Aurelio Brings His Irresistible Garifuna Grooves to Lincoln Center Next Week
This coming Thursday, Jan 19 at 7:30 PM there’s a killer dance party at the atrium space at Lincoln Center just north of 62nd Street. And it’s free. Over the past year and a half or so, these more or less weekly, sometimes more frequent shows have really caught on, and you have to get there a little early to get a seat – sometimes simply to get in. While crowds here are large and enthusiastic, security never lets the space reach the point where it’s cramped and there’s no room to move around. If you get there in time this Thursday, you will be golden, because the artist onstage is Aurelio.
Aurelio Martinez fronts the Garifuna Soul Band from La Ceiba, Honduras. They play Garifuna coast music that often sounds like bachata at doublespeed, although it has many other flavors, like pretty much all styles from that part of the world. There are echoes of roots reggae in the long vamps, and sometimes in the beats when it slows down, but it’s not reggae. Same deal with the salsa influence. Most of it is upbeat and irresistibly fun, although Aurelio’s band uses a lot of dynamics.
The last time this blog was in the house at an Aurelio show, it was the spring of 2015 downtown at the World Financial Center atrium where the Bang on a Can Marathon used to be held. Aurelio plays with the same kind of bright, stinging acoustic guitar tone – almost like a twelve-string – that’s typical in bachata. And he’s fast, firing off one long spiral after another. Sometimes he did that in tandem with his sensational lead guitarist, who shifted between joyous, bucolic Veracruz folk-tinged licks, Cuban-influenced interludes, starry reverbtoned psychedelia and on a couple of numbers, built an uneasy, echoey, dub-tinged atmosphere. That made for a striking contrast with all the scampering dance tunes, bringing to mind Burning Spear at his darkest and most Ethiopian-flavored in the mid-70s. Which makes sense in context: the Garifuna people have retained much of the African culture their ancestors brought with them after being kidnaped by 18th and 19th century slavers.
Surprisingly, despite all the props he gets for his chops, Aurelio only took a couple of solos, leaving the lengthy guitar breaks to the lead player. As the show went on, there were a couple of points where the band took it down to just the percussion section, which really got the crowd going. Aurelio’s bassist delivered a scrambling, nimbly melodic pulse that was the closest thing to classic salsa dura that anyone in the group was playing. The bandleader interacted with the crowd a lot; there was some “para ahi, para alla” type stuff, occasionally juxtaposed with some surprisingly dark, considerably more low-key, almost noir moments. If Aurelio hasn’t changed his steez in the eighteen months since this concert, the Lincoln Center show ought to be much the same.