Superb Sounds, But Cuban Groups’ Moods Don’t Mesh

A symbolic clash between Cuba’s venerable musical tradition and its new, boldmovement took place Thursday at the Sportsmen’s Lodge, and the juxtaposition of these two styles created a fascinating contrast.

The evening was billed as a concert by Orquesta Aragon, a revered group with a more than 60-year history that performs a zesty repertoire of danzones and cha-cha-chas. Aragon is the quintessential charanga, the kind of ensemble that combines African beats with European-influenced melodies, anchoring its sound on elegant washes of violins and flutes.

Also in the ballroom were the members of David Calzado y Su Charanga Habanera, one of the most explosive groups from the modern school of Cuban salsa known as timba, a style marked by an aggressive use of syncopation and sensuous touches of American funk and hip-hop.

Because Calzado and his group were performing at the same venue the following night, concert promoter Albert Torres thought it would be a good idea to preview their show with a 20-minute Habanera segment in between Aragon’s two-hourlong sets.

That was unfair to Aragon. Once you had witnessed Calzado’s volcanic, technically seamless funk-a-thon, it was really hard to return to the gentle mood of Aragon’s lilting oldies.

In fact, most of the crowd took off as soon as Calzado’s virtuosos left the stage, leaving a frazzled Aragon performing a second set that, not surprisingly, sounded a little stilted.

Aragon’s first set was a different story, a superb performance that made you feel suspended in time, lost in the sweet innocence of “Me Voy Para La Luna” and the nostalgic, four-part vocal harmonies of the bolero “Nosotros.” With the visibly moved audience chanting along, the favorite “El Bodeguero” sounded vital and timeless.