Kobo
Town is the result, to some extent, of a revelation by
founder and bandleader Drew Gonsalves. Growing up in Dieto
Martin, Trinidad, he hungered for foreign status
symbols like running shoes, and was ashamed when his father
brought home a new pair of shoes with the label "Made in
Trinidad and Tobago."
In
the liner notes to Independence, Gonsalves
writes about the widespread dismissal of the homegrown
in favor of the foreign, and how this music has turned
him back to his roots. "Written out of a love for old-time
calypso, roots reggae and dub poetry, this record is also
driven by a desire to join the effort of those West Indian
artists, activists and musicians who have recognized that
the wounds in our society run deep into our past, and that
recovering a sense of cultural national and spiritual self-worth
is a crucial first step in the path toward healing and
renewal."
Right.
So it's got roots and good motivation. But, I hear you
ask, what of the music?
Good
news on this front, also. Chock full of positive messages,
Kobo Town also knows how to lay down a groove, with strong
vocals and tight arrangements. Highlights (and there are
many) include the domestic violence song "Abatina," with
its dark storyline and compelling rhythm; "Higher
than Mercy,"
which delivers an anti-war message in lyrics with near-haiku
beauty and simplicity; and the anti-tyranny reggae anthem
"Blood and Fire." And Gonsalves' shoe story rings
loudly in the lyrics of the bright, positive "Beautiful
Soul":
"All the time, They tellin' the lie, we are what we
buy / in the paper, on the poster, in the magazine."
Lovers
of old calypso, new ska (like Ska Cubano), and positive
vibrations will love the righteous balm of the Caribbean
poured through the sounds of Kobo Town.
©2007
Scott Allan Stevens, Earball Media |
Yale
Strom & Hot Pstromi: Borsht with Bread, Brothers (ARC)
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The
Absolutely Complete Klezmer Songbook
Edited
by Yale Strom (Transcontinental Music Publications)
buy at Powells
Yale
Strom's brain should be designated a site of international
cultural significance. Well, his brain and his violin-playing
fingers, and possibly some other parts as well. Working
in many media, Strom has worked to learn, preserve, and
share Jewish and Rom music and culture from Eastern Europe.
His latest works:
The
CD Borsht with Bread, Brothers includes
songs from Ukraine, Hungary, Slovakia, Romania, Poland,
Germany,
Russia, Belarus, and Moldava. Picture yourself in a tavern
full of sweaty men dancing to the vigorous "Svalava
Kozatshok."
Or get rebellious in an old-school sort or way to the anti-Czarist
"Vemen Veln Mir Dinen, Brider (Whom Shall We Serve,
Brothers),"
with its brooding mood and seriously soulful vocals by
Elizabeth Schwartz: "Whom shall we serve, brothers?
/ It's not good to serve the Russian Czar / Because he
bathes
in our blood." Well, no...that's not good. While the
music stands on its own, the rich song notes (and lyrics
and
translations
for
those
songs
with
words)
give
historic and cultural context -- in four languages!
The
Absolutely Complete Klezmer Songbook gives
Strom a chance to show that he's not just a musician,
but also a collector of songs and stories and information
and music. Essentially an enhanced fake book, the volume
includes a 20-odd page history of Jewish music from
Biblical times to present day; 400 pages of sheet music
(313 songs!) organized by song type and occasion; a
glossary of (mostly Yiddish) terms; and a 36-track
CD of
klezmer tunes performed by Strom and Hot Pstromi.
Even
non-musicians will find fascinating tidbits in
the history section, from the role of Felix Mendelssohn's
grandfather in suppressing Yiddish language and music
to the role the khasidim played in reinvigorating
Jewish music and dance, even the occasional tradition
of hurling snowballs at Jewish newlyweds. If
you're a musician devoted to or just curious about
klezmer music, The Absolutely Complete Klezmer
Songbook is a rich and unparalleled resource.
Various
Artists: Brazilian Playground (Putumayo)
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The
latest installment in Putumayo's Playground series explores
the music of Brazil. It starts with the soft voice of Gui
Tavares singing "Pancada," about his falling-apart but
still well-loved car. World music lovers will recognize
the tune of "Tum Tum Tum," popularized by Jackson do Pandeiro
and interpreted here by Roberta Sa. Other songs concern
such kid-friendly topics as coconuts, budding romance,
dancing, happiness, trains, even a samba done by animals.
Focused as it is on samba, bossa nova, and forro the
compilation is friendly, smooth, and accessible, though
it lacks any exploration of the percussive side of Brazilian
music that
also entrances
kids.
Leni
Stern
: Africa (self-released)
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Leni
Stern, methinks, is the female alter-ego of Markus James.
Like James, Stern is a guitarist who has integrated into
her music the sounds of West Africa. This 13-song album
grew out of an EP called Alu Maye (Have You Heard), which
was recorded at Salif Keita's Bamako Studios in Mali's
capitol. The full album is infused throughout with African
instrumentation in a deeply understanding (not touristy)
way. Africa vocalists
share the singing, and musicians add n'goni, kamelengoni,
percussion, and other sounds. Get past the cover image
of the skinny white girl in torn jeans, and you'll find
a cross-cultural gem.
Nathalie
Cora: Petite Terre (self-released)
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The
West African harp known as kora (or cora) is largely an
instrument of male musicians, but a few are breaking
that mold. Quebec-based Nathalie Dussault is one of
those, and her compositions and playing are both stunning.
I know little about her or her music (there's little
to be found about her in English), but her music speaks
volumes: thoroughly modern compositions that nonetheless
reveal the hard work she's put into learning this traditional
instrument fluently. Kora takes center stage most often,
but is joined by electric guitar, bass guitar, accordion,
bansuri flute, and the odd sound effects to create
her own rich soundscape. Definitely recommended!
Various
Artists: The Rough Guide to Latin Funk (World
Music Network)
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Someone
more famous than I once asked, "what is soul?" A rhetorical
question, yes, and not unlike the Rolex, if you have to
ask, you probably can't afford it. Or don't already have
it. "Funk" may be a similar universal term whose definition
depends more on attitude than instrumentation. It's more
art than science. James Brown spread funk from America
to Africa. So what are the roots of funk in Latin America?
No se. But this is a great collection of music from artists
as diverse as Cuban Santeria singer Bobi Cespedes, NYC-based
Afrobeat orchestra Antibalas, and Chilean hip hopper DJ
Bitman. This compilation is a great launching point for
exploring the world of Latin funk.
DobaCaracol: Soley (label)
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At
the heart of Montreal-based DobaCaracol are Doriane Faberg
(Doba) and Carole Facal (Caracol). A chance meeting at
a 1998 rave led to their musical collaboration, a 2001
debut called Le Calme Son, and this album, Soley,
released in 2004. I don't know what they've been up to
in the meantime, but Soley is a wonderful romp of Afrobeat,
tribal groove, and catchy melodies. Fans of French singer
Camille will love "Etrange," while Afrobeat aficionados
will dig "Anda." Compelling, accessible, and unique, Soley leaves
me hoping for more music soon from this talented duo and
their
friends.
Manu
Chao: La Radiolina (Nacional)
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I'm
pretty sure what I need is a chance to see Manu Chao live.
That and more linguistic skills. Because as it is, I love
the concept of Manu Chao: rebel musician, critic of globalization,
self-proclaimed "citizen of the moment." I appreciate
that he's honed such a unique sound with songs that repeat
odd electronic hooks and blend together like a just-out-of-mind
dream. And yet, most of his work is in languages I don't
speak, and without lyrical comprehension, the sound
devolves to just so much clever guitar rock, despite Rolling
Stone's characterization of it as "miraculously accessible."
Don't get me wrong: I like it. I'm amused by it. I just
don't crave it like those
who
pack soccer stadiums to see him, those who jump up and
down like little kids at the thought of this, his first
studio album in six years. I want to get excited, but
the thrill isn't there.
Terrakota: Oba
Train (Felmay)
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Hailing
from Lisbon, Terrakota bring a multicultural, multilingual
sound to the table. I'd need to brush up on my Portuguese
to grasp the nuances of the lyrics, but the Afropean sensibilities
are rich, blending talking drum with electric guitar. And,
for that matter, sitar with drum kit. It's all a beautiful
Babel bound to hook fans of Lo'Jo and other global blends.
Do check this one out!
Shukar
Collective: Rromatek (label)
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I've
made no secret of my love for Shukar Collective's first
album, Urban Gypsy. A graceful balance of traditional
Romanian "bear-tamer" vocals with subtle programmed beats,
it brought new life
(and a new audience) to an old art form.
The
collective's
second album is a lateral move. They certainly won't be
accused of recycling ideas, but neither is it clear
that they're
building on the first album. Rromatek tosses out the old balance, and
leaps into a more techno sound, letting the beats and programming dominate
much of the album. Incessant thudding may be great for the club, but less appealing
to the world music fan. Several tracks with less electronica work well for me,
including "Oh, Girl," "Ragga Mami," "Napolament," and the "hidden track" at the
end of
the album,
a
re-imagined "Taraf."
Justin
Adams & Juldeh Camara: Soul Science (Wayward)
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Love
the rootsy African blues guitar sound of Tinarawin? Then
get thee hence and procure this new offering. Justin Adams
has been called the British Ry Cooder -- maybe that is
acknowledgement that he's a mean guitarist and a great
collaborator. In this case, he teams up with Gambian master
musician Juldeh Camara to create a musical dialogue that
Adams refers to as "the ancient Soul Science of music,"
but I just call rip-roaring great.
©2007
Scott Allan Stevens, Earball Media |
