Havana's Septeto Nacional marked a little bit of history Saturday night in Little Havana with family feeling and no drama. "On your feet familiares de Septeto Nacional" said 68-year old lead singer Eugenio Rodriguez to dark, tiny and packed Hoy Como Ayer on Saturday night. "Tantos primos y primas despues de tanto tiempo." Not even Vigilia Mambisa bothered to demonstrate over the first concert by a group coming from the island in at least six years (although even the early 10:30 set was late for Saavedra's crew.) Whether it was because the septet founded by Ignacio Pineiro in 1927 plays such culturally weighted, historic and apolitical Cuban music, or because there's simply not the anger to generate a public protest for a Cuban show, the only screaming on Saturday night's show came from the enthusiastic crowd inside. It included Tony Rives, 45, whose mother was cousin to Ricardo "Oro" Oropesa Fernandez, the Septeto's manager/promotor, occasional back-up singer, and expert dancer with half the women in the club. "I don't think politics should mix with the talent," Rives said. "You can't separate them from their ability to play or us from our ability to appreciate it. I feel great that they're here - we grew up listening to this music, but we only get to hear it on records."
Yes, the Septeto Nacional opened with Echale Salsita, the Pineiro tune that's sometimes credited with giving salsa its name, and barreled on from there. Son is usually a suave thing, but this ensemble, the fourth generation of musicians for this band founded in 1927, played with exceptional precision and drive. This wasn't the turbo-charged overdrive of timba, but it was relentless enough: tres, guitar, stand-up bass, bongos (and cowbell), maracas, trumpet, and singer all beautifully locked in, the arrangements precisely calibrated, the rhythm section as regular as a drum machine. Rodriguez may be 68, but he's got a fabulous, classic sonero's voice - powerful, with high-pitched intensity and a potent dose of bluesy soul - and the energy of someone half his age. "It's phenomenal to be here in Miami," Rodriguez said in the narrow hallway outside the tiny room that serves as Hoy Como Ayer's backstage, where women decades younger squealed and posed for photographs with him (hard to say who looked happier). "Hopefully they'll keep opening the doors here."
Much of the crowd was close to Rodriguez in age - mid-40's was young in this audience. One Cuban friend at the La Excepcion Spanish hiphop concert said that while he was happy the ensemble was playing in Miami, he wasn't planning to see them - for musical, not political reasons. "They're wonderful, and this is the real Cuban music - but I heard them so many times in Cuba, enough already" he said. Oddly, there's been more buzz about the group elsewhere in the U.S. than here in the capital of el exilio and Cuban nostalgia. The Septeto Nacional has played a bunch of shows in New York and Puerto Rico, as well as gigs in Chicago, San Francisco and L.A., and generally at much larger venues than Hoy Como Ayer, which holds about 100 if everyone's willing to get real, real close and the dancefloor is sacrificed for tables, as it was Saturday. By the time the group was gearing up for the second set, at 12:30, there didn't seem to have been much turnover.
Oropesa diplomatically avoided talking about the political significance of the Septeto's appearance in Miami or the U.S.. "We know the desire of the U.S. audience to hear traditional Cuban music," he said. "We've come to expand the relationship between the two peoples. We're ambassadors of Cuban folklore."
Tres player Roberto Acosta, who says he's played with an exile musical who's who that includes Albita, Celia Cruz, and Willy Chirino, and who did a stellar guest turn on the tres with the Septeto, was thrilled. Acosta says he goes to Cuba regularly, shrugging off questions about the once a year limits to visits by Cuban-Americans by saying "no one has prevented me - I got all the time." Acosta says he met and played with the Septeto Nacional in Havana, and was thrilled to have them here. "They're fantastic, great musicians and friends," he said. "It's a privilege for me to play with them. After this is over people are going to see that this was a historic moment. To me this is the most important thing happening tonight in Miami, that this music from the heart of Cuba should be here in the heart of Little Havana and el exilio Cubano."
Those who missed history last Saturday will have another chance to participate, however; the Septeto Nacional will be back at Hoy Como Ayer for a 9pm set on Nov. 28th.Tickets $30, call 305-541-2631.