Your Library Podcasts News. Stream Top Podcasts Stream the best podcasts from your favorite stations. The Daily. This is what the news should sound like. The biggest stories of our time, told by the best journalists in the world. Hosted by Michael Barbaro.
|Published (Last):||25 October 2007|
|PDF File Size:||9.9 Mb|
|ePub File Size:||17.93 Mb|
|Price:||Free* [*Free Regsitration Required]|
French-Caribbean pop has long had its own distinct personalities in types of song like compas and zouk , but it's also fascinating to see what other elements emerge from it; musicians from Martinique, Haiti and French Guyana have become repositories for other kinds of music of the Western Hemisphere.
Kali, from Martinique, was the show's headliner; he has been a presence in French-Caribbean music since the 's. As with so many other places, the West Indies had a black-consciousness period of rediscovering its cultural identity; that was the beginning of Kali's career, and he was trying to discover the backbone of Martinican music.
He plays a small banjo an instrument with African origins , and on Saturday he used it either as a rhythm instrument, hacking clipped chords with it, or as a melody instrument, depending on the style of song. His songs ranged from dancehall-style reggae to variations on Martinican beguine, which sounds a bit like old American string-band country, to Bob Marley homages. Thin and easygoing, wearing some of the longest dreadlocks in show business, he had a burry African sound in his voice -- a dry, throaty holler.
And he helped swing the songs of religion and country life by his strong up-and-down strokes on his rustic old instrument, while behind him a modern electric band filled the musical space. Beethova Obas, from Haiti, was the most out-of-the-ordinary act on the bill. He's not a hard-core practitioner of mizik rasin, Haitian roots music; his songs are more influenced by bossa nova and French chanson. His voice is soft and lovely, and he's one of the mellowest, most sympathetic pop stars imaginable; he began by dedicating his set to all those in the audience who couldn't speak French or Creole.
Though he carried a full band, with electric bass, percussion, drums and piano and three backup singers, it sometimes amounted only to a whisper. Obas used bossa voicings in his guitar chords and worked gentle rumba into the rhythms; when he started an audience singalong, as he did on a version of Serge Gainsbourg's ''Couleur Cafe,'' he controlled the crowd and let the audience finish the song with what almost amounted to a natural fade-out.
Chris Combette, from French Guyana, was the youngest performer on the bill, a musician who has spent time in various Caribbean bands he was a sideman with Kali, among others ; he came across as a more standard world-pop musician, with a whiff of Parisian production ideals.
His lead electric guitarist ran technically sharp jazz-rock pirouettes throughout the music. But again, it carried a strong resemblance to the sound of the late-career music of Brazilian singers like Gilberto Gil, with his rapid articulation of voice and strumming on a nylon-string acoustic guitar over a full electric band. In Creole, Mr. Combette sang songs of yearning: of a boy who wants to be a musician, and of a French Guyanese waiter in a faraway city who finds himself daydreaming of his home island.
View on timesmachine. TimesMachine is an exclusive benefit for home delivery and digital subscribers. Home Page World U.
Bossa Beguine, for piano
LINCOLN CENTER FESTIVAL REVIEW; Reggae and Bossa Nova Shake Up the Beguine