Cuba and Its Music: From the First Drums to the Mambo
As the cofounder of the important Cuban music label Qbadisc and coproducer of public radio'sAfropop Worldwide, Sublette is a well-known figure among elite mambo aficionados. Still, the sheer size and historical precision that makes this volume essential is a bit surprising coming from this proud nonacademic. The first two chapters, for instance, offer a fascinating narrative that explains the complex formulation of Iberian culture, beginning with the appearance of Phoenician traders in what is now the southern Spanish city of Cádiz in 1104 B.C. When the Cuban story finally kicks in with chapter five, Sublette makes the most of his prehistory to create a visceral and astute vision of the island as incubator of musical revolution. Most of the story has been told before, but rarely in such painstaking detail, and Sublette's easygoing and engaging writing style makes the reading almost painless, although sometimes his analysis is overly determined by politics. His most important accomplishment is combining information from rarely translated musicological works from Cuba with data from his active involvement with surviving giants of the music to produce one sustained, living history. Given all this, it is odd that he ends the book so abruptly, in 1952, especially since he has participated so much in the music's recent permutations. While not exactly for beginners, this book is a solid, supremely lush effort.Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.--This text refers to theHardcoveredition.