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When adeptness Chicago singer-songwriter Susan Werner went to Cuba for the aboriginal time, in 2015, she went prepared.
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XXXTENTACION - I spoke to the devil in miami, he said everything ... | i spoke to the devil in miami lyrics“I took a circling anthology and a little hand-held AM-FM radio — I Jack Kerouaced it” recalls Werner.
“I wrote in my anthology like a kid, wrote bottomward whatever I saw out the bus window, out the auberge window, whenever I got aback from running. There’s aloof balladry blind in the air, because of the architecture, the colors, the water.”
And, of course, the music.
Werner was ardent by all of it, as you can apprehend on her newest recording, “An American in Havana,” which she’ll bless Sunday black at City Winery.
“I was there for 10 days, and like so abounding Americans who go to Cuba, you acquisition yourself absorbed and crestfallen and balked and, by the end of it, affectionate of in adulation with the place.”
Indeed, as anyone who has been to Cuba knows, there’s abundant to adulation and complaining about activity in a tiny island nation that has contributed so abundant to apple culture. Music emanates from about every corner; alike the artery musicians generally are virtuosos. Yet poverty, denial and rolling blackouts point to an island beneath abiding duress, due to the long-running American embargo and a top-down bread-and-butter system.
“Cuba is one of the world’s aftermost planned economies,” says Werner, “and whoever is planning it isn’t accomplishing a actual acceptable job.”
For “An American in Havana,” Werner has focused on the affair and agreeableness of the place, painting pictures with tones and words in “Cuba Is” and “1955 Chevy Bel Air” and hinting at darker capacity in “Stray Dogs.”
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XXXTENTACION – I spoke to the devil in miami, he said everything ... | i spoke to the devil in miami lyricsBut the basal address of the recording lies in Werner’s artlessly burning vocals and the chatty instrumentals accompanying them. Werner credits the recording’s Cuban acidity to arranger-percussionist Mayra Casales, who was built-in in Havana, aloft in Miami, advised with adept conguero Carlos “Patato” Valdes and has played with Celia Cruz, Machito, Dizzy Gillespie, Ray Barretto and others.
“I told her, ‘I appetite you to advice me address this record,’” recalls Werner. “I would accelerate her demos of the songs. She’d say, ‘You accept the exhausted angry around; you accept to do it this way.’
“She would accelerate me audio for the way the beats fit together. In Cuban music, the beats are like pistons in an agent — they assignment calm with anniversary added and adjoin anniversary other. I had to apprentice comedy guitar backwards.”
By which Werner agency she had to accept area and how Cuban musicians abode assertive beats and off-beats — how they accomplish the music sway.
Being in Cuba helped. For Werner — like best adopted musicians visiting the island — was abashed by what she heard.
“The akin of musicianship there is unbelievable,” she says.
Anyone who has heard Cuban masters such as Chucho Valdes, Gonzalo Rubalcaba, Arturo Sandoval, Paquito D’Rivera and Ernan Lopez-Nussa knows what she means. Though Werner’s “An American in Havana” doesn’t aspire to that akin of active brilliance, it absolutely evokes the colors, rhythms and textures of jazz-tinged Cuban music. Yet at the aforementioned time, Werner’s tunes — for all their Cuban influences — draw acutely on archetypal American songwriting of the mid-20th century.
Though she cites Cole Porter and George Gershwin as influences, the wit of her lyrics advance the access of Sammy Cahn, while the ambit changes anamnesis two of Cahn’s common songwriting partners, Jimmy Van Heusen and Jule Styne.The music of Ernesto Lecuona — a behemothic of 20th-century Cuban classical and accepted music — additionally played on Werner’s imagination.
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XXXTENTACION - I spoke to the devil in miami he said everything ... | i spoke to the devil in miami lyrics“When I got aback (to Chicago), I started alert to all the Cuban music I could get my aerial on,” she remembers.
“And there’s article about this music — from the 1930s, 1940s — that absolutely batten to me. Maybe because I’m a accoutrement for songs from the Abundant American Songbook, songs by Cole Porter and Gershwin, songs of abundant abridgement and abundant melody.
“I aloof fell in adulation with the songs of Lecuona, and they still anatomy absolutely the Cuban singers’ aboriginal book of repertoire. And if you go to Cuba, they’re arena them at your dinner, they’re arena them at the club, they’re consistently arena them.”
Werner’s admiration with Lecuona explains the attraction of one of the best ambrosial advance on “An American in Havana,” “Nostalgia,” an active accounting in the appearance of the master. But this acutely adapted nocturne additionally recalls the music of Bebo Valdes, abnormally portions of his account for the blur “Chico & Rita.”
Werner addendum that back she aboriginal went to Cuba, in December 2015, its relations with the United States were alpha to thaw beneath President Barack Obama.
When she alternate to Cuba, in December 2016, a new, admission American administering was hinting at a chill, which absolutely has taken place.
For Werner’s recording, “The abstraction was to abduction the aboriginal consequence of an American activity to Cuba for the aboriginal time, and for a adored moment there, it was easier to do,” says Werner.
“The banned bake-apple was available.”
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Xxxtentacion - i spoke to the devil in Miami and he said ... | i spoke to the devil in miami lyricsIts ability to accomplish adorable new music resonates throughout “An American in Havana.”
When: 7 p.m. Sunday
Where: City Winery, 1200 W. Randolph St.
Tickets: $28-$38; 312-733-9463 or www.citywinery.com
Howard Reich is a Tribune critic.
hreich@chicagotribune.com
Twitter @howardreich
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