Sing the Real

1	The Social Relevance Of Public Art 3:44
2	Cenzontle 4:24
3	20 Pesos 3:44
4	Desahogate 4:17
5	Emotions 4:50
6	Mia 4:02
7	La Pesadilla 5:05
8	Vagabundo 5:43
9	Mayahuel 6:10
10	Jarocho Elegua 4:40
11	Matanzas Instrumental 2:28

Barnes & Noble

Art rock with an activist bent gets reinvented with a Latin flair by the Los Angeles nonet Quetzal, who combine stellar musicianship with a fiery commitment to social justice and Mexican and Chicano identity. The band, led by deft multi-instrumentalist Quetzal Flores and his phenomenally talented wife, Martha Gonzalez, is fittingly enough signed to folkie stalwart Vanguard Records. Quetzal self-consciously labors to recapture Mexican and Afro-Cuban folk for a rock audience, just as coffeehouse bards regaled hippies with Woody Guthrie songs in the '60s. But Quetzal's rhythmic agenda is miles away from simply strumming -- diverse percussion, electric guitar, violin, and Central and South American strings join with soulful vocals to forge a sound dense with possibilities. Ponderous title aside, "The Social Relevance of Public Art" incorporates a rootsy take on drum 'n' bass, while Spanish-language tracks such as "Cenzontle" -- a showcase for Gonzalez's powerful voice -- and the enchanting "Jarocho Elegua" show a mastery of folk forms ranging from Veracruz to Santiago de Cuba. Harmonizing along with his sister, Gabriel Gonzalez delivers a fine charanga, "Mia," accented by the shimmering violin of Rocio Marron, while the band easily pulls off a Mexican identity rap on "20 Pesos" that makes up for its academic jargon with sheer fluidity. As the title of their album indicates, Quetzal's dedication to issues of community and identity stake out definite ideological territory, and their high-mindedness can work against the joy of watching accomplished musicians create. But when lyrical artfulness matches the music -- on "Mayahuel," "Mia," and "Jarocho Elegua" -- there's no doubt that this talented ensemble is at the forefront of a new generation of Latin music. Mark Schwartz

All Music Guide

Quetzal has forged a signature sound out of Chicano barrio history and the challenges of daily life within an immigrant society. Not surprisingly, they draw heavily upon mariachi traditions, but also incorporate loping Colombian Cumbia rhythms, Afro-Caribbean-Yoruba drums, and violin riffs and call-and-response choruses more typical of Cuban charanga. Amusing '70s-era instrumental quotes abound, including cheesy jazz fusion keyboards; richly textured, overripe wah-wah guitars; and vintage Santana solos. The split-cowhide-clad ghosts of Weather Report, War, and Sly Stone also run amok through the grooves -- you can practically hear the Afros growing. Jamaican reggae, Nuyorican salsa, and doo wop provide further grist for this busy mill, but East L.A.'s modern hip-hop culture only surfaces as an occasional clipped snare beat. Ultimately, the band's jazz vocabulary has transformed their ethnicity into something musically universal. The earnestly conscious lyrics, sung in Spanish and English, address issues like female empowerment, political activism, and social justice. This is not mere lip service, as the band is heavily committed to local community outreach programs and is especially devoted to working with children. Even so, their style is so adult-oriented that it might not appeal to the younger audiences who would most benefit from their message. The producer, Greg Landau (Susana Baca, Ritmo Y Candela with Patato Valdez, Orestes Vilato, Changuito, etc.) has wisely given the recording a rough-and-tumble, studio-live acoustic, providing a you-are-there ambience ideally suited to their style and content. Christina Roden