Jorge Drexler Returns to His Roots: A Deep Dive into 'Taracá'
Jorge Drexler's 'Taracá' marks his first recording in Uruguay in 20 years, blending personal reflection with the vibrant sounds of candombe and collaborations with artists like Young Miko.
After three decades of living outside Uruguay, Jorge Drexler felt a strong pull to reconnect with his homeland. This desire coincided with significant life events: the passing of his father, the discovery of a new wave of Uruguayan musicians, and the evolution of candombe, a traditional Uruguayan music and dance recognized by UNESCO.
Candombe organically became the central theme of his new album, Taracá. Released under Sony Music Spain, the 11-track album immerses listeners in a sonic experience where lyrics and drums take center stage. The title Taracá is an onomatopoeia for the sound of the tambor chico (small drum) and colloquially means "to be here."
"This is an album of mourning, but for some strange reason, it has a clear celebratory nature," Drexler told Billboard Español. "It’s an album very much for the body, for dancing. Grief and despair take unpredictable forms, and sometimes what one does to save oneself from despair is singing."
Jorge Drexler Taracá Album Cover
Taracá marks Drexler's first recording in Uruguay in two decades, with additional work in Puerto Rico and Spain. The album boasts collaborations with a diverse range of artists, including Puerto Rican urban star Young Miko, Uruguayan artists Rueda de Candombe, Américo Young, the murga group Falta y Resto, guitarist Julio Cobeli, and Spanish cantaora Ángeles Toledano. Producers include Lucas Piedra Cueva, Facundo Balta, Mauro, Tadu Vázquez, Gabo Lugo, Andrés “Fofo” Story, and Carles “Campi” Campón.
Drexler describes his new LP as a bridge connecting generations, geographies, styles, and eras. "¿Qué Será Que Es?" exemplifies this, serving as a Spanish adaptation of Brazilian Gonzaguinha's iconic "O Que É, O Que É?"
Here's a deeper look into five key tracks from Taracá:
"Toco Madera"
The opening track pays tribute to the clave of candombe, celebrating its influence across genres like bolero, son, and Rio de Janeiro’s funky carioca. "Toco Madera" also plays on the double meaning of "touching wood" for good luck and playing the clave on the wooden side of the drum.
Listen to it here:
“El Tambor Chico,” with Rueda de Candombe
This track celebrates the tambor chico, a drum central to candombe. Drexler explores its deceptively simple rhythm and the spiritual experience of playing it.
Listen to it here:
“Ante la Duda, Baila”
Presented as a TED Talk-esque song, this track explores the history of dance prohibition, referencing the zarabanda, chuchumbé, candombe, tango, and reggaeton. Drexler highlights the futility of such bans and encourages listeners to dance in the face of prejudice.
Listen to it here:
“Te Llevo Tatuada,” with Young Miko
A love song about carrying people deeply within us, recorded with Young Miko's production team in Puerto Rico. Drexler was so impressed with producers Mauro Díaz and Gabo Lugo that he invited them to collaborate on the album in Uruguay.
Listen to it here:
“Las Palabras,” with Falta y Resto
The album's closing track features the murga Falta y Resto, a Uruguayan musical institution. Drexler highlights the unique evolution of murga in Uruguay, originating from Cádiz, Spain, into its own distinct language.
Listen to it here:
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