A Great Tumblr

Check out this excellent tumblr blog of Haitian history for a good read. It's rare to find such accessible, scholarly material on a complex subject! The grad student who runs the site is assuredly 'ensconced in an academic milieu,' but is clearly well-read on the subject material. Although Black History Month may be over after today, one can read blogs like this via the magic of the internet and continue to study Black history.

Ten Jabon

I am quite fond of the singing of Louis Lahens and Gary French with any of Haiti's early compas bands, including one compas groups that brought the new sound to Martinique and Guadeloupe. In addition, that band also played boleros and other genres of Cuban music, showing how popular Cuban musical forms were throughout the Caribbean in the 1950s and 1960s. In addition, the band was always jazzy, partly due to excellent musicians like Felix Guignard. Hard not to get down to this gem. 

Elizabeth Lange

Source

Lange was a fascinating product of the Haitian Revolution. She moved to Cuba as a result of the Haitian Revolution, then settled in Baltimore where she started the first black sister organization in the Catholic Church (as well as educating black students). Lange's life demonstrates the links connecting different areas of the Black Atlantic, and thus an appropriate historical figure to learn about this month. 

Russian Influence On a Kompa Classic

While reading a review of the Haiti Direct music compilation, I couldn't help but notice the author's comment on how Richard Duroseau's accordion solo in "Ti Carole," a kompa hit written for a prominent makout, Antoine Khoury, is based on "Ochi Cherne," or "Dark Eyes," a 19th century Russian or Ukrainian poem set to music. Now, if the poem was set to a French composer's music, it would make more sense that the melody, which is widely known all over the world, would reach Haitian musicians (especially the Duroseau clan, known for being a musical family) and appear in this song. Either way, by the 1960s, the melody had already reached jazz artists, such as Louis Armstrong, whose own version of the song is quite beautiful.

According to an older Haitian musician and scholar of Haitian music, "Dark Eyes" has also surfaced in Cuban music and elsewhere in the Caribbean. Perhaps it reflects a "Gypsy" influence in European music that also influenced Spanish (and thus, Latin American) styles that shaped Caribbean genres. This link gives one the impression that the exact origins of the melody for "Dark Eyes" is unknown. Regardless, "Ti-Carole" is the result of centuries of creolization and cross-cultural exchange, from eastern Europe and France to the Caribbean. Enjoy this soul-stirring version of "Dark Eyes" here.

Largey's Vodou Nation: Haitian Art Music and Cultural Nationalism

Michael Largey's Vodou Nation has been an exhilarating read. Given the lack of secondary sources on so much of Haitian classical music (and Haitian music more generally), as well as its importance in forging a Haitian national identity, broader black cultural nationalism (examined in the text through African-American operas about Haiti, Ouanga and Troubled Island) and shaping Haitian intellectual history, Largey's text is a must read. The last time I read something so moving in ethnomusicology was Averill's text on Haitian popular music. This book places the US occupation, Haitian class relations (elite vs. peasant dynamics), Haitian and African-American intellectual exchange and anthropology/ethnography (Booker T. Washington, W.E.B. DuBois, Jean Price-Mars, Dantes Bellegarde, Jacques Roumain), some music theory and debates on notating/arranging Haitian music (such as how one should notate the Haitian mereng), the tourism industry in post-WWII Haiti, Vodou and African-derived customs, and last, but certainly not least, a robust examination of the music, life, and ideology behind a few of Haiti's best composers (Occide Jeanty, Ludovic Lamothe, Justin Elie, and Werner Jaegerhuber).

In regards to Haitian and black cultural nationalism, Largey's thesis is quite convincing, particularly his excellent use of a variety of sources, ranging from white anthropologists and writers, such as Herskovits, to local Haitian academics, ethnographers, and scholars. Furthermore, his text reveals the depths to which recombinant mythology have shaped how popular classes have perceived political elites (and vice versa). In addition, Largey shows how African-Americans (such as Langston Hughes and William Grant Still) have related to Haitian class relations, how African-American cultural nationalism looked to Haiti as a source due to the country's reputation as the reservoir of the 'purest' African cultural retentions), how Booker T. Washington and W.E.B. DuBois influenced Haitian intellectuals, such as Jean-Price Mars to look to the Haitian rural majority to strengthen Haiti, and how specifically Haitian classical composers used Vodou and peasant music to construct a palatable Haitian art music for international and elite audiences while occupying a broader Black Atlantic. 

Surely, the influence of DuBois's assertions on the power of the spiritual and African-American folk forms played a role here for Haitian elites, just as the US Occupation and the omnipotence of Haitian peasant culture pervaded all parts of Haiti, including urban Haiti and elite neighborhoods and towns. Indeed, the constant flow of rural Haitians to and from the towns probably explains why Occide Jeanty's "Zizipan" reflects rara influence. Or why Haitian elites were exposed to Haitian popular folklore and culture through dance, Carnival, the occasional Vodou ceremony, and mingling with the lower classes through concerts (such as the free and public performances of fanfares for the military or politicians), intellectual movements (indigenist and noirist being significant examples from the 20th century), political purposes (such as patronage or legitimizing oneself with rural Haitians), and cross-class nationalism (an excellent example being Occide Jeanty's "1804" sparking a riot and contributing to an outpouring of Haitian patriotism).

Moreover, Haitian classical composers such as Elie and Lamothe reveal the differing approaches to explaining Haitian cultural and symbolic ancestry, such as the importance of African or Arawak influences. Clearly, Elie's compositions and promotion of himself as an expert on 'Indian' music (even though he never studied indigenous musics of the Americas, nor were there any demonstrable indigenous influences in Haitian music), partly due to expectations and stereotypes from his American audiences in New York, belongs in a tradition of indigenism or Indianist thought dating back to Nau and 19th century Haitian ideas. Indeed, the resonance of the indigenous peoples of Haiti resisting encroachment from European colonists appealed to much to Haitians of all classes that the cacos resisting the US Occupation traced their name back to the caciques of the Taino. Lamothe, on the other hand, focused on the more obvious African cultural retentions in Vodou music (even writing about the subject), just as Jaegerhuber focused on the music and rhythms of Vodou in a context of a growing tourism industry (which preyed on the cultural capital of Haitian peasant culture) and folkloric movement (a contentious area for Haitian intellectuals in the aftermath of the US Occupation, since some intellectuals, such as Bellegarde, resisted any attempt to focus on or celebrate the 'superstitions' and African customs of the Haitian peasantry).

Of course, there are moments where one does not see any irrefutable evidence for some of Largey's assertions. Indeed, the anecdote quoted to explain a possible connection between Jeanty and Vodou is perplexing, although balanced well with perceptions of Jeanty as an 'Ogou' public figure. This book would have been better served with a companion CD, so readers could listen to examples of various Haitian mereng and classical music, especially to note specific moments or instances of "vaudouesque" influences permeating the works of Jeanty, Jaegerhuber, Lamothe, Elie, and other sources. Nevertheless, the book remains essential for foregrounding Haiti's classical tradition to reveal the significance of Haitian classical music as both a cause and effect of Haitian nationalism. Largey seems to believe that the Haitian general population is not interested, for the most part, in the island's long legacy of classical music, but clearly it was a large factor in a broader Haitian social relations that, at times, exploded on the scene (Lamothe's "Nibo,"  and the slow mereng like "Choucoune" became standard cross-class material, as well as an example of a Haitian popular genre representative of all Haitians. 

"Choucoune" in particular, based on Durand's poem which used Kreyol, reflected on the beauty of a Haitian woman, which, as Largey states, often symbolized a nation at large. According to Largey, Oswald Durand would don the dress of a peasant and perform the piece, which is not unlike other Haitian composers, like Jaegerhuber, who would transcribe Vodou ritual music and folk songs, but present it in a context that is divorced from its original meaning. Intriguingly, such a concept has long been en vogue with European classical composers and literature, such as Grimm tales of Germany, which were not based on actual interviews of German peasants, but through middle-class and often Huguenot interlopers). Indeed, the influence of French and German classical and intellectual traditions could not be understated, particularly given the French and German training Jaegerhuber, Jeanty, Elie, and Lamothe experienced.

In summation, read this book if you're interested in black cultural nationalism, ethnomusicology, Haitian music, Haitian intellectual history, and Caribbean studies. One will learn much more than to appreciate the social context of elite Haitian music. I was even surprised to read about the Vodou implications of "Panama m Tombe" and Merisier Jeannis, the ancestor of my great-aunt's husband. Anyway, for anyone interested in Haitian mereng, here is a great link. 

La Ville Jacmel

Check out a twoubadou version of "Panama m Tombe" by Ti-Coca. As Michael Largey explains in Vodou Nation, the song's various versions about the fall of Hyppolite while in Bainet to defeat Merisier Jeannis reveal a debt to Vodou, particularly Ogou. Furthermore, Largey reveals that Hyppolite was associated with Ogou and was himself a Vodouisant, solidifying how Haitian popular classes perceived the president as possessing traits of Dessalines and Ogou. Largey states the song is a warning about the dangers of too much power, which can cause one's downfall. In addition, the song is an example of recombinant mythology and how deeply entrenched Vodou is in Haitian history. 

Bailala Bien

One of my favorite Cortijo/Rivera bombas. Ismael Rivera and Rafael Cortijo loved what some might consider 'silly' bombas, but they are an assertion of a Puerto Rican (and Afro-Boricua) identity and culture. The rhythms are just infectious in the bomba arrangements of Cortijo's band. 

Troubled Island

An interesting project on the opera composed by Langston Hughes and William Grant Still after both visited Haiti, endeavored to include Haitian musical traits, and honor the Haitian Revolution. Unfortunately, as Largey illustrates, the Haitian musical influence was not that strong in Ouanga and Tropical Island but both operas reflect African American cultural nationalism as well as the popular view at the time of Haiti as being the "most" African in all the Americas. Anywho, I truly hope this opera project is completed and shared for the world to enjoy. All they need is the funding and support of interested audiences. 

Ti Paris

There is a rustic, but elegant, charm in the twoubadou music of Ti Paris. Twoubadou's power lies in this rustic, rootsy sound that so many folk music traditions possess. Indeed, twoubadou in some ways could surpass kompa as the beset musical export of Haiti. 

Justin Elie and "Indianist" Haitian Art Music

Currently reading Largey's Vodou Nation and found the chapter on Ludovic Lamothe and Justin Elie fascinating. Unfortunately, unlike Lamothe, it's much harder to find recordings of Elie's music on the internet, so I can't locate examples of Elie's use of stock exotica for his Indianist compositions that appealed to the US market. It's amazing, Elie's music reflected a strain of Haitian thought that reveres the indigenous people of Hispaniola as 'symbolic ancestors' and key figures in anti-colonial movements (a practice seen among elites, such as Nau's Caciques d'Haiti published in the 19th century or peasant armed resistance to the US Occupation naming themselves cacos after the caciques), but his music really had no authentic connection to the music of the pre-colonial inhabitants of Haiti. Furthermore, I am a little disappointed that I cannot locate recordings of his work that reflect the Afro-Caribbean and Vodou heritage of Haiti, except for "Legende Creole" (which Largey attributes to Haitian Vodou influences). Alas, if only I could locate more of his meringues. "Chants de la montagne" has some stereotypical "Indian" traits, while 'Legende Creole" is based on a Haitian children's song with Vodou references ("Zonbi Ban-n Mannan").

One of these days, I'll have to track down Elie's "Prayer at Eventide," "Nostalgie," Kiskaya and other works that were popular in New York. It's astonishing how reviews and promoters in New York actually seemed to believe Elie's music was grounded in years of research in Central and South America (Elie did indeed tour throughout the Caribbean before moving to New York, but never engaged in ethnographic research with indigenous groups). Regardless, Largey's research on this Indianist legacy in Haitian literature, intellectual thought, and music is useful for future studies of indigenism and indigenous revivalism elsewhere in the Caribbean. 

Black History Month: Timbuktu Manuscripts

Though this documentary series is far from perfect (it seems to attribute too much of Timbuktu's history to non-African sources) and ignores the much earlier literary history of the African continent (Egyptian hieroglyphics, Meroitic script, Ethiopic, the Libyco-Berber, etc.), it's worth watching. 

Duquility

A haunting jazz song featuring excellent musicians such as Mal Waldron, Eric Dolphy, Ron Carter, and Booker Ervin. Carter's on point with the bowed bass playing, eerily highlighting the other-worldliness of this melody. 

Lonely Woman

The best vocal version I ever heard of Ornette Coleman's classic. Early Freda Payne sounds better than her later soul-pop style as heard in "Band of Gold," a hit that followed the Motown formula. 

La Dangereuse

I found an interesting version of "La Dangereuse" by Ludovic Lamothe! Clara Rodriguez and her friends were wise to add the flute, which complements the lyrical beauty of this song while employing the quite Latin American cuatro. This Venezuelan pianist knows how perform Latin and Caribbean classical music.

My Funny Valentine

Today reminded me of one of my favorite jazz classics, "My Funny Valentine," the early Miles Davis recording being my favorite. The muted trumpet, Garland's lyrical piano solo, and the gentle sway of this love song are always worth a listen. 

Music, Haiti, and the Dominican Republic

Fascinating discussion with scholars on blackness, nationality, conflict, race, music, and Hispaniola. After listening to this, I intend to finish Largey's Vodou Nation. Music is power, and thus an important area to study in Haitian-Dominican relations, the Caribbean, and identity.

Melody for Melonae

One of my favorite jazz jams, and a musical homage to the Black Freedom Struggle and advances in jazz of the 1960s. I believe "Melonae" is McLean's daughter, but the album title, Let Freedom Ring spoke to listeners on a social and musical level. McLean is embracing more of the volatile changes in the American social landscape as well as avant garde and free jazz for this ambitious song. Check it out!

Eglash on African Fractals: Architecture, Design, Binary, and Divination

I finally got around to watching Eglash's TED talk on African fractals and I was blown away. It shatters so many of the stereotypes of African cultures as 'primitive' and lacking advanced mathematics or scientific innovation. As an amateur Africanist, I of course knew better (the stunning skill and quality of African metallurgy, for instance, or manuscripts from West Africa in Arabic or using the Arabic script for African languages for analyzing astronomy, geometry, philosophy, Islamic law, and history), but it's always fascinating to see examples of African contributions to mathematics and science. 

My fascination with the subject of fractals began with this random discovery of this BBC video on the use of binary for multiplication in ancient Ethiopia, which was similar to that used in Egypt. That led me to Ron Eglash's video, which is excellent for an introduction to debunking so many stereotypes of the African continent. Sure, some of the binary math rooted in doubling in various African societies can be found elsehwere in the world, but what struck me the most about Eglash's work is his claim for an African origin of 'geomancy' or divination that reached medieval Europe through the Islamic world. Eglash himself focuses on fractals and specific algorithims used in different African societies (through architecture, design, mancala, etc.) and  the Bamana sand divination's use of binary with a specific algorithim that reflects deterministic chaos theory.

Although his evidence for his claim is not too strong, Eglash believes African divination practices such as that of the Bamana spread to the Muslim world (which may have some support from the long coexistence of Islam and local religions in West Africa and North Africa) and through Islamic alchemy spread to Europe (via Hugo Santalia, Ramon Lull, and other alchemists) as geomancy. In turn, these ancient African divination practices influenced Leibniz, computational theory, and helped give the world computers.

For an interesting study on how Yoruba Ifa divination compares to computer science, check this out. Expect future posts on similar subject material and how it pertains to African Studies, history, and Black History Month.

Ban mwen an ti bo

Beautiful...

Nemours Jean-Baptiste's "Immortel Compas"

I am currently loving "Immortel Compas," which demonstrates how central Duroseau's accordion was to the sound of early kompa. Everything just comes together quite well on this recording, especially Duroseau's solo.

Jeanette Cherie

An interesting song that sounds quite traditional and old-fashioned for something recorded in the 1970s. 

Song For a Dark Girl

I am really enjoying Leyla McCalla's music these days. She combines numerous things I love: Langston Hughes, Haiti, Black cultures, and folk music. Anywho, "Song For A Dark Girl" is McCalla setting a powerful poem of Hughes to music. After one listen it should be obvious what the song is about...

The Alabama Bus

I'm A King Bee

Raunchy blues classic by Slim Harpo. 

More Nemours Jean-Baptiste

Nemours Jean-Baptiste, saxophonist, bandleader, and originator of the compas direct. We see his band in this picture, including the teenager, Richard Duroseau, on the far left. Enjoy some more classic kompa music!

http://www.youtube.com/watch?v=qaapAylSoeU
http://www.youtube.com/watch?v=ZhA-IYwTQSM
http://www.youtube.com/watch?v=5flejvTWZm8
http://www.youtube.com/watch?v=JB4OEYkpkcM

Kamèn Sa Wa Fè?

"Kamèn Sa Wa Fè?" was recorded back in the 1930s by Alan Lomax, who recorded a twoubadou band's (Ago's Bal Band) version of the song (using a Haitian version of the marimbula)! I knew I recognized Leyla McCalla's version of "Kamèn Sa W Fè?" somewhere. Given McCalla's interest in folk music, I shouldn't be surprised. I suppose I prefer Ago's Bal Band over McCalla's take because of the use of the clave and the Cuban son influence.

Les Trois Dangers

Les Trois Dangers, consisting of Richard Duroseau, Nemours Jean-Baptiste, and Raymond Gaspard, members of the original Ensembles aux Calebasses and innovators of the konpa direk. Duroseau's accordian was central to the sound of konpa direk, and Gaspard, guitarist, coined the term for the music, which was derived from earlier Haitian music, a boost of merengue from the Cibao (via the New York-based Angel Viloria Y Su Conjunto Tipico), jazz, and Cuban music. Although I usually hate the accordion, in Latin American and Caribbean music, it's more than bearable! 

Check out these links for more great music featuring these guys. 

http://www.youtube.com/watch?v=CPqB8Blu-_8
http://www.youtube.com/watch?v=DxlZHEEqa8Q
http://www.youtube.com/watch?v=mHjV3dbNTx0
http://www.youtube.com/watch?v=lGG-KBZl80k
http://grooveshark.com/s/Carole/4t011W?src=5
http://www.youtube.com/watch?v=wgMnUsCaY1g
http://www.youtube.com/watch?v=JPME_cIiG-E
http://www.youtube.com/watch?v=AOhKd0KNjkA
http://www.youtube.com/watch?v=zVVScp31W5U
http://www.youtube.com/watch?v=RiprgXixuLo
http://www.youtube.com/watch?v=bK31NPBqZ1w

Ludovic Lamothe's Lisette

I have not located a recording of Lamothe himself playing his arrangement of the earliest written Creole poem from Saint Domingue (what is now Haiti), but it's a beautiful melody he chose to adapt this old Creole poem to. It's very distinct from that of Louisiana Creole black slaves (yet both are clearly derived from the same textual source that must have spread to Louisiana through Saint Dominguan immigrants to Louisiana), but a more elegant, stately melody in the form of a Haitian meringue. Here is a jazzy version by Makaya that is quite moving, fusing the lyrics of the poem with Lamothe's arrangement in a jazz vein. Oh, and last but certainly not least, check out a folksy string band rendition of "Lisette." As stated in my previous post on the love poem for a black slave, Lisette, this song epitomizes the cultural (and musical) creolization that led to the flourishing of music in the circum-Caribbean region (which itself has tremendous import for the development of jazz, Haitian mereng, Cuban creolized forms of the contradanza and the son).