Author: rhythmandhues

Waves of Change: Reimagining Quebec

Date: 2021-2022

Roles: On-site Sound Recording and mixing Technician and Mixing, Post-Production Technician

Collaborators: Youssef Shoufan, ELAN

In 2020, the English Language Arts Network (ELAN) began to develop a project about identity and belonging within the English-speaking communities of Quebec called Waves of Change. ELAN brought together five discussion groups based on waves of immigration. A sixth group brought together English-speakers from communities all around Quebec. Participants were invited to discuss their experiences to help us define that nebulous character – the English-speaking-Quebecer.

The six Waves of Change documentaries explore these questions from a multitude of perspectives, presenting a rich and diverse portrait of what it means to be an English-speaker living n Quebec.
I was in charge of audio and sound recording as well as live on-the-fly console mixing for the video shoots, which involved 5 – 11 participants each and was shot during the pandemic.

The result was later crafted into a feature-length documentary called What We Choose to Remember, which later aired on CBC Gem.

On Orientalism, Race and Music in Latin America

Date: 2019

Roles: historical researcher, music researcher, editor, panelist

Collaborators: Échantillons (Justin Doucet, Philippe Néméh-Nombré) on n10.as Radio, Itzayana Gutiérrez

How does Latin music document the construction of the racial figure of the chinese and its exclusion from Latinidad and brownness?
This musical trip, which first aired in 2019 in a special edition of the Échantillons radio program hosted by Justin Doucet and Philippe Néméh-Nombré, and featuring guest Itzayana Gutiérrez, connects cumbia, salsa, mambo, cabaret songs, guaracha, and other key genres of the musical heritage of the Americas. It speaks about Orientalism, race and the socio-political histories of the interactions between these two cultures and it is also a window into discussing the erased presence of Chinese and Asian diasporas in the Americas.
It is now presented here in an expanded version with the full interview and songs, and a bonus chinxlatinx mix.
TW: Racist tropes, historical descriptions of anti-asian racism

Soul, with a difference

Date: 2020-2021

Roles: Sound Designer (Production, Sampling), Radio Technician, Musician

Collaborators: Ronald Rose-Antoinette, Articule, Lamin Fofana

Press: Pour un monde d’après vivant, Emmanuelle Jetté

“L’artiste a centré sa composition autour du vécu des personnes racisées afin de visibiliser ces histoires trop souvent ignorées. Il répondait ainsi directement au thème central de l’exposition : « l’air », élément de l’invisible. Cet air que l’on respire est aussi devenu source de contagion depuis un an. Le recours à la fréquence radio a permis à l’artiste de déjouer la peur de l’autre, la crainte d’une contamination, pour faire de l’air un véhicule d’ondes de vie et de liberté.” -Emmanuelle Jetté

Part of a group exhibition at Articule entitled Soul, with a difference (âme, avec une différence) curated by Ronald Rose-Antoinette with Lamin Fofana, Zab Maboungou, Kengné Téguia and Parker Mah

Afloat (2020)

Installation / Performance in articule’s front window

ARTIST’S STATEMENT
The face mask is the ubiquitous new hall pass. It protects from infection and insulates the wearer from the fear of what they cannot sense. It is also a physical, social and psychological barrier, a fitting metaphor for the suffocation of BIPOC voices and the invisibilization of their struggles that have redoubled in intensity in 2020, the year of the pandemic, the year we came up for air, gasping.
What happens when expression can no longer be stifled? What happens when energies and emotions break their confinement? Parker Mah (Rhythm & Hues) channels these questions in his latest performance work, in which the performer is (all but) captive in his bubble. Music and words reflecting and amplifying the experiences of black and brown bodies find a way to escape through the plexiglass. Microscopically, vibrationally, the air around us quivers with life.

DESCRIPTION
A mix of vinyl, samples, live instrumentation, and effects, this piece was performed at 4 random times between November 27 – December 13th for a maximum of 2 hours. An array of instruments, turntables, consoles and equipment were set-up behind the front window space of articule, which gives onto Fairmount street. Surrounded by living room furniture and a disco ball, Parker Mah aka Rhythm & Hues performed a prepared set of meaningfully juxtaposed records, instruments and vocal samples, routed live through a pirate radio signal broadcast extremely locally (50 meter radius) as well as to a boombox positioned outside, to passerby and unwitting radio listeners.

GALLERY

WAX / WAKH (2020)

Lamin Fofana & Parker Mah
Sound
20 min. 30 sec.

ARTISTS’ STATEMENT
Wax (pronounced wakh) means “to speak” in Wolof. This project, a first collaboration between artists Lamin Fofana (Black Studies) and Parker Mah (Rhythm & Hues), catalyzes the collective strength of afrodiasporic presences in time and space, through a mapping of vocal samples lifted mostly from vinyl records. In the airy expanse between utterances lie ghostly traces that make visible the invisible; that speak truth to forgotten narratives.

DESCRIPTION
This exhibition produced a second piece, a collaboration between artists Lamin Fofana and Parker Mah, both DJs and sound artists. Lamin had been expected to come to Montreal for the residency but could not due to Covid-19 travel restrictions. This piece developed out of online exchanges and a mutually established creative process.

Raíces Afro-Caribeñas (COSMOVISION)

Tradici๏nes ★ 02 – Raíces Afro Caribenas (100% Vinilos) por @rhythmandhues para Cosmovision Records (El Extravagante).

⋘── ∗ ⋅ESPAÑOL⋅ ∗── ⋙

Esta mezcla es un viaje sonoro a través del tiempo, el espacio y percusiones hacia los orígenes espirituales de la música afrolatina. Desde el llamado de apertura del pregonero a “abrir camino” a la rumba cubana y los cantos de orishas, a los ritmos folclóricos afrobrasileños y de las antillas, trazamos una compleja red de influencias y tradiciones, delineadas por las antiguas rutas de comercio de esclavos, de vuelta al Africa que los dieron a luz. Después de descender por la costa atlántica de Colombia, bastión de los sonidos del carnaval y de Palenque (el legendario pueblo formado por cimarrones o esclavos escapados en el siglo XVII), cerramos el círculo con el mítico “Yiri Yiri Boum” de Gnonnas Pedro, originalmente compuesto por el rey de la percusión el Cubano Silvestre Méndez, creador de la “Oriza”.
Las corrientes transatlánticas son fuertes y continúan arrastrando culturas en sus mareas incluso hoy.

∗ ⋅ BIO ⋅ ∗

Vagabundo musical y coleccionista empedernido, Parker Mah, también conocido como ¨Rhythm & Hues¨ ha estado compartiendo sus selecciones poco convencionales durante más de una década. Como DJ ha destacado y encendido las pistas de baile en lugares como Ciudad de México, Cotonú y Hong Kong. Cofundador del colectivo DJ Tumbao, su especialidad abarca el espectro afro-latino-brasileño-caribeño, con una fuerte predilección por el vinilo.
Músico, compositor y presentador de programas de radio, su pasión es ampliar y compartir su interés en el legado sociocultural de estas músicas y las historias que cuentan sobre la migración y la polinización cruzada.

⋘ ── ∗ ⋅ENGLISH⋅ ∗ ── ⋙

This mix is a sonic journey through time, space and drums into the spiritual origins of Afro-Latin music. From the opening call of the pregonero to “abre camino” into Cuban rumba and Orisha chants, to Afro-Brazilian and Afro-Antillean folkloric rhythms, we trace a complex web of influences and traditions, outlined by slave trading routes, back to the African shores that birthed them. After swooping through the Atlantic coast of Colombia, bastion of carnaval sounds and of Palenque (the legendary village formed by cimarrones or escaped slaves in the 17th century), we come full circle with Gnonnas Pedro’s mythic “Yiri Yiri Boum”, originally composed by Cuban percussion king Silvestre Mendez, originator of the “Oriza”.
Cross-Atlantic currents are strong and continue to tow cultures in their tides even today.



FELA KUTI : Legacies

An excerpt of a mix of music inspired by and paying homage to the one and only Fela Anikulapo Kuti.
Recorded live at the Festival TransAmériques, May 2019.

Cover art by Kristian Bolanos, Neon Cactus.

La Pileuse

Date: 2016-2017

Roles: Sound Designer (Field recording, Sampling, Composition, Production), Videographer, Photographer

Collaborator: Sarah Elola, Montréal Arts Interculturels (MAI)

La Pileuse dives deep into the origins of rhythm and dance. This art of entering in communion with the elements instead of resisting them, of neither enduring nor dominating them; this art of renewal that can transcend the laborious; La Pileuse takes stock of all this and represents a mine of movements, sounds and philosophical reflections in what is ultimately an intimate encounter with the African woman. La Pileuse is Sarah Elola’s second solo piece. It draws upon African traditions, and more specifically those of Oulo and Boromissi – villages in Burkina Faso where the dancer and choreographer spent her childhood.

I produced the entirety of the soundscape for this piece, which integrated instrumental performance mixed with sample-based production. I also contributed some video and photo work.

TABOU GOMBO MIX #2 (TI-AGRIKOL)

// KOMPA // AFRO // LATIN // BRAZILIAN // JUJU // CALYPSO
// FUNKY JAZZ // RUMBA // FUJI // ANTILLES // SOUKOUS
Un extrait d’un 2e set du DJ RHYTHM & HUES à Ti-Agrikol, Avril 2017.
100% VINYL
*** Island Vibes *** Summer Heat ***

Inuit Drum Story

Date: 2016

Roles: DJ, Musician, Music Researcher and Sampler, Sound Modeler

Collaborators: Nina Segalowitz, Moe Clark

Relive a magical performance put on for Nuit Blanche 2016 called “NIPI: Paysages Sonores”, led by spoken word poet / musician Moe Clark alongside throat singer Nina Segalowitz & Rhythm & Hues on turntables / MPC. The multi-layered set mixed traditional storytelling, drumming and singing with loop pedals, effects, and a sample-based sound design drawing from field recordings and the rich pantheon of indigenous music to create an northern ambiance as crisp as the night outside. The highlight of the night was this live retelling of an Inuit Drum Story, presented here. This performance, commissioned by the Canadian Guild of Crafts, marks their first collaboration together.

Rhythm & Hues – Con Mar Y Rio

LISTEN / BUY
Description – EN

CON MAR Y RIO is the result of a serendipitous cross-cultural collaboration between Montreal, Quebec and Barranquilla, Colombia. Born of a blend of two musical streams, jazz improvisation and afro-colombian rhythms, this album highlights the rich musical heritage of the Atlantic coast of Colombia, all while retaining the percussive jazz flavour of Rhythm & Hues.

Inspired by the roots music of Totó la Momposina and Son Palenque, exuberant Carnaval horn phrasing, and the unique energy of the city itself, these pieces took shape over a period of 6 days during a composition residency in Barranquilla, Colombia in collaboration with LOJIQ (Les Offices Jeunesse Internationaux du Québec) and the Fundación Casa de Hierro.

The creative incubation of this nascent unit, comprised of a cast of top-flight musicians, culminated in a headlining spot in an outdoor concert and arts festival, the 11th Café al Aire Libre, in the historic Barrio Abajo neighbourhood.

The original compositions were then recorded in studio with the help and generosity of ace engineer / drummer Einar Escaf, with additional tracking and mixing in Montreal.

Description – FR

CON MAR Y RIO est le fruit d’une heureuse collaboration transculturelle entre Montréal (Québec) et Barranquilla (Colombie). Né du métissage de deux courants musicaux, l’improvisation jazz et les rythmes afro-colombiens, cet album met en relief le riche héritage musical de la côte atlantique colombienne, tout en conservant la saveur de jazz percussif de Rhythm & Hues.

Ces compositions originales sont inspirées des musiques traditionnelles de légendes comme Totó la Momposina et Son Palenque, de l’exubérance des sonorités carnavalesques, et de l’énergie singulière de la ville de Barranquilla. Elles ont pris forme sur une période de six jours, dans le cadre d’une résidence de composition dans la même ville, en collaboration avec LOJIQ (Les Offices Jeunesse Internationaux du Québec) et Fundación Casa de Hierro.

L’incubation créative, menant à la formation d’un groupe de musiciens de haut calibre, a culminé vers une prestation en tête d’affiche à la 11e saison de Café al Aire Libre, un festival d’art et de musique tenu dans le quartier historique de Barrio Abajo.

Les pistes ont ensuite été enregistrées en studio, avec le soutien et la générosité du maître ingénieur/batteur Einar Escaf, suivi et complété par des enregistrements et du mixage supplémentaires à Montréal. 

Descripción – ES

CON MAR Y RIO es el fruto de una feliz colaboración transcultural entre Montreal (Quebec) y Barranquilla (Colombia). Nacido del mestizaje de dos corrientes musicales, la improvisación jazz y los ritmos Afrocolombianos, este álbum pone de relieve el rico patrimonio musical de la costa Atlántica colombiana, manteniendo el sabor del jazz percusivo de Rhythm & Hues (Parker Mah).

Estas composiciones originales se basan en los estilos musicales tradicionales de leyendas como Totó la Momposina y Son Palenque, la exuberancia de sonidos carnavalescos, y de la energía singular que tiene la ciudad de Barranquilla. Su forma se moldeó durante un período de seis días, en el marco de una residencia de composición de esa misma ciudad, en colaboración con LOJIQ (los Oficios Juventud internacionales de Quebec) y la Fundación Casa de Hierro.

La incubación creativa, que ayudó a formar un grupo de músicos de alto calibre, culminó en la 11ava presentación del festival Café al Aire Libre, un festival de arte y música que se realiza cada año en un histórico barrio de Barranquilla, Barrio Abajo.

Las pistas fueron grabadas en estudio, con el apoyo y la generosidad del maestro ingeniero / baterista Einar Escaf, complementadas con grabaciones y mezclas adicionales hechas en Montreal.

PARKER MAH – teclados, órgano, tambora, tamboas, percusión, composición, arreglos
EINAR ESCAF – batería, grabación
JULIO FRIAS – congas, tambor alegre, tambor llamador
JUVENTINO OJITO – clarinete
RANDY ZIMMERMAN – guitarra
GERARDO “CHELO” ÁLVAREZ – bajo
JUAN SEBASTIAN QUIROS – gaitas, tambora, maracas

Composición: Parker Mah (SOCAN) excepto “La Herencia” por Parker Mah & Juan Sebastian Quiros (SOCAN) & “El Tambor Sabroso,” partes 1 & 2, por Julio Frias

Grabado en octubre del 2013 en Barranquilla, Colombia, por Einar Escaf & Xavi “Tuff”, y en mayo del 2015 en Montreal, Canadá, en el estudio Chromatic Audio por Andrés Vial (chromatic-audio.com)
Mezclado y masterizado por Stéphane Claude, OBORO New Media Lab, Montreal, Canadá (www.oboro.net)

Producido por Parker Mah en colaboración con LOJIQ, Factor, OBORO y la Casa de Hierro, Barranquilla, Colombia

Diseño gráfico: Mohamed Thiam
momogoods.com

Agradecimientos a todos los músicos: Chelo, Juventino, Randy por tu colaboración y tu amistad, Julio por los ritmos, Einar por haberme prestado tu estudio, Lizeth, Jabiz “Tuff”, Julio Molina Acero, Miche Molina, Fausto & Julie Ojito, Nilson Marenco y Juan Sebastian Quiros.
La familia de la Casa de Hierro: Fabiola, Fadir, Faleimy, Jorge, Haroldo, Odimar, Adalberto, Henry, Adrian, Francisco, Luis, Daniel Moncada, y a todos los habitantes de Barrio Abajo.
La Facultad de Bellas Artes de la Universidad de Atlántico y el Programa Nacional de Concertación del Ministerio de Cultura de Colombia y Hotel Caribe 79.

Toute l’équipe de LOJIQ / OQAJ: Cyril Pringault, Andrée-Anne Paradis Julien, Marie-Élaine Guay, Aurora Bangarth at FACTOR
Victoria Mckenzie for the photos, Rafaelle Mackay for the tamboas, Steph Cajiao, Andres Vial, Stéphane Claude & A.J. Cornell at OBORO pour le soutien technique et financier, Sarah pour la traduction et ta patience infinie, Momo et Sarah M.K.

We acknowledge the financial support of FACTOR, the Government of Canada through the Department of Canadian Heritage (Canada Music Fund) and of Canada’s Private Radio Broadcasters.

(c) Parker Mah.

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