Roberto Fonseca in Concert (Review)

Last Monday 26th March there was a small earthquake in London. This was not one of those events that can be measured in the Richter scale, but rather a musical tremor whose effect is harder to assess.

The seism took place at The Barbican and the perpetrator was Cuban pianist Roberto Fonseca who was in town presenting his latest album, “Yo” (“Me”). Accompanied by seven musicians, the poet of the blacks'n'whites entertained for almost two hours the hundreds of spectators who turned up at the London arts centre, which, by the way, reaches its thirtieth birthday this year.

Before Fonseca’s performance, though, the audience had the opportunity to enjoy a highly skilful set by the up-and-coming cellist Ayanna Witter-Johnson. Ayanna is based in London and approaches the cello in a very unusual way. Some musicians excel at their instruments like the Valdés, for instance, pére et fils, others burn them in a fit of frenzy, like Jimi Hendrix. But there are musicians who become their instruments. Ayanna is in this latter category. It was hard to tell cello, cowbell and voice apart because the three of them worked as a unit. No wonder her cello’s name is Ruben (or Rubén, as my Latin inner self would prefer) and her cowbell goes by the name of Penny.

Whether using her cello in the traditional manner, with the concomitant bow, or as a double bass, Witter-Johnson showed off wonderful execution skills. To this we have to add a distinct and mellifluous timbre that not only stood out in her own compositions (“Truthfully” and “Unconditionally”) but also in cover versions such as “My Grandma’s Hands” written by Bill Withers and “Roxanne” by The Police. Her take on the latter rendered this classic more intimate and close.

After this rhythmic starter it was Fonseca’s turn. Opener “7 Rayos” was a rapid-fire number that set the temperature in the theatre straight off the bat. A musical dialogue between Baba Sissoko and the Cuban pianist ensued, accompanied intermittently by a voice-over of Cuba’s late National Poet Nicolás Guillén. This was quickly followed by “80s”, a number with a heavy dose of funk and electronica (think Herbie Hancock’s “Headhunters”). The eight musicians were joined later on by Malian singer (although born on the Ivory Coast) Fatoumata Diawara for Bibisa. This time the musical conversation expanded a little bit more to include Sekou Koyate on kora, Baba Sissoko on n’goni and Fatou behind the mike. This was one of the many moments during the concert when you could hear a pin drop in The Barbican. Such was the awe the audience was in. Other similar moments were when Fonseca dedicated two pieces to the late Cuban singer Ibrahim Ferrer.

However we can’t talk about Roberto Fonseca’s concert without mentioning the rest of his band. On drums Ramsés Rodríguez was superb, matching Fonseca’s frequent off-the-cuff meanderings. Joel Hierrezuelo, on Cuban percussion, seemed to have grown an extra pair of hands; such was the rich, rhythmic mix emanating from his congas. Javier Zalba treated the audience to a talented and extraordinary display of flute, saxophone and clarinet. And on bass, Yandy Martínez kept the ensemble tightly together.

Last Monday 26th March London was the victim of an earthquake. Albeit of the musical type. I, for one, can’t wait for the next tremor to come.

© 2012

Roberto's concert was part of the Black Routes tour (supported by Arts Council England). Fonseca will be playing in:

Gateshead International Festival
RNCM in Manchester
York Theatre Royal
Brighton Dome
Birmingham Town Hall
St George's Bristol