When two high-life musicians from Mali didn’t receive their visas to Cuba in 1996, where they were scheduled to record a collaborative album with some Cuban musicians, it posed the records producers Ry Cooder and Nick Gold (the British world music producer of World Circuit Records) with a big dilemma. Cooder and Gold thankfully changed their plans and decided to record an album of Cuban son music with local musicians instead. Cuban musicians already involved in the African collaboration project included bassist Orlando “Cachaito” López, guitarist Eliades Ochoa and musical director Juan de Marcos González, who had himself been organizing a similar project for the Afro-Cuban All Stars. A search for additional musicians led the team to singer Manuel “Puntillita” Licea, pianist Rubén González, trumpeter Manuel “Guajiro” Mirabal and octogenarian singer Compay Segundo, who all agreed to record for the project. Cooder, Gold and de Marcos organized a large group of performers (twenty are credited) and arranged recording sessions at Havana’s EGREM Studios, formerly owned by RCA records, where the equipment and atmosphere had remained unchanged since the 1950s.
The outcome was the iconic Buena Vista Social Club album, the biggest selling World Music album ever which became, helped somewhat by Wim Wenders superb documentary of the same name, a cultural touchstone for millions worldwide and a gateway into a country that has been economically suffocated by a US trade embargo and subjected to a conservative, right wing leaning, political propaganda campaign since Fidel Castro overthrew the barbaric regime of the dictator Fulgencio Batista.
Born in the district of Songo La Moya, a small municipality in Southern Cuba, Eliades Ochoa built his repertoire from Cuban traditional music, in particular sons, guarachas, guajiras, and boleros. As a child, he learned to play guitar and tres (an adapted guitar), and also began singing. In 1958 he moved to the city of Santiago and during the following decade, developed a career as a professional musician. Among groups with which he played were the Oriental Quintet and the Típico Septet. For many years, Ochoa was closely linked with the Cuarteto Patria and then with singer Compay Segundo. With the former, for whom he was musical director and singer, he recorded A Una Coqueta, Cubafrica and the instantly recognisable Cuban classic Chan Chan. Among musicians with whom Ochoa has worked are artists as diverse as the West African saxophonist Divango, Charlie Musslewhite and most recently, Joan As Policewoman.
I first saw Eliades in action in Dublin in 2007 in a long gone, Cuban themed bar, Floridita, which was on the old Life Bar site in the Irish Life mall on Abbey St. Brought over to launch the venue, he played a stunning set, full of energy and heart with superb musical dexterity. He finally returns to play the National Concert Hall with a full band on April 9th and it’s an unmissable opportunity to see a man who is known in his home country as “Cuba’s Johnny Cash”, his songs honed from a hard earned country tinged wisdom. The rugged features, the signature hat, the cowboy boots and the iconic ‘man in black’ image have given Ochoa an edge over his contemporaries and we were delighted to speak to him (through his English speaking daughter) ahead of his concert.
Hola Eliades. Como Esta?
I’m doing well, thank God. I was spending some time off with my family.
Tell us what it was like growing up in Cuba as a young boy?
It was a bittersweet experience. I come from a humble family of peasants, and we faced many struggles. As a child, I played on the streets to earn a few coins for food. Despite these challenges, I created beautiful memories during my childhood. My parents inspired my love for music. I would listen to them play and then try to recreate what they did. Many of the songs I play are ones I heard from them, and others tell stories from my childhood, like “West” from the album Guajiro, which is about a horse my dad gave me when I was a child.
Your father played guitar. Did you know early on that this is what you wanted to do?
I come from a musical family; both of my parents played guitar. I learned music by ear and never attended a music school. From a very young age, I knew that music would be my life. When I was just 3 years old, while living in the deep mountains of Santiago de Cuba, I made my first guitar using a piece of wood and some metal strings.
How important was your parents encouragement to you as a developing musician?
My parents’ support meant the world to me. We were very close, and my dad made it possible for us to move from the countryside to the city of Santiago de Cuba so that our family could have better opportunities, especially for me, as I wanted to pursue a career in music.
You moved to Santiago De Cuba when you were ten. Was this move from countryside to city an unexpected enlightening?
It was a significant change, and my family found it difficult to adapt, but I have never forgotten my roots in my homeland, even to this day. I still feel like that boy from La Loma de la Avispa. My songs come from authentic traditional Cuban rhythms, and the lyrics of many of them tell stories about the people who work the land.
When you started playing in the city was it tough for a young musician?
Yes, it was! I was a child when I started playing on the streets, and the guitar was about the same size as I was. I used to perform in tolerance zones, where women earned money with their bodies. I will always be grateful to these women who helped me; they were my first audience.
You have described the son Cubano movement (literally “the Cuban sound”) as a “mighty magnet. Can you tell us what you mean by that?
The Son Cubano is the standout dish on my menu, and our audience enjoys it just as much as I do. From songs like “Vamos a Bailar un Son,” “Se Soltó un León,” and “Pajarito Voló” from my recent albums Vamos a Bailar un Son and Guajiro, we can see our audience starting to dance right from the beginning. This brings me immense happiness. The positive energy they share while dancing to these songs truly makes me feel alive.
Cuban music has so many different styles and traditions. What in your mind is the essence of Cuban music?
Cuban traditional music is characterized by a variety of rhythms, many of which I play, including son, guaracha, montuno, guajira, and changüí. All of these genres originate from the eastern part of Cuba. The essence of this music reflects the culture and traditions of the people from that region. My album, Vamos a Bailar un Son, is a tribute to traditional Cuban music, showcasing these vibrant rhythms.
Tell us about your friendship with Compay Segundo; how you met him and what made you and him make music together and how the song Chan Chan came to be?
Compay was like a father to me. After he retired and spent several years away from playing music professionally, I invited him to join my group, Cuarteto Patria, and we began touring together in the 1980s.
The first time I heard “Chan Chan,” it was on a cassette that Compay gave me to play with my band. I loved the song from the beginning. I created the arrangements for the first guitar. The way I play “Chan Chan” is how people still play it today. When listeners hear the opening chords of the first guitar, they immediately recognize that they are listening to “Chan Chan.”.
The Buena Vista Social Club was a landmark band. What do you remember of those days?
Buena Vista Social Club marked a significant turning point in Cuban music. This project gained worldwide fame. I will always be grateful for the experience and will cherish the beautiful memories I made with the band members. We felt like a family.
Since the Buena Vista you have worked with musicians from all over the world. How important has this been to your musical and spiritual journey?
Since Buena Vista, I have been releasing music and collaborating with artists from various musical genres. My latest album, Guajiro, released in 2023, features collaborations with Ruben Blades, Charles Musselwhite, and Joan as Police Woman. Recently, I also collaborated with Los Ángeles Azules. This album received a nomination for the Latin Grammy this year.
I was present at the show you did in Floridita Dublin in 2007. What memories do you have of that trip?
Every show is special to me, and I am grateful for the support I receive from my audience, whom I refer to as my big family. Since our performance at Floridita Dublin in 2007, it has rained a little. I am excited to return to Dublin this year and play our new songs. I am sure that people will enjoy them as much as my band and I do.
Words: John Brereton
Main Image: Tintina
Last Image: Massi Giorgeschi
Eliades Ochoa plays The National Concert Hall on Wednesday April 9th Tickets from nch.ie
