Cubanía

Latin Beat Magazine, August, 1997 by Luis Tamargo

SON 14 (Featuring Tiburon)

Formed in 1977 in Santiago de Cuba by keyboardist Adalberto Alvarez and singer Eduardo "Tiburón" Morales, Son 14 was immediately recognized by the connoisseurs as one of the best Cuban conjuntos (horn bands) from that era, along with Matanzas' Yaguarimú. Son 14's original version became, at least temporarily, the most popular group in Cuba due to several factors: Alvarez's excellent compositions and arrangements; Tiburón's authentic and ingenious soneos; an energetic and enthusiastic brass section, and the presence of incomparable guest artists, such as tresero Francisco Amat (alias Pancho Manguaré) and pianist Frank Fernández. Unfortunately, that period of maximum creativity ended in 1983, when Alvarez left the group to form a more commercial band in Havana (Adalberto y su Son), sorely devoid of Tiburón's hoarse and spontaneous contributions.

But that was not the end of Son 14. Those who miss Tiburón's gritty soulfulness and guajiro-rooted feeling should acquire the new Son 14 disc released by the Californian label Candela, a division of Tinder Records. Featured as lead singer on most of the album's original sones, Tiburón demonstrates why he should be regarded, in terms of vocal improvisations, as one of the most witty and inventive post-Castro soneros, along with Cándido Fabré. However, despite the vibrant sharpness of its horn section, Son 14's current version (led since 1993 by the trombonist Lázaro Rosabal) cannot duplicate the magic created by the original, Alvarez-led crew, which managed to borrow heavily from the past, while adding innovative modern touches to the son tradition. Artistically speaking, both Tiburón Morales and Adalberto Alvarez have suffered from their separation. Nevertheless, Son 14's new release provides a great relief to those afflicted by the increasing amount of frigid and mechanical Salsa sounds that surround us.

Finally, I must advise the Rohnert Park-based label to refrain in the future from including propagandistic garbage of a Castroite nature in their liner notes, as in the case of this album, particularly in view of the fact that the repertoire is totally apolitical. Although they are both mentioned in the liner notes, there is no connection whatsoever between the so-called Museum of the Underground Struggle and the Casa de la Trova; or between the storming of the Moncada barracks and the birth of the son.