Villalobos Brothers
Somos
If you’ve not already gotten the word, let me be the first
to deliver it. The Villalobos Brothers are indeed three brothers (Alberto,
Luis, Ernesto), each a violin virtuoso from Vera Cruz state in Mexico. They are
joined by their childhood friend Humberto Flores on guitar, plus assorted
percussionists who join them in the studio and on stage. The siblings were each
childhood prodigies who left Mexico to study classical music abroad, but
reassembled to enormous public acclaim. They have accompanied numerous Latin
jazz ensembles and have collaborated with everyone from The Chieftains, Ry Cooder,
Dolly Parton, Leni Stern, and Dan Zanes. They have also shared the stage with
the Cuban and Peruvian national symphonies and have headlined at both Carnegie
Hall and Lincoln Center. In other words, they are the real deal.
Their new release Somos features both their
considerable musical mastery and their commitment to social justice. For the
Spanish-challenged–like me–the album title translates “We Are.” It is a simple
and direct assertion of presence and the title track addresses the U.S.
immigration crisis and backlash. You need not understand the lyrics to admire
the passion and craftsmanship of the Villalobos Brothers. This song has the scope
of a pop anthem. It is lively, upbeat, hopeful, and has tongue-twisting
staccato interludes.
The Villalobos Brothers are polished to a slick veneer and
don’t shy away from a bit of showmanship. For example, “Xalapa Bang!” is a mélange
of classical, funk, jazz, and Latin music built around frenetic fiddling. If
you watch the YouTube video, Luis explains that the song is about police brutality,
and the brothers do a bit of pantomime to drive home the point. It might seem a
bit hokey on the surface. That is, until you do a bit of research on the
subject and start to tally the number of lives lost in both the U.S. and Mexico
at the hands of those who are supposed to serve and protect.
Once again, though, you can admire the musicianship with or
without the politics (though I recommend you add it). The ensemble has a
wonderful ability to mix styles and emotions. “Hombres de Arcilla” translates “Men
of Clay” and just happens to be the name of a show of Alberto’s ceramic masks.
which he fashioned in honor of 43 students who were abducted from an Iguala, Guerrero
teachers’ college in 2014, 40 of whom were never found.* Alberto explains that
his ceramics–inspired by pre-Aztec death masks–and musical composition are also
intended to call attention to the fragility of life. The composition opens with
discordant and melancholy strains that skirt the edge of experimental music.
The vocals, though slow and soulful, are reminiscent of 1930s Spanish Civil War
laments.
On the lighter side, “Veracruzana” is imbued with joyful and
playful sounds that evoke a Zócalo
party. “Hermano Mio” is a delicate melody that’s simultaneously jaunty and
sweet. It has the feel of a folk song. And again, on the musical boundaries,
there is “Wind Song.” It’s decidedly a slice of jazz, but jazz as filtered
through classical music and salsa. Perhaps all three also have a political
message but, as noted, my Spanish is limited.
What’s not in short supply insofar as the Villalobos Brothers
are concerned is talent. They bring to bear all of their classical training,
but they place ardor and intensity at the fore rather than devotion to technical
prowess or individual huzzahs. You will, however, be tempted to dole out plenty
of the latter.
Rob Weir
** The 2014 kidnappings have yet to be resolved fully,
though they have been linked to local police, politicians, and organized crime
figures. Allegations remain that the federal police, military, and government were
also involved.
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