top of page
Search

Global Music – March

  • Feb 25, 2022
  • 1 min read

Updated: Nov 21, 2022

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

Various Artists – Candomblé: Sacred Rhythms in Brazil The Brazilian religious and musical tradition of candomblé is a rhythmic barrage. Originating in the 19th century among enslaved west Africans, ca

 
 
 
Global Music Column – June

Matías Aguayo – Anenoa Over the past two decades, Chilean-German vocalist and producer Matías Aguayo’s mutable, instinctive singing has been an instantly identifiable ingredient of leftfield electroni

 
 
 
Global Music Column – May

Serokolo 7 – Maramfa Musick Pro South Africa pulses with electronic music. From the slow-bubbling feel of amapiano to the frenetic pace of Durban’s gqom, Soweto’s marimba-heavy shangaan electro and th

 
 
 

Comments

bottom of page