Oral history isn’t just a reflection of social movement, it’s a science. And that set the tone for an evening highlighted by the many rhythms of Cheick Hamala Diabate. Last Friday night, at the Rock and Roll Hotel, we got a dose of traditional West African music with a funk chaser.
Before the griot entered the stage, Eighteenth Street Lounge residents the Sol Power All-Stars displayed some spicy Afro-Latin grooves that got the soul stirring. Their energetic mix of afrobeat, cumbia, merengue, and salsa almost becomes a genre of its own. The world music lovers of H Street were just getting taste of the delight to come.
Diabate is a man of small physical stature, but his presence is as great as the Malian empire once was. He entered the stage with another West African man in traditional garb with a deep-toned ngoma drum, accompanying the acoustic drummer. The dancer, a young woman in African garb, rotated her hip in a mechanical, other-worldly fashion. Like a graceful gazelle, she kept rhythm with her tambourine as she danced, never missing a beat. The young men on saxophone, guitar, and bass guitar held their own with the legendary singer.
Diabate is known for playing the ngoni, a plucking stringed instrument that bears a similar tone to the banjo. But that evening, he was equipped with an eletro-acoustic archtop guitar. It added a contemporary touch to the show. After a few opening funk-tastic standards, Diabate brought the timbre of the band down some for a dark haired chanteuse who seduced the audience with her ethereal vocals.
Diabate’s music was a great tie-in to The Empresario set. The historical connection between Malian highlife and the latter group’s Latin rhythms are deep-rooted. Nevertheless, John Bowen and Javier Miranda of the group beautifully ushered in the contemporary sound, not at all alienating the adrenalin-pumped crowd. Hot off the “Sabor Del Año Mix,” The Empresarios brought the show to a dazzling close.
The griot is very humble and wise man who brought consistent joy to the H Street crowd. He would grant a “merci beaucoup” in between songs, and, early on, established that he was “very happy to be playing for the crowd.” So were we.
Photos by Lauren Jaslow, Snarky Studios
