Hottentot Party – A Small World

The Hottentot Party are well known for the original style of cross-cultural music that they have developed over a number of years. An eclectic mix of cultural influences is integrated effortlessly and fluently in their music.
The charisma and lift of their live performances is communicated well on their CDs, which isn’t something that always happens with a good live band. But in the case of the Hottentots there is a sparkle and light touch to their music, and the album as a whole has a jazzy danceable feel. At times the mood shifts, treating themes that are fairly grim, such as human rights abuse in track 7.
Parissa Bouas has a strong vocal style and that is very prominent on many of the tracks, with Carl Cleves underpinning most tracks on guitar, and writing and singing many of the songs. Parissa also doubles on additional percussion.
Some of the tracks feature just Parissa and Carl as an acoustic duo, and these work well, but overall this isn’t a duo album – a strong supporting cast of players gives a big sound to many of the tracks, with Alistair Ford on keyboards, Steve Nugent on congas, John Hoffman’s trumpet, and Maurice Cernigoi’s bass giving a very danceable feel to tracks like Jove Male Mome.The styles on this album vary from pop, ska, Bulgarian folk transmuted into funky dance, samba, afro funk, and for most of it, you’ll want to be dancing!

Additional musicians: martin Tucker – kora, melodica, mbira, bolon, Peter Haddock – flute, piccolo, piano, doun doun, agogo, Steve Nugent – conga, whistle, Maurice Cernegoi – bass, Cleis Pearce – violin, Rochelle Bowles – vocals, Richard Herczeg – Hammond organ, Willie McElroy – bodhran, John Hoffman – flugelhorn, roberta Farrer – cello

“Their poppy, cross-cultural music and vibrant live performances have landed them high on the bills of all the major Australian folk festivals… A Small World is one of the most accomplished Australian albums from a ‘festival circuit’ band that I’ve come across…Using ska, South African, West African and Brazilian styles, they create a sweet, very danceable sound with bass, drums and keyboards with sax or trumpet behind Cleves’ guitar, through which Bouas’ exuberant and sexy voice moves like a force of nature. The confidence with which they use these styles comes from extensive musical experience…

The original songs are a diverse bunch often reflecting ‘alternative’ values. The ska-ish ‘Intention is the Point of the Arrow’ takes off from Zen and the Art of Archery and ‘Sharpening a Knife’ is a sparse, elegant setting of a contemporary Japanese poem by Nanao Sakaki. The earthier side of life gets a look in the bouncy love song ‘A Long Way’. ‘Down that Track’ and ‘Penkele’ are about imprisonment in and exile from South Africa, and ‘The Glorious Wind’ could fit any one of a dozen liberation movements of the twentieth century. Other songs include the festive samba ‘Cravo e Canela’ by Brazilian composer Milton Nascimento, and Hey Maria, a 1960s samba about the problems of love in an extended family –they rework into a hot batucada.

…if you want a record to get you moving and keep you there you won’t be disappointed. Arrangements and production are razor-sharp…it won a North Coast Dolphin Award for Best Album…Definitely a five-star production.” Simon Kravis –Monaro Musings