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Anexo Al Norte

Yo Quiero Tu Saxo (diciembre 2016)

cumbre-nortena

It is the longstanding position of NorteñoBlog that the puro sax styles of Chihuahua and Zacatecas would improve with the addition of more terrible “sax” puns in the titles. When we last checked in with the New Mexican quintet Anexo Al Norte, they were pursuing perfection with fellow New Mexican Beto Ronquillo. That pursuit failed, so they’ve settled for a limp Christmas cumbia on Blas Records, “Parodia Botas de Navidad,” unfortunately NOT a parody of “The Christmas Shoes” (aka “Los Zapatos de Saxmas”). Announcing your song as a parody is never a good move, especially when the song isn’t funny, but sax player Iván Murillo almost makes up for it with his groovy syncopated takes on “Jingle Bells.” In the song, Santa brings the boys in the band a bunch of instruments, along with the titular botas and a mixing board. One of them falls asleep with the mixing board, which is sure to mess up his levels. In the video’s high point, the band leaves a bowl of tamales out for Santa Claus, a tradition I will now force upon my own family. (NO VALE LA PENA)

no-hay-quintoAs you’d expect, the Dallas saxtet La Energia Norteña has far more energy. They’ve just released their fifth album for the Azteca label, an ode to saxual endurance entitled No Hay Quinto Malo. And, because the fifth time’s the charm, the album debuted at #1 on Billboard‘s Latin Album chart. Lead single “Hoy Me Toca Perder” (aka “Hoy Me Toca de Dar Saxo Oral”) is a maudlin thing, with string cues and a video full of meaningful looks and lonely rooms, though it does afford Israel Oviedo a chance to wail in full Clarence Clemons mode. Better is “Me Ganó la Calentura” (aka “Calor Saxual”), which sounds more like winning, even though its chord progression gives it an undercurrent of heartache.

But NorteñoBlog is most partial to their cover of Joan Sebastian‘s straight-up country song, “El Taxista.” (“El Saxista”? Too easy.) Written by Sebastian’s son José Manuel Figueroa, its melody soars through a tale of lovelorn despair, told from a stoic taxi driver’s point of view. In other words it’s perfect for this genre, where jaunty beats and riffs try to ignore their songs’ anguish every day of the week. Pick to Click!

Continue reading “Yo Quiero Tu Saxo (diciembre 2016)”

Yo Quiero Tu Saxo (julio 2016)

en que falle

nortenos de ojinagaIt is the longstanding position of NorteñoBlog that the puro sax styles of Chihuahua and Zacatecas would improve with the addition of more terrible “sax” puns in the titles. From the fabled Chihuahuan city of Ojinaga — home to El Zorro de Ojinaga, La Fiera de Ojinaga, Capitanes de Ojinaga, El Deshollinador de Ojinaga, you name it — come Norteños de Ojinaga, a saxy quintet-or-sextet whose latest album for the Discos America label is their lucky umpteenth. It’s called Besos Nuevos (proposed subtitle: … y Saxo Oral!!! ), and it seems pretty pro-forma as far as Chihuahuan sax albums go. Sadsack lead single “Tus Mentiras” (alternate title: “Saxo, Mentiras, y Videocinta”) runs over four minutes, which feels like an eternity in puro sax world, possibly because the rhythm section’s oompah seems to be slowing down as they play. A neat formal experiment with time? Maybe, but it violates the first law of puro sax music: get in, get out, leave ’em wanting more, and, for heaven’s sake, remember what genre you’re in. This is no place to get emo!

reunion nortenaNext up is La Reunion Norteña, who formed in Chihuahua but whose members also hail from neighboring states Durango and Texas. (Thom Jurek wrote a thorough bio at Allmusic.) Their seventh album in as many years, Historias de Amor en Canciones (alternate title: Historia de la Saxualidad Humana), is out on Azteca Records, a Dallas label that knows its way around the puro sax world. La Reunion’s labelmates include La Maquinaria Norteña, who stand astride this genre like saxophone colossi, having recently been Grammy nominated for one of 2015’s best albums. On first listen, Historias is in Maquinaria’s league — the bouncy riffs never let up and frontman Rogelio Martinez sings with relaxed authority and an chivalrous quiver in his throat. He might fail at love (“En Qué Fallé,” aka “Fracaso Saxual”), but if he does he will apologize (“Te Pido Perdón”… i.e.,”Por Mi Fracaso Saxual”), and then he and the band will salve your pain with a big dumb cumbia like “Ahora Sí Baila El Muñeco,” this week’s Pick to Click. (“Ahora Baila Con Esto Muñeco Saxual”? Nonono.)

Continue reading “Yo Quiero Tu Saxo (julio 2016)”

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