Bobi Cespedes Downloads

French theorist Roland Barthes suggests that the particular sound of a vocal performance can be measured by the “grain of the voice,” similar to the whirls and intricate patterns that narrate the unique experience of a tree. Bobi Céspedes’s voice tracks a long history of musical influences in Cuba, a culture that conserves African traditions brought over during the last 400 years. In this...
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French theorist Roland Barthes suggests that the particular sound of a vocal performance can be measured by the “grain of the voice,” similar to the whirls and intricate patterns that narrate the unique experience of a tree. Bobi Céspedes’s voice tracks a long history of musical influences in Cuba, a culture that conserves African traditions brought over during the last 400 years. In this recording Bobi’s voice expresses a wide range of emotions and spiritual messages drawn from the Yoruba religious tradition that Cubans call Lucumi. This religion allowed Africans to preserve elements of their language, religion and music that continue to this day all over the Americas. The music on this CD brings together many musical currents that have intersected her life in Cuba and the U.S. Bobi’s songs combine African ancestral prayers and Spanish influenced décimas with the textured poetry of a black woman living in the United States. Bobi’s inspirations include Cuban poets Nicolas Guillen and Pablo Milanes and the Motown recordings of the 1960’s and 1970’s filtered through the mythology passed on through the patakis or parables that form the basis of the New World Yoruba tradition. This mixture has produced the innermost reflections of a woman tracing her experiences crossing cultural boundaries. Her songs suggest ways that people can incorporate the knowledge and memory of their ancestors into their lives and find a clear path to self-discovery. The Céspedes family is renowned in Cuba as a musical force and many of their relatives are virtuoso musicians. Bobi’s mother, Dionisia, put her on stage when she was a little girl in Cuba singing rumba, son and other forms of Cuban popular music. Dionisia encouraged her daughter to carry on the cultural legacy that she had inherited. As a young girl in Cuba Bobi learned religious songs in the Yoruba language and performed them during “cultural nights” at the local Masonic lodge. When she came to the US in 1959, she became active in the Orisha community in New York and later in the San Francisco Bay Area. After several years she became accepted as an akpon, the soloist that leads the song/prayers to the Orishas or Yoruba deities. Her voice is seen as a channel to reach the Orishas that links the spiritual gathering with higher forces. To this day she is frequently called to lead the songs in Orisha rituals and has shared her knowledge through workshops and classes in universities throughout the United States. In 1982, Bobi founded Conjunto Céspedes with her nephew Guillermo Céspedes and brother Luis. For two decades she composed for and sang lead vocals in this successful group that made a strong impact on Latin music. This group brought a fresh approach to Cuban music to the United States. They recorded several successful records and toured widely throughout the US and Europe. Later she began to sing with Grateful Dead percussionist Mickey Hart’s Planet Drum, touring and recording extensively, including on the Grammy winning Supralingua and at the historic Woodstock II concert. Planet Drum placed her alongside renowned musicians from all over the globe and opened up a world of musical possibilities. The Group On her first solo record Bobi and I united to form a multi-faceted group that could highlight the rich textures and musical influences in her voice. We sought to create a new sound that would combine the complex nuances of the Cuban rhythms heard in the patios of Old Havana with the thump that comes out of the cars that cruise East Oakland. As we began to work we struggled to get the knock of contemporary R&B without compromising the clave that is the heartbeat of Cuban music. This “funkloric” approach challenged us to create a group that could bring together these musical forms in an organic way. The group features Cuban pianist and flautist Oriente López, one of the island’s top arrangers and composers who worked with the legendary singer Silvio Rodriguez for many years and led the innovative ensemble Afro Cuba. Recently he has worked with Paul Simon, Regina Carter, Paquito de Rivera and Arturo Sandoval in the United States. His expertise is matched by veteran Cuban percussionist and Planet Drum collaborator Nenge Hernández. Nenge’s ear for rhythmic fusion developed during his apprenticeship with Mongo Santamaria and during his long history as a bata drummer. The Cuban side is matched by the Oaktown funkateers, rap producer and drummer One Drop Scott and Planet Drum/ Conjunto Céspedes collaborator Rahsaan Fredericks on bass. One Drop brings his experience working on the cutting edge of hip hop and funk. He has created beats for E-40, Yuckmouth and the Luniz as well as participating in an Afro-Cuban rhythm apprenticeship with master drummer Bill Summers during the 1970’s. I round out the group on guitar and tres bringing my experience working with Carlos “Patato” Valdés, Susana Baca, Quetzal, Omar Sosa and Pancho Quinto to the musical table. These sessions were recorded over the period of a week by Bobi’s son, Degi Simmons, in the heart of East Oakland. Degi often had to cross to the other side of the mixing board to add soulful background vocals. The record was mixed in Wales by sonic chemists, Garry Hughes and Donal Hodgson adding the “British sound” to the mix that pushes forward the unique rhythmic elements that make up this musical hybrid. Greg Landau This recording is dedicated to the Orisha, Obatala who gave me the health and understanding to get this project done. The Orishas are the Yoruba deities that represent the forces of nature. The Orishas provide the balance and harmony to allow humans to understand and coexist with the forces of nature. I wanted to create a new way of expressing my view of the world and spirituality outside of the traditional formats. In my work with Mickey Hart I explored new creative possibilities as I incorporated my spiritual beliefs and traditional songs into many different musical blends. In essence this project represents a musical portrait of myself, a black Cuban woman living in Oakland. Bobi Céspedes 1. Rezos (prayers) 5:32 (arr. Oriente López and Greg Landau) These are a few prayers to Obatala, the primordial mother and father of the Yoruba pantheon. I ask for tranquility, money and health to cope with the turmoil in our world. 2. Obatala 4:29 (arr. Oriente López) A traditional prayer/chant to Obatala, the deity that represents purity, cleanliness, the Orisha of the white cloth. The rhythm combines elements played on the traditional bata rhythm, West African grooves and our funky blend. Nenge Hernandez plays the bata drums with the confidence and knowledge of a omo aña, a drummer qualified to play in the holiest of Yoruba ceremonies. My son Degi’s voice provides the balance and harmony that come from a mother/son duet. 3. California 4:28 (arr. Greg Landau) This song comes out of conversations with my mother Dionisia on her first trip to California. We wanted to express our own view of California, filtered through our culture and experiences. Listen to Julius Meléndez’s beautiful trumpet work citing his long musical experience in many genres. 4. Como Te Extraño ( How I Miss You) 4:14 (arr. Oriente López) This song is a message to someone very close to my heart that has gone away. The bolero rhythm incorporates the classic cha cha cha in a funky mixture. The music highlights Oriente López’s brilliant and versatile piano work as he crosses styles and genres with uncommon grace. 5. Lenu (Boastful tongue) 3:59 (arr. Greg Landau) This song is a warning to listeners to watch what they say, as the Yoruba proverb says, “your tongue can make you or break you.” This song borrows from traditional Cuban melodies and rhythm and blues powered by drummer One Drop Scott’s new Yoruba fusion. 6. Yambu Rock 4:21 (arr. Greg Landau) Yambu is a form of the Cuban rumba rhythm that mirrors the chase between the rooster and the hen. The lyrics talk about the process of Yoruba divination and the profound spiritual strength that can be found in a simple coconut and clear water. We are blessed with presence of Cuban Babalao Octavio Rodríguez on the percussion and David Pimienta, an alumni of the classic Cuban vocal group Las D’Aida. 7. Anoche ( Last Night) 6:17 (arr. Oriente López) This is a love song to my mother that was composed in a dream. When I awoke the song was in my head and it took shape that very morning. The music highlights the many cultural influences that I hear and that drive my soul like rock, R&B and Cuban son. Bassist Rahsaan Fredericks was able to capture the subtle nuances and rhythmic references that I heard in my mind as we shared a common loss. 8. Awoyo 4:09 (arr. Oriente López) Dance, celebrate and honor the earth in this funky mixture that narrates the story of a hard working woman’s struggle to find spiritual peace. This is based on a traditional chant to Yemaya, the mother of the fish, the ocean and of all things. In Cuba and Brazil people honor her by throwing flowers into the sea on her sacred days. In this song we honor her with a poetic and rhythmic fusion that reflects the way she flows across the globe. 9. Nuevo Milenio 4:51 (arr. Oriente López and Greg Landau) This song brings in the new millennium with a prayer for peace, health and prosperity in the Yoruba tradition. 10. Ogun 3:38 (arr. Bobi Céspedes) Orisha, owner of iron, a tireless worker that reflects the strength in nature. This chant is accompanied by the traditional bata drums played by the Cuban master percussionist Regino Jimenez with his students Michael Spiro and Jesus Diaz. All songs, words and music written by Bobi Céspedes except “Ogun” (traditional) and “Nuevo Milenio” written by Bobi Céspedes and Degi Simmons All songs published by Six Degrees Publishing (BMI) Bobi Céspedes – vocals Oriente López – Musical Director, piano, keyboards, flute, background vocals Rahsaan Fredericks – electric and baby bass, background vocals Nengue Hérnandez – Bata drums, congas, bongos, timbales, guiro and background vocals One Drop Scott– drum programming, percussion Greg Landau – guitar and tres Julius Meléndez – trumpet Degi Simmons – background vocals Destani Wolf – background vocals Except for “Yambu Rock:” Octavio Rodríguez – quinto, cajón, tres golpes and chequere David Pimienta – percussion and background vocals Rahsaan Fredericks – bass One Drop Scott – drum programming Mark Kaye – keyboards “Ogun:” Michael Spiro – itotole Jesús Díaz – okonkolo Regino Jiménez – iya Degi Simmons – background vocal Camille Drew – background vocals Additional percussion Isidro Valor Pérez and Ted Strong Additional keyboards and production: Garry Hughes Produced by Greg Landau Percussion instruments supplied by Arturo Riera and Latin Percussion. Cuban made Bata drums provided by Ted Strong Recorded by Degi Simmons at Altars Studios, Oakland except for “Yambu Rock” recorded at the Musical Industrial Complex by Greg Landau Mixed by Donal Hodgson with Garry Hughes and Greg Landau at GQH Monmouth Studios Mastered by Ken Lee at Kenneth Lee Mastering, Oakland, CA Art direction/design by Michael Snyder Cover photo by Otobaji Stewart Interior photos by Kirstie Tweed I want to thank Greg Landau, Oriente López and Degi Simmons for helping me bring my musical ideas to fruition and to Otobaji, Bob Appel, Muziki, Christina Velasco, Nicole Landau, Arturo Riera, Howard Cohen, Mickey Hart, Garry and Amanda Hughes and Donal Hodgson. And special thanks to Marcus Gordon for introducing me to the beautiful chants to Obatala.
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