onstage to dance to the music. They had no problem with this task, partly because of the irresistible bounce of “Se Vale To-To,” Calle 13’s biggest hit.
Residente, a lean and literate rapper, maintained a high level of intensity during the set. So did Eduardo José Cabra Martínez, the producer responsible for Calle 13’s adventurous blend of dancehall, hip-hop and even salsa. (While Mr. Joglar calls himself Residente, Mr. Martínez goes by Visitor; they’re a two-man tourist trade.)
The group’s recent self-titled debut is an intelligent effort, and not just by reggaetón standards. But on Saturday afternoon, with a full consort of guitar, bass, percussion and horns, the music’s subtleties were flattened. Residente let loose some rapid-fire patter, but he seemed happier with simple refrains, as on “Suave.” He finally struck the right balance on “Atrévete Te-Te,” a dare that ended up sounding like an invitation to party.
A similar imperative runs throughout the music of Mexican Institute of Sound, which opened the show. The group is a brainchild of Camilo Lara, a record collector from Mexico City who performed with just one partner, Oliver Castro on turntables. As on the album “Méjico Máxico” (Nacional), Mr. Lara presided over a shambling retro pastiche, sampling and borrowing sounds with the sort of liberalism that the Latin Alternative Music Conference applauds.
But Mr. Castro also invoked a Latin-music phenomenon that conference-goers might recall with some ambivalence. During “Hey Tia!” — a techno throwback, complete with a flippant downbeat — he interjected lyrics, unabashedly, from the “Macarena.”
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