Plena Libre Tonight in Santa Cruz

07/12/2010 Mon  Santa Cruz, CA Kuumbwa Jazz Club
07/14/2010 Wed  Oakland, CA Yoshis Jazz Club
07/16/2010 Fri  Winston, OR Riverbend Park
07/17/2010 Sat  Los Angeles, CA MacArthur Park 
07/23/2010 Fri  Lowell, MA Lowell Folk Festival
07/24/2010 Sat  Providence, RI Sound Sessions Festival
07/25/2010 Sun  Lowell, MA Lowell Folk Festival
07/28/2010 Wed  New York, NY River to River Festival, Wagner Park
07/29/2010 Thu  Huntington, NY Huntington Summer Arts Festival
08/01/2010 Sun  Rochester, NY NY Puerto Rican Parade Fest

The masters of Puerto Rican plena, Plena Libre will be touring the United States in July and August of 2010. Captivating and moving audiences over the course of a fifteen-year, thirteen-album career, this fine-tuned 12-piece Puerto Rican-based ensemble of virtuoso musicians has only gotten better with age, as evidenced by their four recent Grammy nominations. And now, for the 2010-2011 touring season, Plena Libre has created an all-new exciting repertoire along with new choreography and compelling new stories told from the stage between songs. 

"The chemistry and emotions on stage - my God!" says founder, bassist, arranger, musical director, and composer Gary Núñez. "It never seizes to amaze me how we all feel each other musically. I am continually overwhelmed by the spirit of the band. It is the music of Puerto Rico as it should be experienced. This train will just run you over!" The band alternates between tradition and their unique creative expression and arrangement, keeping audiences engaged with the best of roots music and the surprises of Núñez's hard-hitting touch. 

Plena Libre infuses their contemporary Caribbean compositions with a deep sense of the unique indigenous musical traditions, known as plena and bomba , which developed on the island over a century ago. "When I was 20 years old," remembers Núñez, "I met Noel Hernández, who is now my compadre. He opened my eyes to my Puerto Rican heritage, got me into studying my history and my musical roots. I realized then that, as much as Puerto Rican musicians were known worldwide in many fields of music, the music that was truly traditional to Puerto Rico was hardly known. I wanted to change that, to devote myself to the music that is based on our African heritage, the plena and the bomba . Up to then they were relegated to holiday get-togethers and in danger of disappearing entirely. That's how Plena Libre, or 'free plena' was born."

A culmination of African, Spanish, and Caribbean sounds, plena was born in the barrios of Puerto Rico in the early 20th century. Starting as a solo pandero (frame drum) that quickly developed into a trio of interlocking pandero patterns that accompanied a call-and-response vocal style, plena soon evolved from a music solely played by agricultural migrants to a popular form of social expression that recounted the daily lives of the island's inhabitants. "Plena has been called 'the people's newspaper,'" says Núñez, "because its songs recount the history of our land; it comments on and satirizes everyday life. You won't read its stories in history books." While augmenting plena with contemporary influences such as jazz, merengue, cumbia, and mambo, Plena Libre nourishes the roots of this music by continuing to sing about relevant social issues that affect the island.

While drawing from a diverse contemporary cosmopolitan well, Plena Libre's foundation is built on local elements. "Ninety-five percent of our repertoire is based on the plena and bomba," says Núñez. Retaining the African call-and-response singing style found in these musical styles, a constant dialogue between the sonero and the coro (chorus of singers) is present throughout many of Plena Libre's compositions. 

Unlike salsa bands, who usually only have two singers, Plena Libre features five vocalists singing in lush three and four part harmonies; a musical representation of a traditional community gathering. Further giving their live performances a memorable standout quality, occasionally, the entire band will vocalize the percussion parts of the plena, creating an a cappella polyphonic polyrhythm. These artistic choices drive home the core of the tradition in an aesthetic that appeals to broad audiences and aficionados alike.

Using the straight two-beat of the plena, Plena Libre's music is also easy to dance to. "Salsa has many up-beats that can be confusing to some newcomers," says Núñez, "but we show our audiences how easy it is to dance to plena." The simple elegance of plena rhythms reflect the inclusive spirit of the music and encourages even the most timid audiences to dance with carefree abandon. With these enticing Afro-Caribbean grooves, Plena Libre has been able to break cultural barriers around the globe. "When we played in Morocco the audience started to dance, and people couldn't figure out what the hell was happening. The local reporters later said that they had never seen people dance at a festival like this in this region. Maybe it was a cultural thing. Anyway, it was great! Some of the band grabbed people and started dancing and everybody jumped in." 

Dance, in general, is a vital component of Plena Libre's live performances. Their innovative choreography, drawn from folk traditions, offers an experience that is distinct from salsa bands, and illustrates their profound understanding of their Puerto Rican heritage. In the middle of a set, most of the band exits, leaving one of the singers to take center stage as a dancer. He proceeds to challenge a drummer to a rhythmic battle within an African derived, but unmistakably Puerto Rican bomba . Dressed in traditional white costume, including a traditional hat, the dancer stomps and shakes, strategically spurring on the lead drummer in an energetic interplay between rhythm and movement. The band then grabs willing audience members to join the fun in an exciting exchange of dance and rhythm. Throughout Plena Libre's concerts they feature elaborate, visually stunning, carefully crafted choreography that takes its inspiration from the traditions of the Caribbean.

Along with providing exhilarating entertainment, Plena Libre-which has performed in fifteen countries, from Morocco to Malaysia-has a deep commitment to educating their audiences about the traditional culture of Puerto Rico. Since the founding of the group, the ensemble has offered three levels of workshops tailored to the needs of particular demographics. For young audiences, the band has conducted hands-on demonstrations, taking an interactive approach to helping kids play Caribbean rhythms and learn various dance steps.

For older audiences, Plena Libre focuses their discussion on the rich historical and cultural aspects of their music, reinforcing these points with live musical examples. And, for professional musicians, through performance and dialogue, the band shares their insight into the music business and their own creative process as well as details of the technical aspects of producing their art.

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