The old Chevrolet chokes it's way through the bumpy streets of •La Havana, I'm on my way to my first interview in Cuba. It's with the acclaimed flute player Jose Luis Cortes, the director of NG La Banda. NG stands for New Generation. The band is representative of contemporary Cuban music and as such a concept within the diversity of Cuban music genres called Timba. Jose Luis Cortes' nick name, "El Tosco", worries me. It translates as something like the rude one, or the coarse one, and judging by his sharp response over the phone a few minutes ago I'm assuming he's squeezing me into his busy schedule with some reluctance. I'm hoping that he won't be so "Tosco" to me. NG La Banda's "La Expresiva" blares through the old taxi's radio and the driver puffs away on a thick cigar: "so you don't know who Paulito FG is!" he yells over the music in disbelief. "Wait, wait!" he says as he pulls up the rattling car. Shaking his head with disapproval he opens the glove box and shows me his collection of tapes, "look", he says ris- ing his eyebrows, "In Cuba now, we like Carlos Manuel y su Clan, Paulito FG, Michel Masa... and of course the established bands every-one knows like NG La Banda, Bamboleo, Van Van, you know?". I then let him know that I'm going to be interviewing Juan de Marcos, the world wide famous leader of the Afro Cuban All Stars, "Juan who?" responds the man as we drive along La Havana's sea side Malecon. I repeat "Juan de Marcos, you know... the man behind the film The Buena Vista Social Club", he is not impressed.. As he steps on the breaks at the traffic lights he turns to look at me: "I know. That's those oldies, that's good...but that is not what we listen to here in Cuba you know? That Buena Vista thing is for tourists you know?". On that note he turns into a narrow street and I'm at "El Tosco's" doorstep.

The front door is open. I'm welcomed into the lounge by NG's La Banda's musicians and am soon taken up to his music studio were he is recording. He comes out immediately and greets me in the Cuban style with a strong handshake and kiss on the cheek. He disappears for a few seconds to return with a couple of glasses of rum and coke. In Cuba I notice, its not "tea or coffee?", but rather "rum and coke?". Jose Luis is a calm man, even under stress he'd be in control. He moves slowly, as if life was a sequence of moments to enjoy, not to be rushed. He seems to have applied this attitude to his music it's all about finesse and devotion. At the age of 18 Jose Luis was a founding member of Cuba's premier band Los Van Van. He then moved on to the important jazz band Irakere. He leans back when I ask him about his NG La Banda: "It was created in 1987, born out of the necessity to create contemporary Cuban music" and with this vision NG La Banda emerged as the pioneers of the Timba genre, a fusion of Cuba's music heritage: Guaguanco, Son, Rumba, Jazz, and Rap influences... an explosive cocktail, but like the man him- self, a suave one. Virtousism and creativity combined in an atmos- phere where the musician's development is a priority. And on this point Jose Luis emphasizes "Here in Cuba our priorities as musi- cians are not commercial, we have developed our music ahead of other countries because our priority is the music itself, with no com- mercial pressures we are free to work". The uniqueness of NG La Banda lays in its natural evolution. In the 90s NG La Banda was incorporating traditional Cuban music into their repertoire with themes such as "Son de La Loma". NG La Banda went from being a band with the influences of Irakere and Van Van playing some traditional Cuban music and turned into a contemporary Timba band.

His 15 piece band is raw energy on stage, a show of talent including masterful solos and smooth genre changes. A strong delivery of dancing genres combined. For "timberos" the relationship between the performers and the public is paramount. The music, he says is "to make you dance, sweat and smile" and it certainly does, his performances

always include a full dance floor. Jose Luis, to this day, still wonders "how come the music is so sophisticated and rich yet always gets the crowd dancing". The lyrics are streetwise slang often about issues common to life in Cuba. Judging by the public's passionate singing of the choruses at NG La Banda's performance at Havana's Café Cantante in November this band's themes are no doubt close to the Cuban heart.

But "El Tosco" is unhappy about the effects of the embargo on Cuban music. He lights up a cigarette and pauses: "It is sad that people outside of Cuba think that Cuban music stopped in 1959, when in fact it has developed greatly, more than anywhere else in the world we have, as musicians, the opportunity to study at the conservatory for free and we have the support that musicians else where don't have, but the doors are shut for Cuban music in the biggest music gate way to the world, which is America." In 1988 American Congress passed an amendment to the embargo that allowed Cuban musicians to perform in the US if they came as part of a cultural exchange. Since then Cuban bands have been performing there on a regular basis. However the signing up of contracts with US record labels is prohibited for Cuban musicians. There are not many European countries that NG La Banda have not covered, Japan is one of their usual destinations as is the U.S. Australia next? I ask. "We would very much like to go there, we've been everywhere yet we haven't been to Australia, and Australia is a very interesting place for us". This is a case of quality and promotion mismatched and I am left with the impression that this man's nickname is inappropriate, he pulls the top off the bottle: "more rum?" Day two is interesting, I am to meet Lazaro Valdez, the director of Bamboleo. This band was described by Juan de Marcos as one making the most orthodox Timba at the moment. I call Bamboleo's director, to arrange for an interview and he says that he'll pop by my place around 9.pm. 'Is that all'right" I ask the Lady of the House where I'm staying, "Yes, of course, we are in Cuba, Chica!".

The door bell rings, he walks in dressed like a star wearing an immaculate outfit in snow white with golden buttons and golden

shoes. He has a big smile and is carrying a bottle of aged rum. On stage his band is a sexy one. Lead by two female vocalists, Vania y Yordamis of powerful voices. They performed that very night again at the Café Cantante in Havana with impressive dancing and singing, moving sensually but with strength and attitude. This band has strikes of hip hop, jazzy salsa and the power of the female voices is Bamboleo's trademark.. Bamboleo's touring dates are tight, with the U.S. being one of their main destinations, they now have a contract with a record company that has an agency in Los Angeles. The significance of such deal is the added bonus of the company's organizing of tours and media work. Lazaro is very aware of the results of the embargo on Cuban music and like Jose Luis he points out that the lack of promotion is their main obstacle. He asserts that their music (Cuban music) is ahead of it's time. Bottled up in the island like good wine it has had the right conditions to become a fine product but the taste for it out of Cuba is not ready yet. The "foreign ear" as he calls it is accustomed to a very soft kind of salsa, "Our music is rich, explosive, layered with complexity".

The dance floor at Café Cantante is a show in itself, packed with Timba dancers they swing from one dance style to another with ease. But now, in Cuba "despelote" is the latest, a provocative dance where gyrating hip movements and bending knees leave tourists half shocked. In less than five years Bamboleo has con- solidated a world wide crowd of dancers and is bound to make an impact on the international music scene. Described as a neo-traditional son band, Cubanismo has a jazz accent, yet can not be called Latin jazz. He describes his music as being very Cuban. Yet the clarity and the punch of the solos in Alemany's jazzy Cubanismo are the album's trademark. And Alemany's masterful playing the trumpet shines with elegance throughout. Recently he ventured into New Orleans and has cre- ated his latest production incorporating of New Orleans jazz but keeping true to the Cuban Son. Did Jesus Alemany move out of Cuba to reach wider audiences? He laughs generously: "No! !fell in love, married and I stayed there.

But I'm always coming back to Havana, my musicians are here." Jesus Alemany played with Juan de Marcos' Sierra Maestra for 15 years. However Alemany's Cubanismo stands in contrast with Juan de Marcos' Afrocuban All Stars in its concept. The name of the band, Cubanismo, stands for the essence of Cuban culture, and the concept comes through this bands' music. But Alemany is an adventurous musician. As he explains his music is essentially Cuban but: "obviously adding some modern elements that make the difference, when you compare with the music that was made some 50 or 60 years ago". the Mardi Grass Mambo My next interview rounds up my journey through Cuban music, I visit Juan de Marcos at his place. The journey has not been a linear one, it began with the emergence of NG La Banda in the late 80's. Symbolizing a turning point in the history of Cuban music since the Revolution in 1959, the 80s saw the emergence of Timba. I had the opportunity to talk to leaders of con- temporary Timba bands such as Manolito Simonet y su Trabuco, Bamboleo, Paulito FG, Michel Masa, and Carlos Manuel y su Clan. The later now very famous in Cuba with the hit "Yo soy Malo". The 70's was marked by Irakere and Van Van, when jazz and classical virtuosity took center stage in govern- ment schools and the conservatory. Meanwhile Juan de Marcos and trumpeter Jesus Alemany began a Son renaissance through Sierra Maestra Going back into the late fifties I enjoyed the Orquesta Aragon playing "Cha Cha Cha" at "La Tropical". At Elio Reve's place for lunch I saw sepia tone photos of his father and his band with all members in suits. He was keen to explain that the band had the format of a Charanga, including violins and flutes, but the rhythm is Changui, rhythm preceding Son. When Elio's father died Elio became the band's leader. With an innovative concept his last album includes a track with the Paris based Hip-hop Cuban band, Orishas. Cubanismo New Orleans is sure to prove the point.

My next interview rounds up my journey through Cuban music, I visit Juan de Marcos at his place. The journey has not been a linear one, it began with the emergence of NG La Banda in the late 80's. Symbolizing a turning point in the history of Cuban music since the Revolution in 1959, the 80s saw the emergence of Timba. I had the opportunity to talk to leaders of con- temporary Timba bands such as Manolito Simonet y su Trabuco, Bamboleo, Paulito FG, Michel Masa, and Carlos Manuel y su Clan. The later now very famous in Cuba with the hit "Yo soy Malo". The 70's was marked by Irakere and Van Van, when jazz and classical virtuosity took center stage in govern- ment schools and the conservatory. Meanwhile Juan de Marcos and trumpeter Jesus Alemany began a Son renaissance through Sierra Maestra Going back into the late fifties I enjoyed the Orquesta Aragon playing "Cha Cha Cha" at "La Tropical". At Elio Reve's place for lunch I saw sepia tone photos of his father and his band with all members in suits. He was keen to explain that the band had the format of a Charanga, including violins and flutes, but the rhythm is based Hip-hop Cuban band, Orishas.

Why so much success I ask: "It was dream, and it came true." But why? He makes a long story short: "For 60 years prior to the Revolution Cuban music was the num-

ber one music seller in the world for tropical Latin music. It then stopped selling en 1960 as it was no longer pro- moted and distributed out of Cuba. It then continued without its authenticity out of Cuba, for example in New York. But the Salsa there is not the same. Later on Cuba becomes fashionable, tourists begin to experience the warmth of the Cuban people... then, the Afro-Cuban All Stars brings back the music of the first half of the centu- ry. All these elements plus a very clever marketing strategy and of course the quality of the music itself and the charm of the oldies".

I mention Elio Reve to the taxi driver as he takes me to Juan de Marco's place. He reaches over to pull a tape out of the glove box and play Elio's "Mi Salsa Tiene Sandunga". Again, I refer to the Buena Vista Social Club, "No..never heard of them".

The music? 'La Casa de Tula' and 'Dos Cardenias', "Oh yes! ...that's our music that's Son Bolero that's our roots that's were what they call Salsa comes from". Like a precious treasure of the past and brought back into the light El Conjunto Casino shone with its Son, Bolero, and Rumba. This band dates back to 1939 and the age of some of the musicians is no issue. Their strength and spirit at the Café Cantante had a public of all ages dancing throughout the performance. Those who sat did so in awe of the masterful playing of the piano, the singer's voice at over 70, or the beauty of the sounds of the brass.

Juan de Marco's wife greets me at the gate, she has a warm smile and welcomes me in with a kiss on the cheek. They have three dogs, their names: Victoria, Elisabeth, and Diana. It's early morning the sun shines on their tropical garden and out comes Juan. He's just come back from a world wide tour, only hours ago.

I apologize for giving such short notice. He is not worried, he complains about smoking, a habit he can't get rid of. We slide into the interview and cover his career and his background . Juan has a PhD in hydraulics and is the author of five science text books. He left Russia in 1980, when he began his career as a musician in his thirties. "Your coffee is getting cold" he interrupts my recording, laughs a little and lights up a cigarette. It's his drive, and his passion that seem most inspiring. He is a fast talker, enthusiastic and passionate, and yet he describes himself as a hippie. Together with his other Afrocuban All Star pro- ductions Juan de Marcos points out that Buena Vista Social Club has sold over seven million copies. Yet he is not fuzzed with his fame. Juan de Marcos is also clear on why contemporary Cuban music hasn't really made it out of Cuba: " Well first thing is that good record labels have not taken up these bands, and there's a lack of intelligent marketing.

And second, orthodox Timba has too many implicit elements of virtuosism in the music. Which means that the layman can not comprehend the complexity of the orchestrations. " Juan de Marcos is also disappointed with the taste for the "fifties only" Cuban music outside of Cuba: "When I decided to bring in the contemporary Cuban music into my music my friend the producer, Nick Gold disagreed. He is strictly into the Cuban music of the thirties, and when I did the album Distinto Diferente it did not work as well as Buena Vista Social Club album. But I'm Cuban and I have other interests...

I have to fight for the interests of my country, I'm not English. We can't stay stuck in the fifties! And when the old guys go, what's going to happen? We can't go back to another period of silence. Contemporary

Cuban music is extremely important. Without them (the

young) we are nothing" Slowly we walk down the street to the main road to catch a taxi. He waves an old Buick carrying five passengers, gives the taxi driver a note, I jump into in the front seat as he tells him to "get my sister to Havana Centro". I wave

goodbye. Juan de Marcos' Buena Vista Social Club album, and particularly the film that followed has changed the world's perception of the Cuban music scene. But musicians in Cuba now assert that the perception is not an accurate one. Like the taxi driver on the way to "El Tosco's" studio, musicians including Juan de Marcos himself, become exited as they as they try to express their disappointment at the world's ignorance of the music of Cuba since 1959. More so given the caliber of the musicians, the current genres, almost unknown to the world, their sophistication, and the significance of such musical developments within the history of music at a worldwide

level. Musicians are ever grateful to the Revolution. The quali- ty of the Cuban education system has contributed to the development of Cuba's music. But they also resent the effects of the embargo. They point out that the music in Cuba never stopped, it only stopped being listened to out of Cuba since the Revolution. Juan de Marcos brought back the beauty of the past and has encouraged the focus on Cuba.

The world watched with nostalgia the Buena Vista Social Club, the unveiling of a pre-revolution jewel commonly referred to by Cubans as a "colonialist American production". Perhaps, says Bamboleo's Lazaro, it's time to sharpen the focus and get in to the Cuban music scene happen- ing in Cuba now. Flying out of Cuba I randomly pick a CD out of my bag. It's Manolito Simonet's band. When I hear their latest song "La Musica Cubana" it feels like a reminder, the lyrics play homage to all the fellow con- temporary bands in Cuba. But most interestingly it is the music itself that grabs me, the same music I found so complex on arrival in Cuba I now find thoroughly enjoy- able, the strength of the brass, the dazzling piano, the voices, the rhythm...