A Musical Innovation

3 de la Habana ha logrado una proyección artística de alto vuelo, y una excelente combinación de piezas a tres voces con elaborados arreglos vocales, que alternan con funciones de solistas realizadas por los tres, creando un estilo de gran aceptación.

German Pinelli  Los 3 de la HabanaEn la época de los grandes grupos instrumentales, Los 3 de la Habana presenta en estos momentos, esa ventaja tan anhelada por toda entidad artística, de un formato y un sonido prácticamente único, con una batería de percusión cubana (pailas, congas, bongó), ademá de bajo, guitarra, Piano, Keyboards y una cuerda de Brass de dos Trompetas y un Trombon, logrando que los contracantos, basados en las excelentes posibilidades vocales que poseen, creen un efecto sonoro de gran amplitud, que se hace valer por si mismo, como el aplauso y favoritismo de su público demuestra.

Discos, Televisión, documentales, radio, entrevistas de prensa se hicieron habituales. España, Italia, Puerto Rico, Estados Unidos, Guadalupe, Grecia, Colombia, Inglaterra, Australia, R. Dominicana, Canada y Mexico. Algunos en repetidas ocasiones, han aplaudido sus actuaciones, logrando esa condición tan importante, de despertar el interés porque vuelvan.

La Canción, el Son, La Trova, en fin, el arte contenido en un repertorio que tiene la virtud de abarcar varios segmentos de público, nos lleva, a través del estilo personalísimo de este grupo, por un recorrido de ritmos con el buen gusto como denominador.

3 de la Habana constituye una propuesta renovadora y digna del gran escenario y por qué los sueños de aquellos que tienen talento, tesón y confianza, pueden volverse realidad.

The founding members of 3 de La Habana – an innovative Cuban vocal group ,had done everything as a family.

So when it came to the biggest decision of their lives, the trio decided to defect together too. Along with three other members of their band, the thirty-something singers -- Germán Pinelli, his wife Ana María Paez and his brother Ari Pinelli -- came to this country seeking asylum, fleeing what they considered a restrictive and repressive system. Now living in Miami, they are taking on the challenge that has eluded many other exiled Cuban artists – rebuilding their careers in a free but unfamiliar market.

For all Cubans, exile can be both frightening and liberating, akin to being explorers landing in a new world and burning their ships. For the Pinellis, it was emotionally gut-wrenching as well, coming in the devastating wake of their daughter's death.

Ana - Los 3 de la HabanaThe band crossed the border on foot at Tijuana Dec. 17, 2007, on what would have been the third birthday of Germán and Ana's only child, Ana Hilda. The little girl had died unexpectedly six months earlier of an unexplained viral infection. For Ana, the tragedy encapsulated all the accumulated frustration, pain and resentment of dealing with the socialist government that had refused to let her daughter accompany the band on tour outside the country. Ana will always wonder if her daughter would still be alive if she had been allowed to travel with her parents and avoid the repeated stress of separation.

That mystery might never be answered. But Ana now knew one thing for sure. She had to get out of Cuba.

Until then, she says, the group had felt stymied in its career, too ambitious to stay on the island but too afraid to leave. They knew a defection to the US meant they would likely never be allowed to return home. Now, the grieving mother felt she had nothing left to lose.

3 de la Habana was founded rather informally in 1993. By then, Germán and Ana were already a couple, having worked together at Havana's renowned Tropicana cabaret, where he sang in the chorus and she was a lead singer and presenter. Their idea to start a trio with Ari grew out of their uncanny ability to harmonize. Starting modestly with live performances, they eventually worked their way up to Havana's most famous venues, including Café Cantante, the hip basement club on Revolution Square where for years they drew enthusiastic young crowds as the hottest ticket in town. Since the start, they hoped to build on a long tradition of vocal trios in Latin America, which had faded from pop culture prominence in recent decades. Their success in reviving that tradition was marked by Latin Beat Magazine as far back as 1997, noting "the emergence of other young Cuban trios with similar agendas and techniques." Last year, Ocean Drive Magazine dubbed 3 de la Habana as "the sensation of the moment in Miami," where they have a standing weekly engagement at The Place of Miami in Little Havana.

The new album displays the group's range and versatility in styles, from a Cuban-spiced reggaeton to bolero, salsa, son and reggae. But the unifying element is the band's complex and precise vocal harmonies, as tight as their family connections. Their style is both traditional and contemporary, absorbing influences from Cuba's hip contemporary salsa called timba to the filin (or feeling) movement of the 1940s, a sophisticated take on the romantic song with jazz accents.

For these musicians, exile has brought dramatic personal changes as well. Ari, 32, who still lived with his father in Cuba, now has his own apartment for the first time in his life. He's also learned to drive and bought his first car.But now in 2013, Ari starts a different life with new challenges, determined to undertake a solo career.

In The March of Havana substitution makes Ana's son and German, Tirso Luis Paez, leaving all in famly as started.

Tirso Luis - Los 3 de la HabanaBut early success in the US has not blinded the band to the challenges ahead. They know talent doesn't guarantee sales, especially when trying to adapt Cuban music for a US market.

"We know our record has a sound that's more novel than what's normally heard on commercial radio hear in Miami," says German, 35, the band's guitarist, director and arranger. "But I think the public's ear can be re-trained, and hopefully our music might serve to open new paths for all of us, so people can broaden their musical horizons. We hope that at least one of our songs can reach people's hearts."

Like all exiled Cubans, they also hold out hope of one day going back to Cuba. Germán allows himself to dream of performing for home crowds once again. "There's always hope," he says. "I think it's the last thing to die. Hope and faith."



Baron, Diana. "Archive Clients" d.baron Media Relations, Inc. <http://www.dbaronmedia.com/3-de-la-habana-biography.html>.
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