top of page

Global Music – March

Sélène Saint-Aimé: Potomitan

In Haitian Vodou, the potomitan is the central pillar that holds up the temple. At its base is where ritual sacrifices and offerings take place; along its shaft are carved the foundational images of the religion, encouraging spirits to pass through its structure and transmute into the bodies of the faithful who surround it.


It is an apt symbol for jazz bassist and vocalist Sélène Saint-Aimé’s second album. Written largely during the pandemic, when Saint-Aimé left Paris for her native Martinique to be with family, there is something deeply enigmatic and yet solidly structural about these 11 compositions.


Read the review in the Guardian.


[This piece was published on 25/02/22]

Recent Posts

See All

Global Music Column – July

Bizhiki – Unbound On his remarkable 2022 debut album Niineta, singer Joe Rainey warped the musical traditions of his Native American roots, blending vibrato-laden vocalisations with synth-derived stri

Global Music Column – June

Malcolm Jiyane Tree-O – True Story The South African jazz scene has exploded with fresh talent in recent years, from artists such as Johannesburg collective Spaza, who have developed an urgent form of

Global Music Column – May

Arooj Aftab – Night Reign Few singers can match the delicate warmth and quiet power of Arooj Aftab’s voice. Over the past decade, the Pakistani-American singer has released four albums that showcase h

Comentarios


bottom of page