This week, the Skirball continues its nineteenth season of Sunset Concerts with Mali’s Bassekou Kouyaté and Ngoni Ba, who will perform songs from their celebrated new album, Ba Power. I thought I would take this chance to break down Kouyaté’s musical lineage and show why this Thursday night the Skirball will be the best place to experience the future of Malian music.
Bassekou Kouyaté and Ngoni Ba: (left to right) Moustapha Kouyaté, Bassekou Kouyaté, Amy Sacko, and Madu Kouyaté.
Since exploding onto the scene in 2007, Bassekou Kouyaté has established himself as a leading world musician, appearing at major music festivals such as Glastonbury and WOMAD in support of three critically acclaimed albums. He has played and collaborated with such esteemed musicians as Taj Mahal, Paul McCartney, and Damon Albarn. To those who have seen him perform live, Kouyaté’s extraordinary rise may come as no surprise, but his career trajectory appears more unexpected on paper.
From the wild energy of their Afro-Colombian rhythms to the exuberant sound of their horn riffs, the West Coast debut of La Chiva Gantiva will be a stellar kick-off to the Skirball’s nineteenth season of Sunset Concerts this Thursday, July 23.
The Brussels-based ensemble emerged from three Colombian students who wanted to incorporate more of their roots into their favorite contemporary genres, like rock and Afrobeat. To make this Belgian-Colombian fusion even more enticing, they recruited additional Belgian members along with musicians from both France and Vietnam. Thus began their journey into a multiethnic, multilingual, and multi-genre music movement.
I have a special affinity towards this group as they evoke in me a certain nostalgia for my study abroad experience, specifically my time in French bars with Colombian housemates. All of La Chiva Gantiva’s funky songs will get your head banging, but the song “Pelao” (which translates to “kid”) and its music video were what hooked me. The video juxtaposes aggressive French and Spanish verses with a paper-constructed scene of Brussels. With the French I am able to decipher, it seems the song is a dialogue on Colombian identity, displacement, and the deconstruction of stereotypes. This was an all-too-familiar conversation for my Colombian housemate, as he often felt excluded abroad and would always have to fend off the stereotype of Colombians as cocaine traffickers. But like La Chiva Gantiva, he overcame adversity by tackling it head-on through restless song and dance.
Among the commotion of the piñata smashing and flamingo hats, I was able to spot the Vietnamese saxophonist Tuan Ho Duc, who sports a Vietnamese flag shirt that is also found on their Pelao album cover. Being of Vietnamese descent, I never feel like my culture is represented in the larger music scene, so witnessing Duc’s full-blown pride makes me appreciate the band even more.
With the rising popularity of Pelao, La Chiva Gantiva was able to tour throughout Europe and even hopped the pond to the US for a South by Southwest appearance. They have since released a second album, Vivo, which is spearheading festivals from Canada all the way to Benin. The Skirball is proud to present La Chiva Gantiva at Sunset Concerts this coming Thursday, their single West Coast stop this summer.
Arthur Pham is the 2015 LA County Arts Commission Intern for the Program Department. As an undergraduate at UCLA, he studied geography and was a producer for JazzReggae Festival, so he particularly enjoys seeing the impact of music and art in different cultures. In his free time, he can be found photographing portraits or thrifting a new outfit.
Sunset Concerts at the Skirball. Photo by Lindsey Best.
Over six Thursday evenings every summer, we welcome thousands of visitors to our Sunset Concerts. Global and local artists take the stage to uplift the audience with their music and unite us in song and dance.
This summer, I am particularly looking forward to experiencing the Yuval Ron Ensemble, who will perform a special program entitled “My Heart Is in the East: Mystical Music and Dance of the Hebrew Tribes.” Named after the Israeli-born musician, composer, and educator, the Yuval Ron Ensemble innovates upon traditional pan–Middle Eastern music, including Armenian, Levantine, Arabic, Bedouin, Sephardic, and Roma styles.
Lately I have had the pleasure of listening to the band’s exquisite repertoire. To me, it conveys a hopeful calm. Theirs is the music that plays in my head when I recall driving through the desert hills between Jerusalem and the Dead Sea—both as a child before immigrating to America and as an adult visiting my native land. I am moved by this soundtrack to my cherished memories of Israel. Continue reading →
One of the best parts of my job is that I have the privilege of working closely with the musicians we present. When preparing for our concerts, I like to listen to each band and familiarize myself with the history of the music they play as a way of getting to know them before I work with them in person. This Thursday night at Sunset Concerts, I’m thrilled to meet with and see a performance by Jeffery Broussard & The Creole Cowboys, Louisiana’s Creole zydeco innovators. But before I get into Broussard’s indelible contributions to the Creole and zydeco traditions, let’s take a peek at the history of zydeco music and dance.
A Very Brief History of Zydeco
Zydeco music has its roots in the Creole tradition of rural Louisiana. After World War II, Creole musicians began incorporating elements of blues, jazz, and rock ‘n’ roll that they heard on the radio and jukeboxes into Creole party music, which is referred to by some as “la-la.” Since that time, zydeco has continuously evolved and incorporated influences from myriad musical genres. Yet it maintains its character through instrumentation centered on the accordion and rubboard, the latter of which drives zydeco’s strong syncopated rhythms.
Zydeco’s specific rhythm lends itself to a traditional type of dance, also called zydeco. Reader, now is the time to put on those cowboy boots! Done in either a “closed position” (meaning you and your partner stay connected) or “club style” (done with an “open style” variety of lead-and-follow improvised variations), the music is counted in eights: slow/quick/quick, slow/quick/quick, with accompanying footwork: step pause/step/step. No matter which style of zydeco you prefer, it’s all about having a good time. And what better place to practice your newly honed zydeco skills than at this week’s concert? We’re even laying down a dance floor!
Check out this informative, easy-to-follow zydeco instructional video.
Jeffery Broussard, Innovator and Preserver of the Zydeco Tradition
Jeffery Broussard & The Creole Cowboys are one of very few bands who still play traditional Creole music and also seamlessly incorporate contemporary zydeco into their repertoire. Born into a zydeco legacy, Broussard is the youngest son (and one of ten other siblings… I can only imagine what the line for the bathroom was like in the Broussard household) of the renowned zydeco vocalist and accordionist Delton Broussard. At the tender age of eight, Jeffery began playing drums in his father’s band, the Lawtell Playboys.
Yiddish Tango Club bandleader Gustavo Bulgach communes with his clarinet.
The Tango Club is dimly lit, nostalgic, romantic, surreal, magical, erotic, chaotic, unpredictable. A refuge for the soul, a place for the timeless, a melting pot of dreams and reality. . .
Thus begins the description of the Yiddish Tango Club on their Facebook page. Performing at Sunset Concerts this Thursday night, they are a band that seeks to ensnare listeners’ senses with a blend of Jewish soul music and the Argentinian tango of bandleader Gustavo Bulgach’s home country. From what I have listened to online in anticipation of their concert, I believe they will follow through on that promise. The Yiddish Tango Club is a beautiful musical ideal in an age of globalization—an international group of leading artists that is constantly in flux. Bulgach has performed all over the world with varying band members, essentially creating a new tango club at each performance. The approach is so ingrained in their performances that the group has included it in its mission, which promises that at “every show the audience and musicians will co-construct and manifest a unique Tango Club.” Continue reading →
It’s been a busy summer at the Skirball’s Sunset Concerts! As the Program department’s summer intern this year, it’s been a great experience to learn what it takes to put on one of these concerts each week. Now that I have four of them under my belt, I thought I’d share a little bit of what takes place in the hours before show time. Here’s a glimpse at what took place on August 7 as we prepared to present The Haden Triplets.
1:25 p.m.: I arrive at the Skirball later on concert days since we will be working late into the night. It is a sunny day with a light breeze and I chat with security staff about the perfect weather for tonight. We might even need to put sweaters on later!
1:30 p.m.: I have eight e-mails and a voicemail waiting for me. All except one are regarding last-minute updates to press parking or artist accommodations. I make all the necessary changes to our databases.
Flaco Jiménez and Max Baca & Los Texmaniacs play the Sunset Concerts stage this Thursday evening, August 14, at 8:00 p.m. KPFK DJ Betto Arcos spins starting at 7:00 p.m.
Mexican conjunto music is that rare hybrid that perfectly embodies the spirit of the Skirball’s Sunset Concerts—enduring musical traditions and cross-cultural exchange, with one foot in the past but an eye fixed toward the future. For legendaryaccordionist Flaco Jiménez and bajo sexto player Max Baca—who take the Sunset Concerts stage together this Thursday night—that music is in their blood.
Born in San Antonio, Texas, Jiménez hails from a long line of conjunto musicians. His grandfather, Patricio Jiménez, played in dance halls with German and Polish immigrants who brought the polka and the button accordion to South Texas, and his father,Santiago Jiménez Sr., was instrumental in popularizing conjunto in the 1930s. While Flaco followed in his family’s footsteps, he also helped make conjunto relevant to new audiences in his own way—in addition to playing standards, he also played accordion with contemporary musicians like The Rolling Stones, Ry Cooder, and Bob Dylan.
Flaco Jiménez performing a rendition of “La Bamba” with Ry Cooder
Max Baca was only seven years old when he met Flaco Jiménez, but by then he had already taken up the accordion and was performing with his own father, who was also an accordionist. It was Jiménez who inspired Baca to switch instruments and become the renowned bajo sexto player that he is today. Continue reading →
The Haden Triplets will take the Sunset Concerts stage this Thursday night, August 7, at 8:00 p.m. Come early and hear DJ Robert Mora do a set starting at 7:00 p.m.. Photo by Jo McCaughey.
I was really excited when I first heard that The Haden Triplets were going to perform at this year’s Sunset Concerts. These three talented women—Tanya Haden, Rachel Haden, and Petra Haden—have a tremendous artistic range and have done so many unique, eclectic, high-quality projects, on their own and collectively. From collaborations with Beck, Weezer, the Silversun Pickups, and Bette Midler, to touring with Todd Rundgren, to creating an a capella version of The Who’s classic album The Who Sells Out, to their latest project performing their own gorgeous interpretations of classic American country and folk songs—there is nothing these sisters can’t do!
Check out the Haden Triplets performing a recent NPR Tiny Desk concert. Careful! You may end up playing this on repeat, as I have been doing.
I particularly appreciate that they choose to make music as a family and that they are carrying on their family’s rich tradition of music. The Haden Triplets, along with their brother, Josh, of the band Spain, are following in the footsteps of their father, the late legendary jazz bassist Charlie Haden, as well as those of their grandparents who performed as The Haden Family when Charlie was a child. Together they are not only preserving an important musical history but also making this music accessible to a new generation. Continue reading →
I visited Cuba in December 2011 to attend a major international jazz festival. It was a great chance to view the Havana beaches and cityscape, including the Hotel Nacional de Cuba (pictured above right). Photos by Jordan Peimer.
When I think of Cuban music, I think of the Hotel Nacional de Cuba. Its grand ballroom has hosted all the greats—from Conjunto Chappottín y Sus Estrellas, founded by renowned bandleader Arsenio Rodriguez (1911–1970), to, more recently, members of the Buena Vista Social Club. In the 1940s and 1950s, the hotel was the center of Havana’s rhythmic culture, a place of glamour where residents and vacationers alike could rub elbows with celebrities, gangsters, and politicians and dance the son. [Incidentally, a large influx of American Jews traveled to Cuba specifically to explore the Latin sounds that had provided the soundtrack to the Borscht Belt’s nightly dance parties. There, in the Catskill Mountains, Latin music had been entertaining Jewish audiences for decades.]
You’ll definitely get on your feet and dance when you hear Conjunto Chappottín y Sus Estrellas this week at Sunset Concerts. Here’s a clip of the band performing at Lincoln Center in New York this year.
Noura Mint Seymali comes from Mauritanian music royalty. Her father was the first person to apply written notation to folk music in Mauritania. Her stepmother is Dimi Mint Abba, one of the few Mauritanian singers to achieve a degree of fame outside her home country. And Noura herself is a master of the ardine, a harp-like instrument containing about fifteen strings and built from a calabash base and two cylindrical wooden rods. But these impressive facts do nothing to prepare you for Noura’s voice—an instrument of such power, control, and resonance that it seems to fundamentally rearrange the DNA of the listener. Like Umm Kulthum (Egypt), Sussan Deyhim (Iran), and Fairuz (Lebanon) before her, Noura takes the root sounds of her homeland and transforms them into something new and ecstatic.
Umm Kulthum performing “Baeed Anak” in Paris, November 1967.
I first met Noura in Timbuktu, Mali, in January 2012. Like me (and thousands of others), she had come to Timbuktu for the twelfth edition of Mali’s famed Festival au Désert. Unfortunately, geopolitical events had recently forced the festival’s organizers to abandon their longstanding location in the rural commune of Essakane. As a result, the festival instead took place within walking distance of Timbuktu’s city limits. One evening, as the festival was winding down, I received word of a house concert being held by my hosts in Timbuktu in their private compound just across from my quarters. Noura was scheduled to perform with her band at the festival the following day, but that evening we were treated to an intimate command performance that ran late into the night. Continue reading →