Gangbé Brass Band: From Ouidah To Another World

Gangbé Brass Band, more than many groups, embodies the hybrid nature of jazz. From Ouidah to Another World, the Beninese ensemble's sixth album since forming in the late '90s, is a swashbuckling fusion of New Orleans-style brass bands and Beninese rhythms. And with jazz, it was ever thus. The jazz creation story may mythologize New Orleans and proclaim the music a uniquely American art form, but such a neat, essentialist summation downplays the back-and-forth flow of instruments, rhythms and influences between Africa, the West Indies, Europe, Latin America and North America that slow-cooked the original stew. From Ouidah, Benin, to Louisiana and back again, it is little wonder that Gangbé Brass Band's joyous music feels so kaleidoscopic.

In Gangbé Brass Band's world, marching-band instruments—bugle, trombone, trumpet, sousaphone—carve out singable unison melodies. West African Vodun and other Beninese rhythms drive the music, propelled by a panoply of percussion: gourds, bells, shakers, talking drum and cowbell. Martial Ahouandjinou's pulsing sousaphone is the band's beating heart. As with most bands of three decades' standing, musicians have come and gone, but Ahouandjinou, Benoît Avihoue (percussion), Athanase Obed Dehoumon (bugle) and Crespin Kpitiki (percussion) are all founding members, providing core stability and a signature sound. James Vodounon brings additional sousaphone impetus, while saxophonist Zésahou Akloe and trumpeter Prosper Odjo take wing on one uplifting solo after another.

Try not dancing to the lilting unison melodies and booty-shaking rhythms of "Vignon" and "Ahelou." Even when sitting, one's limbs and head cannot resist the urge to respond to the grooves. Alongside New Orleans second-line flair and Beninese polyrhythms, samba-ish vibes and Afro-Cuban rumba suggest themselves—a testament to music's migratory character, shaped by the movements of enslaved people, religions, armies, traders and economic migrants throughout history.

Call-and-response singing is another important element. Kpitiki leads on the punchy "Pani Pwoblem," the gently folkloric "Gandé"—stripped down to voice and percussion—and the church-like "Ouidah Spiritual." On the latter, guitarist Lionel Loueke weaves mazy lines beneath choral waves. Another Beninese legend, Angelique Kidjo brings her trademark vocal potency to "Ayé," returning the favor almost 20 years after Kpitiki and Avihoue played on her all-star, Grammy-winning album Djin Djin (Razor & Tie, 2007).

Yet for all the virtuosity on these nine tracks, Gangbé Brass Band is ultimately about groove, spirit, harmony ... and fun. Looking around the world today, we could all do with more of that. A brilliant, refreshing tonic.