Puerto Plata (Born José Cobles) came up in the oppressive milieu of the dictator Raphael Trujilo in the Dominican Republic during the 40 and 50s.As an artist without state sanction, he struggled, but became hugely popular in Santiago, the country’s second largest city.This was a world of brawling soldiers, shakedowns, and fear, but also sensual boleros, lively merengues, and the beginnings of the music that would emerge as bachata.All these years later, Puerto Plata lives in the U.S..He’s an 85-year old legend with a twinkle in his eye, stories to tell, and many songs to sing.Working with a superb lineup of veteran players here, he revisits his early heyday, interpreting classic songs with new perspective and undying panache.
“Mujer Perjura” kicks things off with a lover’s complaint to an unfaithful woman.Puerto Plata’s low, resonant voice emanates experience, and is sweetly leavened by ambling guitar melodies and light percussion.A sensuous bolero follows, punctuated with popping, bachata guitar melodies.Boleros have long been a specialty and we get a number of them here, but also folksy guarachas (“Los Perros,” “De Qué Te Vale”), and a bracing carnival song, “Dolores.” Puerto Plata even manages a fresh read on one of the most covered songs of all time, “Guantanamera,” adding new lyrics that playfully broach touchy subjects of race and identity.The title track, “Castilo de Campo” is a staple of Santiago soneros, but again Puerto Plata’s deliriously romantic vocal and the group’s punchy accompaniment make it as compelling as the day it was written.
As with Puerto Plata’s splendid 2007 release Mujer de Cabaret, this is an all-acoustic set that shifts from sultry lyricism to breathless excitement, always graced by fine arranging and superb musicianship.The two lead guitarists are particularly noteworthy.The early songs showcase the extraordinary technique and expressiveness of bachata legend Edilio Paredes.The man invests his all in every note, and is an absolutely delight throughout.The later songs feature a somewhat more experimental guitarist, Pablo Rosaria, who plays steel string and alternates between silky smooth passages and spiky, bachata interludes that sound very close to Paredes’s percussive, gut-string style.The whole session is a feast for fans of fleet, classy guitar playing.
