Les Difficiles de Petion-Ville

Lovely kompa sounds to enjoy the Sunday evening. 

Lishonile

Classic South African jazz straight out of 1970s Soweto. Enjoy! 

Les Ambassadeurs d'Haiti's Port-au-Prince

I love this band, Their "Homenaje a los embajadores" is a classic with good reason, and "Port-au-Prince" is a classic kompa in their lively style. 

Papa Boco

Enjoy a lovely (and jazzy) merengue, Papa Boco, a title reflecting Haitian Vodou elements. Although widely covered by an assortment of Dominican artists, this rendition is a favorite, closely followed by Alberto Beltran and Wilfrido Vargas. 

Papa Candelo

Merengue and Afro-Dominican ritual music fused together from el Negrito Figueroa and Ramon Cordero. I find this style of merengue fascinating. 

Rara

Lovely and jazzy rara recorded in the 1970s. I could get down with this jam, the power of the drums reminds me of other Afro-diasporic processions and ritual music. The use of the horn instrument for melody instead of singing is also perfectly fine with me, since it gives it a jazzy touch. Also check out this one from the same Smithsonian Folkways compilation of rara from Haiti and the Dominican Republic.

Un Sarao de la Chacona

Lovely recording of a dance music of New World origins (and thus, perhaps African influences) that became extremely popular in Spain and the rest of Europe. It enlivened Baroque art music while finding its way into the courtly music of European elites. I could not find much about this particular song, but it dates to the late 16th century or early 17th century. 

Scott Joplin

Speaking of great composers of African descent and omitting Scott Joplin would be a grave error. This man, one of the great ragtime composers, exemplifies musical creolization (march, classical, African-American cakewalks, Cuban danzon, minstrel) that paved the way for jazz. Although he was never recorded, his compositions were widely hailed and influential for future developments in syncopated music. Joplin also left the world an opera, "Treemonisha," partly inspired by the life of his second wife and based on the African-American experience. Although the opera flopped, and the ragtime elements were only present in dance scenes, he was pushing the limits of the genre and dabbling in art music. In addition, the numerous similarites of Joplin's compositions with contemporary dance music of Cuba reveals the links between dance music of the African diaspora reflecting similar European influences. Last but certainly not least, Afro-American cakewalk and black-influenced ragtime appealed to European composers of the 1890s and early 1900s, too. Anywho, check out my ragtime playlist on Youtube here. 

Merengue: Dominican Music and Dominican Identity

After several months into my merengue 'phase,' I've finally read Paul Austerlitz's book on the merengue. I was a little disappointed by the text's brevity (under 200 pages), but it's a useful introduction to a complex music genre with an extensive history. As a 'national' music of the Dominican Republic that reflects African and European influences, one could research endlessly the various forms of merengue, how it relates to Dominican ideas of race, class, national identity, influences from neighboring Haiti, or the broader Caribbean world, but Austerlitz's book functions as an introductory text that barely scratches the surface. He fortunately does examine how the Trujillato exploited the merengue as propaganda and as part of a nationalistic project, as well as the various phases and influences on merengue music (US jazz during the occupation from 1916-1924, rock and salsa on pop merengue of the 1960s-present, the 19th century influences of contredanse, Afro-Dominican palo drumming and ritual music, the influences of Haitian and Afro-Caribbean immigrants, the increasingly important role of accordion in saxophone in early merengue tipico of the Cibao during the late 19th century and early 20th century, etc). 

Austerlitz also provides a very brief overview of Dominican history, from colonial Spanish Santo Domingo, the importance of slavery and racial mixing, the caudillos of the 19th century (Santana, Baez, Heureaux, Arias), northern imperialism (from the US, Germany, Spain), the preeminence of the Cibao as the greatest region of the country due to it possessing a larger 'white' population, Trujillo's rise to power (1930-1961), political centralization, cult of personality, and the transnational communities of merengue that linked Latinos in New York with developments in music and politics in the DR, etc. We learn that merengue of the Cibao, looked down upon by Dominican elites, became a national 'music' through Trujillo and his brother, who both patronized musicians (such as Luis Alberti, Lora, Trio Reynoso, Antonio Morel) and controlled the music industry until the 1960s, when rock influences and pro-democratic merengue (best represented by Johnny Ventura) paved the way for a 'freer' society) paved the way for true 'pop' music and commercialization unhindered by a dictator's family monopoly of the nation's industries. 

Of course, Austerlitz also clearly and expertly demonstrates how all the contradictions of Trujillo's life and regime were emblematic of the Dominican nation, such as conflicted racial identity that denied the omnipresent Afro-Dominican and Afro-Caribbean influences from within and externally, from Haiti, the obvious African influences in Dominican religious practices and music, including all forms of merengue, anti-Vodou laws passed under Trujillo while he himself continued to observe them, and massacres of Haitians in 1937 while Trujillo and many Afro-Dominicans have Haitian ancestry. In addition, Trujillo himself bridged the divide between merengue tipico and orchestrated merengue that reflected stronger US jazz influences and appealed to different classes of Dominican society because of his relationships and patronage (or that of his brother, Petan) of musicians such as Luis Alberti, Joseito Mateo, Trio Reynoso, and others who composed Trujilloist merengues that celebrated el Jefe. Thus, while Trujillo and even some merengueros denied the African influences on merengue, Vodou and Afro-Dominican musical practices and the Afro-Caribbean cinquillo and instrumentation were always part of the merengue tradition, which was a bridge between secular and ritual music of the Afro-Catholic countryside and barrios. Joseito Mateo, Johnny Ventura, and others, such as Guandulito, sang songs that recalled that African influence (examples would be "Negrito del Batey" and other songs that hinted at Vodou practices, black sugarcane workers in the batey, and regional variations of merengue, such as pale echao. 

While also receiving influences from salsa, Haitian music (Wilfrido Vargas is great example, or Johnny Ventura absorbing rock and US music dance and performance styles, or covering Haitian songs like "Bobine"), and changing over time (dropping accordions in pop merengue and using the saxophone to replace that sound completely, while also speeding up the temple, as in this example), merengue went from a genre that in the 19th century was heard in different Caribbean locales (Puerto Rico, Haiti, DR, Venezuela, Colombia) to becoming a unique international symbol of the Dominican Republic. The genre's simple partner dance, double entendres ("El Jarro Pichao" is one great song exemplifying that trend, here recorded by Angel Viloria, a Dominican merenguero who combined the orchestrated merengue sounds of Alberti with the tipico sound of the Cibao in Nueva York while also becoming extremely popular and influential in Haitian music with his jaleos), light-hearted fun, and new sound became THE popular Latin dance music for Latinos in New York, Puerto Ricans, and throughout the Americas (Austerlitz quotes a Puerto Rican who claimed the merengue as a "Puerto Rican" thing because of its popularity in the island and NYC, especially after the decline of salsa. In addition, the growth of the Dominican diaspora after the fall of Trujillo (particularly in New York) led to a rise in merengue groups in the US as well as the merengue as a 'national' music that Dominican-Americans listened to as an expression of a specifically Dominican culture. 

Where I wish Austerlitz could have gone further in the story of Dominican music is more extensive coverage of bachata, which appears to me to be a more lower-class music that grew after the popularity of Cuban bolero in the DR. His commentary on Juan Luis Guerra and recent developments in merengue are far less interesting to me personally than, say, the early origins of merengue (which are never adequately addressed, and little to nothing is said about Juan Bautista Alfonseca except that "Juana Quilina" is attributed to him) or how merengue was both shaped by and shaped Haitian music. Furthermore, anyone seeking extensive analysis of Haitian-Dominican relations, or detailed examination of the question of race in Dominican intellectual and social history would be better off reading Silvio Torres-Saillant. Furthermore, Austerlitz does not go into the specifics of Afro-Dominican ritual drumming or music, which I suppose one could counteract with Afro Pop's special on the subject, but is still not quite the same as an academic text covering such material. Perhaps my disappointment is really due to Austerlitz not writing about the entirety of Dominican popular music, which Gage Averill did so admirably in the 1990s. 

In spite of its flaws and shortcomings as an introductory text meant to be accessible for mainstream audiences, Austerlitz wrote an entertaining and interesting overview of an important Afro-Caribbean musical genre that I have for so long overlooked. This book is more than worth one's time for a useful and quick read on merengue and how it relates to Dominican identity. 

Pachito E Che

One of my favorites from perhaps the greatest sonero. Perfect mambo for a relaxing, slightly jazzy Sunday. 

Cumande

Classic merengue with a title that may reflect Haitian Kreyol influence (Sydney Hutchinson quotes some sources for proof of a Haitian work song influence and 'commandeur' contredanse influence). Regardless of its exact origins or of the relationship between merengue and Dominican worksongs, it is quite catchy and cheerful. 

Musical Link Between Issa El Saieh and Damiron

Listen to "Le Patua" by Damiron, a piano master of the Dominican style of merengue, and compare with Issa El Saieh's "La Sirene La Baleine." I'm not sure who recorded what first, but it seems unlikely that two artists active during the same era (roughly) would record songs with the same melodies without knowing it. Indeed, Damiron's "Le Patua" even hints at Haitian influences (patua is the language of papa, of mama, etc.) while "La Sirene" reflects Vodouesque and folkloric influences in Saieh's jazzy orchestrated style. Regardless of who influenced who, it's quite clear that some of the merengue artists of the Dominican Republic were listening to Haitian orchestras and Haitian mereng. 

Merengue, Kompa, and Dictatorships in Hispaniola

Trujillo and Francois Duvalier (Papa Doc) in a meeting. Two dictators, two countries, same island. Papa Doc came to power while the aging Trujillo was beginning to lose it, but the relations between the two governments would be an interesting history project. And while both were similar autocrats, Papa Doc seems to have been more of a kleptocrat and created a more terrifying force to intimidate the masses while Trujillo supported industrialization. Moreover, both promoted related genres of dance music, Trujillo nationalizing merengue while Papa Doc and his son promoted kompa, which was influenced by 1950s merengue. Looking at music alone during both of their horrid reigns would be an interesting project for how both used music to express a nationalistic identity that, naturally, could be manipulated and used to promote their power. Check out the links below:

https://www.youtube.com/watch?v=QFYCfk2NMc0
https://www.youtube.com/watch?v=NVgR6mtebvA
https://www.youtube.com/watch?v=fcCinJHPCL4
https://www.youtube.com/watch?v=nSGjLTlDxtM
https://www.youtube.com/watch?v=weFmRXJ3kOs
https://www.youtube.com/watch?v=8phy586SGaw
https://www.youtube.com/watch?v=QwNoVSVflec
https://www.youtube.com/watch?v=LC2nHA35Qys&index=19

El Haitiano (Candelo)

As someone who has only recently expanded my musical taste to include more older styles of Dominican merengue, I was fascinated by "El Haitiano (Candelo)" from Guandulito y Sus Compadres, which recorded merengue in the older style of the genre (recorded in 1960, according to Wikipedia). It can also be found here as "Candelo Cedife," which has more overt Vodou references, according to Sydney Hutchinson (apparently it references the misterio or lwa associated with fire). Although my Spanish is somewhat atrocious, the song appears to be using the image of the 'strange' but 'familiar' neighboring 'Other' in a way that is not exactly negative. The vocalist does say that Haitian Kreyol is hard to understand, and comments on other cultural practices, but this very same artist recorded a song in Haitian Kreyol that was drenched in Vodou references (Guede spirits). Thus, "Candelo Cedife" or "El Haitiano" actually represents a fusion of religious traditions of Afro-Dominicans and Haitians living along the border between the two countries. 

El Negrito del Batey

A merengue classic, this widely covered song could have easily been inspired by a Haitian bracero working on a Dominican batey. Check this blog out for a good introduction to the song, and while you're at it, listen to versions of the song from Rene Touzet or Noro Morales. 

Desconfianza

One of my favorites from Bebo! "Desconfianza" has a bebop feel and reminds one of Bud Powell. 

Guaman Poma's Drawings of Afro-Peruvians (1615)

Enjoy these lovely drawings by indigenous scribe Guaman Poma, from his El primer nueva coronica y buen gobierno. It was meant to be sent to the king of Spain to describe what was going on in early 17th century colonial Peru. Although most of the images don't depict Afro-Peruvians, I found those to be the most interesting. Guaman Poma, as a literate man of indigenous descent, must have come from a colonial elite background, and his view of blacks (both bozales and criollos) was tainted by the social/racial order of colonial Peru. What I find fascinating, however, is the diversity of power relations one can see in 17th century Peru and how people of African descent, already subordinates to the Spanish, can be auxiliaries of the Spanish in ways that place them above indigenous people. For instance, the above picture shows a man of African descent beating an indigenous person with a Spaniard.

This image depicts bozal Christian blacks, devout and praying before the Virgin. Surprisingly, the African-born blacks are shown to be more devout as Christians. As someone of a higher class than most indigenous people of Peru likely were after the establishment of Spanish rule, we can assume Poma, who was literate in Spanish and thus a product of the cultural colonial melting pot, was a Catholic.

This one depicts a Spanish man beating his slaves, which may suggest that Poma was not fond of slavery, or at least the excesses some took. Poma refers to these negros as 'buenos negros,' which suggests sympathy.

Another image of a man of African descent and a white man beating an indigenous person. Though of a subordinate status in colonial society, people of African descent, ever since the defeat of the Incas, could play a 'middle role' as auxiliaries to conquest.

Apparently, creole black slaves stole money from their masters to pay Indian prostitutes, which seems to suggest that local Afro-Peruvians were immoral, thieving, un-Christian, and perhaps more deserving of punishment than bozales. Enjoy the rest of the images, which go on with similar themes in colonial society and the importance of slavery and Afro-Peruvians.

Ned Sublette's Cuba and Its Music: From the First Drums to the Mambo

I finally finished Ned Sublette's Cuba and Its Music: From the First Drums to the Mambo and am quite impressed. Though clearly not written in an academic style, Sublette clearly possesses an erudite knowledge of Cuban musical history as well as first-hand experience of various Cuban genres. Occasionally Sublette makes some errors (such as referring to the Hausa people of West Africa as nomadic or semi-nomadic, like the Fulani, and suggesting a highly unlikely Chinese derivation of Yoruba divination), but his massive tome (which takes one from ancient Cadiz and the Mediterranean world to the 1950s) is accessible, humorous, informal, and an excellent overview of the various ways African and European creolization in the Caribbean developed through music.

He demonstrates how  various West and Central African religious and musical concepts fused with European traditions to give us new, beautiful creole music: danza, danzon, son, rumba, mambo, charangas francesas, bolero, guajiro, and salsa. The 'zarabanda' and the influence of West and Central African music on the European classical tradition was also quite interesting, as well as African influences on Iberian music before and during the European conquest of the Americas. In addition, Sublette clearly and expertly explains how Yoruba, Dahomeyan, Kongo, and Abakua religious traditions (such as Santeria), sacred music, instrumentation, and secret societies influenced Afro-Cuban culture and shaped Cuban culture overall for the last 500 years, finding its way into more European-derived traditions. Thus, one can clearly see how African rhythms and styles entered the Cuban musical landscape, giving us the tumbador, bongo, marimbula, African rhythmic approaches to playing the tres and European instruments like the guitar, horns, etc. African musical aesthetics of blending wood and metal in percussion found its way into Cuba, as well as gendered pairing of percussion and the Kongo baile yuka, the palero tradition, Lucumi (Yoruba) bata drumming, etc.

Furthermore, Sublette provides the reader with enough context and detail to understand what's going on in Cuba and its environs during this time. Clearly, one cannot study Cuban music in isolation, because it's in a state of constant communication with Mexico, the United States (especially New York and New Orleans), Puerto Rico, Haiti, France, Colombia and elsewhere. So Cuban society, political developments, changes in recording technology, the Cuban diaspora in Mexico and the US, the Cuban struggle for independence, and Cuba under US imperialism are all inextricably linked to the brilliant music of Cuba. Slavery, naturally, occupies a key role as well as the class and racial dynamics of Cuban society from the colonial era to the 20th century.

My only wish is that the second part of this book could finally come out so I can read Sublette's take on the latter part of the 1950s, the Cuban Revolution, Bebo Valdes, Celia Cruz, and the rise of salsa. If you are interested in learning more about Cuban music, this book is one of the best introductory texts. Enjoy!

Sexteto Habanero in 1920

Source 

The earliest known photograph of Sexteto Habanero (1920), legendary Cuban son group. These guys helped popularize the genre, which began in late 19th century Oriente, to the entirety of the island and abroad. Son combined African-derived percussion and style with Spanish and Cuban instruments (while also picking up on Spanish lyrical forms derived from Spain). The tres was played in a thoroughly 'Afro-Cuban' style, while the bongo, a Cuban invention, was clearly modeled on African drums (the concept of a gendered pair). So, we have tres, clave, bongo, guitar, maracas, the sonero, and an assortment of bass instruments that varied with the time and place of these son groups (marimbula, a Cuban bass instrument modeled on African sanza, botija, and the European bass). Soon, horn instruments were added and we're on our way to son montuno, mambo, and salsa. For examples, check out this, this, and this.  Ned Sublette's excellent book on Cuban music has been invaluable for informing this post, by the way.

James Reese Europe

Jim Reese Europe's Hellfighters, African-Americans and Puerto Ricans who brought jazz to Europe during WWI. In addition to their importance in jazz history, Europe's orchestras were among the earliest to demonstrate the importance of Puerto Ricans in African-American music and US musical overall.   African-Americans and Puerto Ricans have been musical partners ever since. Check out "Hot Mustard."

La Bella Cubana

Afro-Cuban violinist and composer of the 19th century, Jose White, best known for the habanera, "La bella cubana." Not surprisingly, creole forms of Cuban music took form during the 19th century as Cuban nationalism grew over time. A similar development took place in 19th century Puerto Rico with the rise of the danza, which fused the European classical tradition and dance (contradanza) with Afro-Caribbean rhythms and flavors. Cuban danzon, habanera, and danza revolutionized world music forever, from New Orleans to Buenos Aires. Check out these two versions of "La bella cubana," one by the legendary Bebo Valdes and another by a small ensemble. 

Yeux Noirs

Django Reinhardt version of "Dark Eyes," the song that influenced Nemours Jean-Baptiste's "Ti Carole."

Los Sitios Hacere

A classic tribute to a neighborhood where Abakua was influential, the lower-class barrio of Havana, Los Sitios. Rodriguez was a master, so every aficionado of Cuban music must listen to him. 

Merengues, No

One of my favorites from Bebo, "Merengues, No" actually does sound like a merengue, but still retains a thoroughly Cuban sound. The sonero or vocalist, in particular, maintains the Cuban sound while the big band orquesta keeps things interesting. The vocalist seems to mention various styles of Cuban dance music (rumba, guaganco, cha cha cha, mambo, etc.) which make it quite clear this song is not a 'pure' merengue, either. 

San Pascual Bailon

A rendition of the 1803 contradanza, "San Pascual Bailon" from Cuba. Not sure how accurately it reproduces the 'feel' of the first written Cuban music that features the habanera, but it's quite fascinating to hear how African and European musical creolization in early 19th century Cuba. My next quest is to uncover more samples of Afro-European music created in 16th and 17th century Iberia (zarabande, zapateo, chacona). 

Cantigas de Santa Maria

Some of this music from the "Cantigas de Santa Maria" is quite fascinating, blending Islamic, Gregorian, and other styles of ritual and older musical traditions together in 13th century Iberia. Also important for establishing poetry and the written form of Galician-Portuguese, the beautifully illuminated text is an important source for studying medieval music, culture, Romance languages, and cultural exchange. Check out this catchy number, too. Not sure how accurately it reproduces the sounds of 13th century Iberia, but it certainly is interesting. 

Jazz and Nazi Propaganda

Nazi propaganda against jazz music (negermusik). Despite the rhetoric and anti-black, anti-Semitic ideology, jazz remained popular with the rank and file German soldiers, as well as being used by Nazi propagandists against the British, French, and US. Fascinating to hear how jazz was transported to Europe and used in such a contradictory way by Nazis. Check out this and this for some interesting reads, as well as these Nazi propaganda covers of some jazz standards of the day, here and here. 

Carnival

Although I am not much of a fan of hip-hop and Wyclef Jean these days, I fondly recall discovering his first solo album via some old acquaintances in my youth. He deserves props for trying to fit together R&B, Haitian, Cuban, reggae and hip-hop influences (there's even an opera influence) together in a single album. If only he didn't have so many damn interludes! That would cut down on the length of the album and what is really his only great work post-Fugees. 

Emile Antile

Jazzy biguine from the French Caribbean!

Bebo Valdes

Soviet Jazz and Soul

With all the talk of Russia and Ukraine in the news these days, I've been thinking about the music of the Soviet era. Despite the whole Cold War thing, US musical influences proved pervasive in the Soviet Union, including jazz, soul, and funk. I'm loving this jam, too. I am quite certain the USSR and the modern states of the former USSR are an untapped reservoir of excellent or at least interesting music.

Webert Sicot's Minouche

Sicot's "Minouche" is one of my favorite kadans or kompa songs of that decade. Based on the rhythm and focus on a lush melody, "Minouche" owes more to the Haitian mereng tradition of the slow, stately meringue lente. Indeed, the song is reminiscent of similar luscious meringues from Haitian big bands, such as "Sagesse" by Super Jazz des Jeunes. Fans of these two songs might enjoy other meringues and boleros, such as "La Femme des mes reves" and "Mignone." 

Diane

Lovely version of an old Haitian meringue, "Diane," previously recorded by legends such as Sidney Bechet and Bebo Valdes. Policard gives it a bossa twist, and the video fortunately gives us the name of the song's composer, Jean-Baptiste, who is explained as being chef de l'orchestre du palais national during the US Occupation. 

Black Man in Byzantine Israel

A fascinating image of a black man from a mosaic in Byzantine Palestine. Since I rarely come across images of 'blacks' in the art of the Byzantine world, this image I found from this wondrous site was quite exhilarating. If this man is really leading a giraffe, it indicates how African animals were still common in that part of the world. 

Black Conquistador in Mexico

Interesting Black History Picture: Codex Azcatilan, likely made sometime in the mid 16th or 17th century. This image depicts the Spanish army in 1519. Note the black conquistador with them, perhaps Juan Garrido or one of the other blacks who accompanied Cortez during the conquest of the Aztec Empire. Lest we forget, many Afro-Spanish or Afro-Portuguese crossed the Atlantic in the early years. I found the image on an Afrocentric forum I frequent last week. 

Haiti

A lovely and jazzy rendition of a song I believe was penned by Issa El Saieh, or at least interpreted by him. Love how this jazz group slows things down a bit. Undoubtedly, I must locate more jazz like this, 'world' jazz that incorporates the various musical traditions of other parts of the world through a thoroughly jazz vein. Enjoy!

Nemours Jean-Baptiste in 1957

Source 

Great photo of Nemours Jean-Baptiste's band back in 1957. Our friend Richard Duroseau on accordion is also here. I intend to develop a full "Best of Nemours" playlist where the greatest accordion solos of Duroseau play a role.