RAHSAAN ROLAND KIRK “PREPARE THYSELF TO DEAL WITH A MIRACLE”

Brilliant songwriter, composer, multi-instrumentalist and experimenter par excellence, Rahsaan often fused musical instruments and influences such as European/American folk and African as part of a compositional strategy ala Aaron Copeland or Charles Ives. This LP exemplifies his later period, which saw him delving into broader compositional exercises with full movements and tastefully measured orchestral arrangements. Simultaneously inside and outside the times, this music is as unique as its composer, and still remains fresh and alive. Often decrying electronic music, he could create a riveting palate of sounds with simply his breath (ask yourself as you listen, especially to side two, where and how often he might be pausing to take breaths between notes…). A true giant, he still lacks the full notoriety and recognition he deserves, remaining an underdog in spite of his innovations and contributions to experimental jazz music:

“I am a master of my instrument, and i don’t need electricity to present my music; you see all of that damn electricity is not the answer, they don’t have electricity in the AFRICA, where all of this Black music comes from.”  - Rahsaan Roland Kirk

Atlantic Records, SD1640, 1973

Side One:

1. Salvation And Reminiscing (5′22)
2. Seasons (9′37)
a) One Mind Winter/Summer
b) Ninth Ghost
3. Celestial Bliss (5′40)

Side Two:

1. Saxophone Concerto (21′00)
a) Saxophone Miracle
b) One Breath Beyond
c) Dance

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AFRICA DANCES

The great Mississippi Records up in Portland re-issued a bunch of tracks from off of this record for a couple of their compilations, helping further an interest in hard-to-find or obscure (yet essential) music from around the globe. This LP compiled tunes from rare and OOP vinyls from eleven African countries, spanning the periods from the 1950’s through the 1970’s. The compiler and producer was John Storm Roberts, also responsible for compiling an LP on Folkways (and its companion book) entitled “Black Music Of Two Worlds” that compared and contrasted music from Africa and its diaspora. I don’t know much about that LP, other than the liner notes for this were taken from the “Black Music…” book. Also not sure when this this LP was released, but my guess is late 70’s or early eighties. Aside from being a mind-blower compilation of high-life and jazz influenced African music from that period, its insertion makes a nice segue out of the above and into the below, helping flesh out the Afro-centric variations for the month. Love is most definitely love! From the liner notes:

“Important things have been happening in African music as a result of contact with other parts of the world, especially Europe and the Americas. The importation of cheap guitars, and of records from Western countries, inspired the growth of a great variety of new dance styles. Though they take from foreign sources, these are in no way merely “imitations of Western styles” as some Africans and foreigners have suggested. Like black American music, the modern music of Africa is the product of an entirely valid blending of local tradition with Western elements. Many of these borrowings have been from black America or the Caribbean - which is hardly surprising given the number of African ingredients in Afro-American music.”

Original Music/Authentic Records, 601 (mono)

Side One:

1. Afrika Mokili Mobimba, by Kale-Roger and Rochereau with the OK Jazz Orchestra (AJ 70). Congo-Kinshasa: “African Jazz.” (2′35)
2. Lisie, by the Bantous de la Capitale (Pathe C006-15.058). People’s Republic of the Congo: rumba. (4′38)
3. Me Nsae Da, by Ahamano’s Guitar Band (Philips PF 383276). Ghana: highlife. (3′01)
4. Broadway Special, by the Broadway Dance Band (Phillips PF 383293). Ghana: highlife. (2′51)
5. Omo Oloja, by Dele Ojo and his Star Brothers Band (Badejo BBAF 260). Nigeria: juju. (3′04)
6. Toomus Meremereh Nor Good, by S. E. Rogers (Rogie R 14). Sierra Leone. (2′58)
7. Miss Smodern (NK 4). South Africa: ’smodern. (2′17)
8. Leribe (NK 2). South Africa: sax jive. (2′32)

Side Two:

1. Kenyatta Aliteswa Sana, by John Mwale (CMS 708). (3′00)
2. Pole Musa, by Peter Tsotsi, Nashil Pichen and the Equator Sound Band (7 Eu 290). Kenya: sukuma. (3′16)
3. Robinson Olago, by Dick Ngoye and Party (Mwangaza GT 4). Kenya. (2′47)
4. Kula Ajae na Shari, by Yaseen Mohamed and Party (Mzuri HL 7-7). Kenya: tarabu. (2′24)
5. Ndio Hali ya Dunia, by Salim Abdulla with the Cuban Marimba Band (Mzuri HL7-30). Tanzania. (2′49)
6. Ugandzibyeli Akuxonga, by M. Makhuvele and chorus. International Library of African Music (AMA-TR-11). Mozambique. (2′39)
7. Gwenasobya, by Frida Sonko (Equator Eu 7-163). Uganda. (3′05)
8. Love is Love, by Alemayno Eshirtay Group. Ehiopia: soul. (2′19)

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DEMBO KONTE & KAUSU KUYATEH “SIMBOMBA”

This is a pure affirmation of the absolute power and necessity of music in our lives, and if for some reason this doesn’t clearly make that case, nothing ever will. As you listen to the third track on side one and wish it would never end, you’ll most likely realize that from its first note to its last, this record is a most wondrous gift. I know Dembo Konte as an internationally recognized Kora virtuoso (who can also be heard on a December 09′ post), but I have only heard Kausu Kuyateh as recorded here. These two brother’s in-law share in the Jalis tradition (hereditary musicians), and are magically intertwined and remarkably protean, as they meet with strings and voice, drifting above in sympathetic release and graceful stride. Amazing Africa! From the liner notes:

“Today at least one in ten of us has a West African ancestor and the chances are good that he or she came from the region of the Gambia. The rich and powerful spirit of these valiant forebears pervades and indelibly marks every strand and thread of our society. If we are to celebrate English ballads and Celtic reels as being among the various roots of American folk music, then we are ignorant if we do not celebrate the taproot as well.”

Red House Records, RHR27, 1989

Side One:

1. Simbomba (4′10)
2. Ngaleng Sonko (8′22)
3. Saliya (6′36)

Side Two:

1. Mamma Manneh (4′57)
2. Mammadu Sanyang (4′12)
3. Dmba Hajada (3′34)
4. Banta Toure (7′13)

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ALI FARKA TOURE

This was the album that yielded international notoriety for this great Malian artist when it was first released in 1984 on Sonodisc/Esperance, enlightening many for the first time to a rich musical treasure, while also serving as an entree to the seemingly inexhaustible wonders of West African music. Ali performs all instruments here, with rollicking flow, steadfast rhythms, and smooth vocals that cut through with direct beauty and authority. All the undeniable connections to contemporary Western blues are here, further making the case that Africa is indeed ground zero for most of the music we know and love.

“Ali Farka Touré was a true original. An exceptional musician, he transposed the traditional music of his native north Mali and single-handedly brought the style known as desert blues to an international audience. He was a giant of African music and will be missed by fans throughout the world.” - Lucy Duran

Mango/World Circuit Records, MLPS9826, 1987

Side One:

1. Timbarma (5′05)
2. Singya (5′23)
3. Nawiye (5′38)
4. Bakoytereye (5′00)

Side Two:

1. Kadi Kadi (5′23)
2. Yulli (5′17)
3. Bakoye (4′06)
4. Amandrai (9′40)

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LE M’ZAB: GHARDAIA, OASIS DU DESERT

Maybe it’s the desert climate, or the fact that those responsible for this music exist within a devoutly Muslim and fiercely traditional 10th century architectural enclave (a World Heritage site), but whatever the case, the trance-like rhythms and vocals on this LP are totally mesmerizing. If you are familiar with North African contemporary music, then the sounds here should be familiar, resonating with that sweet hybrid of Middle Eastern and African styles. The people who live in this region of the Northern Sahara are called Mozabites, primarily Muslims of the intellectually grounded Mu’tazili school. They are an extremely conservative people, and the beautiful valley they inhabit has remained unaffected by modernity and Western influence for hundreds of years. As another point of interest, the architecture is “functional and perfectly adapted to the environment, designed for community living, while respecting the structure of the family, and is a source of inspiration for today’s urban planners.” As with other Arion LP’s I have, the liner notes are all in French, so I have little by way of information about project other than it was recorded in the field by Jean Fernand Daniel and Marie Meriem.

Arion, ARN 33 384, 1977

Side One:

1. Chant De La Fecondation Des Palmiers (0′54)
2. Les Enfants Au Bendir (1′20)
3. Un Soir Chez Daoud (4′09)
4. Mariage Noir A Ghardaia (3′40)
5. La Haddra Des Femmes (2′06)

Side Two:

1. Mariage A Beni-Isguen (7′41)
2. Ceremonie d’Envoutement (20′00)

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NIGERIA - MUSIQUES DU PLATEAU: ANGAS, BIROM, JARAWA, BUROM, YERGAM, PYEM

Undeniably beautiful, these recordings made at the Jos Plateau in Central Nigeria during 1972 make up some of the most sonically wondrous acoustic music I’ve heard. Celebratory and enchanted, these are primarily instrument-based accompaniments to voice and rhythm, representing a complex of traditional/tribal African music from the region. A multitude of recognizable threads can be heard here, as Nigerian influence has been central to world music ever since it’s people found themselves transported to various parts of the globe over the centuries. All crafted on hand made instruments, often manufactured out of available local materials such as zebu horns or gourds, I can only imagine a world where music is so completely integrated into all facets of everyday life and culture (serving as yet another reminder that to fully register the gift of music, I should get back to its source as often as possible). In some ways, the Ocora record label is to France and world music what Folkways was to the U.S. and folk music, thankfully preserving every remote facet of its bounty.

Disques Ocora, OCR 82, 1973

Side One:

1. Deng deng, song with molo harp accompaniment, by Mwanta Tok (3′19)
2. Kundung xylophone solo, by Moses Pam and Pam Bot (3′06)
3. Bvwana, song with molo harp accompaniment, by Anthony Kankani (2′04)
4. Song with molo zither accompaniment (3′39)
5. Song with molo zither accompaniment, by Audu Janar Halluri 6′07)
6. Sharawa flute ensemble and drums of Agomjik village (Gwong District, Jos Division) (4′26)

Side Two:

1. Izur nfiko whistle flute ensemble from Kunkwam village (2′36)
2. Komtin music from Sungqung village (5′01)
3. Molo orchestra of Maisage Zindam Ndam (5′27)
4. Molo orchestra of Zhimak Tyem, Pil village (2′46)
5. Wasam Burun dance (3′10)
6. Kida manoma dance and songs (2′48)
7. Goge monochord fiddles (1′59)

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EGYPTE: LES MUSICIENS DU NIL

Winding up with this 1976 recording of a live Paris concert, the performance featured the rabab, a versatile stringed instrument which is arguably recognized as a precursor to the Indian sarod. The performance showcased Metqal Quenaoui Metqal, rebab; Chamandi Tewfick Metqal, rebab; Mohammed Mourad Metgali, rabab; Fawzy Hafiz, souffara; Abdel Rhani, duf; and Said mohammed Aly, daraboukka. Part instrumental, part vocal with accompaniment, these are trance-like and devotional sounds, with hypnotic and transcendent rhythmic patterns. Deeply emotional and earnest, these tracks are charged with the kinetic vibrancy of a live performance, and sound as if they could go on for days. From the liner notes:

“In the music of the rural populations of the Near East and Moslem Africa, that is the fellahin, the bedouins and the mountain dwellers, forms and methods of performance are found that perhaps were those used by native tribes before the arrival of Islamic culture. Arab music took some of its original elements from there before drinking from the sources of learned speculation for Greece and Persia. Today’s folk music, except for that in the cities, is thus not derived from Arab art music, even if certain forms and practices are found in different Islamic countries. Their rural musicians remain attached to the archetypes of ancient songs and to the personality of the popular poet-improviser (shaer).”

Ocora/Harmonia Mundi, 558 514 HM 52, 1983

Side One:

1. The Pillars of Karnak (12′26)
2. O Strawberry (10′04)

Side Two:

1. Rose of Luxor (8′26)
2. Abou Zeid el Hilali (14′54)

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