By Rebecca Bulnes
By Laurie Charles
By Chuck Strouse
By Lee Zimmerman
By Laurie Charles
By Falyn Freyman
By Hans Morgenstern
"Mama, I want to know where the singers are from," announced the Trio Matamoros in their most famous song, "Son de la Loma." Eighty years later that's still a good question.
At the Billboard Latin Music Awards this past month, three young men from Colombia took home two prizes for best album in the curious category of Mexicanregional music. What makes the inclusion of the group Los Tri-O in the Mexican regional category seem doubly odd is the fact that these Colombian youths carry on a tradition of balladry in three-part harmony first popularized by Miguel Matamoros in the 1920s in Havana, Cuba. The vocal trio accompanied by guitar originated in the eastern province of Oriente, then spread rapidly to the island's capital, across the Caribbean, and throughout Latin America. By the 1950s all of Latin America resounded with the romantic strains of male voices in triplicate. Wearing shiny slate-blue suits with baby-pink button-down shirts at the awards ceremony in Miami Beach, the fresh-faced kids of Los Tri-O sang a medley of old-time favorites that included songs penned in Cuba, Mexico, and Colombia.
The synthetic boy band recruited through an open audition in Bogotá found itself competing for the Billboard Latin awards against Aztec cowboys and accordion virtuosos because its debut album, Nuestro Amor (Our Love), is a tribute to the legendary Mexican threesome Los Panchos. The sales of Nuestro Amor, which went platinum in the United States and spent 44 weeks on the Billboard Latin Top 50 chart in 1999, also are a testament to the enduring appeal of Mexico's most successful trio. Los Panchos enthralled audiences from Jalisco to Tokyo over the course of a 37-year career that began in 1944. After Los Panchos' founder, songwriter, and requinto guitar player Alfredo Gil and the group's original second voice, Chucho Navarro, announced their retirement in 1981, the trio as a commercial genre fell silent. Nearly two decades later, however, the phenomenal success of Los Tri-O has set off a revival that may have the whole hemisphere singing together again.
As their medley heated up with the conga beat of Trio Matamoros' classic son, the smiling youths of the modern Tri-O slid toward the edge of the Jackie Gleason Theater's stage and spread their legs in a tough-guy stance. Known simply by their first names, Esteban (first voice), Manuel (second voice), and Andres (third voice) worked their supple bodies to the ground in a move associated more with hip-hop than with the romantic ballad.
Quite a departure from both the demure pose characteristic of Los Panchos and the dignified, syncopated stomp of Los Matamoros, Los Tri-O's choreography reveals the dual concept behind the band. Developed by Colombian impresario and executive producer Johnny Gutierrez, Los Tri-O superimposes the image and attitude of teen idols such as 'N Sync over the venerable trio sound.
Musically Los Tri-O updates the ballad with lush orchestral arrangements similar to those that catapulted Mexican soloist Luis Miguel to superstardom. A fourth hunk, John Harby "Dartagnan" Ubaque, accompanies the singers on the requinto for Mexican songs. On Los Tri-O's follow-up album, La Gloria Eres Tu (You Are the Glory) Dartagnan also plays the four-stringed Puerto Rican guitar known as the quatro for Caribbean numbers. Behind him swell more than a dozen violins and violoncellos. The strings underscore the crystal clarity of Esteban's voice, often mixed so as almost to mute the other two, and approaching at times the more modern appeal of R&B vocal styling. Two original songs by Colombian composer Kike Santander perfectly capture the spirit of Los Tri-O's revivalism: The arrangements remain forever faithful to the emotion of the traditional bolero.
Gutierrez selected the singers for Los Tri-O with as much of an eye for their demographic appeal as an ear for their considerable vocal talent. "They didn't change our individual styles," insists Esteban. "We are still who we were before." There was no need for any change; the young men live out the same demographics they are meant to attract. Sitting poolside at the Hotel Sofitel by the Miami International Airport during a long day of interviews, Esteban is strumming a guitar distractedly. With a thin face and piercing eyes, he is, he says, "the serious one." Draped over a lawn chair next to him with black-enameled-fingernails tapping a glass tabletop, Andres is the "rebel." Leaping up to help a reporter to her chair, Manuel is the sweet-faced charmer.
Before the audition the college students crossed paths frequently in the Colombian capital without ever meeting one another. All three studied at different times of the day with the same voice teacher, Claudio Castillo. Andres and Manuel sang for the armed-forces chorus in the consecutive years of their mandatory military service, but Andres was purportedly kicked out for mischief. Esteban performed the traditional music of the Colombian plains with folkloric ensembles and picked up cash singing boleros in nightclubs. All three remember growing up in households full of the music made popular by the Mexican movies imported to Colombia. When Andres begins to play the rollicking riffs of a ranchera on his acoustic guitar, Esteban and Manuel join in, laughing as they sing.