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Straight from Costa Rica, with a trombone sound prominently displayed and a guy that sounds so much like the man himself, Son De Tikizia’s debut record should’ve been titled “Tributo a Willie Colón & Rubén Blades” instead of “Salsa Dura Pa’ Los Pies.” Their repertoire is something that could be filler for “Metiendo Mano,” “ Siembra,” or “Canciones Del Solar De Los Aburridos.” Is amazing, yet somewhat disheartening, how closely this band resembles the sound of those records in almost every detail. Still the fact that neither one of those two giants are doing the sound that made them legends they are, it’s great, if only for sheer nostalgia, to hear that sound again. If you take this record, listen to it, and accept it as a tribute band with original material you won’t have a problem with it at all, in fact you probably will enjoy it as much as I did because, again, neither Willie Colón or Rubén Blades, together or on their own are recording music that is as deep, thoughtful, and generally good as what Son De Tikizia did in this record. There’s something to be said about the student that manages to teach the teacher one or two things – Al(os) maestro(s) con cariño.
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Who knew this guy was this talented? That was my question after listening to Jesus Serrano’s self financed debut record titled “Ritmo Sabor Y Melodia.” You see, Chuti, as he is affectionately called by some of his closest friends, has a significantly long track record that spans about 10 to 20 years. For better or for worse, this career came to be by sharing the stage with two other front men for New York’s hardest working band Conjunto Imagen; in an era where competition and recognition was extremely tough. Before that, Jesus Serrano recorded the lead vocals for an obscure band that, up until recently, is being rediscovered and credited by a few for finding and recording the diamond in the rough that was the late Frankie Ruiz and his early seventies hit “Salsa Buena.” That band was Charlie Lopez Y La Orquesta Nueva. I could go on and on about Mr. Serrano’s ill timed accomplishments but to do so would be to short change the significant accomplishment that is this record. Swinging right from the start, Chuti boasts of 9 very well put together tracks of his own penmanship that deliver a brand of salsa that is very pleasing to the ear and inviting to the dance floor. For example track 2, titled “Deseo De Amarte” brings me back to the early RMM era that catapulted Tito Nieves, Jose Alberto “el canario”, Tony Vega, and Domingo Quiñones to successful careers by finding the perfect mix between salsa pal’ bailador and salsa romantica with a New York edge. Though there are a few songs whose themes leave me wondering “ didn’t I hear that song already?” (that’s what happens when one writes all the songs), there’s a very cute, very amusing, bomba in English track done by Rene Leyva that doesn’t make me want to hit the skip button. However make no mistake, with Jose Tabares, Junito Davila, and Lucho Cueto, among a few others heading the arrangements department, fresh should’ve been the title for this record and as such deserves a spot in your 2012 collection.
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I am totally ashamed and embarrassed for not reviewing this record when it was freshly out on the market when, perhaps, it would’ve mattered most. I didn’t review it simply because I grew lazy, I grew tired of telling some hard working guy who probably invested his hard earned time and money that his record was good; conversely, run away, hide, or lie if the opposite was true – just who the hell did I think I was? Don’t answer that. A few years ago I visited Panama with the family and I was pleased to learn that salsa was thriving over there to the point that high quality musicians are getting together and assemble high quality bands which back major acts from abroad, as well as local talent that performs night after night in local nightclubs and hotel ballrooms. Not unlike salsa bands in Colombia, Mexico, or Puerto Rico for that matter, bands in Panama work out tribute nights to Fania artist X Y Z; but I digress. It was during my trip that I first heard La Kshamba. Truth be told, I wasn’t particularly impressed with their live show and maybe that’s why I wasn’t eager to accept their CD two years after that trip, I just didn’t want to be on the hook for a review. How embarrassed I am today for not being on top of the curve and reviewing “Guerreros De Barrio,” their debuting production. La Kshamba, is probably the best record to come out of Panama since Ruben Blades’ La Rosa De Los Vientos without the headiness, the quality flaws, or regional accents. This record is from top to bottom straight ahead salsa that swings with great songs which cover the full spectrum of what salsa music was, is, and will always be – a genre of energy, passion, and good times. La Kshamba rivals some of the best salsa bands of this generation and based on this record I expect them to be around for a long time.
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