BisMusic’s release of Virus, a new album from Los Van Van, has stirred attention among followers of Cuban music and beyond. The collection revisits iconic compositions from the orchestra’s catalogue while presenting them with renewed arrangements and contemporary energy. The result affirms the ensemble’s long-standing place in Cuba’s cultural life.
Van Van Cuba across generations
The album opens a window onto the legacy of Juan Formell and the intelligent stewardship of his successors. Virus gathers eight carefully chosen tracks drawn from decades of the orchestra’s work. Many of these pieces, originally associated with key moments in Cuban popular music, appear refreshed so they speak to today’s listeners without losing the essence that made them classics.
Listeners will recognise compositions such as Tim-pop, Hasta las cuántas and Dale dos, all credited to Juan Formell, alongside César “Pupi” Pedroso’s Eso está bueno and Se acabó el querer, a piece linked to Pedrito Calvo. The record also introduces Me tienes loca, an unreleased song Juan wrote for his daughter, performed here by Vanessa Formell. Vocals from long-time figures such as Robertón Hernández, Abdel “Lele” Rasalps and Armando Cantero reinforce the album’s connection to the orchestra’s history.
Samuel Formell, as director, has been crucial to maintaining the group’s identity while keeping its sound alive. His choices show a clear intention not to fossilise the orchestra but to allow it to live in the present. That approach mirrors Juan Formell’s own practice: he repeatedly adapted the band’s instrumentation and arrangements to the dominant sounds of each period, bringing electronic instruments and later trombones into what began as a charanga ensemble.
Virus confirms that Los Van Van are not bound to a single era. The Van Van of the 1970s differs from those of the 1990s, and the band’s profile continued to shift in the early years of this century. The new album makes that evolution audible and celebrates the band’s ability to renew itself without abandoning its roots.
Technical and artistic decisions are also evident in the arrangements. Veteran members collaborate with newer musicians to fuse tradition and current practice, producing vigorous performances that aim to engage both long-time fans and newcomers. The arrangements maintain rhythmic clarity and polished delivery, allowing horn lines, percussion and the rhythm section to interlock as they have in the band’s best moments.
Beyond nostalgia, Virus functions as a statement of continuity. It frames Los Van Van not as a relic but as a living institution capable of articulating Cuban musical identity in fresh sonic clothes. For listeners outside Cuba, the album provides a clear illustration of how one of the island’s most influential orchestras has managed to adapt without losing its character.
For supporters of Cuban music and those studying its development, the release of Virus is a reminder that preservation and innovation can coexist. The record invites repeated listening and offers a compact yet substantial portrait of a band that remains central to Cuban popular culture.
Key Takeaways:
- Van Van Cuba returns with Virus, a BisMusic release that revisits and refreshes the orchestra’s greatest hits.
- The album showcases the enduring legacy of Juan Formell while Samuel Formell preserves the band’s evolving sound.
- Notable tracks include Tim-pop, Hasta las cuántas, Dale dos and the new Me tienes loca featuring Vanessa Formell.
- The record bridges veteran musicians and recent members to present a Van Van for all times.
