Charles Mingus was a fountain of serviceable guidance If the jazz pithecanthropus erectus said it, so shall it be.
Look no further than any fable of Faubus. Not a single lie can be found within.
A fellow human being with ties to the state of Arizona, the author has long felt a certain sense of deference towards the bass player extraordinaire, despite lacking geographic proximity to the city Nogales; not to mention an inability to relate to with any hellview of Bellevue. Still, respect leads to admiration. Mingus Ah Um was, in fact, the first jazz album voluntarily listened to be the author.
More importantly, Mingus gave rise to the careers of Eric Dolphy and Dannie Richmond, among others. The man's imagination, too, was impeccable. While flooded with information, the digital age is full of voids and vacuums. But no loss is greater,with respect to musical enjoyment, than the now wayward art of liner notes. Both the words which grace innard of Black Saint and the Sinner Lady, as well as the source, are now well known. But it this lesser known thought which merits revisiting at the moment: "I'm going to keep on finding out the kind of man I am through my music [...] But the reason it's difficult is because I'm changing all the time."
One such example is the incorrigible bassline that begins "Haitian Fight Song." Originally released on the 1957 album The Clown with a sextet, the song was ultimately revisited and re-recorded. Six years later the composition resurfaces as something of a suite on Mingus Mingus Mingus Mingus. Now titled "II BS" the outfit is much larger and the track's power more dense. None other than the RZA ultimately facilitates the song into a released of his own, but such a remix is not of great concern at the moment. Instead, attention should be drawn towards the above quote; but only for a moment. If people change, why should any art remain the same. Music, as is the case in life, is a tapestry constantly changing patterns while remaining recognizably intact. For just such a reason is it important to learn from the best
All gazes, however, should now fixate on "Haitian" portion.
What can be heard below is a 45-minute mix of Haitian music compiled and curated by DJ Sixaf who is, coincidentally, not from the island of Hispaniola. Instead, the man is based out of Martinique; the common thread being French. A regular fixture - alongside DJ Payou and Rise Up! - on NRJ Antilles radio, it is the good DJ's SoundCloud page which merits being called a "gem." In addition to guest mixes from his radio show, Sixaf uploads the occasional old-school genre mix; although mostly zouk and kizomba.
But the present selection is different.
A gross gloss would read that gouyad is a distant cousin of zouk. Existing on a similar timeline with zouk-love, the songs have a similar R&B feel. The source for gouyad, however, lies elsewhere. Like a batida to a kuduro, it seems that gouyad serves a similar purpose for kompa music; the latter of which is itself a variation of méringue. The sounds are more electronic and instrumental. Rather feign any more knowledge, though, the author would rather share his initial impressions of a musical style previously unknown to him: what zouk might sound like were it to be played by a cumbia band. As with tarraxo, the tempo familiar rhythm on a has been slowed. A single, consistent element of syncopation is heard on the backbeat. Melodically, though, the sounds are delightfully reminiscent of Latin American creations past; especially this song by the Argentinian band Damas Gratis (or alternatively, the run on this Tego Calderon classic). None of which is meant to short-sell what the smooth bass stylings.
Certainly a worthwhile listen and download. Like good people, good music, it seems, finds a way to change for the better.
- J.N.
A Noggle Brain Trust, LLP. website
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