When I was still living in London, in a blitzed out, wistful little corner of Limehouse, I had an upstairs neighbor from Colombia. He was studying the shoemaking business at Cordwainers College so that he’d be able to support his father who owned a shoe factory. Most days he would be fairly quiet but occasionally he’d get quite drunk late in the evening, and he’d play music at full blast. Unfortunately, Stairway to Heaven was the first song that would start off these fits of melancholia. There were other songs however. He had a fondness for Gardel, for example. There was also one song he’d play that I found mesmerizing (the ceilings were that thin). It was sad, determined, monotonous, hypnotic and long. It had some kind of Latin rhythm.
And then one day my neighbor left for Colombia and I vowed to myself to find out what that song was. Surprisingly, I struck gold early on. In the early 1990s Portobello Market used to have many vendors selling bootleg cassette tapes. At that point I had no knowledge of Latin music whatsoever so I ended up with some Willie Colon, Hector Lavoe, merengue, and a live recording called “The Montuno Sessions“, live broadcast from Studio ‘A’, 99.5 FM, NYC, later released by Mr Bongo. The song I was after was on this tape, a version of Oriente by Henry and Orlando Fiol.
This is what Stephen Mejias from Stereophile has to say about this song:
But what really caught my heart was the plaintive, urgent, yearning sound of Henry Fiol‘s restoration of Cheo Marquetti’s “Oriente.” The song delights me, troubles me. I say without doubt that I’ve never been moved this way. It’s stifling. Time-stopping. Indeed, Fiol’s “Oriente” is a wash of sadness and beauty, ten fleeting minutes of churning, swaying, and pleading; tres locked in dance with guiro, delicate piano backed by heartrending trumpet lines, and, above all, that mysterious, otherworldly croon: “Yo me voy a morir / Caramba, me voy a matar.” It’s magic. I could cry.
I don’t want to leave the impression, however, that “Oriente” is morose. It’s not. There is hope, pride, strength in its many movements. It ends where it begins, with a wave and a graceful turn. It, this song, feels so true to me, I’m nearly afraid no one else will understand. The thought is painful. It’s difficult to imagine another person being lifted, moved, possessed by this song in the same way.
I happen to feel exactly the same way about this song, and I couldn’t have said it better myself.
The Live from Studio A version of the song can’t be found free online (which is just as well), only the studio version which is a little overproduced. This performance gets close but lacks the full hypnotic length.
Oriente, an indestructibly beautiful song, was actually written by Cheo Marquetti, one of the great unrecognized heroes of son. A man who was connected to some of the greatest bands of his age, but kept moving on – who knows why? – and died early in semi-obscurity. There is a beautiful version of Oriente by Conjunto Chappottin with Cheo singing.
Where did that deep sadness come from? Cheo Marquetti wrote other beautiful, classic songs – Sonero, Amor Verdadero, Labrando La Tierra – but none are as yearningly obsessed with death. If I had to select a single song of all the world’s songs to last me to eternity, I would pick this one.