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Tinariwen
and Cuban sounds to Haiti, furthered by Haitian migrants who cut sugarcane season- ally in both neighbouring lands. The style known as compas direct (‘direct beat’) had its mid–1950s genesis with Nemours Jean-Bap- tiste (Ti Carole, 1966, whose cumbia-like framework incorporates phrases from the Russian folk song Dark Eyes), followed by the cadence rampa of Jean-Baptiste protégé, sax- ophonist and bandleader Webert Sicot (Ambiance Cadence, 1978, with its brassy, percussive Latin big-band sound). The popu- larity of these and the myriad artists heard here gave rise to an island-based recording industry that took shape in the 1960s.
This is the era documented by Haiti
Direct, compiled by Sofrito DJ and vinyl gleaner Hugo Mendez. He cuts a compiler’s course through the period with a core sample of sonic syncretism from this oft-neglected African diaspora crossroads. Listeners will find a unique stylistic mash-up on this luxuri- ous and informatively packaged two-CD, 27- track set, with Haitian méringue (as distin- guished from Dominican merengue), rara (with bamboo folk trumpets, flared tin horns and myriad percussion), compas, cadence, mini jazz, voudou jazz, Cuban son and mambo, salsa, calypso, R&B, rock and Latin big band. If regional music aficionados don’t immediately recognise these offerings as Haitian, it’s because the primary markets of the time were in Guadeloupe, Martinique, French Guiana and immigrant France, along with Bénin, Ghana, Senegal and Ivory Coast, while newer Miami, New York, Boston and Montreal markets reflect a continuing Haitian exodus.
Haitian popular music history thus says much about how music has long circulated in the Atlantic world, and thanks to preser- vationists and late enthusiasts, new listeners can hear how Haitian traditional forms com- bined uniquely with overseas influences in the work of artists such as Raoul Guillaume (the pre-compas meringue Mal Éléve), Djet- X’s Jive Turkey (taking the Eagles’ Hotel Cali- fornia on a tropical cruise), Super Jazz des Jeunes (the haunting 1962 voudou jazz hit Coté Moune Yo) and Rara de Léogane, whose Gade Moune Yo takes the preceding title back to its rara folk routes, while mani- festing a striking fraternity with the music of eastern Cuba (just spin up something by the Creole Choir of Cuba and behold). There is much more here, and if Haitian revival bands start cropping up in unlikely places, you’ll know why.
www.strut-records.com Michael Stone
TINARIWEN Emmaar PIAS
It’s hard to believe ten years have passed since Tinariwen’s breakthrough record Amasskoul. It was with Amasskoul that the desert rockers really caught, for the first time, the imagination of a global audience. Since then, many have come in their wake and the unique sound of the Tuareg blues has been firmly scoured into the global collective unconsciousness.
And, while there are many fantastic pre- tenders to the throne, with Emmaar Tinari- wen prove that they are still the grand - daddies of the desert blues. From the slow, hypnotic opening salvo of Toumast Tincha to the upbeat scattergun riffs of Chaghaybou, this is a record that proves Tinariwen can still blow your mind.
There are definite nods however to other elements of the Tuareg scene. The sublime acoustics of Tahalamot are reminis- cent of some of Bombino’s work. Other stand-out tracks include Imdiwanin Ahi Tifhaman, an infectious fusion of bluegrass fiddle and Saharan soul, and Sendad Egh- lalan, an intonation of the deepest of blues. Aghregh Medin also is not only a beautiful track, but a lesson in how to make the hum- ble acoustic guitar sound like something from another world.
Sometimes it can be hard for elder statesmen in music to grow old and bow out gracefully. And, when Ibrahim Ag Alhabib chants in English about walking through the desert, some might be put off by Tinariwen’s uncritical engagement with their own mythology. The sheer musical ability on dis- play however allows them to get away with it – a luxury lesser artists wouldn’t enjoy.
tinariwen.com/ Liam Thompson
SHEELA BRINGI Incantations White Swan, no cat no
In October 2012 the Col- orado-raised singer and instrumentalist Sheela Bringi launched a crowdfunding video on YouTube. It’s a nifti- ly edited three-and-a-half- minute burst of self-promo- tion and an ear-pleasing plea for funding for a ‘travel
harp’ and the finances to finish her debut album. Well, this is it.
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