Reviews
- Boukman Eksperyans (Haiti)
Haiti and Dominican Republic
Mini All Stars
�Ay! If there's a speed king in the free-reed circuit, it may well be FRANCISCO ULLOA. His NPM (notes-per-minute) quotient is way up there. He plays a streamlined, country merengue that contrasts sharply with the more familiar city slicker variety. His
Coupe Cloue
I have a friend who loves Haitian music who absolutely cringes when she hears Coupe Cloue, considering him crass, mass market dreck. But then, I bought my first album of his compas music after reading glowing reports from John Roberts at Original Music, who called it bequiling, jaunty and scintillating, no small praise, given the source. On Maximum Compas from Haiti the music is easy going, a clever mix of merengue, jazz and Haitian folk that is simply marvelous. The guitar work is fine and the the singing is smooth and sweet. The lyrical content is risque, to say the least. Coup� Clou� is totally obsessed with sex, with double entrendres infiltrating every level, from his name ( a play on the soccer term "cut and nail," both words slang for intercourse) to the simplest of sentiments in the lyrics, all to be taken with a grain of salt, I suppose. While it never approaches the energy or passion of the better Boukman Eksperyens tracks, it does have an irresistable charm that makes it go down as easy as a rum and cola on a hot summer's eve; in moderation, a pleasant repast.
Caribbean Revels
These late seventies recordings of rara from Haiti and gaga from Haitians in the Dominican Republic are as raw and beautiful as music can get, music that is both spiritual in purpose and secular and visceral in execution. The clack of sticks, the hocketing call and response of bamboo horns and the mesmerizing spirit of the singers and dancers come through remarkably clear in this collection. - CF
Boukman Eksperyans
I was pleased but not overwhelmed by Mango's first album by this band. It lacked punch, and certainly didn't live up to the band's live shows. Kalfou Danjere (Dangerous Crossroads) more than makes up the difference, mixing the vodoun of Haiti with electronic accents and a new world view. Their political and religious experiences reflect the hard life and the possibilities of Haiti, one of the Caribbean's most hard-pressed islands. It also reflects the conflicts musically, mingling the shakers, drums and voices of vodou with African electric guitar riffs, American rock and jazz and sampling keyboards. "Jou Nou Revolte (The Day We Revolt)" rocks hard, a fat bass line propelling the voices of revolution. "Bay Bondye Giwa (Give Glory To God)" is simple beauty; a raw, Marley-esque folk song with subtle hints of technology. Personal favorite is the mixture of South African soul and Haitian cool in "Naam Nan Boutey (Soul In A Bottle)," splendid for its coarse texture. Pioneering rather than restructuring the rara of Haiti will bring this band far more success, and bring both the culture and the plight of their country to an audience often willing to let the rest of the world fade into the background.
Fanatiques Compas
Stern's Africa
Haiti's most influential composer, guitarist, saxophonist and band-leader Nemours Jean-Baptiste, invented the immensely popular compas style of tropical music in 1955. Slinky guitars, surging horns and red-hot accordions are compas raisons d'être. The Mini All Stars, an assemblage of old members from Jean Baptiste's original group and compas-influenced youngsters, swing all night like a big band sporting madras shirts and bell-bottoms. Like Zairian soukous, compas demands plenty of endurance, and rewards the ears with plenty of pastoral melodies and driving percussion. - W. Todd Dominey
Maximum Compas from Haiti
Earthworks/Caroline)
Smithsonian Folkways
Kalfou Danjere
Mango