Correo Aereo Lo Que Me Dijo el Viento
Lo Que Me Dijo el Viento (The Orchard)
Reviewed by Raoul Hernandez, Fri., Nov. 24, 2000
Lo Que Me Dijo el VientoThis is what the wind told me, of a Mexican man, raised playing folk music of the Americas -- Mexico, Venezuela, Argentina. Of a New Mexican woman, raised playing the violin. Together, as husband and wife, they mastered the harp, guitar, cuatro, quinta huapanguera, bombo, cajon, quijada (he), as well as the maracas, bombo, cajita, güiro, and palmas (she). Together they danced the dance of the spirits, deep, touching, real. Provinces, captured in 1992 on a crude recording device (cassette), preserved the couple's haunting trove of acoustic folk spells -- both original and traditional. Some musicologists studied that tape until they could listen to it no more. A decade later, this man and woman are no longer man and wife, but still they dance as one, in the capital of Texas, on a small, shiny, computerized platter called Lo Que Me Dijo el Viento. This is what the wind told me, starting with the acoustic insistence of Abel Rocha's "Cuatrapeado" and heart-tugging vulnerabilty of "Golpes Tocuyanos" to the sawing, strumming "El Caimán" and delicately dancing beauty of "Carnaval." Rocha and Madeline Sosin's embrace on the tragic "La Mariquita," the funereal beat of Rocha's "De Mis Memorias," and lastly, the playful strum and teasing palmas handshake of "Camaguán." Lo Que Me Dijo El Viento. This is what the wind told me.