“Without music, life would be a mistake” – Friedrich Neitzsche
The selections in this edition of Seriously Good Music are provided by Nigel Campbell, a Caribbean music critic and writer on music. Thank you very much Nigel. As always, enjoy the selections, and let us know what you think.
I was asked by Wayne to contribute to his ongoing exploration of the sound of music at its very highest quality, via his audiophile blog, by referencing music that should be heard by his customer base, and discovered by a wider audience of critical listeners. I write on music and provide music criticism for regional magazines, local newspapers, and online entertainment platforms. I am a fan of Caribbean music, and the interplay, integration and influence of Caribbean music on genres of commercial music. Creole confrontations with jazz, for instance, push the envelope of popular Caribbean music to provide an audible aesthetic worthy of listening to at high fidelity. I highlight today, via some reviews done previously, a few albums that point to a modern recognition of Caribbean music possibilities in a global space.
“Creole Big Band” – MizikOpéyi (2019)
MizikOpéyi is an interesting concept in the Caribbean; a big band in the style of the New Orleans big band but one that “combines swing in all its forms with the rhythms of the Antilles, with a rejuvenating modernity.” Formed by former Malavoi lead singer Tony Chassseur and his fellow Martiniquan, pianist and arranger Thierry Vaton, the band mines the music of the French Antilles, Haiti and other Creole music sources globally. On this, the fourth album, the eponymous “Creole Big Band” covers the Creole music of the Caribbean and the overseas department of Réunion, and adds new tunes that showcase the band’s wide repertoire. It also fascinates with a sound that can rival any big band in the land of jazz, yet is suffused with a kind of Caribbean fusion originality. Guest soloists include Jacques Schwarz-Bart, Franck Nicolas, Orlando Valle, Alain Jean-Marie and Michel Alibo, and more. A new favourite for the seeker of Caribbean excellence.
“Global” – Godwin Louis (2019)
When wanderlust coincides with discovery, great things can happen. When it is your job to travel to perform, it should be your duty to discover all that you are in the context of the new vistas. Saxophone side-man to the stars, Haitian-American Godwin Louis, has travelled to over 100 countries, and focussed his discovery on the history of African and diaspora music in the world. His aptly titled debut album “Global,” a 2-CD package, features “compositions that emerged out of research that he performed in Africa and Latin America on the music exported out of Africa, to the rest of the world via the transatlantic slave trade.” Audacious in scope, adept in execution, Louis has compiled a record featuring jazz syncopation that juxtaposes with African rhythm and Latin American voices and Antillean grooves to make this a testament to the idea of the connectedness of a lot of modern music. By joining all the musical dots, Louis spiritually finds his way home.
“Ascension” – Jeremy Hector (2019)
Young, gifted Grenadian guitarist Jeremy Hector makes his album debut with the aid of countryman, and Canadian music award winner, Eddie Bullen at the production helm. What this means is that there is a flawless sheen to the smooth jazz tropes that ooze like treacle from the eleven tracks. That could be a bad thing in that there is a sameness of the song profile, but there is a silver lining in the sound of that guitar. The tone of his instrument is one that is remarkably listenable, and one that suggests that there could be more for the listener than sonic fantasies of island life and tropical vacations. Hector’s mature supple fretting technique that allows for a fluid playing and the obvious ease of engagement for the listener with these compositions — ten, self-composed — add to the idea that this debut was long overdue. A Caribbean rhythmic aesthetic shines through on the tracks, “St Paul” and “Islander”, to give this album a unique distinction.
“SOLEY” – Grégory Privat (2020)
Martiniquan pianist Grégory Privat continues his elegant exploration of creole jazz with this follow up to his recent album “Family Tree.” This new album of trio music with his collaborators Canadian Chris Jennings on double bass and fellow Martiniquan Tilo Bertholo on drums sparkles with a new energy as it utilises electronics and allow Privat the opportunity to sing. 15 tracks draw on the richness of creole jazz heritage in the French Antilles, and juxtaposes those aesthetic elements with sounds that can only exist in a synthetic medium, to enrich his and his band’s playing. Privat tells us that “SOLEY” is “a concept of Spirituality, Optimism, Light and Energy (coming to) You.” The album represents a continuation of the mastery of technique and dynamics on the piano, and a full understanding of the Créole perspective on Caribbean music. There is a sense of experimentation on this record, which is not jarring but pointing to the idea that this music can be his catharsis and spiritual haven. Jazz illuminated and elevated.
“Mi Mundo: Solo Piano” – Jany McPherson (2020)
The solo piano album is an artistic statement of both skill and patience. Melody, harmony and rhythm, the basic elements of music, are all brought to life by ten fingers, two hands. France-based Cuban pianist Janysett McPherson — a Guantanamera on the Côte d’Azur — has produced a sublime piece of work that unfolds with a sense of understanding her space as a transplant from the Caribbean to the European metropole. Sonic references to a kind of pastoral vision blend with percussive jaunts that locate the heat of island tempos within a world wider than this archipelago. A cover of Ennio Morricone’s “Cinema Paradiso” theme song has McPherson exploring dissonance but her right hand melodic lines gird the beautiful melody with a pathos that is reflected in the nostalgic theme of the movie. Caribbean musicians, Michel Camilo and Monty Alexander for example, in the past have used the solo piano as a platform for musical identity. “Mi Mundo,” my world, showcases an awe-inspiring globetrotting musician.
All reviews © 2019, 2020 Nigel A. Campbell. All Rights Reserved.