Search - Lila Downs :: Cantina

With a few tequilas more...

A music fan | Teaneck, NJ | 04/06/2006

(5 out of 5 stars)

"... I can give five stars.



For me, discovering the music of Lila Downs has been like discovering the Beatles, Elton John or Bob Dylan some twenty years ago. It was an awakening to a whole new world. Her first four studio albums, La Sandunga, Arbo de la Vida, La Linea and Una Sangre have proven exquisite milestones in the history of ambitious latin music; frankly: if she would have done nothing else, her place in latin- and world-music history is already cemented and secured.



Here in her new effort, she deviates from her previous approaches. She leaves the socially critical words largely at home, and also some of the unique lyrical qualities of many of her interpretations are coming short. Instead, it's party time, and she puts her dance shoes on. Always hip and with a mix of sentimental undertones in her voice, and adding some slightly psychedelically distorted e-guitars, she delivers are strange mix of carricature, easy listening and clichee; but it is the ever lingering sonoric charme of her fantastic voice, paired with the irressistible harp, that in my mind save the day (or better, the evening in the cantina). And if you are traditionalist who loves ranchera classics the classical way, you are going to drop your Cohiba: In Tu Recuerdo Y Yo, she hip-hops her way through the macho bar like a Mexican storm pulling out the roots of their own heritage.



Two notable exceptions do exist here, of course: the polyphonic Yo Ya Me voy, and Amarga Navidad; these are in the best tradition of the Lila we know, the one of La Sandunga or Tree of Life.

Especially the incredible quality of Yo Ya Me Voy makes me think: Maybe next time a more demanding a-capella-album?



Looking forward to more in her so far all in all fantastic journey.

"

Futuristic earthy passion

Enrique Torres | San Diegotitlan, Califas | 04/04/2006

(5 out of 5 stars)

"A departure of sorts from her previous four excellent discs this one nonetheless does not dissapoint. When I read on her website of this release I went down to Tijuas (Tee-ahhh- wannna to many of you) immediately to get a copy. Two weeks later and I still play it constantly. Now for the music, Lila proves again she is a force or should I say coup de foundre because once you hear her latest effort you will be struck as though by a thunderbolt and love it. There is tradition found in these songs but innovation in their arrangements thanks to her querido Paul Cohen, Aniero Tano,Ernesto Anaya, Michael Ramos and of course the fantastic Lila. Take for example the Jose Alfredo Jimenez(four of his compositions are featured) song "Tu Ruecuerdo Y Yo" that mixes traditional and electric guitar sounds with modern electronic loop elements , puntuated by a distinct Lila hip-hop narrative blending with the more tears in your beers style of the original song for a unique interpretation that pleases. The opening track "La Cumbia del Mole" is off the hook with its cumbia beat with electronica mixed in ala Celso Pina for a delicious treat. Only Lila can sing about food and make your mouth water for reasons unknown. The song is so good she performs it twice, once again in English just for good measure. This is the only song sung in English. Her and Paul did a marvelous job bringing to life the ingredients that make up this exquisite ancient dish.Like the many ingredients needed to create mole this CD combines various styles to serve up a tasty offering. Lila has written several of the songs including "El Corrido de Tacha La Teibolera" that sounds traditional but has that modern electronic phasing infusion. You get the norteno sound with a twist. There is the feel of old Mexico(including gritos) throughout this CD, complete with barking dogs, especially on the traditional songs like "La Cama de Pierda" that finds Lila in fine vocal(she utilizes her range) form sounding like some forlorn Adelita or "El Relamago" the often Mariachi recorded song where Lila undoubtedly will be zapataendo on her current tour as she sings her way into your heart. "La Tequilera" has Lila streching out her notes with some cool electronic loops juxtaposed with the traditional norteno sound. She does a marvelous job on the Jose Alfredo Jimenez compostions, including"Pa' Todo El Ano"(she gave a sneak peak listen of this at her Christmas performance in LA) that has Lila performing a bare bones production number that is primarily her voice and guitar with accompanying clapping and whooping adoration, "La Noche de mi Mal" is in a similar vein where the emphasis is Lila's voice with guitar, violins and harp, the bittersweet "Amarga Navidad" closes out the disc with a song that would make Lola Beltran applaud."Arboles de la Barranca" has that full banda sound that will have you swaying from side to side to the wild horns. I really enjoy this disc for several reasons. First I think Lila Downs is a Mexican Goddess with a voice for the ages, who performs incredible shows and besides I love Mexican music. This is the complete package, tradition and the future mixed together for the adoring fans. This is ranchera music for the twenty first century that captivates with it's suttle electronic arrangements while it weaves in barely perceptible electronica beats to tejano music. Lila is always blazing a musical path, this time she has one foot securely in the past as she is stepping forward in her musical quest. Recommended for people who like adventure along the traditional path."

Mexican folk of the future

Miquel Botella Armengou | Barcelona, Catalunya | 04/04/2006

(5 out of 5 stars)

"Desde sus inicios, Lila Downs ha integrado en su actualizacion de la musica folk mejicana alguna muestra de estilos mas tradicionales, y en sus discos no han faltado las versiones, aunque siempre con una perspectiva algo ironica, por no decir desmitificadora.

Esto ha cambiado en su quinto trabajo "La Cantina (Entre copa y copa...)", donde la cantante se ha adentrado de forma casi monogrofica en las llamadas rancheras, las baladas que hablan de rupturas amorosas, traiciones, alcohol y nostalgia, y que habitualmente se cantan en las cantinas, entre copa y copa de tequila.

Sin embargo, que nadie se espere un disco ortodoxo. De acuerdo, Lila aborda tremendas y desgarradoras rancheras clasicas compuestas por el maestro Jose Alfredo Jimenez como "Tu Recuerdo Y Yo", "Pa' Todo El A?o", "La Noche De Mi Mal" o "Amarga Navidad", o popularizadas por grandes artistas de la cancion mejicana como Lola Beltran ("La Cama De Piedra", "La Tequilera"), o Pedro Infante ("Entre copa y copa", rebautizada como "Traigo Penas en el Alma"). Pero aunque cuente con el acordeon de Flaco Jimenez y otros instrumentos tradicionales, aunque luzca una voz espectacular y un sentimiento a flor de piel, siempre introduce elementos que sorprenden agradablemente y ofrecen una nueva perspectiva de estilos tan trillados como la ranchera, el corrido o la cumbia. Asi, se entrecruzan programaciones, guitarras electricas estridentes, recitados poeticos, ritmos quebrados, efectos de sonido ambientales, voces manipuladas, metales atronadores y rapeados.

En esta evocacion de canciones tradicionales, Lila no olvida el caracter reivindicativo de sus anteriores trabajos. Asi, "La Cumbia Del Mole" es un tributo a la magia de la cocina mejicana a traves de la receta del mole, "Tacha" es la historia de una chica que deja su pueblo para triunfar en la gran ciudad, "El Relampago" es una celebracion de la fertilidad de la tierra, y "El Centenario" es un narcocorrido en toda regla.

"La Cantina" es, sin duda, el disco que consagra definitivamente a Lila Downs como la gran dama del folk mejicano del futuro.

"