CD: Voodoo Drums of Haiti

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Charles Arthur
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Joined: Tue May 25, 2004 7:35 am

CD: Voodoo Drums of Haiti

Post by Charles Arthur » Fri Sep 09, 2005 7:12 am

Voodoo Drums
Voodoo Drums | Soul Jazz Records

By Nils Jacobson
http://www.allaboutjazz.com/reviews/

When one examines the role rhythm plays in jazz, it's a complicated affair. The early introduction of European instruments, which essentially make up the modern jazz drummer's kit, brought with it the legacy of the marching band: timekeeping, accents, and (eventually) swing. But the sphere of African rhythm, as it has been maintained in traditions throughout the African diaspora, encompasses a far greater range of texture and color. Many of these instruments are played with hands, not sticks. American jazz artists began to reach out to the African sound in the '60s, when the avant-garde crossed over to build new relationships with the African part of the Afro-American tradition. (Witness efforts by the AACM, for example.)

The closest New World relatives of West African ritual drumming res
ide in Haiti (Voodoo) and Cuba (Santeria). On this remarkable record of Haitian voodoo drumming recorded in Port au Prince, no other voices dilute the power of the drums. Head drummer Harold Laurenceau leads an ensemble of players who work the full range of pitches available from animal skins stretched over resonant wooden frames. High crackling detail runs alongside stuttering mid-range counterpoint and the heavy warmth of deep tuned drums. (Both the full tonal range and the stereo image come across wonderfully on this recording.)

Compared to the drummers of West Africa, this ensemble interprets texture at a much more dynamic level. The rhythms rest upon an underpinning of structure unique to each piece, dedicated to bringing individual spirits to the physical world. But within these loose constraints, the drummers take maximum liberties to add, subtract, and alter notes. Repetition falls prey to improvisation, resulting in a potent sense of collective intercommunication. (And that's exactly the spir
it that evolved out of the Chicago and New York free jazz movements during their explosion in the '60s.) If you listen to this music with an open heart and an free spirit, you'll feel the higher energies gathering with each successive hit. If Voodoo is about spiritual transport, this record will take you into vast, unimagined territory.

For more information, visit Soul Jazz Records . http://www.souljazzrecords.co.uk

Widy_

Post by Widy_ » Tue Sep 20, 2005 4:08 pm

Pou zafè nèg meriken yo, mwen panse kon ou, sètadi kè epi apò a enstriman ewopeyen yo, nèg sa yo pèdi plis ki nou nan zafè tanbou la, ou plito kilti tanbou afriken yo.

Pakont si se pou nou fè oun paralèl pa bò nou, mwen kwè kè se jamayiken ki rive fè plis sentèz kilti negro ameriken la èvè tanbou, e notaman nan mizik tanbou NAYABINGHI yo.

Nou pe wè kè yo ka rive pran de vye blouz epi baz tanbou yo, e yo ap fè oun bèl travay VWA ak TANBOU.

Pou wouvin si zafè tanbou VODOU yo, mwen ke di kè sa ki dèyè poko manye, piskè tanbou vodou yo poko sòti, e li toujou rete adan oun kontèks prive, ki fè kè moun pa tro konnen li.

Tanbou vodou yo, gen pwòp eritaj ay e li pa bizwen pon standa meriken pou-l jwet, e dayè bondye ba chak pèp nèg karayib yo pwòp eritaj tanbou yo men malerèzman plen ti peyi ja pèdi kilti tala.

Sa nou pe èspere se kè ayisyen yo ap kontiye fè pwosès nan tanbou yo pou kontiye rèchèch yo pou byen a pèp yo
e a limanite, piskè yo ni oun biten a fè pase.

Widy

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