"Welcome to the desert," said Tinariwen's Abdallah Ag Alhousseyni, the singer in palest blue robes who orchestrated our clapping with his elegant gestures and spacious dance moves. The Carrboro, North Carolina audience swarmed in unison as if to say, "Yes please. Take me to your campfire."
Frontman and founder Ibrahim Ag Alhabib, he of the trademark loose mane, was missing, as on other recent U.S. tours. I heard it said it's due to visa problems. Fear not, though, filling his lead guitar and vocalist shoes is Sadam Iyar Imarhan, who sounds and even looks eerily like a younger version of Ibrahim. Sadam doesn't speak much English, but a Mauritanian friend helped me to understand he's been with the group for just one month, and is a cousin of bandmember Hassan (not currently on the tour). All the rest of Tinariwen are long-time members.
There was exciting chemistry between Sadam and bassist Eyadou Ag Leche. Roostering about with their axes, they played off each other and even broke into occasional smiles, causing slight ruptures in Tinariwen's usual onstage demeanor--a powderkeg of reserve, ecstatic awareness rippling beneath a calm surface.
"Desert Blues" is at once perfectly evocative, and yet somehow a woefully inadequate label to describe the the Tuareg sound. The analogy makes historic and visceral sense but only gets you part way there. There's call and response singing, and what seems (to this unstudied observer) to be quite elaborate polyrhythmic and formal structures. Above all, the poetic trancey vibe is unlike anything else, and highly addictive. But as trancey as it gets, it always feels like the songs follow ancient forms. Nonetheless, there's plenty of room in there for ecstatic transport, and a quality of being fully in the moment.
This kind of jibes with something Eyadou told me after the set. Still looking incredibly youthful after 15 years with the band, he told me Tuaregs think differently about age and time.
"In the desert, we don't [celebrate] birthdays. I am living today. Every day is my happy birthday."
--Tinariwen bassist Eyadou Ag Leche
For the encore set, Abdallah took up guitars and lead vocal for some acoustic and electric stuff. Here's a few moments featuring bass and guitar solos from Eyadou and Abdallah:
The new album is called Emmaar; the vinyl edition with free CD inside sold for $25 at the merch table.
Diali Cissokho & Kaira Ba had the audience it deserved
Friday night:a Cradle full of
people who know the band, and passionately share in its music. This CD release party for its eponymous second CD, which translates “Kaira Ba” as The Great Peace, turned out more of a euphoric
frenzy. Fully in command, the 6-piece plus special guests enjoyed the richly
deserved moment, three years since their inaugural show at the Nightlight in
February 2011.
The throbbing pulse of Orquesta GarDel had only recently faded,
and salsa dancers ebbed from the floor, as we waited for Kaira Ba to set up and
go on. GarDel played a strong opening set, with its out-of-town members Brevan
Hampden (timbales) and Andy Kleindienst (trombone), both on sabbatical to
attend grad school, in the house and representing. Some of these faces—conguero
Atiba Rorie, saxophonist Tim Smith—would stick around to lend an assist later.
Two koras with their gourd shells ornamented, one with a
beautiful painting of Africa, the other studded with the name KAIRABA, leaned
in repose at a place of honor center stage. Corralled around them:a panoply of hand drums of different
sizes and origins—sabar, thiol, djembes, congas, dundun, calabash. Amps,
guitars, drumset and upright bass set the stage to ready mode. Grabbing prime
spots near the edge of the stage, Kaira Ba’s international fanbase came ready
to party in looks that ranged from jeans and beards, to palazzo pants and sequined
halter tops, tweed hats and hand dyed finery.
The members of the band came onstage drumming, also sporting
diverse attire from skinny ties, pearl-button shirts and Converse to bare feet
and vibrant patchwork garments. The same Senegalese patchwork fabric
provided the cover art for the album, and probably speaks to the band’s grown
together, hybrid Carolina-African roots.
Running tunes from the new album took us to Senegal right
away, starting with the upbeat “Fallou” and “Bamba Wotena.” Some Americans
pogo’ed, while a few Wolof speakers in the crowd got Cissokho’s references to
people and places back home and sang along. For the third tune, Cissokho’s wife
Hilary emerged to sing soprano backup and maintained that role. Cissokho’s kora
and John Westmoreland’s guitar conversed back and forth, and the percussion
powerhouse of Austin McCall, Will Ridenour, and at times even bassist Jonathan
Henderson, was shored up by the group’s newest member, Mame Cheikh Njigal
Dieng. Dieng, a professional musician from Senegal, recently moved to Durham
and recorded on The Great Peace.
“We had the music written by the time Cheikh came in, but
there were a few songs where we had hit some walls,” said Ridenour, post-show,
about the Fidelitorium sessions. “He said, ‘why don’t you try this?’ Suddenly
there were no walls anymore.”
Gabriele Pelli recreated his role as a guest on the session
at the CD release party, adding haunting fiddle motifs to the spiritual tour de
force “Alanole” (“No One Can Know God.”) Cissokho paused then to say his thank
yous, while Ridenour retuned his kora for another intense slowburner, “Mere
Khadi.” A horn set followed, with trumpeter Zack Rider, trombonist Quran
Karriem, and saxophonist Tim Smith elevating the soul revue aspect of tunes
like “Al Hadji” and “Mbolo.” If anything, this move was even more successful
live than on the album, and one can hope to hear more brass in Kaira Ba’s future.
An encore set began with “Sida” (“AIDS”), an understated
reverie featuring kora, guitar and Pelli’s violin, before taking a turn for the
rambunctious. The band pumped a carnaval-like backbeat as a shirtless Cissokho bathed
his face and body in a pile of broken glass, jumping and rolling around in a
fearsome display. The celebratory night closed with “Jabu,” a rouser from the
first CD Resonance, which ties Cissokho’s
love for his family in Senegal to the love he feels for, and from, U.S.
audiences.
The post-show love fest included not only friends, but total
strangers offering the band members their thanks, pressing the flesh and
getting CDs signed. A lot of bands say they are going to take their sophomore
album to the next level; Diali Cissokho & Kaira Ba worked hard to actually do that, and it
shows.
The Triangle's first-ever festival of bomba and plena, distinctive music and dance styles native to Puerto Rico, takes place TONIGHT, Saturday (11/19), from 6:30-10:30 pm at the Herbert C. Young Community Center in Cary.
Bomba dancers led by Miriam Rivas at a 2009 rehearsal.
Featured performers include Baile Boricua NC, the graceful and energetic dance troupe led by Miriam Rivas, folkloric drumming by Kuumba Arts, and live music by Caribe Vibe, the sextet ensemble of Andres Leon and Billy Marrero, with special guests Jaime Roman and LouRamos.
I didin't find a schedule online, but Caribe Vibesays their first set will start at 8 pm. The guys say they will be playing "a little bit of everything!" so expect a wide tropical mix. Here's a video of Caribe Vibe I made back in October:
The early evening event (6:30-10:30 pm) is family friendly, with admission $6 for adults, $4 children under 12, and free for children 6 and under.
The young, unusual Latin jazz trio of Ilan Bar-Lavi plays a free concert in Chapel Hill this Saturday (11/19)at 5 pm in the FedEx UNC Global Education Center's Nelson Mandela Auditorium. The concert will close out this year's NC Latin American Film Festival.
This video by Martin Cohen at Congahead.com opens with a Bar-Lavi guitar solo:
The Israeli-Mexican guitarist is a 20-something graduate of Berklee School of Music; his own brand of avant-garde jazz blends his Latin and Middle Eastern roots.
Diali Cissokho & Kairaba's show at Tallula's tonight, 9:30 pm - midnight, is noteworthy for a couple of reasons:
A. This hot West African dance band, based in Carrboro, has been in the studio recently recording its FIRST CD. Door proceeds tonight ($5) go directly toward production costs to release it in early 2012.
B. In a few weeks, the entire band heads to Senegal and Mali, where they will spend the next couple of months touring, studying, and generally getting in touch with the Motherland. So, this will be their LAST NORTH CAROLINA SHOW of 2011.
C. Talulla's, with it's warm wood interior, is a SWEET VENUE for grooving, acoustic music. Located at 456 W. Franklin, next to the Carolina Brewery.
Tinariwen means "deserts" in Tomashek, the language of the Tuareg, a nomadic people who inhabit the Sahel regions of Northern and West Africa. It's also the name of a Tuareg band from Mali that makes hypnotic, guitar-driven "desert blues" their calling card. They play this Sunday (11/13) at The Cat's Cradle; intoxicating, Swiss singer/songwriter Sophie Hunger opens the 8 pm show.
Tinariwen on tour last month in Los Angeles. Photo (c) Timothy Norris.
Formed originally in 1979, Tinariwen broke out as an international touring band ten years ago, and has since produced five albums. Their latest, Tassili, takes its name from an Algerian region of spare beauty where they recorded outdoors and an impromptu tent studio. As that method suggests, they are returning to acoustic roots on this album. Here's a documentary about the process:
A bit more plugged in, here's a nice little rocker from their last album Imidiwan: Companions (2008):
Sit around the virtual campfire this Sunday (11/13) at Cat's Cradle; advance tix $22, day of show $25.
A new dance space in Hillsborough opens its doors to salsa dancers this Saturday (11/5): The Depot, at 246 Nash Street, hosts a Latin Dance Party withSaludos Compay from 7:30 pm on. Jack Wolf reports there is a nice wood dance floor and plenty of space.
This dance is FREE, NO COVER; a hat will be passed for the musicians.
DJ Wolfy Jack gives the free dance lesson at 7:45; the band will play two sets starting around 8:30.
Dobet Gnahore. Photo (c) Michel De Bock courtesy of Rock Paper Scissors.
Seriously...have I just never noticed before, or is the Triangle awash in opportunities to hear African music right now?
NEXT on the roster: Ivory Coasts's Dobet Gnahore. She's strikingly gorgeous, an experienced professional dancer, singer and musician, and she speaks French (so therefore, local interviews and press coverage have been limited). Music style is contemporary, with influences from Ivory Coast, Cameroon, Ghana, Congo, etc. She's the daughter of Ivorian percussionist Boni Gnahore, and has three solo albums to her credit. Musically and personally, she has paired up with French guitarist Colin Laroche de Félin.
Tickets run $24-28 at Stewart Theater (NCSU still has the lowest precios populares among the area's elite arts series). Discounts apply if you are faculty, staff, or student at NCSU.
PARKING NOTE: because of some construction/campus street closings, Cates Ave. is blocked for about one block between Talley Student Center and the parking deck, but do not be deterred. You can access the usual FREE parking deck via PULLEN ROAD.
The Brand New Life is blend of jazz improvisation and West African mbalax and Afrobeat. For a Halloween treat, the Greensboro band plays a FREE SHOW TONIGHT (10/31) at 11 pm at The Station in Carrboro.
To learn more about how this band got together, read my profile in The Independent earlier this year. The last time I saw them, at Shakori Hills in October, they were seriously on fire, with heavy mbalax grooves by their Senegalese talking drummer, Mamadou Mbengue, following on the heels of jazz tunes with crazy meters. Mamadou takes a solo at the end of this clip of the BNL live at 2011 Floydfest:
Bio Ritmo gave a fresh first set at the joint party with Orquesta GarDel on October 14 at Durham's Motorco. I didn't take a lot of video, but here's a look at pretty much the whole band, during "Seguiras Criticando," a salsa tune with a heavy afrobeat coda from their last album Biónico:
Of course, we were here to celebrate the CD release of La Verdad, which has been gaining tons of favorable press at the national level. This month, Bio Ritmo is featured in vinyl collectors' mag Wax Poetics (in an issue with Eddie Palmieri on the cover), on the radio on PRI's The World, garnered a great album review on PopMatters.com, and is currently charting #4 on CMJ's World Music Chart.
I'm writing my own story now on the band's undulating 20-year career curve, and what makes these Richmond heroes so special. Stay tuned....
Goran Bregovic BLEW THE ROOF off Page Auditorium Friday night (10/14). My reflections boiled down to this, a review essay which I originally wrote for another blog, but which finds its home here instead:
Goran Bregovic: Unplugged, and All Together Now
by Sylvia Pfeiffenberger
The name of Goran Bregovic’“Wedding and Funeral Orchestra” is part satirical—a grand joke on the part of the perfectionist, prankster, film composer and former rock star—but it also promises a return to our unamplified, tribal human past, a time when social rituals were marked with big gatherings and live music, and individuals were suspended, not in ethereal social networks, but in the gelatinous broth of clan, nation, and religion.
Of course, there’s a dark side to this sort of nostalgia: tribalism and nationalism have exacted a high price from human societies, and none have paid more dearly or more regularly than the Balkan region, and former Yugoslav republics, from whence Bregovic hails. Sarajevo, at the borderline between Catholics and Muslims, Jews and Gypsies, Eastern Europe and the Mediterranean, is “a place where nothing is really pure. It’s always a mix,” says Bregovic in an interview with his publicist. Centuries of war have shaped the “small” regional culture of the Balkans into a sort of “Frankenstein,” he says. In the 1990s, war again forced the retired rocker into Parisian exile, which proved a stepping stone to creating his own global form of folk music, attuned to the large and small screens of the IT age.
The listening experience we had in Page Auditorium Friday night (10/14/11) was unlike anything you can hear outside of a church, a classical concert hall, or a movie theater nowadays. Who’s got the budget to commission composers and produce large ensembles of live instrumental and vocal musicians anymore? Only institutions that run on charity donations, and Hollywood. Bregovic’s orchestra was actually a multicultural collective, made up of four sections:a string quartet, an all-male choir, the Bulgarian vocal duo the Radkova sisters, and a Gypsy vocalist with brass band. Each unit operated independently at times but cooperated as a seamless unit, like a four-chambered, polyphonic heart. The some-time soundtrack composer ‘conducted’ while facing the audience, from his guitarist’s chair, one hand frequently aloft to signal timing, entrances and phrasing. It was like hearing a miniature Mahler symphony, blown through Surround Sound.
Photo (c) by Andrew Shpak; courtesy of Pomegranate Arts.
Bregovic built up the evening’s set like a cinematic-depressive fairy tale, an episodic ride that vacillated between drunken exhilaration and island-of-the-damned sobriety. Capturing our attention from the get go, Bregovic mumbled a few introductory words, then let single narrators (guitar, clarinet, violin) lock in our attention. Just as we were getting comfortable in our seats, the Gypsy brass band announced itself from the back of the hall and marched down the aisles, horns blazing, waking our senses in a visceral rush. Suddenly, in that moment, we became one audience: the polyphonic heart had found a body. For the rest of the night, waves of sound flooded us with animal joy, and uneven folk meters jogged our human jelly like a friendly reminder of mortality.
Bregovic clearly relished the role of conductor, and ultimately his instrument was us, the kinetic collective that responded to his every direction, be it to clap and rally to our feet, or to hush and listen to his next bit of storytelling. The ruckus was loudest in the cheap seats, but firm fan footholds were scattered throughout the room, as bodies swayed and hands danced in the air, Mediterranean-style. Shouts in Slavic languages rang out occasionally; next to me, a Turkish couple mouthed the words to Bregovic’ Emir Kuristica soundtracks. Did they understand the words? “Not really--it’s close to us,” they shrugged, electric grins lighting up their faces. On the other side of me, a couple of Duke alums, here simply because they had bought $5 tickets to every show of the season right before they graduated, radiated the same ecstasy.
They say that conductors have one of the highest job satisfaction ratings, but that role is typically dictatorial. Yet, while directing sound with hairline precision, Bregovic brings something fundamentally rebellious to the role. This goes back to his roots as a teenage bass player in the band “Bijelo Dugme” (“White Button”). Under Communist rule in the former Yugoslavia, just playing rock music at all was an act of rebellion, and Bregovic learned how to walk the line of cultural resistance without getting thrown in jail. Back then, backed by a rock band, he might have parodied Marshal Tito’s uniform on stage; now, in a silky cream suit and backed by his ethnically diverse orchestra, he delivered impure rants about sex and dying, and antifascist ditties such as the Italian partisan hymn “Bella Ciao.” Bregovic rejected classical music training as a child, when he was forced to take violin; today, he says, he chooses to play with folk musicians out of the same sense of rebellion against formal high culture. With rock star excess, Bregovic kept one-upping his encores, announcing, “it would be a shame to go to bed after that.”
Through the aperture of the Balkans’ “small culture,” where impurities are a virtue, Bregovic has created a sense of global belonging out of his own exile and displacement, genetically modifying folk music so that it feels like our pop and movie music. It’s not even a metaphor at times, such as when Bregovic plays zydeco covers and tunes he wrote for Iggy Pop. Is that breakneck Balkan number smuggling a ska beat, ‘50s rock and roll, or a Mexican quebradita? It’s a question that doesn’t really need answering, because Bregovic has hit the folk/pop dancebeat button in a way that feels universal, or rather: in a way that feels local, in every language and cultural tradition. With the vision of a film director, Bregovic reconnects us with the unamplified roots of his particular folk cultures, making space for us to feel social connection through “big,” live music in an increasingly digital world.
As it turns out, the musicians on stage had been only intermediaries in Bregovic' raucous ode to sex and death; the human orchestra was us.
“You’re a beautiful audience. Good night.”
Photo (c) by Mikhail Ognev; courtesy of Pomegranate Arts.
Is there any Triangle stage that features black women artists more regularly, and in greater proportion to their overall programming, than Arts NC State? In recent memory, they've presented Buika, Esperanza Spalding and Emeline Michel; already this season, they introduced me to the exquisite blueswoman Ruthie Foster. Yet to come in November: Ivorienne singer/dancer Dobet Gnahore (11/4), and local cellist/singer Shana Tucker (11/11).
TONIGHT (10/22): Jazz violinist and MacArthur "Genius" grant winner Regina Carter performs at Stewart Theatre. Her latest album, Reverse Thread, integrates African folk tunes with jazz, in a band featuring kora and accordion. Tickets run $28-32 for general public, with NCSU staff and student discounts available.
Our good friend John Brown, director of Duke's jazz program, leads a pre-show discussion at 7 pm. The discussion is free and open to the public in the Walnut Room, in Talley Student Center.
The Beast and Chit Nasty played a birthday party at Kings last Saturday (10/1). Chit Nasty is loud and funky as hell, with a Rick James meets Little Richard vibe.
That must've set the tone, because The Beast was a little raunchier than usual. Here's one of their newer songs, "Just Do It":
Beast fans with The Bieb @ Kings
FLASHBACK
Remember the earthquake?That night (8/23), The Beast did this live improv with special guests, a biweekly affair that happens second and fourth Tuesdays atJack Spratin Chapel Hill. The next "aLive Tuesday" happens 10/10, with special guest TBA.
SAMPLE OF THE WEEK: Astor Piazzola meets an earthquake theme.
Sitting in: The Brand New Life's Seth Barden (bass) and Walter Fancourt (saxophone).
Stephen Coffman on drums, Pierce Freelon on the mic, Eric Hirsh on piano/ keyboard/ samples.
Shana Tucker gave a gift to the North Carolina Museum of Art on September 2: a free concert to lure visitors in for the last day of the exhibition, "30 Americans." Attendance that night broke records, according to Museum program director George Holt.
Her quartet featured Mark Wells, Peter Kimosh, and Stephen Coffman. Here is her lovely take on Nora Jones' "Wish I Could":
Young people were especially delighted with Shana's big finish: a New Orleans version of "You Are My Sunshine." Here's a montage of the dancing that ensued.
COUNTERPOINT
Here's Shana with a trio, performing the same tune, in a different style. With Mark Wells, piano, and Brevan Hampden, percussion, here's her Latin version of "You Are My Sunshine" one recent evening at Brasa Brasilian Steakhouse:
Carrboro Music Festival, you are always so beautiful. My review comes a week late, but I've spent all that time soaking in the good energy that overflowed into the streets last Sunday (9/27).
Celtic Tim Smith
Reggae Tim Smith
Everyone has their own CMF, whether one targets bands to see, or just wanders the 25 in- and outdoor venues for hours without a plan. I did a little of both; saw both Tim Smiths get together (that could have ruptured space/time, but we were lucky), and found myself strangely attracted to bluegrass and oldtime music. It's all that fingerpicking and harmony.
Rough Cut
The Gravy Boys
The Gravy Boys are high on that list. They practice something that old-time salsa and Latin bands used to do, a phenomenon I call "three men on a mic." There's something sweet about that ear-tuned harmony and close attention to group dynamic. Sing it for me, Gravy Boys:
Looking at their calendar, I see The Gravy Boys are coming to The Blue Note Grill on Bus. 15-501 in Durham, this Thursday, Oct. 6--a free show, from 7-9 pm.
These two videos capture that freewheeling, Weaver Street spirit. I am informed that the hula hooper accompanying Tim's band is Julia Hartsell Crews:
Tim Smith Band
Climb Jacob's Ladder
It was my first time seeing Climb Jacob's Ladder, a band I've never been able to figure out how it sounds just from reading descriptions. I can see why: extremely eclectic and socially conscious, the band alludes to Stevie Wonder, Bob Marley, and other 70s landmarks, but never stays in one place for very long.
Saludos Compay at Tyler's Parking Lot has become an 8 pm tradition. I don't have any photos or videos (it was dark by then) but a good time was had, as always.
BachateroJoan Soriano was at Motorco on 9/23--but rather then tell you all about it here, I'm going to save my breath and repost this live review I wrote for dP's blog, The Thread.
Photo by Lisa B.
There's this interview too, which I did by phone with Joan in the Dominican Republic.
Parks & Rec has announced on Friday that the festival will be MOVED INDOORS to Edison Johnson Recreation Center, 500 W. Murray Ave, due to rainy conditions at Rock Quarry Park. ****
Durham's Latino Festival, which was postponed back on August 6 due to Hurricane Irene, is rescheduled for this Saturday (9/24) from 1 - 6 pm, at Edison Johnson Recreation Center, 500 W. Murray Ave.
Band bookings have changed, so here's the latest schedule which I received today from Parks and Recreation officials:
Main Stage Schedule
1:00 – 1:10Welcome/Introductions - DPR Director - Rhonda Parker
Mayor Bill Bell, Felipe Cabrera, Consul of Mexico Rep.
1:10 – 1:50Rey Norteño (BAND) (1st half)
1:50 – 2:05Host/announcement of MAJOR SPONSORS
2:05 – 2:25Rey Norteño (BAND) (2nd half)
2:25 – 2:40Host/announcement of all sponsors – gifts/raffle & introduction of next “entertainment”.
2:40 – 3:30Guillo Carias Trio (1st half)
3:30 – 3:45Host/announcement of all sponsors – gifts/raffle & introduction of next “entertainment”.
3:45 – 4:00Guillo Carias Trio (2nd half)
4:00 – 4:10Host/announcement of all sponsors – gifts/raffle & introduction of next “entertainment”.
4:10 – 4:30ZUMBA
4:30 – 5:00Realeza de la Sierra (BAND) (1st half)
5:00 – 5:20Host/Soccer Championship Awards/announcement of all sponsors – gifts & introduction of next “entertainment”.
5:20 – 6:00Realeza de la Sierra(BAND) (2nd half)
Please feel free to contact me with any last minute questions or concerns.
Rosalie Bocelli (919) 560-4355 X 27235 or (919) 452-3476 cell
Latino Festival is FREE and OPEN to the public; Rain or Shine.
A couple of my favorites are playing, namely the Dominican jazz trio of Guillo Carias, and Rey Norteño, whose norteña song "Raleigh" was a hit on Mexican Regional radio a few years back. I haven't seen them perform in ages, so I'm curious to see what singer/songwriter Fred Huerta, et al., is up to these days. Here's a neat little rehearsal video posted about a year ago:
La Realeza de la Sierra has kind of a technobanda style, and one member who appears to be a young girl playing keyboards, according to videos on YouTube. Here's their demo:
If you were at Casbah on August 20th, you know that Shana Tucker's double bill with Peter Lamb and The Wolves was remarkable. People came to this show with a certain hunger for a serious listening experience, and they got it: two of the Triangle's most innovative acoustic jazz groups, together in one night for the first time ever.
chambersoul: Shana Tucker Quartet
The chambersoul songstress and her cello opened, backed by Stephen Coffman (drumset), Mark Wells (piano) and Darion Alexander (acoustic bass). Shana's banter between songs, rambling, funny, and animated, brought the receptive crowd in even closer. It was a pretty ravishing set; highlights included Roberta Flack's "The First Time Ever I Saw Your Face," and Bill Withers' "Who Is (S)he and what Is (S)he To You?" both of which featured strong interplay (musical and satirical) with her bass player.
She burned down the house, at least among all the ladies present, with a new original tune about a certain type of annoying phone call and/or text message (it may not have an official title yet, but she jokingly called it "The Booty Call Song"). Wolves Peter Lamb (sax) and Al Strong (trumpet/flugel) came out early to solo on "Bye Bye Blackbird" while Shana sang. Here's one of Shana's originals from her album Shine, a song called "November" that hits me every time:
After an intermission,Peter, Al, Mark and Stephen returned, joined by George Knott (double bass/bass saxophone) and guest Brevan Hampden (congas), to play The Wolves' set. I've never heard the horns sound better, in fact sound overall at Casbah (Sound by Evan) was peachy. If one had a request, for the artists' sake as well as the audience, it would be the installation of central A/C in this important venue. Near the stage, and especially on it, the heat from lights, etc. made for trying conditions. That said, nothing was going to stop this from being a glorious, expansive night of music. Here's "Mona Lisa," veritably busting with incredible solos by Mark Wells on piano, Peter Lamb on sax, and Al Strong with the melody on flugelhorn:
The Wolves did their usual powerranger-morphing through Astor Piazzola, Ray Charles, Nat Cole, et al. A lot of older, jazz/pop standards have cryptic Latin cover versions, or vice versa, and sitting at the bar, one popped out at me that night that, for some reason, I had never noticed before: "Boulevard of Broken Dreams" and "Veinte Años," the latter best known in a version by the Buena Vista Social Club. The former is credited to songwriters Harry Warren/Al Dubin, the latter to Maria Teresa Vera.
I'm not sure who deserves the first credit, and they differ enough past the distinctive opening bars to probably legally qualify as different songs. But my instincts lean toward Maria Teresa Vera, who was born in 1895, and wrote "Veinte Años" as a habanera (the Cuban style of contradanza, whence tango got its bassline). Nat King Cole did "Boulevard of Broken Dreams" with a Latin percussionist (Jack Costanzo), and the English lyrics not only treat a similar theme (broken dreams/long lost loves), but also mention an "old Cathedral town," which seems like an allusion to Latin America.
In any case, the really important question is this: Has anyone merged these songs? How breathtaking would that be? Wolves, you have your mission...
Danke schön, in the meantime, for restyling my brain to take in this German drinking song, "Du, Du Liegst Mir Im Herzen," sung by with Mark Wells as if he were Jeff Buckley at an Oktoberfest. This was a juicy encore:
Drive west out Highway 54, way out, past the Cane Creek Reservoir. Just when you think you've gone too far, turn left at the sign for "Saxapahaw." Keep driving south, down the Saxapahaw-Bethlehem Church Road, until you enter this rural dell. There, rising on your left, is not the moon, but a glowing, propped-open, industrial dye kettle--it doubles as the sign for the Haw River Ballroom.
A ballroom, in the wilderness? Surely, this is a fantasy only Hollywood could have dreamed up, right?
Wrong: Walk inside the former Dye House to a cotton mill, over a grate lit up from below, and you step into a ballroom in the truest sense, fit for Tito Puente--or Orquesta GarDel, who performed at the Ballroom last Friday (8/26). Two levels--wooden dancefloor below, balcony-like seating area above--and a complete stage with beautiful lighting and sound. This may be the most perfect Piedmont venue to book a salsa band.
Dancers and GarDel stalwarts did turn out in pretty good numbers, though it's hard to say if Irene fears might have kept some home. It really didn't hurt the party any, which had critical mass and then some. Taking advantage of ideal filming conditions, GarDel had its own videographers there, so hopefully some pro video of the show will eventually emerge. Paso gave a dance lesson before the opening set, and Felix Padilla led some social dancing in the casino rueda style. (It was particularly fun dancing rueda to one of GarDel's timba tunes.)
Some recent changes inthe orchestra: former conguero Jose Sanchez is officially no longer with the band; the Winston-Salem resident performs all over the Carolinas with a host of Latin groups, and had to pull back his energies somewhere in order to keep his family a priority. We wish him all the best! Looks like Atiba Rorie, a local leader in African percussion, will be filling the gap. Atiba has gigged in a number of Latin bands in the Triangle, and his powerful playing and cool presence are a welcome addition to GarDel.
The dance energy was pretty explosive. Here's the last jam of set 2 (except for an encore descarga). The tune is Ray Barretto's "Indestructible"; Brevan Hampden (timbales) and Atiba Rorie (congas) both solo:
On the GarDel event horizon:
Friday, October 14 - a long-awaited double bill with Bio Ritmo, celebrating Ritmo's 20th anniversary release party, at Motorco in Durham.
Brevan Hampden leads a new Latin ensemble tonight at Cinco de Mayo, a Chapel Hill restaurant at 1502 E. Franklin Street, near Estes Dr., located across from the Sienna Hotel. Cover is $7.
Percussionist Brevan Hampden
Sources have been tight-lipped about the new dance organ, dubbed Conjunto Breve. Rumor has it that Hampden will be joined by members of Orquesta GarDel, Eric Hirsh, Atiba Rorie, Alberto Carrasquillo, Pete Kimosh and Jaime Roman, to perform charts unknown.
Salsa Xtreme is a fairly new Latin party, bringing salsa, merengue, bachata, et al., back to Wednesday nights. Empresario Cesar Merlos, dancer, DJ and former club manager, goes back far enough to remember this longtime Chapel Hill tradition.
Dance lesson at 9:30 pm; invite says "dress to impress." Party rolls at 10.
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