from the New York Times; by; Jon Pareles
NEW YORK CITY music fans can get smug, thinking that sooner or later everything worth hearing will come to us. But some music has been in short supply. Musicians from Cuba, after a thaw in the 1990s around the Buena Vista Social Club, had a hard time negotiating performances in the United States during the Bush administration.
Now, with the Obama administration (and with Raúl Castro governing Cuba), more doors have opened, and spring brings a surge of Cuban arts — not just music but also film, painting and literature — with the ¡Sí Cuba! Festival, which starts March 31 and runs through June 16.
It includes the return of two groups vital to Cuban traditions. The Septeto Nacional Ignacio Piñero, April 16 at Zankel Hall, was formed in 1927 and pioneered the Cuban music called son (sound): transparent, lilting, accelerating tunes driven by guitar and bongos. While son became a foundation of salsa, the Septeto still plays as if the songs were new. Los Muñequitos de Matanzas, at Symphony Space May 5 to 7 and at the Performing Arts Center at SUNY Purchase on May 8, are revered performers of Cuban rumba and guaguancó: complex, kinetic Afro-Cuban music for percussion, voices and dancers that levitates a room.
A rarer Cuban tradition is represented by the Creole Choir of Cuba, at the Brooklyn Academy of Music on June 4. It is made up of descendants of Haitians who came to Cuba to escape slavery and have held on to both their Creole language and a repertory of songs — for voices and percussion — that would evolve differently back in Haiti.
The festival also gathers expatriate Cuban musicians. They include Xiomara Laugart, a singer from Havana who is now a member of Yerba Buena, at the Jamaica Performing Arts Center on April 30, and the rapper Telmary Díaz at BAMCafé on April 23. The pianist Arturo O’Farrill, who leads the Afro-Latin Jazz Orchestra, brings his Family Band to BAMCafé on April 30, and on May 14 at Symphony Space the Afro-Latin Jazz Orchestra will be the centerpiece of Wall to Wall Sonidos, a marathon of Latin music featuring the premiere of Mr. O’Farrill’s composition “A Still Small Voice.” With luck, the festival’s many multidisciplinary offerings will also give the music something it has rarely had in New York: a context.
Another concert series, less politically fraught, is the Unsound Festival, April 6 to 10. It came from Poland, where it started in 2003; New York got its first one last year.
Unsound explores the zone where electronic music and visuals spill out of clubs and into the classical avant-garde — or vice versa — and gives New Yorkers a welcome sampling of experimentalists worldwide, from otherworldly abstractions to gargantuan bass. It opens at Alice Tully Hall with Music for “Solaris,” marking the 50th anniversary of that Stanislaw Lem science-fiction novel with music for string orchestra and electronics by Ben Frost and Daniel Bjarnason, accompanying manipulations of the Andrei Tarkovsky film version by Brian Eno and Nick Robertson.
The pioneering electronic composer Morton Subotnick revisits his 1967 work, “Silver Apples of the Moon,” with a video backdrop, on April 7 at the David Rubenstein Atrium atLincoln Center, along with the New York debut of the prolific dance-music composerAtom. The festival also includes a still-shifting, lineup of club events at the Bunker, Le Poisson Rouge and elsewhere, with Emeralds, the New York debut of Lustmord playing live, the film composer Alan Howarth and others. Unsound will also present workshops April 1 to 5. Strange noises are likely to abound.