Biography
Plena
Libre
These are the words with which the great Eddie Palmieri has summed up
the Plena Libre experience. The group's appeal stems from their
innovative interpretation of the plena genre. With a style that draws
on both the traditional and the modern, Plena Libre has taken this
rhythmic genre of Puerto Rican origin through new and exciting
developments.
Plena Libre captured Puerto Rico 's imagination and interest right from
its inception in 1994. Their music became so popular, that it inspired
the introduction of the genre, which unto that point was considered
folklore, on local commercia l radio stations. Songs like
"Mañana por la mañana", "El bembe de plena (Es la cosa)",
"Voy subiendo", "El celular" and "A mi manera" were now on the same
playlists as tropical commercial genres such as salsa and merengue.
Recognition of Plena Libre as a cultural and musical force in Puerto
Rico followed, as they received awards from the House of
Representatives, the Rafael Cepeda Foundation and the City of Loiza, a
city that has greatly contributed to development of both the plena and
the bomba .
In 1996, Plena Libre made their way into the mainstream theaters when
they began to play large venues such as Puerto Rico's University
Theater. The group was the first of its kind to have their own show at
the Roberto Clemente Coliseum, where they were joined by other
prominent Puerto Rican artists including Andy Montañez , Melina
Leon , Domingo Quiñones and Son by Four in the production "
Puerto Rico sabe a Plena”. At this point also began to perform
internationally at various music festivals in the United States , Latin
America , Europe and Asia .
In 1998, the a review in the Paris Liberation stated that "Their music
is irresistible. Their repertoire is authentic and creative; their
style, free and progressive. C'est magnifique ". The following year,
with the international launch of Juntos y Revueltos , Latin London
quoted that "this production must be part of any serious collection of
Latin music". Later Newsday said of the CD Mas Libre that it was "music
for the mind, the body and the heart." Billboard commented that “this
album is eminently multidimensional dance music. Arrangements by Gary
Nuñez –extraordinary- he knows how to take the songs to
unsuspected terrain." Tracks from this CD were heard in Belgium,
Colombia, Germany and the United States, followed by and the Grammy
2001 Nomination for Best Traditional Tropical Recording.
Back home they were honored at the dedication of the XXXI Fiestas de la
Calle San Sebastian , an event that has become the largest carnival
production honoring Puerto Rican culture and folklore.
The group is now launching their new album – Mi Ritmo , an independent
project that comprising of diverse romantic, instrumental and
traditional numbers. Mi Ritmo displays how Plena Libre has grown. Their
sound is more fully developed than ever, with brilliant arrangements,
jazzy trombone-powered harmonies and a solid ensemble digging in over
the compelling, uptempo drive of the panderetas – the tambourine-like
instruments that are at the heart of the plena .
On this album the group is joined by special guest stars that include
seven-time Grammy winner Eddie Palmieri (who takes a mind-expanding
solo on his own composition "Plena Plena Plena "). Among invited guests
are also Roberto Rohena on bong— (on "Mi Amor ", a kind of rumba-plus-
plena ) and Puerto Rican percussion mainstay Angel " Cachete "
Maldonado (who plays Afro-Cuban bat‡ drums on " Traigo una Pena.")
Cachete also appears playing quinto -- the highest-pitched drum, which
"talks" over the rhythm – on "Olandera", a jazzy bomba (the
African-derived style that together with the plena represents Puerto
Rican identity.) Puerto Rican roquero Millo Torres contributes a
scorching electric guitar solo on "Remolino de Mar" (Waterspout).
Pianist Richard Trinidad in appears "Solo tu (Gotas de un mismo rio)"
and violinist David Betancourt is featured "Vive con ganas",
The compositions features six new tunes by bandleader Gary Nuñez
and one by group members Kayvan and Kevin Vega, who make their debut as
songwriters with "En la Calle". "Traigo una Pena" is a tune by
Nuñez developed from an improvisation by Puerto Rican salsa
superstar Tito Rojas during a performance by Plena Libre . And the
album's traditional number, " Dejalo Que Suba" is well known to those
who remember the departed Puerto Rican legends Rafael Cortijo and
Ismael Rivera.
Mi Ritmo is a reaffirmation of Plena Libre's musical identity. The
group remains faithful to their roots, yet it continues to expand this
genre, which in previous decades was masterfully cultivated by Maestros
like Rafael Cortijo, Ismael Rivera, Angel Luis Torruellas and Mon
Rivera. With Mi Ritmo Plena Libre plans to continue and spread the
Puerto Rican message the Four Corners of the world…
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