Gatos: Madrid and Cadiz

 

View From Our Room in the Hotel Prado's Out of Open Window; Madrid's International Women's Day Protest Started Here. Their Chant, in English, Was, "Madrid Will Be the Tomb of Machismo!"  It sounds much better in Spanish, particularly accompanied by a batteria of Cuban Drums and Polyrhythms, Played by Brasileras, Which It Was.
Next to this plaza circle is a typical Spanish city, "Prado", a boulevard dividing the highway, with grass and trees, as one sees in Mexico City or Bogota -- or Havana's Old Town.  Crossing over that, one arrives at the brilliant Prado art museum.  Which is why our hotel was there and we were in that hotel.
Also, the windows of all the hotels in which we stayed, with a single exception, the last one in Córdoba, opened to the outdoors, and did not have screens, excellent for fotografy.

Remains of 9th C Arab Wall Fortress located at present Cuesta de la Vega, near the crypt of the La Almudena Cathedral; Long Before Madrid, And After Both Charles Martell and Charlemagne.

 Above the Courtyard Which Is Below the 9th C Muslim Wall Remains.

A Member of the Cat Families That Live In and Around the 9th C Muslim Wall Remains.

Madrileños Declare Themselves Cats!

Inside this Bar-Restaurant of the Most Hip Cats.

Theatrical Cat Hangin' Out In Madrid.

Evening On Cádiz Popular Atlantic Ocean Beach

One of the Cat Houses And Villages Built for the Ferals Who Live In and Along the Cádiz Sea Wall, On the Atlantic Side!

Go Any Further and We Shall Fall Off

      . . . .  We are at the end of the world, or at least the end of Europe, in the oldest, continuously inhabited city in Europe, Gadir, established by the Phoenicians, now, finally, Cádiz.  Now we know that we can go further, and we won't fall off.  Cuba, Havana, is just over there.  (Though it is Jerez, la frontera de Jerez, that actually looks a lot like Havana (without the dilapidation -- and when we get to Sevilla, now that recalls Havana in every way, which as the treasure flotas arrived from Havana to Sevilla, la reina católica's city, and which she made the capital of her kingdom, would be expected, right?). The tap water in Jerez was safe to drink, but it tasted funky in the way New Orleans tap water does.  Here in Cadiz, it's still safe to drink, which as it turns out is true throughout Spain. We are so used to being Cuba, where one cannot drink the tap water. Potable water was and always is a problem there, just as it is in St. Augustine, FL.

We are in a 4-star hotel that was a convent.  The church is still consecrated and operating as a church, but the sisters have gone ... where? elsewhere? It is extremely quiet, which is good for sleeping. One feels to be in a fortress (of God?) or a prison (of God?).  But it is still cold, dark and convent-y, though with mod cons.

It's a good thing to be reminded, as one falls in love with Spain, that even when/where it was Muslim, it has always been a prodigiously Catholic country, about which history there is a lot to be said, and not much of it good.  At least as far as the history I know goes, and speaking relatively to most people, at least in the USA, I know whole lot.  It cannot be divorced from the Church's history, and the history of Spain (and Portugal) anywhere.

So much experienced -- cannot do anything except jot notes in Moleskine and take fotos with foney-fone.  In mine mind's eyes, I see endless processions of beautiful horses, Flamenco dancers and, yes, matadors and bulls. Watch certain Flamenco expressions and there is so much there from the arena, or did it flow from the dancers to the arena -- even from dancers much, much before Jesus, perhaps, even likely, from before the Romans? The bulls were in Iberia before the Romans and the arenas.  Africa is just a quick passage across the Mediterranean . . .  there are bull rings and arenas there too, on the southern side. 

[Originally posted on DW on 03/012/23]

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Cádiz Cat Houses and the Atlantic

     . . . . Today was Phoenicians and Romans, mostly. 

After which I took fotos and video of cats, cat houses, and cat towns under the seawall that protects Cádiz from the tormentas of el atlántico as we sunset walked around the island where is situated the oldest, longest continually inhabited city in Europe. We did both Romans and Phoenicians today.... and cats.

Speaking of cats instead of horses, I have a nice foto of one of the cats that live in and around the remnant of the Umayyads' fortress wall on the site that became Madrid -- going back so far, but not yet as far as Charles Martel or Charlemagne -- time, time, time. It is impossible not to time travel in Cádiz.

    . . . Took fotos and video of cats. Cat houses, and cat towns under the seawall that protects Cádiz from the terrors of the Atlantic as we sunset walked around the island where is situated the oldest, longest continually inhabited city in Europe. So of course included are cat houses and communities.

The people of Cádiz care for the feral cats in the same way do those of Istanbul.  Places for them to shelter from the salty humdity and sea spray, to relax and hang out, and to eat.  These are cleverly constructed so the cats can get to the food but the always ravenous gulls and other birds cannot.  Wonder if rats can?  But I've yet to see a rat anywhere, but this is a city, moreover one so ancient as this, with constant grain shipments, surely there are rats.

We did both Romans and Phoenicians today.... and cats. Will have dinner at a Moroccan restaurant with a lovely woman from Finland we met on the train yesterday. Dancing Flamenco is her hobby and passion.  Otherwise she's festival organizer. One of her festivals is a Steampunk festival. 

Perhaps there is a way to transfer the short video I shot of one of the competitors and her horse in Jerez yesterday morning to here. I could do it via a long process of getting it to this wonky laptop's hard drive in Word video files.  But I don't have time for that before I get back to NYC, where I would do the work on my desktop, which is much more powerful and faster.  Trust me: this is equine poetry in motion.  Ever since I've gotten here, i.e. to Spain, my mind's eyes, are filled with horses and dancers as I try to sleep. I've never been in a country, not even England, not even Virginia or Kentucky, where horses are such an integral part of a national identity and history.  No wonder 4th grade Horse Girl me dreamed of coming here.

So little time to write, to transfer, etc.  It's all my notebook, and occasionally trying to put some of it up here via my fone.  Weird experience that.

But I am so afraid of missing, losing something, of these incredible experiences that just never stop, not for a second.

[Originally posted on DW on 03/13/23]

Jerez: Hola Caballos!

As this is the longest stretch of travel in Spain for our itinerary, we flew from Madrid to Jerez.

Holy cow is this ever horse country! Descending to the airport, taxi-ing into the (very small) city, to our hotel, everywhere there are exquisite horses, of elegant conformation and silhouette.  Quite the highest end designer equine runway models.

Plus, there is Flamenco and sherry.  And the classic Islamic White Cities of the Atlsntic and Mediterrean coasts. After deplaning, in the terminal, you are greeted by a welcome to Jerez mural that is first, a gorgeous horse, and a beautiful dancer in classic Flamenco form. 

Last night in Madrid, we saw a Flamenco show in a very up close and personal space, deliberately created to be as close to the underground and caves-cellars (generally those belonging to a taberna, thus wine storage, all over Spain, and particularly in the south, dating from at least the Roman eras, but I'd guess from the Carthaginian ones too) from which the tradition emerged. (We were the only mask wearers, but so what?) It was the first time I have been that close to the performers. So I could parse how much of their classic poses are the same as those of bullfighters, fo one thing. Though none of the dancers used cotenants, one of them wore a shell medallion, which I like to think was a homage to the ancient predecessors of cotenants, already in the days the Roman's, who used clam shells.

Tomorrow we're taking a tour of the largest Roman amphitheater in Spain. But first, dressage! 

I can't believe I'm finally here, where I've wanted to go since 4th grade.  Better late than never is true . . . .

[Originally posted on DW 03/11/23]

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Royal Amigos del Caballos

      . . . .  More foney-fone fotos of horses in braids, and even, yes, in sparklies, than any sane person can take!  Sparklies, though subdued and tastefully minimal, on the riding helmets too.  What? They think they're royalty, nobility, or something?

Indoor ring though, no sparkles.  But mirrors at one end, the Royal box at the other, with a gigantic portrait of the king on the back wall of the box.  I guess that's sort of a mirror for somebody? No fotos allowed, not even with foney-fones.

Orange trees in the grounds.  Fotoed those.

Must move on to next thing now, and train, to Cadiz.

[Originally posted on DW 03/12/23]

International Women's Day Is Tomorrow

       . . . . We arrive in Madrid tomorrow morning. This morning we received this email --

We kindly inform you that on Wednesday the 8th of March, due to the International Women’s Day, will take place a demonstration from 7pm which will cause major traffic disruptions in Paseo del Prado, Plaza de Cibeles and the Gran Vía up to Plaza de España. Therefore, from 4pm onwards these traffic diversions will apply for accessing the hotel area. We will be pleased to help you organizing your transportations if needed.

We in the USA do forget that International Women's Day is a very large observance in many countries, even though we don't bother much with it here

Europe: Demonstrations and rallies marking International Women's Day planned in European cities March 8

Events

Women's rights activists in parts of Europe will hold rallies and demonstrations to mark International Women's Day on March 8. Organizers have confirmed demonstrations in the following cities:

Austria, Vienna: Yppenplatz from 17:00

Belgium, Brussels: Place de l'Albertine from 14:00

France, Paris: Palais de Justice from 13:00

Germany, Berlin: Invalidenpark, 13:00

Greece, Athens: Klafthmonos Square to Syntagma Square from 13:00

Italy, Bologna: Piazza XX Settembre, 17:00

Italy, Milan: Piazza Duca d'Aosta from 18:00Italy, Naples: Piazza del Gesu Nuovo from 16:00

Italy, Rome: Piazzale Ostiense to Largo Bernardino da Feltre from 17:00

Italy, Turin: Piazza XVIII Dicembre from 15:30

Portugal, Lisbon: Alameda Dom Afonso Henriques from 18:30

Spain, Barcelona: Placa Universitat 18:3

Spain, Madrid: Atocha to Plaza de Espana from 19:00

Turkey, Istanbul: Taksim Square from 19:30

Turkey, Izmir: Cultural Center from 18:30

Further protests will almost certainly occur in additional towns and cities throughout Europe on March 8; demonstrations could take the form of marches through city centers in many locations. Attendance will vary by location but will reach into the thousands at larger actions. In some locations, women's rights activists may also take part in short-term strike actions, possibly causing business and transport disruptions.

Additional police will likely deploy to all demonstrations. Large crowds and associated security measures could prompt localized disruptions, including possible road closures and movement restrictions. Most demonstrations are likely to pass off peacefully, though isolated clashes between police and protesters cannot be ruled out.

Hmm.  They didn't say from which direction the possible violence might start.  One thinks of the cops and the suffragette demos back in the last century ....  Some serious beatings and torture from the cops dealt out to the women, including prison.

A friend in Madrid tells us that particularly around our hotel things are going to be very fraught tomorrow due to these reasons as described in the Washington Post:

Spain gov’t parties vie for feminist flag before Women’s Day

BARCELONA, Spain — Spain’s government presented Tuesday a plan to mandate gender quotas in elected government bodies and companies’ executive boards, on the eve of International Women’s Day when thousands will take to the streets of Madrid and other cities for women’s rights.

But the buildup to the annual women’s march comes amid a political spat inside Spain’s ruling coalition over which of the two left-wing parties best represents the feminist cause in an election year where Spain’s Right will try to reclaim power.

The Socialist Party of Prime Minister Pedro Sánchez and the anti-austerity United We Can are sparring over one of their government’s banner causes: a sexual violence law proposed by the latter party that, while increasing support and resources for victims, has inadvertently led to the reduction of sentences of over 700 offenders since taking effect in October. ....

In London --

Celebrate International Women’s Day 2023 with the best things to do, events and activities happening across London

In the US capital International Women's Day will be virtual:

Various activities scheduled for International Women's Day in New York:

Postmambo Sessions presents Afro-Cuban Rare Groove Sessions #1/ For the Funk of It in the rear view mirror

      . . . .  Cut & Pasted From Da List And el V:

Coming this week . . .

==> Thursday, Feb. 23rd, 8 pm Eastern. Postmambo Sessions presents on Zoom:

Pablo Herrera + Alexis El D'Boys: Afro-Cuban Rare Groove Sessions #1.
We listen to and talk about selected cuts of digitized vinyl referencing Afro-Cuban and African American popular music connections by Los Zafiros, Orq. de Música Moderna de Las Villas, Wilson & His Combo and more, drawing on Alexis's vast collection of Cuban 33s and especially 45s.

No charge to participate (though we solicit donations), no registration necessary.  You just need the Zoom link.  The Zoom link goes to the other mailing list, [seminar]. If you've been to our previous Zoom sessions, you're probably on [seminar] already. If you're not on [seminar], write me at ned@qbadisc.com, and put [seminar] in the subject line. Piece o' cake. See you Thursday.

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Today is Mardi Gras. They've been going since before sunrise, since last night, since Kings' Day.

Mardi Gras has often been a chilly damp affair, but not this year, with a predicted high of 77 degrees in New Orleans today. It's the first full Mardi Gras since the pandemic. "It's been emotional and intense and cathartic," texts a friend. 

Me, I'm back home in NYC, more or less decompressed from For the Funk of It, a/k/a the Postmambo New Orleans Music Seminar.

I think it was in early 2018, in Cuba, that Randy Fertel said, Postmambo should go to New Orleans. I'd been thinking about it, but I think about a lot of stuff that I don't do, so thank you, Randy. I started working on it seriously in 2019 for March 2020. But then COVID took hold of the world, and we had to cancel For the Funk of It, fully booked, 10 days before blastoff. Ow.

Many of the travelers who had signed up for 2020 waited patiently until we could "fulfill the promise," as one traveler put it, this year. I can't tell you how good it feels to have finally gotten to do it. Everybody, including me, seemed starved for live music and face-to-face contact, albeit with masks on a lot of the time.

At last we did it. From February 1-5, we rolled through the city (and out to Acadiana) with 40 travelers and a ground team of 6, on our usual immersive Postmambo schedule. The precise dates were chosen by our producer Ariana Hall because they're midway through the Mardi Gras season, the one time of year when all three of the modalities are in effect: carnival parades, second lines, Black Masking Indian practice, but before the full carnival erupts. Perfect for studying the dynamics of festivity.

There isn't anyone I'd rather have gone through this four-year process with than Ariana Hall, with whom I first had the privilege of working 20 years ago in Cuba, and who's been a big influence on how I see New Orleans over the years (long story). Over the course of five site visits I made to New Orleans between 2019 and 2023, she always showed me what's new in that city where there's always more to hear. I admit I had a ball checking out as many different music venues as possible.

In the face of lockdown in 2020, Ariana said, "I can do it virtual," with the result that in '20 and '21 we did two three-weekend Zoom intensives under the title NOLA Reconnect. Those revelatory sessions allowed us to enter the headspaces of dozens of New Orleans + NOLA-diaspora musicians and other culture makers held hostage by the pandemic. The hours upon hours of interview and performance video we generated constitute a primary document of the city's creative forces at that historic moment, and they served to prepare our 2023 travelers to get the most out of their time on the ground.
 
Our Sunday night closing party on February 5 was played by 79rs Gang, who Ariana turned me on to in the high days of the pandemic. I've had their album Expect the Unexpected (2020) on repeat, and I also like the 2015 Fire on the Bayou album, which is less produced and heavy on trance-like chanting (I'm listening to it right now), but the group's sound has developed since the pandemic and I want to hear what the next album sounds like. Fronted by Big Chief Romeo Bougere (Ninth Ward Hunters) and Big Chief Jermaine Bossier (Seventh Ward Creole Hunters), whose contrasting vocal personalities keep it moving, with album producer Eric Heigle on drums, 79rs come with slamming percussion and a vocal flow that connects New Orleans rap with Indian chants.


79rs Gang. Timbal on the left behind Hollywood (Romeo) and Jigga (Jermaine).  Photo: NS
 
I said percussion: after all the different ways Black Masking / Mardi Gras Indian songs have been arranged over the years in pretty much every genre, I'd never heard them locked with a Cuban timbalero until 79rs started working with New Orleanian Santa Claran César Bacaró. What a sound.

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My book The World That Made New Orleans began as a study of the musical confluences of Cuba and St. Domingue / Haiti in New Orleans, and that was a subtheme in our programming of For the Funk of It. Because it's happening right now! recapitulating in the present day processes that New Orleans music has previously undergone.

As our collaborator Dr. Jean Montès said to me in rehearsal, "This is just a taste of what's brewing here." There's been a small but significant flow of musicians from both Haiti and Cuba into New Orleans in the last years, and they've been stimulated by the music of the city even as they stimulate it. But wherever the players in our events were from -- and the largest number were New Orleanians, born and raised -- I repeatedly had the feeling that we were hearing musicians in the process of discovery. During the depths of the pandemic, it seemed to me that the music we were presenting virtually in NOLA Reconnect was urgent. Now that we can get together again, that sense has carried over into the live music. 

We presented 12 carefully chosen bands / soloists in five days, in spaces around town, in addition to non-musical cultural events. For me personally, the strongest experience centered around two encounters with RAM, the vodou-based band from Port-au-Prince, who appeared in NOLA Reconnect on Feb. 27, 2021. Simply put, RAM couldn't gig in the anarchy of present-day Haiti, and if a band doesn't work it ceases to exist. They've relocated to New Orleans -- eleven people, living in the Lower Ninth Ward -- and in its fourth decade of existence, the band is alive and growing.

It's not the first time musical knowledge has arrived in New Orleans from Haiti. RAM's arrival in town is an exciting development. As far as I know, the musicians of RAM collectively represent the strongest corpus of Haitian musical practice to be dropped on New Orleans in one piece in my lifetime. If I'm wrong, tell me when an established Haitian band, known in Haiti for the quality of its drummers, has moved to New Orleans lock, stock, and barrel. They have something to offer, and New Orleans's musical heritage has a lot to offer them. 

As seasoned a carnival group as you could ask for, RAM's been playing every day during carnival season. One thing about New Orleans -- you may not get paid much, but you play a lot of gigs and you keep your chops and your ensemble communication up. They're warmed up and slamming. Rocking the rara on a four-mile parade? No problem.

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The first of our encounters with RAM was in an acoustic context, the second electric.

The acoustic performance was a site-specific work we created for a little-known historic soundspace in the French Quarter designed by Benjamin Henry Latrobe, the most important architect of the early republic.

In New Orleans, Latrobe is less remembered as an architect and engineer than as the accomplished sketch artist who drew the well-known images that document what instruments at Congo Square looked like in 1819 (albeit without using that place name). He despised the music he heard at Congo Square -- a lost-to-posterity music that lives in the minds of New Orleanian musicians, one of the great unrecorded soundscapes of American music, universally spoken of today with the highest reverence  -- writing that "I have never seen any thing more brutally savage, and at the same time dull and stupid than this whole exhibition." But he was interested enough to draw the instruments. 

Though designed to be a bank (it's also known as the Louisiana State Bank Building), the landmark building at Royal and Conti more recently housed an antique store. It was at one time The Royal Turkish Bath Company for Ladies. It operates today as a event space -- they'll do you a lovely wedding reception -- with the name Latrobe's. Many New Orleans musicians have played in it for one function or another, including, I'm told, Lil Wayne. I didn't know it existed until Dr. Bryan Wagner called my attention to it last fall.

This was the last building Latrobe designed, completed after his death in New Orleans in 1820 from yellow fever. It was his only bank, at a time when banks in the South were capitalized with the value of enslaved human beings. It's a rotunda, featuring a domed whispering gallery cognate to the one in the National Statuary Hall of the US Capitol -- which Latrobe also designed. Like all historical buildings in the South, it's a charged space.

When I first clapped my hands in there and heard the slaps, my first thought was, the muertos are present. We called the piece A Most Extraordinary Noise, after Latrobe's phrase describing the sound of Congo Square.


A Most Extraordinary Noise at Latrobe's. Photo: Jim Hannah

What an honor it was to collaborate on it with Dr. Jean Montès, the conductor of the Loyola Symphony Orchestra and Artistic Director of the Greater New Orleans Youth Orchestras, who knows Richard Morse and RAM from Port-au-Prince back in the day.

Dr. Montès couldn't be present to direct at Latrobe's because -- the cloning-yourself problem -- he had to be in Charleston that night to conduct the music of my favorite 18th-century composer Joseph Bologne, the Chevalier de St.-Georges, at the 10th Colour of Music Black Classical Musicians Festival. (That's a performance I would like to have heard.) But what a skilled conductor can do: in one hour of rehearsal two days before the event, directing the musicians in Kreyòl, he put together a half-hour of hushed, soul-stirring music from scratch. Based on Haitian traditional melodies with chorus, tanbou (vodou drums) and vaksins (one-note valveless trumpets that play melodies by hocketing), it was led in performance by his wife and collaborator, cellist Sarah Montès.

As the musicians called the spirits, the sound traveled around the space in a way that can't be recorded. When the composed part ended, we channeled our applause up into the dome. It came back as a slapped-back, multi-echo spatialized pulse that flipped the band into rara mode -- it reminded me of the change from dirge to second line -- and suddenly there was an upbeat part two that had not been previously contemplated but seemed inevitable . . . We'd like to do it again, in that room, with the addition of a chamber orchestra.

The second RAM manifestation was a post-Krewe du Vieux Saturday night vodou blowout / sacred party like I'd never seen at Snug Harbor, usually a sitdown room for jazz listening, but transformed on this occasion with no tables and an open dance floor, and the partition that separates the back from the front of the building removed. For their performances with us, RAM was joined by the charismatic Haitian-American singer Sabine McCalla, also a Lower-Ninth resident. At Snug, she was in the front line next to RAM's iconic lead singer Lunise Morse. When the full band played, with bass, drumset, and William Morse's super-precise electric guitar in addition to the tanbou and vaksins, it was throw-away-your-crutches music.

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Everything was a highlight. Our first night closed with an inspired performance from Herlin Riley with his quartet (Max Moran, bass, Oscar Rossignoli, piano, Derek Douget, sax) at Snug Harbor. Our opening event, just prior to going to Latrobe's, was in Preservation Hall -- also a musical-architectural-timewarp experience -- with the Preservation Hall All-Stars, under the direction of trumpeter / vocalist Branden Lewis, with Craig Klein (trombone), Mari Watanabe (piano), Richard Moten (bass), and Joe Lastie (drums). A laid-back rendition of Fats Waller's "Louisiana Fairytale" was a standout, as sung by Mr. Lewis.

On an otherwise ordinary Saturday afternoon, we stepped into another dimension with a live-in-the-studio set of high-level musical communication by the Stanton Moore Trio (w/David Torkanowsky, James Singleton) and very special guest Big Chief Donald Harrison.
 

Shamarr Allen. Photo: NS

At Snug Harbor, we heard drummer Gerald French + the Original Tuxedo Jazz Band. At The Rabbit Hole, a new place on Oretha Castle Haley Boulevard with good sound, nice people, and a great patio, Omari Neville + The Fuel brought the funk, followed by a stellar set from a testifying Shamarr Allen (including of course his version of "Smells Like Teen Spirit"), and then the Cuban multi-instrumentalist singer-songwriter-bandleader Yusa -- now a New Orleanian -- with a quintet.  In the course of all this, we encountered one fabulous pianist after another, including, besides David Torkanowsky, Oscar Rossignoli (from Honduras, with Herlin Riley), Victor Campbell (from Camagüey, with Yusa), and Larry Sieberth (my former neighbor in the Irish Channel, with Gerald French).

We rode the bus a couple of hours out of town to spend a day with Lafayette-based choreographer / dancer / educator / producer Millicent Johnnie, who produced us up a well-fed afternoon of music and dance at the Bayou Teche brewery in Arnaudville. There we heard Louis Michot's Melody Makers playing a set that Postmamboistically included Louis Moreau Gottschalk's "Souvenir de Porto Rico," Op. 31, in addition to zydeco from Corey Ledet, Cajun fiddle from David Greely, and a dance lesson from Millicent and friends. (Millicent's uncle, Patrick Johnnie, who astounded us all during NOLA Reconnect with his impassioned, extended disquisition on boudin, supervised the cooking.)


Corey Ledet and his accordion. Photo: Heather Hodges

On Saturday night we scooped up swag from the Krewe du Vieux parade, with the most X-rated floats you ever saw (unless you've previously been to Krewe du Vieux), and on Sunday morning we were welcomed at Mt. Hermon Baptist Church, known for its music ministry. Sunday afternoon we went on the Treme Sidewalk Steppers second line, then hit Sunday night Indian practice with Spyboy Honey from Creole Wild West at Zony Mash.


At the second line. Photo: Jill Stanton.

Besides the music, there was Richard Campanella's magisterial Cultural Geographies of New Orleans bus tour that functioned as our keynote address, Milton Carr and Dr. Ina J. Fandrich walked us from the river to Congo Square, and we paid studio visits to two of New Orleans's most important artists, Big Chief Victor Harris, Spirit of Fi-Yi-Yi, and Big Chief Demond Melancon. 

All in five days. Like the man said, it's just a taste of what's brewing.

When's the next Postmambo Music Seminar? you ask.

Soon. We've got some doozies in the works. Watch this spot.