Bonga's first full length CD: Kanzo is a collection of songs with traditional Vodou rhythms. Kanzo incorporates elements of jazz, blues and funk to create a dynamic version of mizik rasin. The recording was co-produced by Jonathan Glazer and features long time Lou Reed bassist Fernando Saunders, and Frank London, a founding member of the Klezmatics along with a nine-piece ensemble that includes an explosive drum battery, kreyol chorus and jazz saxophone by Thurgot Theodat. The recording also features Bonga's son Tiga Jean-Baptiste on drums and didgeridoo. Recorded in June 2000.
Kanzo is the latest release from conga player extraordinaire Gaston Jean-Baptiste better known as "Bonga" . Even though instruments such as the trumpet, the electronic guitar and the saxophone are used on this CD, Kanzo manages to sound as traditional as you can get, compared to other Rasin groups like Ram or Kanpèch, where the rock style guitar predominates. In that respect, Bonga's Kanzo is much closer to Azor's style.
I discovered Bonga on the "Kilti-Chòk" CD where he gave a grand performance. His mastery of the conga is even more audible on this album, particularly on the tunes where there is no singing. Tune No. 3 amply demonstrates how good he is. Somehow, as I listen to him, I am reminded of that great pioneering drummer, Ti Roro. Tune No. 3 is played on a fiery Petwo beat which will prevent you from keeping still. On tune No. 4, he is joined by Haitian saxophonist Thurgot Theodat and guitarist Jon Glazer. It is interesting to hear how those instruments were integrated into an otherwise very traditional Nago rhythm, as the African mbira gives support underneath. Theodat's playing is reminiscent of John Coltrane. In fact, this is the kind of experiment that he would have appreciated, since he liked to engage in new fields of music.
Tune No. 5, Wongol, is played on a Raboday beat. The Banbou sound transports me to carnival in the countryside, with plenty of percussion. Tune No. 7, Soukri, is played on a rhythm called "Ya Ya Ti Kongo" and Bonga gives a masterful drum solo which attests once more of his intimate knowledge of those Haitian rythms. I would be very curious to know where and when he had time to learn so much and to practice so hard. He makes it sound so easy. What a nice encounter it would be if Bonga and Azor played together on the same stage.
I found it very useful for him to indicate the rhythm on which each tune was based . I also enjoyed the instrumental tunes more so than the sung ones. I think that on some of those tunes, Bonga has successfully recreated the atmosphere of the Voodoo ceremonies or like in tune No. 11, the Rara carnival atmosphere of the countryside. All that makes for authentic and traditional music. This is what culture is all about and that is why Kanzo is a CD you might want to add to your collection under the heading : Haitian traditional Music.