Arts & Minds: Unreal Catorce

José Cruz has been writing and singing powerfully subtle lyrics for the group Real de Catorce for more than two decades, setting them to music at once familiar for its bluesiness yet strikingly original. He's a co-equal member of the latter-day triumvirate of exceptionally talented Mexican urban poets who deliver their goods from a blues base, a folk tradition, and a rock 'n' roll soul. The other two are Jaime López (who at age fiftysomething seems to be exploring ever more fruitful territory, sounding better than ever in the process), and Rodrigo González (who died tragically in the 1985 earthquake).

But something is wrong. It was evident a year ago when Real de Catorce opened a Mexico City Jazz Festival evening at the Metropolitan Theater for Buddy Guy, one of the last remaining electric blues masters from the old school. Cruz looked distracted, didn't sing well, and never really connected with the crowd. Worse, the current bassist and lead guitarist (the line-up behind Cruz, save for drummer Fernando Abrego, has shifted over the years) hopped around and rockstar-postured like the commercial pop band Real de Catorce had spent 22 years not being. Guitarist Julio Zea took over much of the between-song banter in embarrassing "Hello, Mexico City! We love you!" style. (To be fair, he didn't actually use that cliché, only appropriated its spirit. But he did go out of his way to praise the corporate sponsor of the event, something Cruz would never do.)

It turns out Cruz, at age 52, has multiple sclerosis. He appears in a wheelchair in recent newspaper photos (of which there are not many, since Real de Catorce has always performed below the mainstream media radar). It also turns out that Cruz and the band parted ways not long after that ill fated May 2006 concert, and far from amicably. Cruz now refers to his former musicians as "my ex-friends" and the band members themselves have posted on the Real de Catorce web site (from which Cruz has been banned) a lengthy manifesto accusing him of manipulative behavior, among many other things.

The situation is sad, for Cruz and his loved ones personally, and for the rest of us musically. A 22-year-run of exceptional music that most of the world was never aware of appears to be at an end. Cruz has made some solo appearances, and he's also authored a book of poetry (the translated title would be "From the Alcohol Texts"). But what kind of new career he can put together in his condition is unclear.

Incredibly, the other band members have taken over the name Real de Catorce, and promote themselves as such. This is not unlike Clarence Clemons, Max Weinberg and the rest of the E Street Band separating from the Boss and calling themselves "Bruce Springsteen." Real de Catorce is José Cruz and vice versa. Zea, Abrego and bassist Neftalí López Nava have every right to carry on, and they'll no doubt put together something very good. But they need to do the right thing by forging their own identity and coming up with their own name. How about Real de Quince?

Meanwhile, Cruz and the cumulative membership of Real de Catorce have left us about a dozen CDs, some more compelling than others, but all superb. For the uninitiated, I suggest finding Voces Interiores (1992) as your introduction, for no better reason than it's my personal favorite. It includes "Pago mi renta con un poco de blues," a talking blues with an unexpected chorus, which along with "Azul" (a mournful slow blues with the honor of being the first cut on the first, self-named 1987 album) is the closest thing Real de Catorce ever had to a hit.