The most immediate distinction this music has with the rest of the Latin musical spectrum is its avoidance of typical verse-chorus-verse structure. Songs go through gradual thematic changes instead of measure-driven repeated sections.
The dance-party bounce that steadily works its way through the chants and yelps of Cumbia Siglo XX’s “Naga Pedale” is a prime example of this African imprint on the music. This track was doubtlessly played during the “creole therapy” dance parties that took place in the slums of Barranquilla and Cartagena, where locals would vent their anger through intensely expressive dance.
Another dance-floor burner is Abelardo Carbona’s “La Negra Kulende,” which features one of the most impressive rhythm sections that I have ever heard.
An extremely complex polyrhythm shuffles at light speed across a melody driven by a guitar plucked about as high as any string instrument will allow. The tune is instantly reminiscent of Beninese high-powered afrobeat, with the sharpness of the Fon language replaced by the smooth coos of Spanish.
The vocal performances on the album also lend much of their style to their African roots. Whereas most Western music emphasizes the tonality of a singer’s voice, the Champeta singer, like the afrobeat singer, is focused on the voice as a tool for percussive expression.
Some of the songs are sung with a straightforward chant, like the psych-tinged cumbia groove “Pim Pom” by Wganda Kenya, and others have subtle melodic structure, as can be heard during the stunning vocal performance on La Nelda Pina’s “El Sucusu.”
Either way, you won’t hear singers performing gymnastics with their vocal cords, which is not a bad thing given the heady melodic structure already presented by horns, woodwinds, guitars, and organs.
Hearing this music through a picó must be a transformative experience. The rapid-fire rhythms, sultry bass lines, bombastic brass sections, and slithering guitar work all being amplified to the point of no return would turn even the most catatonic of party-goers into uninhibited dance freaks.
But if you, like me, aren’t lucky enough to have a picó, listening to it loudly does just fine. The party will still be off the hook.
– Arthur Pascale
World in Stereo is a biweekly column that examines classic and modern world music while striving for a greater appreciation of other cultures.