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bongo player (see below). He really brings to life the background basis of salsa music, introducing Cuba's most legendary male singer, ABELARDOBAROSO,on both LPs, and some fabulous guitar playing from tiny BOWGAhimself.

There is some fine West Coast-style playing from the keyboards-leader Ofiente Lopez. Next in line is Irakere's L&coinciding with the late-night showing on C4 of Irakem, Live At Ronnie Scott's, CO-producedby yours truly.

Another basic rural Cuban style is guajira, a name on many lips in January with the arrival of Cuba's leading exponent, CELINAGONZALEZ,with her Grupo Campo Alegre. Guajira stays closer to the Spanish line than the deeply Afro-style of son, but her extrovert marimba player attacked the keys with a funk born in his ancestral past. The band's powder-puff rumba sleeves lent a startlingly frivolous, pre-revolutionary kitsch to the show, and Celina lived up to her title, Queen of Guajira. World Circuit's release of Fiesta Guajira, a collection of Celina's best-loved songs, is a must for all Latin-music fans. I t leads off with the quintessential "Yo Soy El Punto Guajiro" full of echoes of the blueprint, "Guantanamera".

- 1 Spy the following spectral graffiti writ large across the Void of Silence: IF LIFE IS WORTH TROUBLE, KNOW WHY YOU'RE CAUSING IT. This first principle of Autonomy is

R E I. E A S E S R Y familiar suspcvts COIL, HAPLERTRIO and CURRENT93 notwithstanding, the near future beckons a lull in the noise. But no time for tranquil contemplation yet! I

inscribed in the work of most every suspect ffatured here. Today, though, i t announces the impart of two highly suspect US publications. Though not directly musical, they're undeniably loud and, anyway, they intersect with the column's perennial themes, just as they constantly intersect with each other. Called Ap~nulypseC ~ l f i ~ w (Amok Press, ed Adam Parfrey, $9.95) and prank^! (ReISearch, ed V. Vale arid

TITOPUENTEclosed the year with a new Concord Picante Andrea Juno, $14.99), they variously chart the disintegration offering "Un poco loco", more of that familiar, polished C.P. of Western culture and ways to cope with the coilapx. sound, from his excellent Latin Jazz Ensemble including a moving, tribute-in-the-style to the Master of the genre, "Machito Forever" which was premiered last summer in a choreographed set at the Apollo Theatre, Harlem. The seven-piece Latin Jazz Ensemble is augmented here by sleevenotist JOHN SANTOSand PETEESCOVEDOon congas that's Sheila E's dad and owner of a hip Californian Latin-jazz club.

Latin jazz goes from strength to strength, and now the Cuban-Cubans are being recognised by American musicians for their true worth. Tito Puente's inclusion of a CHUCHO VALDEStrack ("Triton") on his album is the kind of endorsement needed in that world of commie-bashing atti- Of the pair, Ap~alypseClrltflre has the clearer yet m ~ r e tudes. The track is incidentally a showcase for some difficult brief. It traces across art, science, politics and religion hard-hitting timbales solo work from El Maestro. Ronnie the bizarre correspondences of ideas that occur between Scott's Jazz House label, managed by Cubanophile PETE seemingly opposed individuals under the threat of the KING, who led the club's first party to the Havana Jazz imminence of The End. The volume's rapidfve switches in Festival in February, follows their '87 release of Arturo tone, from abject despair to the peculiar exhilanrtion of living Sandoval's album with young AFRO-CUBA'S"Eclipse De Sol". through the most difficult of times, properly negate any

W I R E M A C ; A Z I N E 9

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