Muere el músico mexicano Celso Piña a los 66 años

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El rebelde del acordeón se consagró con un estilo único que fusionaba la cumbia colombiana, la música regional mexicana y el hip hop

La cumbia latinoamericana está de luto. El conocido cantante y acordeonista Celso Piña ha muerto este miércoles tras ser internado en un hospital de Monterrey, en el norte de México, por un paro cardíaco, ha confirmado su compañía discográfica y su hija. El artista mexicano de 66 años, conocido como El rebelde del acordeón, tuvo una trayectoria de más de 25 álbumes y saltó a la fama como uno de los primeros músicos que fusionaron ritmos tropicales y música norteña con el hip hop, el ska y el reggae.

«No hay quien se resista a la cumbia», ha publicado Piña en su cuenta de Twitterjunto a un vídeo de Cumbia sobre el río, su canción más conocida, unas horas antes del deceso. La prensa mexicana informó de que el artista había sido trasladado de emergencia por un infarto y su deceso se confirmó minutos más tarde. Su muerte fue inesperada. El cantante había regresado de una gira por Estados Unidos la semana pasada, después de presentarse el pasado viernes en Denver y dos días más tarde, en Chicago. «Con profundo dolor comunicamos la inesperada partida de un miembro de la familia, nuestro amigo el maestro Celso Piña», ha lamentado su discográfica, La Tuna Records, en un comunicado.

Piña se caracterizaba por tener una apretada agenda de trabajo con conciertos en Estados Unidos, México y Latinoamérica. El artista también recorrió España, Alemania, Francia, Reino Unido y otros países de Europa como un icono de la cumbia colombiana, un estilo cercano al vallenato y que está dominado por la presencia del acordeón en las melodías. Su último tour europeo se llamó Cumbia por el mundo. Se le podía ver igual tocando frente a la Torre Eiffel, en un festival estadounidense o en un concierto en las calles de México.

Piña creció en la colonia Independencia, un barrio conflictivo del centro de Monterrey, una de las ciudades industriales más importantes de México. Monterrey fue una de las puertas de entrada de la llamada música tropical, después conocida como cumbia, que se popularizó con la llegada de cintas desde Colombia y los sonideros, bailes organizados en barrios populares dirigidos por un maestro de ceremonias. Esa zona de la ciudad había recibido a varios inmigrantes colombianos que después dieron paso a la tribu urbana de los cholombianos, que adoptó la cumbia y ropas que solían identificar a los pandilleros del sur de Estados Unidos.

Piña se fraguó con esa influencia cultural, mirando hacia el sur para sacar inspiración musical y muy cerca de la frontera con Texas, donde sonaban las bandas gruperas y norteñas, en un híbrido musical que hoy se agrupa artificialmente como la música regional mexicana. «Reinventó la cumbia en México y reivindicó el barrio, de dónde vienes, y lo hizo algo universal», recuerda el artista y productor Camilo Lara. 

Empezó su carrera en los ochenta como músico autodidacta después de que su padre le regalara un acordeón y diera sus primeros pasos junto a sus hermanos Eduardo, Enrique y Rubén. «¿Pero esta música por qué no se toca en vivo, vato?», pregunta el cantante en los primeros acordes de Cumbia sobre el río sobre la cumbia colombiana, que estaba enclaustrada en las grabaciones de los sonideros: «Pos yo la voy a tocar, compadre… probando sí, probando, ahí ta«. 

Se consagró poco a poco en la escena con colaboraciones con artistas de otros géneros a principios de los años 2000. Piña grabó junto a Natalia Lafourcade, Julieta Venegas, Lila Downs, Gloria Trevi, Ely Guerra, Café Tacuba, Control Machete y su vocalista Pato Machete. También se grabó El rebelde del acordeón, un documental que sigue su recorrido musical y que fue producido por la televisión pública de México. Aparecía ante los medios casi siempre sonriente, sin pretensiones y sin querer involucrarse en temas polémicos o alejados de sus producciones musicales. «Celso es el último de los ídolos del pueblo,quizá el único que fue querido y respetado por todos: los rockeros, los poperos, los raperos, los productores de música electrónica… estuvo y experimentó con todos, por eso su legado fue tan vasto», cuenta Lara, que estaba planeando sacar un disco con Piña. «Fue más punk que cualquier punk, el rebelde y salvaje que muchos rockeros querían ser», agrega Lara.  

«Celso fue lo más parecido al flautista de Hamelin, encontró en el acordeón la herramienta y en la cumbia el código para formar una especie de Macondo del siglo XXI», afirma Antonio Hernández Toy, su amigo y parte del extinto grupo mexicano de hip hop Control Machete: «Ese Macondo fue Monterrey y nosotros los que aprendimos, crecimos y mamamos de eso. Siempre le estaremos agradecidos». «Siempre amable y coqueto, siempre alegre y chido [bueno] y siempre humilde como él solo. Te vamos a extrañar tanto mi Celso Piña, caballero del vallenato regiomontano», ha escrito en Facebook la cantante Lila Downs. 

Fuente: El País

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