Showing posts with label Caribbean. Show all posts
Showing posts with label Caribbean. Show all posts

Tuesday, July 24, 2012

I Ain't Got Long: The Real Bahamas



What is REAL music?  For my money it is music that comes straight from the inner part of the human soul where there is no self-consciousness, only joy.  It comes through the heart and tumbles out of the mouth and doesn’t even need instruments.   You hear it in religious chants, work songs, tribal celebrations and even when the drunks stumble home early in the morning. In India I heard it in the voice of the blind beggars who sang for alms.

It has nothing to do with polish or production. Only soul and closed eyes are required. The album we highlight tonight is about as close as you can get to the bone without killing the singer. It is pure music, unadulterated, simple and very complex and absolutely non-negotiable. Though it is sung by ‘uneducated’ probably, barely literate people who are unafraid to laugh, cough, growl and shout as they sing the music they make sounds as if it came out of the very first volcano on earth. It is hot, cutting and unrelenting. So uplifting and moving too.

It is a collection of gospel ditties, sea shanties and parables from the Bahamas sung by itinerant preachers, pick up guitarists and very powerful speakers of truth.  Many of the songs are sung by various members of the Pinder family about which I was able to find this lovely portrait.

The Pinder Family lived in the Bahamas and were descended if not in blood then certainly in spirit from a long line of Island musicians.
Joseph Spence

Joseph Spence played the guitar and sang, if you can call it that. It's hard to say exactly what he did.
He grunted.
He snorted.
He made low guttural noises, and then would suddenly break into a demented scat.
He would be singing along and his English would descend into complete nonsensical gibberish.
Sometimes he almost sounded like Popeye. But whatever it was he was doing*, you could tell he meant business.
They say he looked like he was going into a trance when he played. The man was almost certainly filled with the Spirit.
And his guitar playing was phenomenal.
Sometimes even to this day while listening to him I wonder if my ears might be playing tricks on me.
Paired along with his voice, his guitar playing could weave incredibly complex rhythms and produce some of the most intriguing music I've ever heard to this day. His lackadaisical and carefree (almost irreverent) style is guaranteed to lighten any mood, and to hear his laugh always puts a smile on my face. Most people unfortunately would dismiss this sort of music offhand, if not because it seemed strange and exotic (and perhaps even frightening!), then because much of it was gospel. But any musician, or anybody with an ear for good music for that matter should immediately recognize its value.

*Actually, the Bahamians refer to this style of singing as "rhyming", and it could almost be considered a precursor to modern rap.

The Pinder family often accompanied Spence, and together they were nothing short of a veritable music machine. Edith sang in a powerfully deep and throaty tenor that reminds me of a Jamaican reggae singer. Her husband Raymond provided a deep and rich bass, while their daughter Geneva warbled along in a flighty treble. You just have to hear them to understand, but I'm telling you it's unbelievable stuff. They sang with an incredible intensity that at times can be almost overwhelming to listen to. The music is simple, but the complexities are astounding. It's truly a wonder to behold. If you've ever heard The Incredible String Band or The Grateful Dead performing their versions of "I Bid You Goodnight" then you've heard their tribute to the Pinder Family. These groups heard the song on an album called The Real Bahamas, a 1965 Nonesuch Records release which has since been re-released. Other musicians who claim Joseph Spence as an influence include Ry Cooder and Taj Mahal, both of whom had the pleasurey to meet and play with him before his death in 1984. (http://spence.bryandeno.net/)

This is where the blues came from. Where almost every form of music in America came from. This could be 1760 rather than 1960.  Phenomenal!


            Track Listing.
            01 We'll Understand It Better By And By
02 Sheep Know When Thy Shepherd Calling
03 I Told You People Judgement Coming
04 Don't Take Everybody To Be Your Friend
05 Sailboat Malarkey
06 Up In The Heaven Shouting
07 Won't That Be A Happy Time
08 Out On The Rolling Sea
09 I Am So Glad
10 Come For Your Dinner
11 God Locked The Lion's Jaw
12 Great Dream From Heaven
13 My Lord Help Me To Pray
14 Numberless As The Sands On The Seashore
15 I Ain't Got Long
16 I Bid You Goodnight
17 Mary And Joseph
18 Peter, You Need The Lord
19 Jesus Promised Me A Home Over There
20 Troublesome Water
21 Kneeling Down Inside The Gate
22 Jesus Your Name So Sweet
23 Take Me Over The Tide
24 When The Leaves Turn Red
25 That Glad Reunion Day
26 The Great Coronation
27 The Captain Go Ashore
28 Ain't No Grave Gonna Hold God's Body Down

Tuesday, November 8, 2011

French and Spanish: Music from the Caribbean



Two favorites tonight. One recent and one old. Both from the Caribbean a region of the world I’ve never spent time but where music is fresh and exhilarating.

Lilting biguines, heavy gwo ka drums and tumbélé rhythms collide with the sounds of the carnival. Haitian, Congolese and Puerto Rican influences are added to the pot in a percussive celebration of Afro-Caribbean spirit.
Martinique and Guadeloupe are overseas départements of France, situated in the Eastern Caribbean island chain of the Lesser Antilles. Successive waves of immigrants and a strong French colonial presence have combined to produce a strong musical culture that takes in African and latin rhythms alongside Jazz, calypso and the local biguine style.
Often overlooked in the English speaking Caribbean, the scattering drums and soaring clarinets of the biguine ruled the airwaves and dancefloors of Martinique and Guadeloupe in the 1960s.
This album showcases the vibrancy of the scene on the islands in the ‘60s and ‘70s – a scene that would go on to develop the all-conquering sound of zouk in the ‘80s. Uptown bands like Ensemble La Perfecta and Les Loups Noirs combine heavy rhythms and psychedelic effects in an inimitable style – check out the crazed Jet Biguine for a better idea! The deep and introspective sounds of Monsieur Dolor and Guadeloupean hero Robert Loison show the deep African roots of the music – songs born out of the plantations, with an insistent rhythm and mournful vocals that are unique to these islands.
Overlooked outside of Paris, Montreal and the French Caribbean for many years, this collection redresses the balance by presenting the vital sounds of Martinique and Guadeloupe – missing pieces of the musical jigsaw puzzle of the Caribbean.

This is really exciting fast moving dance music. Unfortunately, as one listens to it one is filled with regret that these small musical islands are so blasted far away from the neighborhood.


            Track Listing:
01   Jeunesse Vauclin – Barel Coppet et Mister Lof

02   Jet Biguine – Les Loups Noirs D’Haïti
03   Pas O Soué La – Abel Zénon
04   Manzè Mona – Raphaël Zachille
05   Henri Te Vlé Mayé – Robert Mavounsy Quartet
06   
La Vie Critique – L’Orchestre Jeunesse de Paul-Emile Haliar

07   Mussieu A Têt’a Poisson La – Orchestre Combo Zombi et Michel Yéyé
08   
Oriza – Les Kings
09   
Colas-la – Claude Rolcin et Le West Indian Combo
10   Ti Fi La Ou Té Madam’ – Anzala, Dolor, Vélo
11   D’Leau Coco – Les Leopards

12   Jojo – Ensemble La Perfecta

13   Dima Bolane – Le Ry-co Jazz

14   Edamise Oh! – Lola Martin
15   Chombo Meringue – Les Aiglons de Basse Terre
16   Son Tambou La – Les Gentlemens
17   Chonga – L’Ensemble Abricot

18   Fileo – Francisco

19   Panty – Monsieur Dolor et Les Guitar Boys
20   Jean Fouillé, Pie Fouillé – Robert Loison

Listen here.

A part of the world I have had the privilege of working in is Angola which throughout its 25 years of civil war was supported by Cuban troops and doctors.  When I was there Angolans were ambivalent about the value the Cuban soldiers had added to their country. But I never met one Angolan who had anything but awed respect and praise for the dedication of the thousands of Cuban doctors and medical staff who worked throughout the country in shocking conditions and on very low wages. 

The experience obviously made an impression on the Cubans themselves, as is heard in the song De Kabinda a Kunene Un Solo Pueblo (The Only Person from Kabinda to Kunene) on the collection of Cuban music Sabroso! Havana Hits. The song is a humorous musing of a Cuban (Doctor perhaps?) who is stuck alone in the vastness of Angolan landscape.

All the songs on this record are similar but very different from those of the French Caribbean and make a nice complement to Tumbele!


            Track Listing:
            01 A Los Rumberos De Belen - Grupo Sierra Maestra
02 Camina Y Ven - Celina Gonzalez
03 El Son De Nicaragua - Orquestra Chepin
04 Rucu Rucu A Santa Clara - Grupo Irakere
05 Chilindron De Chivo - Conjunto Casino
06 De Kabinde A Kunene Un Solo Pueblo - Conjunto Los Karachi
07Anda Ven Y Muevete  - Orquestra Los Van Van
08 Vuela La Paloma - Conjunto Rumbavana
09 Se Que Tu Sabes Que Yo Se - Orquestra Revé
10 Frutas Del Caney Grupo Monumental

Listen here





Sunday, July 10, 2011

Hot and Spicy Chutney: Music of the Indian Diaspora in the West Indies

To bring this mini series on Indian popular music to a close the Washerman’s Dog jumps with great zest across the oceans to the Indian diaspora communities of the West Indies. 

Chutney, the name of this intriguing popular music genre is evocative of a delectable Indian spice and indeed, this is music whose lyrical themes and dance style are generally described as ‘spicy’ or ‘hot’. Chutney’s fieriness lies in the clever double entendres of the lyrics and in the fast repetitive rhythms played on tassa and dholak drums and the dhantal (an iron-rod percussion instrument beaten with a horseshoe shaped striker). Audiences dance to this music in carnival fashion.

There was no music known as chutney as we know it today before approximately 1970. There was simply “local music”. Like the name salsa, which emerged as an umbrella marketing term in New York to cover a range of Puerto Rican and Cuban music, chutney was initially used to describe Indian-Caribbean traditions which were just beginning to be performed publicly. Just as Tito Puente once declared “The only salsa I know comes in the bottle. I play Cuban music,” so, too, did James Ramsawak, one of the oldest singers in Trinidad, who taught many of today’s chutney singers, say, “Chutney is not a music. Chutney is spice.”
Sundar Popo, chutney superstar

Because of the carnival connection, chutney is sometimes described as the Indian soca, a reference to the lively Caribbean form rooted in soul and calypso traditions. But it is more than that. Chutney has developed mainly in Trinidad, Guyana and Suriname and has widespread popularity in those places in addition to contributing to the general music scene in the Caribbean. The instruments used and the places where these sounds are prominent give some clues as to the origins of chutney.  Basically, its music from the Caribbean with roots in Indian musical traditions.  You can still hear the influence of Indian folk and devotional songs in contemporary chutney and today’s chutney singers are influenced by the sounds produced by the Indian film industry.

The story of chutney’s  development begins with the arrival of Indians in the Caribbean in 1838, recruited there, like in Fiji, to maintain the colonial plantation system of sugar production. So there is an Indian connection that goes far beyond the name of this music. Since chutney has developed in the pluracultural contexts of the Caribbean, it displays a mixture of other influences including calypso, soca, reggae and rap. (extracted from Liner Notes)

If you know and like the bawdy music of the Mighty Sparrow and other Caribbean calypso artists, then you’ll love chutney. This is indeed a hot and spicy collection that will make you get up and dance. The lyrics sung in a creole of Hindi (mainly of the Bhojpuri variety) and English are funny and light hearted and came out of the tradition of women singing racy songs to the bride and groom at Indian weddings.

For more information on this amazing but little known genre of Indo-pop, check out the Blog: http://chutneyontheweb.blogspot.com/ .


         Track Listing:
        01 Fan Meh Paolourine (Homefront)
02 Dottish Boy (Sundar Popo)
03 Lotayla (Sally Edwards)
04 Butterfly (Boyie Basdeo)
05 Ragga Dulahin (Double D)
06 Dum Maaro Dum (Celia Samaroo)
07 Scorpion Gyal (Sundar Popo)
08 Chutney Rampage (Ajala)
09 Chutney Genie (Madian Ramdas)
10 Doo Doo Darling Dhulanie (Ramdeen Maraj)
11 Ta Ra Ra (Ian Singh)
12 Khirk Na Din (Cecil Fonrose)
13 Caura River (Anand Yankaran)
14 Trinidad Ka Bapujee (Jairam Dindial)

Listen here.