Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Rough Guide to Desert Blues – More Diverse Than You Might Imagine

Consider this the Nuggets of duskcore. The new Rough Guide to Desert Blues anthology is a vivid illustration of how much variety there is in desert blues, and also includes some excellent tracks by artists outside the circle of usual suspects. No desert blues collection would be complete without Tinariwen or Ali Farka Toure, and this one’s got both. And like all the Rough Guides, it comes with a bonus cd, in this case a whole album of Etran Finatawa which is worth the price of admission all by itself. But the real drawing card here is the more obscure tracks. The most psychedelic is by Tamikrest, layering eerie, atmospheric electric guitar washes against percussive fingerpicking. The most rock-oriented one is by Mauritanian singer Malouma, with Rhodes piano and incisive, distorted electric guitar accents that really catch fire on the turnaround. El Profeta, by Jalihena Natu has a roughhewn, demo feel, his rousing vocals rising over aggressively squiggly hammer-on guitar work. A pretty standard one-chord jam by Tartit morphs unexpectedly into a joyous, circular dance; Western Sahara’s Mariem Hassan belts her song Tefla Madlouma with drama and passion over a repetitive flute-and-guitar riff.

Tinariwen is represented by Tenhert, a slinky, unusually energized proto-boogie with breathless Tamashek lyrics; by contrast, Ali Farka Toure’s Mali Dje is understated even by his standards, patiently staking out terrain with a series of terse, watery guitar motifs. Bassekou Kouyate & Ngoni Ba contribute a crescendoing Ali Farka Toure-style cut from his excellent new album I Speak Fula. And Tinariwen spinoff Terakaft gets a track that’s almost funk rock with richly cross-shaded guitars, one running through a wah pedal. There are also a couple of ringers here, a simple, repetitive instrumental by Niger’s ngurumi lute virtuoso Mamane Barka and a duskcore-tinged pop song by Amadou and Mariam with soaring, mariachiesque trumpet.

Likewise, the Etran Finatawa cd spans the range of duskcore: the spacious, skeletal opening track; a couple of hypnotic riff-driven numbers that crescendo surprisingly with bracing electric guitar solos; the majestic reverb-guitar anthem Iledeman; the spiky, circular Aliss and Anadjibo, and the playful Ronde with its tricky false endings. It’s out now on World Music Network.

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August 20, 2010 Posted by | blues music, Music, music, concert, review, Reviews, rock music, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: Meta and the Cornerstones and Vieux Farka Toure Live in NYC 4/27/10

Wednesday night at le Poisson Rouge, one of the best doublebills in New York so far this year featured a headliner straight from Africa and an opener one step removed. Roots reggae band Meta and the Cornerstones have a Senegalese-American frontman along with band members from Lebanon, Israel and Texas, to name a few places. Bouncing their way through a set as diverse as the musicians’ origins, they reaffirmed their status as one of New York’s most captivating live acts. With two guitars, rhythm section, percussion, backup singer and a terrific keyboardist playing through organ and piano settings instead of the cheesy synthesized brass that the Jamaicans have been using for so long now, they set the tone for the night by getting at least 80% of the crowd on their feet and dancing throughout their too-brief 40-minute set. Among the songs were a wistful Marleyesque reminiscence about a night spent on a rooftop; a rousing anthem with a big, dramatic overture of an introduction dedicated to peace in the Middle East; a bracing minor-key narrative about a weed dealer in the hood hiding out from the cops; a fiery, upbeat song about the dispossessed underclass featuring a brief diversion into dub; a Brazilian-inflected dance tune, and then one dedicated to Senegal. The keyboardist took a solo using a stark, reverberating oldschool Arp synth setting, from minor-key wariness to soaring, jazzy flights down the scale and earned a roaring ovation. A surprising number of people left after they were done – their loss, because in his New York debut, Malian desert blues scion Vieux Farka Toure put one of the most exhilarating displays of guitar virtuosity this city’s seen in recent months.

It was the last stop on Ali Farka Toure’s oldest son’s latest American tour – he opens the World Cup festivities with a performance in Johannesburg this summer – and as expected it was a party. Playing through an icy wash of chorus and reverb somewhere between Albert Collins and late-period Ike Turner, he ran a series of simple, catchy, blues based phrases at mind-boggling, 32nd-note speed. Watching this guy fire off one endless salvo after another brought to mind an old John Coltrane comment: a writer once asked why he played so many glissandos, to which Coltrane retorted, “Those aren’t glissandos – they’re arpeggios.” Most guitarists of the Steve Vai or Buckethead school play like a fireman who’s lost control of a high pressure hose, hanging on for dear life as it randomly knocks over everything in its path. Toure shreds – but soulfully. His first-class four-piece backing unit – drums, calabash and an acoustic rhythm guitarist often playing in tandem with the bassist – were tight, inspired and seemingly invigorated for one last show, following every cue in a split-second as Toure would introduce a new rhythm or motif, or pull back and give himself a breather, getting a clapalong or some call-and-response vocalese going with the crowd.

The secret to his success? Simplicity. While his famous father would stay in the same key for twenty minutes at a clip, this particular Toure fils likes two-chord vamps, funky minor-key riffs and what he calls reggae but is basically just raw, primitive, pounding rock (the percussion section had a blast with a couple of these). He started the first numbers out slowly, rubato, feeling his way into them (once with a stark Middle Eastern riff) until the band picked up and then the race was on. The quietest number pulsed and blasted along on a slinky 6/8 soul beat, crazed, percussive sharpshooter guitar juxtaposed with silence as Toure methodically chose his spots. The drums went three on four for an especially hypnotic effect during the loudest and most intense of the final numbers.

By the time they reached the encore, Toure seemed pretty much out of gas but reached back for three long, incendiary crescendos, various members of both bands dancing around the stage (one of the promoters as well, though she was shy), finally leaving the stage to the percussionists who kept a volcanic rumble going until it was clear that the rest of the band really wasn’t coming back.

April 29, 2010 Posted by | blues music, concert, Live Events, Music, music, concert, New York City, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment