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POTOMITAN

by Selene Saint-Aime

supported by
Gilberto Daniel Rodriguez
Gilberto Daniel Rodriguez thumbnail
Gilberto Daniel Rodriguez Sonny and Boris are interlocked in their percussive mastery! Selene, what a voice and transfixed visionary of her compositions! A pleasure to spend my Sunday listening to this gem. Thank you Antoine and the Komos family for this recording!
baptizta
baptizta thumbnail
baptizta deep… PURE DeeP
SPiRITuAL JazZ
<~•))0o^o0((•~>
Lars Gotrich
Lars Gotrich thumbnail
Lars Gotrich The Afro-French contrabassist and singer Selene Saint-Aimé's divergent styles and diverse instrumentation — tanbouyé masters (drummers), chamber music, straight swing, spiritual jazz — are immediately compelling as they cohere across these 11 tracks. www.vikingschoice.org/archive/swedish-christian-fuzz-post-punk-trompe-loeil/ Favorite track: Indigo Bay.
daniemusique
daniemusique thumbnail
daniemusique Magnifiques compositions, retour aux sources raffiné!
more...
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  • Compact Disc (CD) + Digital Album

    Full album in a cardboard cover cd

    Includes unlimited streaming of POTOMITAN via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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  • Limited edition vinyl test pressing
    Record/Vinyl + Digital Album

    4 copies only test pressing of the album signed by Sélène Saint-Aimé

    Includes unlimited streaming of POTOMITAN via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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  • 12'' Vinyl
    Record/Vinyl + Digital Album

    Full album on a LP format

    Includes unlimited streaming of POTOMITAN via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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1.
Arawak Uhuru 03:58
2.
Béliya 01:28
3.
The Bird 02:45
4.
Indigo Bay 06:00
5.
6.
Potomitan 01:27
7.
8.
Akayé 02:35
9.
Ézili 06:41
10.
Bezaudin 00:52
11.

about

On her debut album, ‘Mare Undarum’, Sélène Saint-Aimé poetically transcribed the influence of the moon on her music, here, on this second recording, she transmutes her Caribbean cultural heritage.

In Antillean lands, the POTOMITAN, central pillar of Haitian voodoo temples, also designates the mother who supports the equilibrium of an entire family. This title stood out as an obvious choice for Sélène, after many months spent in Martinique during the pandemic.

Long conversations with her paternal grandmother retracing the history of their family, life, childhood memories and the strength of Caribbean women all 'infused' the writing and recording of this record.

The album plays out symbolically around the title track and it also acts as an analogy, interpreted by a trio, featuring the tanbouyé masters Sonny Troupé (Ka drums, Guadeloupe) and Boris Reine-Adélaïde (Bèlè drums, Martinique), who joined the team on their previous release. The interaction between the double bass, Sélène’s voice and these drums lies at the heart of the album.

Arawak Uhuru (freedom in Swahili), the first track, is a grand bèlè
with three beats to the bar that honours the many Amerindian populations present in Martinique since the 1st century, at least. Arawak does not designate an ethnic group in the strictest sense, but more a linguistic family.

Irving Acao, still on the tenor sax, also takes part in this vocal trance based around the traditional theme of Martinican Béliya, fleshing it out with Cuban sounds and rhythms.

Trumpeter Hermon Méhari, who forms a brass section with Irving on the majority of the tracks, brings his own rendition of ‘The Bird’ by Charlie Parker, who was, like him, originally from Kansas City.

The other cover on the album is an arrangement by Sélène of a theme from the Pelléas et Mélisande orchestral suite by Jean Sibelius. It places Mathias Lévy’s violin and Guillaume Latil’s cello at the forefront, in a version for a string trio and vocals. This track resembles a conversation with what lies beyond, and it is dedicated to Sélène’s maternal grandmother, as she was born exactly a hundred years ago.

Though she continues to sing in her own language all through the tracks, her first song in English, ‘White Birds, Silver Tree’ rounds off the record. Sélène wrote it in her uncle’s banana grove where cattle egrets come to nest. We can see them depicted on the sleeve painted by Lossapardo, near a dead tree with silver hues that graces a river’s edge, somewhere in the North of Martinique.

Without any repetition and (almost) without a score, the recording session played out organically, with Sélène dictating her melodies to the band on a piano which was in the room. Rhythms were sung then reproduced on the drums for a recording where the collective sound was captured live.

Far from a stiff reworking or a pan-Caribbean fusion, POTOMITAN, drinks from the spiritual and musical source irrigating afro-descendant culture, and invents a new folklore, vivified by improvisation.

credits

released March 25, 2022

SÉLÈNE SAINT-AIMÉ : bass, vocals and poetry
IRVING ACAO : tenor saxophone
HERMON MEHARI : trumpet
MATHIAS LÉVY : violin
GUILLAUME LATIL : cello
SONNY TROUPÉ : ka drum and drums
BORIS REINE-ADÉLAÏDE : bèlè drum

A&R Antoine Rajon

Recorded and mixed in September 2021 by Félix Rémy at Studio Pigalle, Paris.
Mastered by Frank Merritt at The Carvery, London
Artwork painting by Lossapardo

Music composed by Sélène Saint-Aimé except ‘The bird’ composed by CHARLIE PARKER arranged by SÉLÈNE SAINT-AIMÉ, ‘Mélisande’, composed by JEAN SIBELIUS, arranged by SÉLÈNE SAINT-AIMÉ
and 'Béliya', arranged by Sélène Saint-Aimé, Irving Acao, Boris Reine-Adélaïde & Sonny Troupé.

P&C KOMOS 2022

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about

Selene Saint-Aime Paris, France

Sélène is a young afro-french contrabassist, singer and composer with caribbean and west african origins.
Based in Paris, France, she studied with internationally acclaimed bassists Ron Carter and Lonnie Plaxico as well as saxophonist, conceptualist Steve Coleman.
She develops her own identity traveling the world, learning about different cultures (Cuba, USA, N. Africa, Spain, Italy, West Indies)
... more

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