Buena Vista Social Club Presents: Ibrahim Ferrer

1	Bruca Manigua 4:43
2	Herido De Sombras 4:11
3	Marieta 5:55
4	Guateque Campesino 5:09
5	Mami Me Gusto 5:04
6	Nuestra Ultima Cita 3:56
7	Cienfuegos Tiene Su Guaguancó 5:22
8	Silencio 4:38
9	Aquellos Ojos Verdes 4:54
10	Que Bueno Baila Usted 4:39
11	Como Fué 3:33

Barnes & Noble

The follow-up to the brilliant Buena Vista Social Club continues the transportive magic of that Grammy-winning album without missing a beat. This time the focus is on vocalist Ibrahim Ferrer and his high, sweet tenor. Ferrer, a "Cuban Nat Cole" who was reduced to shining shoes prior to Buena Vista Social Club , polishes these incredibly atmospheric numbers to a mellow glow. The Club dips deeper than before into the romance of bolero; the vocalists are enveloped in big-band style string and horn sections on "Silencio," a duet with the regal Omara Portuondo, and on "Nuestra Ultima Cita." These alternate with the rough-hewn guajiro numbers (in the style of Buena Vista's hit "Chan Chan") featuring the electric guitar of Manuel Galbán. Axeman with fabled Cuban doo-woppers Los Zafiros, Galbán's reverb-soaked leads on "Marieta" and elsewhere are deliciously anachronistic -- think Duane Eddy sitting in with a boondocks conjunto -- and make it clear why Buena Vista guru Ry Cooder opted to remain in the producer's chair. In short, everyone's a winner: The country tunes rock harder, the ballads drip sweeter than on the Social Club's first outing, and Ibrahim Ferrer's silver years look to be golden indeed. Mark Schwartz

All Music Guide

When the Buena Vista Social Club album was released to great acclaim in 1997, it revived the careers of quite a few incredibly talented aging Cuban musicians. Like Ibrahim Ferrer, most of those musicians (who had been legendary in the '40s through the '70s) hadn't been performing professionally in decades. With the success of the Buena Vista Social Club, everything changed; they toured the globe, and plans for follow-up albums followed. Ibrahim Ferrer's was the second of what became a line of Buena Vista releases, all hoping to cash in on the success of the first. Ferrer's album is pleasant, the kind of album you could put on during brunch on a sunny morning. The album features many classic Cuban compositions. Original arrangers, musicians, and bandleaders were involved whenever possible. One standout is "Mami Me Gusto," a rolling upbeat tune by the legendary Cuban composer/bandleader Arsenio Rodriguez. On that tune Ferrer is lively and loose, and he is joined by Rodriguez's original pianist, the masterful Ruben Gonzales. The rest of the album is nice, but rarely as inspired or joyous as the original Buena Vista release. This is a much more romantic sounding album and on the right tunes, like "Aquellos Ojos Verdes," they really hit the mark; Ferrer shines and Gonzales sends glistening piano lines cascading down the keys. At age 63-plus, Ferrer was long overdue for a debut album, and as a result the disc communicates a feel of easy satisfaction. If you're looking for classy cocktail party music that will hold the attention of music fans, and won't bother the uninterested, look no further. David Lavin