Skip to main content

Al compás del mundo - programa #112 Guest DJ – Ras Haas, A Journey Through Genres


And here we are with the second installment of Al compas del mundo’s guest DJ session. This week brings in Ras Haas (some relation) taking a stab at the age old musical question: Do I have good taste? Can the boy measure up? Right away it need be said that “Ras” is Rasta talk for “duke” or “prince”, so I guess he’s pulling rank. A proper listening to the playlist will allow you to cast judgment, though.  I’m leaning toward “yes”, now that I’ve heard the whole thing and discerned the logic that brought these pieces together. I ought to make him write up his own summary of the playlist. Most of the tunes here were unfamiliar to me. But then, last time a guest took over the show he wrote up a synopsis and got all Artaud/Neitzsche/Witkowiak on me.

 

There are several opinions I can share. One, is that younger folk support repetition in their music far more than us oldsters. Hatch a catchy phrase and run with it! Over and over and over (Afrika Bambaataa, DJ Snake, Cybotron.) I’m not saying it’s bad. Different is all. Maybe it goes back to sub-Saharan African roots? An ethnomusicologist I once read pointed to that same phenomenon in much of the continent’s traditional sounds when he said something to the effect that a vocalist’s musical phrase may be repeated at great length until it finally got “sour in his mouth”. Two, I admire the variety in the set. Hypnotic Brass Ensemble is a far cry from Cameo’s disco tune, as is German cumbia from Deela, the pure electronica of Jean Jacques Perry’s synthetic heart, and Del the Funky Homosapien’s ever witty poetry. I happen to know Ras is big into reggae and its permutations so I applaud his stretching out. And three, the ethnic range alone is inspiring, providing examples from England, France, Uruguay-Argentina, the Virgin Islands, and the USA, besides those countries previously mentioned. Good sounds come from everywhere. There’s also a ringer he slipped in – from Thailand: “Mae Kha Som Tam” (“Papaya Salad Merchant”.) What is a straightforward pop song of the 60’s comes off like essential sampler material in its intro chords and beats. 

All told, another successful Al compas del mundo for the vault, thanks to Ras Haas’s efforts and musical knowledge. I knew he had it in him! - J.H.

Run list for  Guest DJ – Ras Haas, A Journey Through Genres
First Broadcast 1-25-24

 

01 Hypnotic Brass Ensemble - War (USA)

02 Afrika Bambaataa - Zulu War Chant (USA)

03 Cameo - Back and Forth (USA)

04 General Levy - Incredible (Jungle Remix) (England)

05 Super Morris - Danger Zone (Jamaica)

06 Deela - Cumbia De Lolita (Germany)

07 Alika - Dem Got No Love (Uruguay-Argentina)

08 DJ Snake - Magenta Riddim (France)

09 Onuma Singsiri - Mae Kha Som Tam (Thailand)

10 El Michels Affair - Hung Up (USA)

11 Jean Jacques Perrey - Cor Synthétique (France)

12 Midnite, Tribal Seeds - Representing (Virgin Islands)

13 Los Rakas - 1,2,3 (USA-Latin America)

14 Cybotron - Clear (USA)

15 Del The Funky Homosapien - Mastermind (USA)

16 Sizzla, Buju Banton, Mavado - Holy Mountain (Jamaica)



 


 

 

 

Comments

Popular posts from this blog

Al compas del mundo, programa #92 - Japan

The Japanese historically have been a most creative people, excelling in aesthetic conventions like architecture, painting, culinary arts, theatre, music, and more. A craftsman’s care and an artist’s flair have come to define everyday household objects such as articles of clothing and kitchen ware, designed with a sensibility that imbues them with import and elevated status. After WWII in the United States however, an item inscribed “made in Japan” usually indicated a tchotchke of mediocre quality. A perfect example is the large number of Northwest Coast Native American-style bone totem poles made for the tourist shops in the Northwest. There is a distinctive difference in these “artifacts” from the real, home-made variety that illustrates someone from another culture tackling aesthetics they don’t fully comprehend. And that leads us to some of this week’s musical choices. Imitating Western pop, rock and jazz, Japanese artists have recorded many forgettable efforts – not unlike those o...

British blues of the 60s y 70s

  This has to be one of my favorite programs. The British blues scene gave us a healthy dose of reverential and, admittedly, imitative music that awakened a youthful audience suffering from pop fatigue on both sides of the ocean. Of course, the blues, as interpreted by young white musicians who couldn’t have been much further from the Mississippi Delta or the South side of Chicago, can be considered as cultural appropriation. At the same time, those involved in the scene have reminisced that playing the blues was largely a visceral reaction to a compelling combination of rhythm, lyrics and energy that was distinct from the British music scene up to that point. I don’t believe anyone at the time felt guilty playing the songs of their Southern US heroes. Does it make a difference that a number of these groups went on to earn far more money than the originators ever dreamed of? Probably, though many of the greats – Muddy Waters, John Lee Hooker, Sonny Boy Williamson and others – profi...

Nuyorican boogaloo cha-cha-cha

 I’m labelling this week’s playlist as “Nuyorican” music, the lion’s share of the players from Puerto Rico or of Puerto Rican ancestry.  Two notable exceptions are Joe Bataan, a Filipino-African American, and Mongo Santamaria born in Cuba. What they all have in common, however, was centered around the music scene of New York City where African American and Latino musicians forged a common ground in creating “boogaloo” dance music, mixing elements of R&B, Soul, and Latin dance rhythms. The boogaloo genre was fairly short-lived, enjoying popularity during the 1960’s before giving way to salsa, in what was largely an East Coast and Caribbean impulse. “Watermelon Man” and ”El Watusi” were early and major boogaloo hits, but truly, most of the titles included in the program were popular recordings in their day, whether cha-cha-chas like Tito Puente’s “Oye Como Va”, or GFyEN’s guajira. I’ve gathered them here for an hour’s worth of revelation for those too young to have heard thi...