which became ubiquitous in Cuba and led to tours that helped Rodriguez spread his funk gospel across the world. On his new album,, he goes one step further: Rather than simply showcase his brand of Afro-Cuban funk, he places it squarely in conversation with American funk, rap, and soul, drawing out a connection that’s always existed between Black art forms in the U.S. and the Caribbean. “It’s always been there,” Rodriguez says.
The exchanges resulted in an album charged with radical energy, bound to keep pulling listeners into Rodriguez’s magnetic orbit. Chucho Valdes and Lester Snell enhance the drama of the baroque ballad “Salvaje,” while the Colombian band ChocQuibTown join Rodriguez a tangle of electro-funk and percussion on “La Noche.” But what kicks everything off is the Clinton feature, “Funk Aspirin,” which Rodriguez talks about with incredulity.
The collaborations reflect a sense of community that touches everything Rodriguez does. His band is tight-knit, made up entirely of Cuban musicians, including drummer and musical director Raúl Zapata Surí, bassist Ibanez Hermida Marrero, pianist Arthur Luis Alvarez Torres, and minor percussionist Miguel E. Piquero Villavicencio. Trombonist Ilarivis García Despaigne and saxophonist Katerine Ferrer Llerena form an all-female horn section while also providing back-up vocals.
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