A Couple of Great Videos

This morning the compact DVD player hi fi system I bought was delivered, and I immediately watched both of the DVDs I brought with me.

First I watched the Dixie Chicks performance in the Kodak Theatre. Lead singer Natalie Maines’ somewhat rough and tumble vocals are sweetened by the very precise harrmonies of sisters Emily Robison and Martie Maguire. Robison and Mcguire each play a number of musical instruments virtuosically, the Chicks are backed by a great group, and the Kodak Theater is gorgeous.

Watching the show I was reminded of Clear Channel Communications efforts to contrive a Dixie Chick boycott in the wake of Natalie Maines’ unflattering words about George Bush. I love the Dixie Chicks and in response to Clear Channel’s despicable acts, I made a point of buying a number of their productions. (You Know Me, I can’t help but throw a political rant in.)

The other video I watched was the “Buena Vista Social Club”. Those of you who haven’t watched the video should. The film chronicles USA musical performer Ry Cooder’s efforts to unite a group of largely forgotten Cuban musicians and singers and record an album with them. His efforts resulted in the hugely successful “Buena Vista Social Club” CD and a Grammy.

The Buena Vista Social Club was reportedly a Havana nightclub active in the past, but which the Cuban musicians filmed riding around in the back of a 1950s era US convertible looking for it never found. The tourist guide books mention the Club and give a location; but I was likewise unable to find it during a 2004 Havana visit, though I spent an afternoon looking and asking around for it.

The film wends its way back and forth between shots of Cooder in Cuba rounding up the musicians and the denouement of Cooder’s project, a concert in the amazing Carnegie Hall. There are interviews of each Cuban musician in Cuba followed immediately by shots of her or his particular performance at Carnegie Hall.

Though he orchestrated the assemblage and concert and though his haunting slide guitar subtlety emerges throughout, Cooder’s understated presence in the film is a credit, I think, to his humility and lends credibility to the sincerity of his effort.

From one of the opening shots of Cooder and his son riding Havana streets in a Ural motorcycle with sidecar on their way to a recording session to the shots of the concert at Carnegie Hall, the film is a delight. Go find it an watch it.