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Published on: 2/20/2007
Last Visited: 4/19/2007
Papi Oviedo is almost an exact contemporary of Papa Noel.Born Gilberto Oviedo La Portilla in Havana in 1937, his father Isaac Oviedo was a famous tres player and by the time he was 15, Papi was playing the tres, too, having received his first instrument (just as Papa Noel had done) from his mother.The conventional guitar is little used in Cuban music but its smaller, close relative the tres is ubiquitous.As its name suggests, the tres has three sets of double strings, two in high octave and the third in a lower range.According to legend, the first models were made from the wood of boxes used to import salted cod and its unusual string configuration creates quite different harmonic and melodic textures from the guitar which give the instrument a more distinctly Latin feel.
Papi Oviedo began to play professionally in the 1950s and over the years has developed a distinctive style which relies on simplicity and space for its effect.Today he is widely regarded as the world¹s leading tres player.Over his long career he has graced various bands including Tipica Habanero, Bolero Enrique Perez, Estrella de Chocolate and groups led by Chapottin Junior and Abelardo Barros.In 1981 he joined the Elio Reve Orquesta and he remained a main stay of the group for 15 years as both a tres player and songwriter.Then in 1997 he launched his solo career with the release of the album, Encuentro entre Soneros, on Tumi Records.El Mayombero, his second solo recording for the label, followed in 2000.He also plays in Omara Portuondo¹s international touring band and appeared on Ruben Gonzalez¹s platinum-selling album Chanchullo.When Mo Fini of Tumi suggested to Papa Noel and Papi Oviedo that they might collaborate on an album, both men committed themselves to the project enthusiastically.
Apart form the historical connections, there are more recent parallels between the development of Cuban and Congolese music.In Cuba the subtle rhythms of traditional son have given way to a coarser salsa sound, heard at its most hard-edged in the current timba craze.In modern Congolese music the elegant rhythms of rumba have similarly been displaced by harsher soukous beats , often characterised by drum machines and synthesizers.Papa Noel and Papi Oviedo have both resisted this tide and share a profound belief in keeping alive the great traditions of their respective musical cultures.This has given them a common philosophy and shared musical outlook so that the different sonorities of their respective instruments complement each other perfectly.The chemistry between them is remarkable.When Papa Noel visited Havana to record Bana Congo, he said he felt like he was going home.Papi Oviedo, who has lived all his life in Cuba, insists that part of him never really left Africa.
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