Cubanocast

Mercedes Sosa died a couple of weeks ago. I'm OK-knowledgeable with Latin-American music and had heard of her before I read about her death, but wasn't familiar with her music. Neither was my Mexican wife.

(For an analogy, I'm sure many of you know that Tom Waits and Frank Zappa are musicians, but can't name one of their tunes. Mercedes has something in common with them, as you'll see.)

I fired up Rhapsody (great service) and played some Sosa. Her music is similar to that of the Nueva Trova trend in Cuban music in that it lacks those essential elements that make music popular such as easily recognizable "hooks." The music is minimalist, similar from song, and "atmospheric," meaning that it's similar from song to song and somewhat nondescript. And it needn't be "descript," as it's designed to serve as background politically-tinged, high-concept lyrics which I think is this music's main attraction. Sometimes the lyrics aren't obviously political, but cryptic, which appeals to the same crowd.

Better to hear for yourself from what I learned was her most famous song, "Gracias a la Vida" (above).

Now, whatever you think of the song, there's no denying that Sra. Sosa is a talented singer. In fact, when that voice encounters good material, the effect can be quite spectacular.

Mercedes recorded Ariel Ramirez' post-conciliar masterwork "Misa Criolla." She does a very fine job.

(You can listen to Jose Carreras sing it here.)

Kyrie:

Gloria:

Credo:

Sanctus:

Agnus Dei: