A musical reimagination and remix of the colonial heritage of the Philippines and of Cuba.

What if Cuban musicians from the early part of the Twentieth century heard the kundiman, harana, and danzas that came from the Philippines of the late Nineteenth century? Or, what if Filipino musicians had the opportunity to hear the Cuban orquestas, charangas, and conjuntos?

In what ways might Filipino composers incorporate the rich polyrhythmic musics of Cuba which were originally a blend of Western European (Spanish, and later, French) form and harmony, and African (Yoruba and Bantu) percussion musics?

What if Cubans had a chance to hear the rich Rondalla traditions of the Philippines? Could there be a musical bridge between the Philippines and Cuba given their shared Spanish colonial history? This project is Chris’s artistic response to those questions.

PERSONNEL: Chris Trinidad: bass guitar, octavina, clave, cabasa, voice; Bo Razon: tres, bandurria, okonkolo, itotele, iya, bombo; Raphael Geronimo: congas, bongó, timbales, guiro, maracas, bells; Carlos Caro: tumba, quinto, tres dos, guagua, chekere; David Lechuga: guitars; John Calloway: flute; Reggie Padiila: tenor saxophone; Kimwell Del Rosario: violin, Mary Grace Del Rosario: viola; Raquel Berlind: voice

GENRES: Afro-Cuban Danzon, Son, Bolero, Philippine Rondalla, Harana, Kundiman

INFLUENCES: Chucho Valdes’s Jazz Bata, Charlie Haden’s Nocturne, Buena Vista Social Club, Septeto Santiaguero, Florante Aguilar, Juan Silos and his Rondalla

RELEASE YEAR: 2020

ALBUM CODE: IRK 2020 01