87 f QUEBEC from page 47


A TRIUMPH OF LIGHT – HARIPRASAD CHAURASIA Barbican Centre, London


Whether it is rendered Diwali, Dipawali or similar, the seasonal ‘Festival Of Lights’ is a prime contender for the most observed, cross- faith festival we have. Hindus, Jains and Sikhs observe Diwali. Its name derives from the San- skrit for ‘row of lamps’ and it is a symbolic cel- ebration of Good overcoming Evil. Hariprasad Chaurasia’s recital, taking place two days before Diwali, followed an interpretation of the Ramayana. Reviewing Vayu Naidu’s Ramayana interpretation, involving the per- cussionist Colin Seddon and the British-based Karnatic violinist Jyotsna Srikanth, alas, fell victim to a London tube strike and traffic.


Hariprasad Chaurasia is a senior figure in Northern Indian art music – as a musician, a guru-teacher and as a western-style educa- tionist. Listening to him play his Diwali recital at the Barbican prompted a stream of thoughts and musings. In Hariprasad Chaura- sia’s case the bansuri or venu – that is, bam- boo flute – is an instrument connected reli- giously with Hinduism’s Lord Krishna. Wider than that, the flute represents something more basic. And that is, as near as you can get it, the sound of breath flowing.


A Triumph Of Light’s concert had the maestro accompanied on stage by Yogesh Samsi on tabla, two other, largely unneces- sary bansuri players and a tanpura (string drone) player. The bansuri players added echoes without adding to the melodic dis- course, whether in the main piece Maru Behag or the two shorter pieces. Partially, this was because the instruments’ range was sim- ply too close to Chaurasia’s own flute. Worse, Samsi’s flailing, crowd-pleasing tabla pyrotechnics felt as if he was wrestling down the flute and overpowering it, not accompa- nying it. A comparison made itself manifest. Maybe what follows is unfair. At the 2002 Gala Tribute To Ali Akbar Khan at the Marin Veterans’ Auditorium in San Rafael, Califor- nia, Zakir Hussain accompanied G.S. Sachdev. In its subtlety, the exchange was like a Japanese depiction of cherry blossom petals falling. For me, that kind of tabla-bansuri interaction remains a Hindustani Holy Grail.


Ken Hunt


BASSEKOU KOUYATE & NGONI BA / BALLAKE SIS- SOKO & VINCENT SEGAL Barbican, London


Look through the punishing schedule that Ngoni Ba have this year: a short British visit included Glastonbury as well as the Barbican and followed a 66-date tour of North Ameri- ca; then by the end of August they would have completed 30 more appearances in North America and Europe. They should be shattered; they certainly should not look as though they’re enjoying themselves as much as they all clearly were at The Barbican.


Of course, things have changed and developed since their previous Barbican appearances. The show is slicker, Bassekou and Fousseyni Kouyate have a foot up on the monitors as they trade licks on their instru- ments and there’s a smoke haze machine going at the back of the stage. It is all very


rock-retro except that somehow it is still authentic. Their roots still come through and the Manding tradition is still at the core of each number.


The biggest change, however, is in the singing of Amy Sacko. Previously at The Bar- bican, she has played her part in each song, always pleasant, never dominating; so it was for the first few songs of this concert. The band pace the concert very well, bringing the audience to its feet with some rip-roaring stuff then calming things down. Following one of their high tempo numbers they start a slow groove, Amy ambles slowly up to the microphone, gives a long grin then pins the audience back in their seats with a note that has us wondering where it came from. She proceeds to give us three songs that show she is as powerful as any of the divas amongst the Bamako jalimusas. It was truly invigorating. The ensemble playing was tight, the solos were inventive on what are basically fairly limited instruments and Moussa Sissoko took the percussion to a different level when he picked up the tama, but it was that voice that resonated in the head afterwards.


This followed a really fascinating first half by Ballake and Vincent. Their album is called Chamber Music and yes, it did have that feel. Ballake uses a stand for his kora as does one of his other playing partners, Toumani Diabate, but whereas with Toumani Ballake mainly takes a secondary role, here he takes an equal part with the cello. He may not be the scintillating charismatic musician that Toumani is, but he is a very versatile and sympathetic musician in a duo or band set- ting. Vincent really explores all the acoustic possibilities of the cello, strumming and plucking as well as bowing; double-stopping as well as playing single strings. They have developed a great empathy and concentrate hard on the interplay between their instru- ments in this complex interesting music. It is some while before either of them allows themselves a smile. Traditional kora instru- mentals are interspersed with their own com- positions and they finish with the best play- ing on a piece dedicated to their similar-aged sons who run off to play football as soon as their dads get together to rehearse. The reception they get brings them back for a well-deserved encore. Support acts don’t often get an encore but then, this duo deserve to be headliners.


If this were not enough, the free pre-


show foyer concert is by Doğan Mehmet & The Deerhunters; all in all a great night out. Vic Smith


Bassekou Kouyate


Hébert and longtime pal Mia Lacroix formed Galant in 2003 to perform songs with a female perspective. “Although we’re both instrumentalists – Mia plays flute and I play keyboards – we wanted it to be a cappella, not only because we love the human voice but because words stand out more clearly that way.”


Three more women joined the ranks and they gathered on Sundays to share songs and work out arrangements for them. “Often the material had been neglected, or was usually heard sung by men, and we wanted to reappropriate it,” says Hébert. “Women sang in their homes while they worked, but rarely at gather- ings – though they often supplied the words men forgot!”


Galant’s harmonies give these songs bold new colours and textures. “We have no tradition here of country people singing like that, except in churches. It wasn’t until the ‘70s that bands like La Bottine started elaborating vocal parts. 15 years ago, [men’s a cappella quintet] Les Charbonniers formed, and we naturally drew inspiration from them and are all good friends.”


In 2005 Galant – currently Hébert, Lacroix, Berthiaume, Jacinthe Dubé, Isabelle Payette, and Evelyne Gélinas – released Fais-Toi Pas D’Illusions [Don’t Kid Yourself]. The combination of sassy atti- tude, savvy musicianship, and respect for the integrity of the old songs, created major ripples on the pond of Quebec’s small but dedicated trad scene.


Late in 2009 came the classy double


album Galant Tu Perds Ton Temps II. The lighter, social, songs are on one disc; the usually older and darker narrative songs on the other, including the 28 stanzas of the epic and tragic Damon Et Henriette. Cleverly arranged to maintain listener interest, it features each singer in Galant leading, as well as different combinations of their voices.


The group’s more typical repertoire includes the sarcastic Les Plaisirs Du Ménage listing the delights of wedlock, a song about a randy priest given his verbal come-uppance, and the indignant response of a bride whose new husband lacks the skill to make up their marriage bed. “Love and sexuality were taboo sub- jects,” Hébert explains. “Nobody was sup- posed to talk about their wedding night for instance. So pieces like that were used to release pent-up emotions.”


Galant’s repertoire comes in part from family tradition. “My grandmother knew a lot of songs, and she’d written down things her father and grandfather sang,” says Hébert. “She gave me her notebooks when I was 18 and she was nearly 90. Our music spans generations and we want to hand it on to those still to come. Times change, but the themes are constant…”


It’s the last night at the Mission festi- val, and the after-party rages beneath a full moon. Session fiends Olivier Demers, Réjean Brunet, trade tunes with the Duhks’ banjoist Leonard Podolak and oth- ers at a long table. A circle of singers – among them the Berthiaume brothers, all the women from Galant, and most of the Charbonniers – take turns to lead and to accompany. On and on it goes, until the bar shuts down, and the last shuttle-bus leaves for the hotel. Mission accomplie.


Across lines of language and culture


Quebec’s roots musicians are re-energising one of the New World’s oldest traditions.F


Photo: Philip Ryalls


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