The latest in Peter Culshaw’s peripatetic radio shows is a conversation with Joe Boyd whose recent tome, published by Faber, is a magisterial sweep through global and popular music called And the Roots of Rhythm Remain. 

TO LISTEN TO THE SHOW

https://www.mixcloud.com/MusicBoxRadioUK/the-arts-desk-with-joe-boyd-thursday-9th-january-2025/

Four trombones, four trumpets and five saxophones, six percussionists – this Afro-Cuban inspired band packs an irresistible punch and it’s loud!  This is a big band sound that revives the glory days of Tito Puente and Dizzy Gillespie, a 1940s fusion of Latin and jazz, as incendiary as it comes. A true wonder that London should produce music of this power and vibrancy, but the New Regency Orchestra (NRO) do just that, keeping the energy going for the full length of a 90-minute set.

Paramount added a late “old dark house” mystery comedy to Hollywood’s annus mirabilis of 1939 by teaming Bob Hope with Paulette Goddard in The Cat and the Canary, skilfully directed by Elliott Nugent. The death-trap mansion in the Louisiana bayous where family members gather to hear the reading of the deceased owner’s will – his niece Goddard inherits it – proved the perfect venue for Hope’s hilariously pusillanimous shtick.

Brahms Lieder Anna Lucia Richter (mezzo-soprano), Ammiel Bushakevitz (piano) (Pentatone)

Ein süßes Deingedenken: A Tender Memory of Thee – Lieder by Fanny and Felix Mendelssohn Kateryna Kasper (soprano), Dmitry Ablogin (piano) (TYXArt)

Berlin Philharmonic Horn player Sarah Willis’s Mozart y Mambo caused a stir in 2020, its mixture of Mozart and traditional Cuban music making it a bestselling crossover disc.

The global popularity of Latin music in the past few years is almost incomprehensibly huge. 2017’s “Despacito” by Puerto Rican Luis Fonsi was the point where it became clear that Latin America – like South Korea – was now operating entirely on its own pop terms and making the rest of the world dance to its beat. And a look at global streaming charts will show consistently vast figures for artists like Brazil’s Anitta whose “Envolver” is currently the worldwide no.1 single with streams in the hundreds of millions.  

If Carlos Acosta could have bottled the year-round sunshine of his native Cuba, he would have. Instead he did the next best thing and founded Acosta Danza. Seven years later, years which included a UK tour kiboshed by the first lockdown, when the company only narrowly made it on to the last plane back to Havana, the troupe is sleeker, slightly smaller, but if anything even more ebullient.

Havana, 1993. Far away, the fall of the Soviet empire has suddenly stripped Fidel Castro’s Cuba of subsidy and protection, while the US blockade strangles options for an economic reboot close to home. State-imposed “austerity” ushers in the “Special Period”, when cuts, shortages and even hunger return. “A butterfly had fluttered its wings on the other side of the Atlantic,” as Karla Suárez’s narrator – a mathematician – puts it.

During World War Two, President Franklin D Roosevelt described the USA as “the arsenal of democracy”. Only a couple of decades later, Fidel Castro was busily turning Cuba, only 100 miles from the US mainland, into the factory of revolution, exporting armed struggle around the world. It made his country a geopolitical player out of all proportion to its size, at the cost of violently antagonising the Americans.

Horn player Sarah Willis joined the Berlin Philharmonic in 2001. She juggles her position with spells of teaching, interviewing soloists and conductors for the Berlin Philharmonic's Digital Concert Hall and hosting an online series of Horn Hangouts, interviews with musicians streamed live on her website and archived on YouTube.