Viva Africa! Laba Sosseh truly is a great sonero and has piqued my interest in Senegalese and Gambian recordings of Cuban son and salsa. Never hurts to appreciate the Latin influence on so much African music, especially as it's important in the development of mbalax and other popular musical forms across the continent.
Dave Chappelle once joked that Latinos love music with Spanish gibberish. This may be one of those examples of a hit from the 1950s. If I remember correctly, "Maquino Landera" would be considered a bomba, but regardless of its classification, it's fun. Enjoy this jam live from 1950s Puerto Rican television. Rest in peace, Ismael.
My boys (Benny More and Ismael Rivera), the best soneros in the Caribe, together in this photo with Rafael Cortijo on the far left. Check out this special on los mejores soneros (a nice overview of the evolution of their music and why their improvisational skills and vocal talent made them the best). Rest in peace. The world needs more amazing Afro-Caribbean singers...
Enjoy some Haitian and Jamaican music tonight! Ran into an old Jamaican man who reminded me that Haiti and Jamaica are 'siblings,' so let's listen to Les Diables du Rhythme and some Gregory Isaacs. Nothing better than some good reggae to complete the night well. Oh, and enjoy somesongs by Les Corvington, a 1960s group that is quite good. I think the 1960s and 1970s might be my favorite period in Haitian kompa, with some stuff from the 1950s and 1980s being aight. If only I could track down some groups from the 1940s, such as outfits Bebo Valdes recorded with, then I would be set.
In addition, check out a 1960s twoubadou Haitian song, which shows its debt to the Cuban son quite obviously. Catchy!
Been trying to get into more music from Argentina and Uruguay these days, especially since the history of tango and milonga is rooted in the Afro-Argentine and Afro-Uruguayan experience. I've devoured the music of Brazil and Colombia, why not expand my musical tastes to include tango, milonga, and candombe? My problem in the past with milonga and tango was how European the music was, European to the point of inducing boredom. But jams like the above 'milonga' is full of passion and at times quite moving. The tension of the piece and "Latin" rhythms reflecting African influences are quite moving. Indeed, it's quite similar to some Afro-Caribbean music, such as art music or classical composers, or rhythms like the habanera.
Followers of this blog know I love me some Congolese rumba and soukous. The genre reflects Cuban and other Afro-Caribbean influences, combining the best of Cuban son, biguine, local African instruments and styles, and European vocal influences. And we all know how Congolese soukous has conquered the African continent musically. What I was quite ignorant of, however, was the influence of soukous on Cape Verdean coladeira and other genres. Such a beautiful song, Abel Lima and his group were wondrous musicians. The 'clean' and refined guitar, so essential for establishing the song, is reason enough to love soukous. "Africa, Africa, Africa, Africa oye!"
Been listening to Sara Tavares more in recent days. An Afro-French friend first recommended her to me, and I love her style, voice, and energy. As my friend told me, those in France are more exposed to what US audiences call "world music," so she heard the Cape Verdean Tavares on the radio in France. Check out "Bue" which is a little more jazzy.
