Although we lived in the same neighborhood, I had never coincided with him. He passed by my house and responded to the eulogy as if he had known me all my life. I motivated myself and dedicated these lines to him.
Dayan Carrera is today one of the best singers of the movement that we usually call timba. Maybe he does not believe it himself. Characterized by its carefree and natural, meets all the requirements demanded by the scene of the great orchestras of dance music.
Although the distance between the two styles is real, I can not help being reminded of those jazz singers who subverted the rules of singing in favor of creative freedom. Emission by horizontal moments, intentional and timely nasalization, diction and very colloquial phrasing, constitute a part of the distinctions of this interpreter. And I say interpreter because this category is much more than being a singer. In that theatricality that the timba had to deploy for the mass publics, the insignificance and the forgetfulness punished first the false histrionismos and the gestural impostaciones; the path of communication passed and continues to pass through the charisma and spontaneous naturalness on stage. Sing as you talk and gesticulate the closest thing to how we dance, more or less there has passed the journey of successful performers in our folk music dance from remote times.
Wrapped in the legacy of Pupy-Formell, it is not by chance that Dayan declares himself an admirer, since he was a child, of Pedrito Calvo, a teacher of interpretation that is a whole chapter in this story. His career is quite conventional: small format traditional music, Charanga Forever, Azúcar Negra and, through the wide door, Los que Son Son.
The work with maestro Cesar "Pupy" Pedroso has been more than fruitful, also demonstrating the ability for compositions with montunos of punch turned into hits, such as "El caché" or "Pasándola bien". Today he is the lead singer of that group, a complex task because such a band imposes several requirements that only meet on rare occasions. The power of the emission, clear and unambiguous, a precise and creative sense of the key, physical form, diaphragmatic support, are essential tools for this type of work, but required to a greater extent by the Orchestra of Pupy, for the power of the base and the strength of the march. There have been few cases in which singers with conditions have been "swallowed" by large orchestras and have not been able to continue their work with them. Anyone who has seen Los Son Son live will notice that in the interpretative approach of this group, there is no place for rest or relaxation, and that the sequence of hits is stitched together according to this objective, even if the synchronicity of movements of its singers.
In an exercise of imagination, I would like to hear Dayan in a well-known phonographic production of select repertoire. Retrieving a Timber of this kind to "the origins" would be a way to test the thread of continuity in the popular music of the island, although the codes of the singers have evolved in other directions. And not only I expose it as imaginative speculation, but supported by the own strangeness that the singer expressed when he was able to verify one day by chance, and from the stage, the taste and the connection of the public with the Conjunto Arsenio Rodríguez. There I imagine that walk that could be invited to this young man: the orbit of Arsenio-Chapotín-Cuní.
At this point, and despite his youth, Dayan Carrera is an established performer in our popular dance music and unfortunately little promoted as a representative and protagonist of it. A good step would be for it to begin by believing it, beyond its modesty and simplicity.