Gloria Estefan Gets Her "Miss Little Havana" On

When we last left Gloria Estefan, she was getting her Spanish fly on (again), with the aromatic classique 90 Millas (2007). Comfortable in her slight laurel resting, she had spent 27 years in the glow of success, Estefan had the least to prove in any quarter.

In the type of biting environ popular music operates in currently, artists yearning for Estefan's longstanding career would be left wanting. Fickle barely describes state of mind present in our culture today. So when news began to circulate of Estefan prepping a new album, one geared toward four-on-the-floor hijinks, it raised eyebrows.

No one could argue with Estefan's dance floor clout, but she hadn't made an active recording based in dance colors since 1998's legendary gloria! Following up that iconic album would not be an easy task. Considering what passes for dance music in the United States these days, fans worried Estefan might have a bout of uncharacteristic insecurity and try to acclimate herself to those less-than sonics.

That worry was confirmed when Pharrell Williams was announced as the producer of the project. A member of the groundbreaking hip-hop outfit N*E*R*D, he doubled as an artist and producer in his own right. Williams' work in the last few years has eyed the commercial rather than the creative. That was disappointing as it hadn't always been that way, he used to be able to do both. Major production fall out's on Madonna's Hard Candy (2008) and Shakira's She Wolf (2009) didn't assist in assuaging the fear Estefan's faithful had either.

Could anyone have guessed that Estefan and Williams would find muses in one another, and the creation of Miss Little Havana would manage to be a career best for both parties?

Mirroring the aforesaid gloria! in motif and tone, Miss Little Havana positions itself to revisit and restructure Estefan's dance music foundation. Where gloria! was overflowing and sumptuous, Havana stays tight, lean, and urgent during its playing time.

Pharrell has an instinctual and shrewd knowledge of that "in the pocket" moment of a song. That pairs well with Estefan's keen knowledge of traditional Latin instrumentation. Unlike his chrome clattering works previously, Pharrell allowed Estefan to substitute her musical flora along his lines. Estefan's traditionalism, sitting next to Pharrell's modern flairs translate to Havana being the veritable "lightning in the bottle" proceeding.

The title track, a lyrical ode to the perilous, but rewarding journey of youth, is smart. Smart in that it employs elements of retro likability in its smidgen of Shannon's "Let the Music Play" cowbell, and a "breakin' beat" right out of '85. Pharrell's production, via Estefan's amendments, punctuates the various tints and shades (musically and vocally) she plays in: "I Can't Believe" (disco furor) and "Heat" (confident and sensual).

"Wepa," the lead single and current reigning U.S. dance chart hit as of this review, is a hyperactive distillation of Estefan's past spice and sting ethos. Almost too heady at its breakneck B.P.M. pace, the listener will determine their own affinity to the cut.

Pharrell does escort Estefan into 2011 with the svelte "Make Me Say Yes," a song that Madonna would have loved to have had for her Hard Candy LP. Estefan's classiness steers toward a vamp-esque masque with her intoning richly to "be a good boy." Not only is it believable, she then has her voice clipped to ride the groove just so. One would be hard pressed not to cheer Estefan on for the effortlessness in which she delivers the goods again and again as the record plays.

There are confectioneries, which place emphasis on the warm textured feel of her voice: "Say Ay" a sticky, Spanglish lip smacker, and the "it melts in your mouth, not in your hand" smoothness of "Right Away."

Stumbles are few. Her usually endearing and immediate ballad material falls prey to lack of lyrical presence on "Time is Ticking." The "Wepa" remix with Pitbull is redundant, as the song is so high energy on its own it requires no further reworking.

Last, she covers "Let's Get Loud" made famous by fellow Blend favorite Jennifer Lopez on her debut On the 6 (1999). It was written by Estefan and her longtime collaborator Pablos Flores. A possible outtake from the gloria! era, Estefan gave it to Lopez who made it a big staple for herself. Regardless, the song is just flat, and always will be, no matter who sings it.

"Wepa" music video


Miss Little Havana stands parallel to gloria!, complimenting it rather than surpassing it; a unique accomplishment. The unlikely pair of Pharrell and Estefan crafted a work that is authentically her own, but fresh and flashy enough to get those unaware of that Estefan magic curious. Four and half out of five stars.-QH

[Editor's Note: The Miss Little Havana album is a Target only exclusive, available through their stores physically. Digitally it is available on iTunes.-QH]