Por la Vena El Gusto
Carlos Manuel y su Clan (Envidia, 1999)
by

I first made the acquaintance of this rather interesting artist when an unexplained pink slip appeared in my mailbox one day months after the item it represented had arrived at the post office. My curiosity piqued, I made inquiries, and after about two weeks the mysterious package was located. I am really glad I made the effort to see what it was, because while Carlos Manuel y su Clan’s first effort may not be as mysterious as it at first appeared, it is certainly enjoyable and danceable.

A combination of more modern Timba stylings and what I think of as more straightforward traditional salsa, Por la Vena El Gusto has a lot to recommend it. The arrangers employ some interesting counterpoint style passages that make the mambo sections on many of the songs seem richer, more interesting. On other songs, Manuel raps out lyrics while the coro harmonizes the refrains and mo­­ñas pack a verbal punch over powerful bass and montuno lines.

The harmonies are a strong point for many of the songs, but what I enjoy most across the album is the way the piano, horns and bass combine to produce power, forcefulness and dance energy on the best tracks. This combination transforms some deceptively insipid beginnings into some very exciting and “moving” mambo sections. It seems that the combination of Ernesto Zamora Rojas (teclados y piano), Pedro Camacho Castro (teclados y piano) and Wilber Yusvel Rodriguez Guerra (bass) is a profitable one. And when I check out the trumpet section to find that Alexander Abreu was a guest soloist, I’m not surprised that the trumpet parts are crisp, clear and catchy. 

It’s regrettable that the trombones don’t come across the same way. Whether it’s the playing, the mixing, or some unfortunate combination of circumstances, the trombone lines are disappointingly fuzzy. Frankly, it’s the only thing I can find to complain about on the CD. While there are no striking moments from the percussion section, the playing is lively and competent.

Certainly I can’t complain about Manuel’s voice, or the arrangements of the songs. While his soneos don’t pack the same kind of punch as Manolin’s, Carlos Manuel’s voice is attractive, transmitting the irrepressible emotions suggested by one or two of the song lyrics. His eclectic style makes it possible for him to emulate American singers like Rey Ruíz and Marc Anthony as well as singers from Cuban bands closer home, like Klimax and Charanga Habanera. 

I admit to having my personal favorites (Agua fría, Yo necesito, and Pa’ la luna are the current ones), but the entire album is worth listening – and dancing – to.

¡Qué lo goces!