Evadne
Festival International Nuits D'Afrique - Le Site Web des Fans/ The Fans site
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This 17th edition of Montreal's
10 day musical extravaganza, Nuits d'Afrique, has already begun with dazzling pre-festival
concerts. On Wednesday, July 16 at 9:00pm, Kola Note was the venue for the second pre-
opening concert. The acoustics and intimate ambience of this club was a perfect setting
for Eval Manigat (Haiti) and his group of virtuoso
musicians and singers. In the first half of the evening, Montreal's mellow and joyful, Vivian Deane held us enraptured with her lusty renditions of
Haitian and Latin American favourites. In the second half, the dancing began in earnest,
with the hottest rhythms of the South. If you love to dance, and if you get a thrill when
you hear a perfect melding of saxaphone and percussion, the urgent insistence of keyboard
and drums that summon you, this is a group that you can't afford to miss when next they're
in the city. Evadne |
LES ARTISTES/ THE ARTISTS
| Alpha Yaya Diallo | Famille Zon |
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Sarah-Corinne Emmanuel |
LES CONCERTS/ CONCERT COVERAGE
Manu Dibango 08/7/03, Spectrum
Manu Dibango,entoure des musiciens et chanteurs camerounais du groupe Macase,est l'un de ces musiciens,et ils sont rares,dont on peut dire qu'aucun genre musical ne leur soit etranger.Ce n'est pas la signe d'eclectisme ou simple desir de plaire,mais plutot la manifestation d'un grand talent soutenue par une grande sensibilite. Roi de toutes les musiques,maitre,demiurge,aucun style ne semble lui echapper pour s'exprimer;et pour cause.A l'instar du continent africain qui depuis plusieurs generations a vecu et assimile,de gre ou de force,l'influence de differentes cultures,Manu Dibango a su selon sa propre sensibilite traduire ces influences sans perdre de vue sa tradition. Des ballades aux rythmes plus typiquement africains,du jazz aux influences des Caraibes, Manu Dibango et Macase nous ont convies a une musique profonde,venant du coeur et a l'image de la complexite de l'Afrique contemporaine.
Frederic Aubert
White Cockatoo 09/7/03, Kola Note
Heritiers d'une tradition millenaire,la troupe "The White Cockatoo" nous plonge dans l'atmosphere des histoires et des mythes ancestraux du peuple Aborigene d'Australie;preserves dans toute leur candeur et simplicite. S'accompagnant d'un long instrument a vent fait a partir d'un tronc d'arbre naturellement evide et dont la sonorite houleuse evoque les pulsations de la vie,ils scandent chants et danses au rythme de leurs aventures.En les ecoutant et en les regardant,nous nous sentons bien en presence de quelque chose de tres pure,venant du fond des temps et qui pourtant ne nous semble pas si eloigne ni tout a fait etranger.
La Famille Zon 09/7/03, Kola Note
Originaire du Burkina Faso,Seydou Zon entoure de ses sept enfants nous fait vivre a travers la diversite des instruments traditionnels de l'Afrique de l'ouest la grande tradition des Griots. Chanteurs,conteurs,historiens,voyants,les griots occupent, aujoud'hui encore, une place centrale dans la vie des villages africains;ils president aux grands evenements de la vie et sont les depositaires de la tradition orale. Le talent de la famille Zon en est un inestimable temoignage.
Frederic Aubert
Petrona Martinez 10/7/03 Spectrum
Nous venant des confins de la Colombie, Petrona Martinez et sa troupe de musiciens nous ont fait decouvrir un genre musical,le bellerengue,issue d'une longue tradition apparue au sein des communautes afro-colombiennes du temps de l'esclavage.
Accompagnee d'une musique aux accents percussifs des rythmes africains et de la flute indienne,Petrona Martinez,d'une voix
vibrante et pleine de charme,nous conte sa propre histoire et celle de son pays.
Sierra Maestra 10/7/03 Spectrum
Legende de la musique afro-cubaine,le groupe Sierra Maestra nous a convie a une soiree haute en couleurs et en rythmes.Source
d'inspiration de la Salsa,leur musique s'inspire neanmoins de styles plus anciens de la musique cubaine.Africaine par les percussions,latine avec les cuivres et la guitare, leur musique est une celebration de la vie et une invitation a danser.Frederic Aubert
Natacha Atlas, Electro Bamako, Duoud, So Kalmery 11/7/03 Spectrum.
Le festival des Nuits d'Afrique nous a presente un concert des plus varie avec ces artistes aux styles et aux tendances si
divers. Un point commun les unit toutefois,et c'est semble-t-il,la rencontre et l'interaction de cultures souvent si differentes les unes des autres,mais que les circonstances ont fait se cotoyer et s'influencer. Qu'il s'agisse de la formation Duoud,dont la musique nous
offre un mariage des plus etonnant entre les traditions musicales arabes d'Afrique du nord et les dernieres innovations en matiere de musique electronique occidentale,ou de la chanteuse d'origine Egyptienne Natacha Atlas avec une musique embrassant
une variete de styles populaires,chacun de ces artistes reflete, a sa maniere, une certaine realite tout en frayant de nouvelles voies a leur expression artistique.
Electro Bamako: Heritiere de la tradition des grandes chanteuses maliennes,Mamani Keita,dont la voix n'est pas sans rappeler celle d'Oumou Sangare,s'accompagne des rythmes plus typiquement occidentaux de la musique techno et electronique.Quant a So Kalmery,par la variete et l'etendu de son repertoire, puisant aux sources de differentes musiques africaines et occidentales,cree une atmosphere poetique ou les genres s'unissent et ou les distances semblent s'effacer.Frederic Aubert
Selaelo Selota 12/7/03, Spectrum
Le Festival des Nuits d'Afrique ne cesse de nous etonner par le talent et l'originalite que nous rencontrons aujourd'hui parmi les jeunes artistes d'origine africaine. Selaelo Selota,originaire d'Afrique du Sud,est l'une de ces decouvertes.Entoure de musiciens
remarquables,ce guitariste et chanteur qui a fait ses debuts a l'ecole du jazz,cree une musique riche en emotions et puissante,ou se mele les rythmes des danses tribales a la voix melodieuse des chants traditionnels d'Afrique du sud.On ne peut que se
laisser emporter par la magie de ses compositions.
Lokua Kanza 12/7/03, Spectrum
L'une des voix les plus melodieuses nous venant de l'Afrique.Lokua Kanza est l'un des representants de la nouvelle musique africaine ou la fraicheur de la musique traditionnelle se marie harmonieusement a des rythmes plus modernes. Bien que reconnu depuis plusieurs annees deja,son plus recent enregistrement,Toyebi Te,marque un retour aux sources.Comme il le dit lui-meme,cette nouvelle direction lui permet de revisiter sa culture avec des ouvertures nouvelles. S'accompagnant d'une musique reminisante de la rumba Zairoise,Lokua Kanza nous fait penetrer le monde intime et chaleureux de la chanson africaine.C'est un veritable bonheur de partager son univers poetique.
Frederic Aubert
Sarah-Corinne Emmanuel 14/7/03 Club Balattou
C'est un spectacle des plus emouvant que nous a donne Sarah-Corinne Emmanuel. Sur des musiques traditionnelles Antillaises,comme la biguine,le mazouk ou la valse,par des textes et des chansons alternant le creole et le francais,c'est toute la profondeur de l'ame antillaise qu'elle nous revele.Plus pecisement,c'est toute l'histoire d'un pays et d'un peuple vue et vecue a
travers l'experience d'une femme.Des temps,pas si eloignes,de l'esclavage a son abolition en 1837,des revoltes a l'emancipation des noirs et aux droits durements acquis,Sarah-Corinne Emmanuel nous convie a une toute autre vision de l'histoire et a ses effets
sur les destinees individuelles. Par dela les frontieres,par dela les races et les nationalites,c'est a toute l'humanite qu'elle adresse son message d'emancipation et de liberte.Une liberte toujours mencee par de nouveaux esclavages,jamais acquise,toujours a defende... Les chants de Sarah-Corinne Emmanuel en sont un emouvant temoignage.Frederic Aubert
Alpha Yaya Diallo 15/7/03 Club Balattou
Chanteur,guitariste,Alpha Yaya Diallo transpose les rythmes traditionnels des differents peuples de la Guinee (Malinke, Sousou,Foulah) en des compositions personnelles, en leur donnant parfois une saveur moderne.Mais la tradition n'est jamais bien loin,ne serait-ce que par le timbre distinctif des instruments qui accompagnent ses melodies(balafon,percussions).
Metissage des cultures et des styles musicaux,Alpha Yaya Diallo,au gre de ses melodies,vous transporte aux temps anciens de la musique africaine ou vous invite a danser aux rythmes plus modernes inspires du Soukouss.Frederic Aubert
Alpha Yaya Diallo & Fode Kouyate 14/7/02, Kola Note
Day 4: Guinea comes to Montreal via Alpha Yaya Diallo and Fode Kouyate at KOLA NOTE--Standing room only. This was a dance party African style.Alpha Yaya Diallo is a powerful singer and a virtuoso guitarist and drummer. Versatility was the keynote of this concert. We heard songs in the mandingo tradition, reminiscent of Salif Keita, strains of Spanish classical guitar and drumming and dancing to fire up the audience. From time to time, the one female singer/dancer took her turn at the dum dums while the drummer danced. Diallo's song, "Freedom for the Women of Africa," a plea for greater voice for African women, the end of female domination, and dignity for all women, brought a swarm of African women onto the dance floor. Towards the end of the session, a fiery drum battle, with dum dums, jembe and saba drums, helped bring this set to a magnificent conclusion. When Fode Kouyate came on stage for his session, shrieking women from Guinea and Mali poured onto the dance floor, dressed in vibrant turbans and gowns of peach, yellow, purple, blue and red. There was definitely a "back home" feeling as this modern Guinean griot sang, and adoring fans sang back in response. The dance floor was packed with music lovers from Africa and Montreal. It felt as though we were transported to a musical marathon in Conakry--thanks to Nuits d'Afrique.
Evadne
Kofo The Wonderman 17/7/03 Club Balattou
Issu d'une longue tradition familiale de musiciens et de chanteurs,Kofo The Wonderman puise aux differents styles,recents et plus anciens,de la musique nigeriane. Melant des styles aussi divers que l'Afro-funk,le juju,le highlife ou le jazz aux rythmes plus
traditionnels des percussions et des chants,il cree avec sa formation une musique inspiree,presque incantatoire et tres rythmique,qui a cette faculte de vous toucher au plus profond de votre etre.Frederic Aubert
Cheikha Rimitti 11/7/02, Spectrum
Day 1: Massive Opening Night Concert: "Vive la World" I arrived at the Spectrum without a clear sense of what rai music really is, and I was unfamiliar with Cheikha Rimitti, 80 years old, and billed as "the ONE: the Queen Mother of pure rai." I left the concert with rai pulsing in every vein. Rai, which presents earthy love songs,is said to have originated in Oranie in western Algeria. In the 60's and 70's it was deemed unacceptable by the establishment, but with greater freedom of expresion in the 80's, younger Algerians have been able to dicover this music. "Syncope" the opening act, did a masterful job of warming up the audience. Everybody was dancing to selections of chaabi, ch'oui and rai. A superb belly dancing interlude helped build the tension. Then Cheikha Rimitti appeared, and for two hours non-stop, this generous world treasure enchanted the crowd with her warm, powerful voice, her grace and generosity, and her frolicsome nature. There was a sensuous agelessness about her, even with a matronly girth. She skipped and jumped like a little girl, and swivelled her hips--eternally woman. The singing and dancing were contagious. There was a family feeling in the audience of 1500. This spectacular concert was further proof that music knows no boundaries--of age, race, language or gender. Dancing is not reserved for the yung and svelte. When the world sings and dances, life is at its best.
Evadne
For this concert it’s was very funny, for the simple raison that we saw a grand mother (79 years old), who began singing in 1939. This woman is a distiny like when we read a book. She is the famous singer in Rai Trab; she inspired the king of the Rai Cheb Khaled and the prince Cheb Mami. I had a big pleasure for being in Remiti’s concert, I hope that we will see her or the CHEBs next time in every kind of festival.Salim
Femi Kuti and the Positive Force 12/7/02, Spectrum
Day 2: What a party! The opening act, H'Sao (Chad) is a group of six young musicians with a lot of talent, displaying the energy and verve of the very young (no one seems older than 25 years of age). They're a tightly knit group, and the one female--singer and dancer extraordinaire--has the energy and freshness of a young Angelique Kidjo.We fastened our seat belts, and Femi Kuti and his band took to the stage. Polished and totally accomplished, they put on a mega show, and the audience couldn't get enough. Femi was in great form. He charmed us in French, though at times had to remind himself that he was in Montreal, not Toronto (the reality of the touring musician!) Some selections from his upcoming CD such as "Stop Aids" were politically charged. He sang and spoke passionately about his vision for change in Africa--for the end of political corruption and of the African Brain drain. At one point, there was a lively exchange with a fellow countryman who wanted more music and less sermonizing. But politics is life; music is life (Femi sees no disparity in blending the two); and so is sensuality. And the blatantly sexual "Bang, Bang, Bang" heated up the room 200 degrees.Femi Kuti is a consummate showman--singer, dancer and master saxman who seems capable of sustaining sound endlessly. The four female dancers were show stoppers, and it was special to see Femi's son (who seems no more than 8 years old) playing drums in the back, apprenticing with his famous father, as Femi must have done with the legendary Fela Kuti. This was Afrobeat at its most accomplished. Despite moments when the sound was a tad too loud, this concert delivered.
Evadne
Joe Trouillot, Harold Faustin 13/7/02, Spectrum
[back to top/ haut de page]]Day 3: This evening, labeled, Bouquet of Talent, featured some staple performers, familiar to and loved by the Montreal Haitian community. The show began at 21h00 and by the time we left at 23h00, only two of the promised quadrifloral bouquet had appeared on stage. We surely missed the hot, dancing part of the evening with artists, Yanick Dutelly and Pierre-Michel Menard. Nevertheless, the two hours at the Spectrum were well spent, basking in the warmth and responsiveness of members of the local Haitian community who had come out in moderate numbers to see, enjoy, and support their artists. Both Trouillot and Faustin spoke Creole in a relaxed, conversational manner to the audience, and the crowd interacted spontaneously with the artists. Faustin even wandered onto the floor and toured the entire hall while artfully playing his guitar. The night began with the spunky woman m.c. reading the poem "Yo soy un hombre sincero" (popularly known as Guantanamera) by revolutionary Cuban icon, Jose Marti. The non-Creole-speakers present were not sure about the significance of this, except to guess that a general progressive, anti-Duvallierist tone was meant to be set for the night… Then Joe Trouillot, entertainer-extraordinaire but well past his prime, sauntered on to the stage, charming us with his suave, yet rusty crooning. With great stage presence but tired vocal chords, he delivered smooth and creamy renditions of "Le ciel bleu d’Haiti", "Mademoiselle", "Nathalie", "Les Feuilles Mortes" and an Italian take-off, whose only words I could catch were, "Oro basso per campo, mille anche mille potere" (those who know his tunes will surely know which one I’m referring to). A steady rumba beat coursed through several of his songs. The highlight of the evening for me was Harold Faustin and the fantastic young musicians who played with him. These same, extraordinarily talented instrumentalists backed up Trouillot, and he thanked them profusely for propping him up musically. Faustin, however, needed no propping up. For over a decade he has consistently served up a rich, sophisticated aural treat to the listener and he did it again this evening. What a joy it was to revel in some superb & energetic jazz performed to top international standards. These dudes: Andre on percussion, Diaz on keyboards, Pele on guitar, Al Kabir on drums and Joseph on sax (these last two, graduates of Berkeley School of Music), were absolutely amazing. The sinewy sax player blew us away with his licks as he extemporized with Faustin on a playful, Caribbean adaptation of a Mozart piece. Faustin told us how, after learning to play this piece as fast as he could at his guitar lesson, he still felt something was missing; so he added some rhythm to it. He demonstrated the transformation from "European" to "Island" and the change, the audience agreed, was most welcome! During the Faustin feast we slurped some beautiful originals like Mize ( Creole for misere) , the opening tune, performed indelibly by the super-sensitive sextet. The jarring part of the concert was Marie Valee’s contribution. Her full, round voice expressed female angst, but her compositions lacked the melody that one finds in, for example, Alanis Morissette tunes. Faustin performed with Valee in Mont Tremblant and they are now working on an album together. Hats off to Faustin for encouraging young artists by arranging their music and lending his and his band’s professionalism to steady their first steps on stage. But if the truth be told, the evening was made enjoyable due solely to the strengths of Faustin’s superb six-member band and their highly-charged and beautifully-honed musicianship.
Soprano
Rokia Traore; Super Rail Band 15/7/02, Spectrum
Day 5: Mali at the Spectrum: Rokia Traore's concert was a well crafted affair. Traore was supremely in control of the night's performance from beginning to end--starting with a simple guitar, she presented a few ballads, showcasing her pure, lyrical voice to perfection. Comparisons to Tracey Chapman are not exaggerated. Then the other musicians entered, and the orchestra of balafon, kora and ngoni presented a concert that built in intensity.This mellow interplay of traditional instruments, accompanied by Rokia Traore's superb voice, was at times truly otherworldly. The overall tone of the concert was one of sheer joyfulness. As Traore's distinctive undulating dance moves progressed from demure to pure, unbridled energy, the Spectrum rocked in response. Super Rail Band--an all male ensemble, was a different sound altogether--insistent, driving, electronically charged up--and loud. Unfortuately, I couldn't stay until the end of the concert, so I can't, with all honesty, assess the group's musical offering...but I can say, that the audience was dancing nonstop while I was there.
Evadne
Lorraine Klassen 16/7/02, Spectrum
Day 6:Opening Act (South Africa): Here comes another magnificent female performer, a much younger one than the 80-year-old Cheika Rimitti of Algeria, who enthralled audiences earlier in the week, at the Spectrum. The opening act by Lorraine Klassen (followed by Thomas Mapfumo of Zimbabwe) was a veritable musical treat and extravaganza! She kept her audience captivated with her majestic voice, rhythmic riot and enchanting stage presence. Actively interacting with her audience, she beautifully rendered all her songs in the native languages of South Africa i.e. Zulu and Xhosa. A memorable and thoroughly enjoyable evening! You will go places, lady!
Madhu Iyer
Thomas Mapfumo 16/7/02 , Spectrum
Day 6: The "Lion Of Zimbabwe" roared at the Spectrum, but it was not a deafening roar. Thomas Mapfumo was in great form. The solid core of impatient fans was ecstatic. In an unassuming way, Mapfumo wandered onto the stage, checking on something in the back while his musicians were streaming in. No one who didn't know him would have imagined that this was Mapfumo, the global
sensation. He was just "present", and that unassuming and intimate manner set the tone for the evening's performance. He sang exclusively in Shona with the intensity of a prophet--songs of political protest: a tribute to the people who died in vain during the war of liberation; a call for the resignation of those in power so that others more able can take their place. But also, there was his love song to Ronica, the "love of his life." Mapfumo, often singing crouched at the edge of the stage,his face close to his fans, seemed to be metaphorically singing to the earth, making a fervent pledge of dedication to change in Zimbabwe. Long instrumental passages drew us inextricably into the pieces. Traditional Shona melodies accompanied by guitar, congo and snare drums and the tinkling resonance of the mbira, created a musical ensemble which swept us away.
Evadne
Andre Marie Tala 17/7/02, Ballatou
Day 7: Cameroon:Jampacked Ballatou was the venue for the Andre Marie Tala concert. This blind virtuoso guitarist, musical icon in Cameroon and other West African countries, delivered a well-paced concert that captivated the audience. His selections were varied: blues, reggae, funk and upbeat traditional Cameroonian melodies. Generally, Tala sang in his local Banjoun dialect, but many songs were in French and a few in English; however, there were no barriers to communication. Our feet understood the language of his rhythms. What a dazzling performance. His guitar talked and sang following his bidding. At times, Tala played with his guitar above his head. There was one spectacular moment when he declared, "Je vais manger le guitar," and that's exactly what he did--playing with his mouth (shades of Roshan Roland Kirk!).The adoring fans could not get enough. One man ritually shined Tala's shoes for a few seconds (for sure that handkerchief becomes a keepsake); a woman held onto his legs as he played--token acts of veneration from music lovers who were overwhelmed by the Andre Marie Tala magic. This was another high energy evening of dancing which ended with a fully endorsed request for Andre Marie Tala to return to Nuits d'Afriques in 2003--at a larger venue. YES!!!
Evadne
D'Gary 18/7/02, Ballatou
Day 8: Madagascar:This soul-satisfying concert--D'Gary at the intimate Ballatou club, was abundant proof that "less is more." There was D'Gary on his guitar (sometimes acoustic, sometimes electric); a female singer/dancer whose sensational swivelling hips brought the house down; a percussion player, master of the karatbake--the metal and wood shaker that accompanies traditional Malagasy music. That was it! No thundering high decibel electronic extras. The gentle, unassuming D'Gary is a deft guitarist. His nimble fingers produced some breathtaking sounds. In his quiet voice, he introduced pieces in French,presenting the folk rhythms of Southern Madagascar. The polyrythmic, polyphonic harmonics were brilliantly interwoven--sometimes meditative in nature, often lively, making us respond with hands and hips and feet. A beautiful evening. World-class entertainment!
Evadne
Miriam Makeba, 13/7/00, Spectrum
She is still a great entertainer but her eyes and body did more performing than her vocal chords. She was only able to sing on the lower half of her register and falsettoed on the top half. Her musicians were of medium talent. The guitarist from Madagascar stood out and was the only one allowed to perform a full solo. The trio of back-up singers (one of whom was Makeba's grand-daughter) saved the vocal part of the concert and picked up where Makeba left off. This type of concert set-up where a younger same-sex family member fills in or backs up the more famous older one, is common in many parts of the world, and so perhaps we shouldn't be too disappointed at not hearing 68-year-old Makeba in her full glory. The crowd lapped up what Makeba stood for: the anti-apartheid movement and first female voice to make it Out of South Africa. But to a new generation, her songs did not deliver a new political message. You would have had to know where she came from to appreciate the warm welcome she received. Her grand-daughter's voice cracked while singing an a capella solo about growing up in tenement housing. It was a song about the strength of mothers, so there was many a teary eye in the audience. However, neither she nor the other pan-faced male singer and composer showed much enthusiasm during the performance. A third singer, sandwiched between the other two, was the only one with some vocal talent and a pleasant face. All in all, it was the enthusiasm of the spectators which made this concert memorable rather than anything musical that happened on stage. It would have been better to hear the Women of the World album sung by the Mahotella Queens to get a sample of South African pop music and social commentary.
Soprano